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RaamaBhakthi List Archive: Message 00003 Aug 2004

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Post 3

Dear srivaishnava perunthagaiyeer,

We are continuing the winning ways of raamaa. In this post we see king janaka 
being bowled over simply by raamaa's beauty and see how he wishes raamaaand 
then questions visvaamithra with whom raamaa and lakshmaNa are accompanying. 
[just to remind on the identification - 1 means baala kaaNdam of sreemadh 
vaalmeeki raamaayaNam, 50 is sargam and 6 is slOkam number]

visvaamithram anupraaptham sruthvaa nrupavara: thadhaa |
sathaanandham puraskruthya purOhitham anindhitham || 1-50-6
prathi ujjagaama sahasaa vinayEna samanvitha: |

visvaamithram + anupraaptham + sruthvaa = visvamithra's, one chanced [at 
Mithila] on hearing nrupa + vara: + thadhaa = king best [Janaka] then
purOhitham + a + nindhitham = priest, not, reprovable one 
sathaanandham + puraskruthya = sathaanandha keeping afore 
vinayEna + samanvitha: = with deference, embodied with [in deference to 
visvaamithra]
prathi + ujjagaama + sahasaa = towards [visvaamithra,] forged ahead, instantly; 

meaning: Then on hearing that visvaamithra chanced at mithila, that best king 
Janaka, keeping his un-reprovable priest, sathaanandha afore, instantly forged 
ahead towards visvaamithra, in deference to visvaamithra. 

thathO bhaaga arthinO dhEvaan dhrashtum arhasi kousika |
ithi ukthvaa muni saardhoolam prahrushta vadhana: thadhaa || 1-50-16
puna: tham paripapruchCha praanjali: prayathO nrupa: |

thatha: + bhaaga + arthina: + dhEvaan = then [after those 12 days] their due, 
desirers of, gods; dhrashtum + arhasi + kousika = to behold, apt of you, oh, 
Kousika; 
ithi +ukthvaa + muni + saardhoolam = thus, on speaking, to sage, tigerly; 
prahrushta + vadhana: + thadhaa = gladdened, face, then; 
puna: + tham + paripaprachCha = again, him [at visvaamithra,] enquired; 
praanjali: + prayatha: + nrupa: = palms-enfolded, pure-minded [august,] king.

Meaning: Oh, kousika, then it will be apt of you to behold them, the gods who 
are the desirers of their due, [and who arrive at the conclusion of 
thisVedic-ritual"] Thus on speaking to that tigerly sage visvaamithra, that 
august king again enquired with visvaamithra, with his enfolded palms and with 
a gladdened face. 

Point: Dear bhakthaas - see here the word - prahrushta vadhana: - king witha 
gladdened face. Perhaps you may argue that king was gladdened with sage's 
appearance in the kingdom. But if you see next slOkam, the reason for theking's 
gladdening is clear. It is because the king is simply taken back bythe beauty 
of these two young ones who have accompanied the sage - raamaa and lakshmaNa.  

imou kumaarou bhadram thE dhEva thulya paraakramou || 1-50-17
gaja thulya gathee veerou saardhoola vrushabha upamou |
padhma pathra visaala akshou khaDga thooNee dhanur dharou |
asvinou iva roopENa samupasthitha youvanou || 1-50-18

imou + kumaarou= these two, youngsters; 
bhadram + thE = blest, ye be; 
dhEva + thulya + paraakramou = to god [Vishnu,] identical, in enterprises; 
gaja + thulya + gathee = elephant, identical, in strides; 
veerou + saardhoola + vrushabha + upamou = brave ones, to tiger, to Holy Bull, 
images with; 
padhma + pathra + visaala + akshou = lotus, petal, broad, eyed ones; 
khaDga + thooNee + dhanu: + dharou = sword, quiver, bow, wielder; 
asvinou + iva + roopENa = asvini -twin, like, in aspect; 
samupasthitha + youvanou = oncoming, youthfulness.

