The Ramayana begins with the word Ma nishada, etc.The poet says: ‘Nishada, since you killed the male bird charged with ardent passion and separated him from his female companion you will not procure your place in this forest for years to come. That is, you would never revisit this place in the woodland’.
The word tvama should be taken as an adjective of nishada. It refers to the fowler overpowered by passion. The Ekaksarakosa mentions the word ma in the sense of ‘bond’. The rest of the meaning of the verse goes as Valmiki could have avenged the guilt, the killing of the bird, by slaying the Nishada on the occasion. The fowler was not deprived of his life by the seer’s curse. This also indicates that the seer was not only bereft of anger but was full of deep compassion also.
It is observed that the verse in question proposes two objects. First, it advocates efforts to eschew violence. Secondly it aims at easing peoples’ grief caused by violent acts. This is its significance. And the poet brings it out in seven Kandas.
O Rama, manishada, well equipped with Visnu’s bow, you completely vanquished the ego of Parasurama, the foremost among egoists. Further, the kraunchas, i.e. the kings, ignorant of your prowess, attended Janaka’s dhanuryaga the bow-sacrifice. You chose and defeated only one, the supreme of them, i.e. the infatuated Ravana. Hence you will attain high status and repute lasting till the end of time. Thus the theme of the Balakanda is implied here. Or, Manishada, Raghunatha, you won over completely the calamity of Dasaratha, the great king of kings. Rama, you are thus kraunchamithunat.
It also means, ‘While living in the forest like the kraunchas, you approached the krauncha pair, i.e. the couple of Anasuya-Atri, and so on. In other words, your appearance delighted the seers residing in the forest. Raghunatha, you destroyed Dasaratha’s lust for sex. Or, you rid Dasaratha of apathy or frustration caused by your separation. That is, he loved you so much that he felt uneasy at the separation of your manifest form. You suggested to him that he was to identify with your unmanifest form. Thus, you would maintain your dignity for years to come’. This is the story of the Ayodhyakanda as narrated in this first verse.
Or, ‘O Rama, O Manisa, you are superior to Brahman, Visnu, and Mahesvara, who are worshipped by gods. You are the cause of their excellence. Or, the word ‘sa’ (taken from the word sasvtih) qualifies Rama. It means: “Rama, you are the bestower of bliss. You killed the race of demons, who swallowed the seers of the Dandaka forest. You attacked the krauncha pair, i.e. the race of demons engrossed in amorous acts. You diminished their number on account of your arrival in the forest. You slew them, without fatigue, with out time. You won their respect. You are the foremost of all”. Here the word mithuna refers to the lustfulness of the demons. This is the content of the Ayodhyakanda.
Or, ‘O manisa, O krauncha, Sugriva was prohibited to wander in a place other than the mountain Rsyamuka. You completely violated this prohibition. You look slim due to forest life. However, your leanness is illusory. Separating lustful Valin from his wife Tara, you killed him. So you will attain forever the greatness of those who accomplish their committed task. In other words, as you promised to slay the demons and kept it, you will be honoured for years to come’. Thus the verse implies the theme of the Kishkindakanda.
Or, ‘O krauncha, you appear slim. This is due to Sita’s illusory separation from you. Having given instructions to the two, i.e. Tara and Sugriva, you send Hanuman to Lanka to find out Sita. Indeed, Hanuman stands firm and steadfast in the battlefield, like Visnu who always stands beside Lakshmi. Really, you got over one weakness, i.e. the lustfulness of the demons once and for all’. Thus the verse reveals the story of the Sundarakanda.
Or,’ Sada, the scriptures state that you are incomprehensible by senses, i.e. speech and thought. You falsified this idea, and became accessible to me. Or, as you are supreme, you take care of your devotees. That is, you observe dharma that teaches protection of one whosoever is acceptable. You separated the main partner kraunch, i.e. the chief demon Ravana from the couple Mandodari-Ravana who had controversial views with regard to Sita’s abduction. Stupefied at the sight of your own will and determination, Ravana did not discern that you were his master. You killed him, and regained the treasure of the gods, i.e. Sita. Therefore, on this ground, you would retain your exalted position as the greatest king in this world till the end of time’. Thus, the verse briefly gives the story of the Yuddhakanda. The lexicons record the word sa in the sense of ‘invisible’ and ‘the foremost’.