Meaning: These two youngsters, ye be blest, are identical to God Vishnu in 
enterprises, their strides are identical to [arrogant] elephants, and 
their[impetus] images tigerish and their [impulse] bullish. These are brave 
ones, [but pleasant are their] eyes, like broad lotus petals, these are 
wielding swords, quivers, and bows [righteously and apparently for righteous 
reasons, and instead of appearing impudently with this weaponry,] they in 
theiraspect are like the asvini - twin [brothers, at whose hands the whole 
world gets its medicament, and yet, unlike the timeless asvini - twins] 
oncoming is their youthfulness. 

Point: These are the same words of king sumathi in the previous post we saw. 
Perhaps sage vaalmeeki could have used some other words, for, later critics of 
poems, which bring down the poet's rating and the poem's rating, could easily 
accuse him of 'repetition'. 

But here he could not be accused that way, for perhaps he could not put more 
apt words than what is already stated once, to describe raamaa's beauty. And 
the 'flat' position in which king sumathi as well janaka were there, vaalmeeki 
was also, when all were bowled over by raamaa by his appearance. For describing 
janaka's position, [janaka the well acclaimed yogi as referredto in bhagavath 
geethaa] repetition may be the better option than searching new words.      

yadhruchChayaa Eva gaam praapthou dhEva lOkaath iva amarou |
katham padhbhyaam iha praapthou kim artham kasya vaa munE || 1-50-19

yadhruchChayaa + Eva + gaam + praapthou = at their will, alone [simply,] onto 
earth [mortal plane,] chanced; 
dhEva + lOkaat + iva + amarou = from gods, world [vault of heaven,] as though, 
2 immortals; katham + padhbhyaam + iha + praapthou = how, on foot, here, 
chanced these two; 
kim + artham = what, for reason; 
kasya + vaa = whose [sons] either; 
munE = oh, saint.

Meaning: As though two immortals have simply chanced at will, from the vault of 
heaven onto this mortal plane, how these two chanced hither, [that too] on 
foot, oh, saint, for what reason? And whose [sons] are they, either.

Point: see the 'concern' of the king janaka - these two were on foot. Perhaps 
the very look impresses the king that makes him to ask why these two came on 
feet [means walked a long way as it appears]. For royal people do lesswalking 
and that is why perhaps king dhasaratha was also a bit hesitant tosend the 
prince along with sage visvaamithra, for he knows that these sages do not 
accept vehicles, but prefer walking. But the point is king janakaa's heart is 
overwhelming on seeing the roopa youvanam of raamaa, and he is pained to see 
these two having walked along with the sage. 

vara aayudha dharau veerou kasya puthrou mahaamunE |
bhooshayanthou imam dhEsam chandhra sooryou iva ambaram || 1-50-20

vara + aayudha + dharau + veerou = best, weapons, brandishing, valiant ones; 
kasya + puthrou + mahaa munE = whose, sons, oh, great-saint; 
bhooshayanthou + imam + dhEsam = embellishing, this, province; 
chandhra + sooryou + iva + ambaram = Moon, Sun, like, sky.

Meaning: These valiant ones are brandishing best weapons, oh, great-saint, and 
they are embellishing this province as the Sun and Moon do the sky. Whose sons 
are they? 

parasparasya sadhrusou pramaaNa ingitha chEshtithai: |
kaaka paksha dharou veerou srOthum ichChaami thaththvatha: || 1-50-21

parasparasya + sadhrusou = each to each, clonal; 
pramaaNa + ingitha + chEshtithai: = by postural [language] by facial [language] 
by body [language]; 
kaaka + paksha + dharou = crow wing [similar jet-black curly hair] bearing 
[having]; 
veerou = valorous ones; 
srOthum + ichChaami + thaththvatha: = to listen, I wish, in actuality.

Meaning: Clonal each to other by postural-language, by facial-language and by 
body-language, [they appear to be] valorous ones [but boyish in appearance as] 
their curly hairs are crow-wing like [jet-black, thus whether they are immature 
by age though mature by their valour or so] I wish to listen [about them] in 
actuality.

Point: 1. present day management experts talk about "body language" and 
themeanings they convey. Whereas we have evidence of high-class management that 
too practiced in the royal assembly is expressed here. 

2. Perhaps we have to turn to sri thulasidhaasa's "raamcharithamaanas" alsofor 
a description of how king janaka being impressed by raamaa's beauty. . 