Or, ‘O Sa! You shower blessings on the citizens of Ayodhya. You quickly lead all the inhabitants of Ayodhya, i.e. from birds in general to the highest ascetics endowed with equal vision for all, and also to the destination called unmanifest Saketa, which is earnestly desired by all. This is the place one finds quite dubious of attainment. It is the most dignified abode where Mahesvara, Mahavisnu and Mahabrahman permanently abide. Here, the word kraunchamithuna refers to the birds in general, while the word samah implies the highest ascetics with generous outlook for all paramahamsa. Thus you are the foremost of all’. This is the idea of the Uttarakanda.The Visvakosa cites the word ma as expressive of Siva.
Metre of the slokas 1.2.18- 30
The seer Bharadwaja says, ‘this verse is fixed in quartets containing eight equal number of syllables in each line. That is, short and long vowels are inserted in each quartet in accordance with the rules of prosody. Further, it accompanies laya, i.e. rhythm bringing out sweetness of song, supported by a string instrument. Afflicted by compassion for the bird, I composed this verse. It criticizes the hunter’s behaviour that interrupts the story of Raghunatha. However, it should be treated as suggestive of Raghunatha’s theme’. This is what the poet means to say.
Or, the experts in the Science of music have paid importance to the art of singing. This verse is imbued with musicality. Tormented by grief, I have composed it in quartets in the manner a great bull is tied to the pole. The simile means that the fettered bull cannot move anywhere from his place. Similarly, its meaning revolves round none except Raghunatha. The word ra is recorded in the lexicon in the sense of ‘king’ and ‘the foremost’.
Contemplation of Valmiki and Brahma’s grace 1.2.24-30
With Brahma there, Valmiki hurriedly stood up with hands folded in reverence. Since he was intent upon meditating Raghunatha, he did not talk about other things. He had restrained his mind also. On seeing Brahma, he was struck with great wonder. The term paramavismitah suggests that he was unaware of Brahma’s appearance. He bowed to Brahma and offered him water for washing his feet and a seat. On receiving hospitality from Valmiki, Brahman queried about the seer’s well-being.
Permitted by Brahma, Valmiki took his seat and entered into meditation with his mind overpowered by Raghunatha’s life. Thus he lost himself in the thought of the verse ma nishada. The verse has two objects. First, it abuses the hunter. Secondly, it reveals Raghunatha’s story in brief. The poet intends to narrate it in the seven Kandas. He said, ‘Brahma, I unnecessarily formed a malicious opinion about the hunter, which, in itself, was a ruthless affair. I ought not to have committed such an offence’. Valmiki said further: ‘The hunter killed the sweet-voiced kraunch for no reason. I felt pity for the female bird. She was lamenting beside the dead body of her male companion. Thus I uttered, in my mind, the verse ma nishada, which conveyed two meanings’.
Thereafter, Brahma concentrated his mind on Rama, one who is free from causeless grief. Narada had taught Valmiki everything about Rama. On hearing Valmiki’s story, Brahma, in all cheer, spoke to the great seer. He knew that the verse was devoted to Rama. The use of the word prahasan connotes this sense. The idea implied here is that the story of Raghunatha removes the obstacles in the way of the seer’s meditation on him.
Manisada 1.2.15
The Ramayana begins with the word Ma nishada, etc.The poet says: ‘Nishada, since you killed the male bird charged with ardent passion and separated him from his female companion you will not procure your place in this forest for years to come. That is, you would never revisit this place in the woodland’.
The word tvama should be taken as an adjective of nishada. It refers to the fowler overpowered by passion. The Ekaksarakosa mentions the word ma in the sense of ‘bond’. The rest of the meaning of the verse goes as Valmiki could have avenged the guilt, the killing of the bird, by slaying the Nishada on the occasion. The fowler was not deprived of his life by the seer’s curse. This also indicates that the seer was not only bereft of anger but was full of deep compassion also.
It is observed that the verse in question proposes two objects. First, it advocates efforts to eschew violence. Secondly it aims at easing peoples’ grief caused by violent acts. This is its significance. And the poet brings it out in seven Kandas.