Doha: sanga sachiva suchi bhoori bhata bhoosura bara gura gyAti| 
chalE milana muni naayakahi mudhitha raau Ehi bhaaNthi || 214 baala kaaNdam

meaning: [doha means couplet - or in tamil can say it as kuRaL] [On hearing the 
arrival of sage visvaamithra with raama and lakshmaNa] 
king janaka took with him his faithful ministers, a number of warriors, noble 
brahmaNas, his family preceptor sathaanandha and the chief of his kinsmen and 
thus went for the rejoice of meeting the prince of sages. 
 
Choupaayee 1 below 214: 
keenha pranaamu charaNa dhari maathaa dheenhi asheesha mudhitha muninaathaa  
biprabrundha saba saadhara bandhE jaani bhaagya bada raau anandhE 
kusala prasna kahi baarahin baaraa bisvaamithra nrupahi baitaaraa   
thEhi avasara aae dhou bhaaee gaE rahE dhEkhana phulavaaee 

meaning: placing his head on the sage's feet the king made obeisance to him. 
The lord of sages, visvaamithra gladly gave him the blessings. The king then 
respectfully saluted the braahmaNaas and congratulated himself on the good 
fortune of receiving the sage, his entourage. Inquiring again and againabout 
the welfare of the king, visvaamithra led the king to seat. At that time 
arrived the two brothers who had gone to see the garden, one dark and the other 
fair, the lads were yet tender of age. 

Ch 2: syaama gaura mrudhu bayasa kisOraa lOchana sukhadha bisva chitha choraa 
utE sakala jaba raghupathi aaE bisvaamithra nikata baitEaaE 
bhaE saba sukhee dhEkhi dhou bhraathaa baari bilOchana pulakitha gaathaa 
moorathi madhura manOhara dhEkhee bhaya_u bidhEhu bidhEhu bisEshee 

meaning: The delight of all eyes, they stole the heart of the whole world. All 
those present around there rose, when the lord of raghus came and visvaamithra 
seated him by his side. They were all delighted to see the two brothers. Tears 
rushed to their eyes and the hair on their body bristled with joy. Beholding 
raamaa's lovely and charming form king vidhEha was particularly beside himself 
with joy. 

Point: 1. There is a pun on the word vidhEha. The king of mithila enjoyed the 
hereditary title of vidhEha because he ruled over the country vidhEha ormithila 
[capital mithilaapuri]. Since king janaka was a man of high wisdomand hence had 
no identification with body. At the sight of raama however he was completely 
out of control and therefore he justified in a special degree his name vi + 
dhEha - out of dhEha. 

do. prEma magana manu jaani nrupu kari bibEku dhari dheera 
bOlEu muni pada naai siru gadagada giraa gabheera || 215  

meaning: finding his heart overwhelmed with love the king recovered himselfby 
recourse to reason and bowing his head at the sage's feet spoke the following 
pregnant words in a voice choked with emotion.

Ch: kahahu naatha sundhara dhou baalaka munikula thilaka ki nrupa kula paalaka  
brahma jo nigama nEti kahi gaavaa ubhaya besha dhari kee soi aavaa 
sahaja biraagarupa manu moraa thakita hOtha jimi chandha chakOraa 
thaathe prabhu poochha_um sathibhaaoo kahahu naatha jani karahu dhuraa oo. 

meaning: tell me my lord are these two pretty boys, the ornament of a sage's 
family or the bulwarks of some royal dynasty? Or is it that brahma, the 
absolute, whom vEdhaas describe in negative terms such as "not that" etc, has 
appeared in a dual form. My mind, which is dispassion itself in its natural 
form, is enraptured at their sight even as the chakOra bird is transported with 
joy at the sight of the moon. 

Dear bhakthaas, do I need to add any points on these? As Saint 
thulasidaashimself has described, about janaka, as well himself without which 
such nice words will not flow, the emotion is so high here also. 

Read again and gain with same emotion as reflected in these lines and visualize 
that raama, the beauty personified, so that he wins your heart also asthat of 
king janaka.

Dhaasan

Vasudevan m.g.

PS: Thanks to sri V.Anjaneyalu of Itarsi, India, who gave the clue for 
this"raama winning" posts so that we are now enjoying raama and his winning 
beauty. pardon me for the length of the post as it could not contained in 
explaining the beauty of raama.



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