O Rama, manishada, well equipped with Visnu’s bow, you completely vanquished the ego of Parasurama, the foremost among egoists. Further, the kraunchas, i.e. the kings, ignorant of your prowess, attended Janaka’s dhanuryaga the bow-sacrifice. You chose and defeated only one, the supreme of them, i.e. the infatuated Ravana. Hence you will attain high status and repute lasting till the end of time. Thus the theme of the Balakanda is implied here. Or, Manishada, Raghunatha, you won over completely the calamity of Dasaratha, the great king of kings. Rama, you are thus kraunchamithunat.
It also means, ‘While living in the forest like the kraunchas, you approached the krauncha pair, i.e. the couple of Anasuya-Atri, and so on. In other words, your appearance delighted the seers residing in the forest. Raghunatha, you destroyed Dasaratha’s lust for sex. Or, you rid Dasaratha of apathy or frustration caused by your separation. That is, he loved you so much that he felt uneasy at the separation of your manifest form. You suggested to him that he was to identify with your unmanifest form. Thus, you would maintain your dignity for years to come’. This is the story of the Ayodhyakanda as narrated in this first verse.
Or, ‘O Rama, O Manisa, you are superior to Brahman, Visnu, and Mahesvara, who are worshipped by gods. You are the cause of their excellence. Or, the word ‘sa’ (taken from the word sasvtih) qualifies Rama. It means: “Rama, you are the bestower of bliss. You killed the race of demons, who swallowed the seers of the Dandaka forest. You attacked the krauncha pair, i.e. the race of demons engrossed in amorous acts. You diminished their number on account of your arrival in the forest. You slew them, without fatigue, with out time. You won their respect. You are the foremost of all”. Here the word mithuna refers to the lustfulness of the demons. This is the content of the Ayodhyakanda.
Or, ‘O manisa, O krauncha, Sugriva was prohibited to wander in a place other than the mountain Rsyamuka. You completely violated this prohibition. You look slim due to forest life. However, your leanness is illusory. Separating lustful Valin from his wife Tara, you killed him. So you will attain forever the greatness of those who accomplish their committed task. In other words, as you promised to slay the demons and kept it, you will be honoured for years to come’. Thus the verse implies the theme of the Kishkindakanda.
Or, ‘O krauncha, you appear slim. This is due to Sita’s illusory separation from you. Having given instructions to the two, i.e. Tara and Sugriva, you send Hanuman to Lanka to find out Sita. Indeed, Hanuman stands firm and steadfast in the battlefield, like Visnu who always stands beside Lakshmi. Really, you got over one weakness, i.e. the lustfulness of the demons once and for all’. Thus the verse reveals the story of the Sundarakanda.
Or,’ Sada, the scriptures state that you are incomprehensible by senses, i.e. speech and thought. You falsified this idea, and became accessible to me. Or, as you are supreme, you take care of your devotees. That is, you observe dharma that teaches protection of one whosoever is acceptable. You separated the main partner kraunch, i.e. the chief demon Ravana from the couple Mandodari-Ravana who had controversial views with regard to Sita’s abduction. Stupefied at the sight of your own will and determination, Ravana did not discern that you were his master. You killed him, and regained the treasure of the gods, i.e. Sita. Therefore, on this ground, you would retain your exalted position as the greatest king in this world till the end of time’. Thus, the verse briefly gives the story of the Yuddhakanda. The lexicons record the word sa in the sense of ‘invisible’ and ‘the foremost’.
Or, ‘O Sa! You shower blessings on the citizens of Ayodhya. You quickly lead all the inhabitants of Ayodhya, i.e. from birds in general to the highest ascetics endowed with equal vision for all, and also to the destination called unmanifest Saketa, which is earnestly desired by all. This is the place one finds quite dubious of attainment. It is the most dignified abode where Mahesvara, Mahavisnu and Mahabrahman permanently abide. Here, the word kraunchamithuna refers to the birds in general, while the word samah implies the highest ascetics with generous outlook for all paramahamsa. Thus you are the foremost of all’. This is the idea of the Uttarakanda.The Visvakosa cites the word ma as expressive of Siva.
Metre of the slokas 1.2.18- 30
The seer Bharadwaja says, ‘this verse is fixed in quartets containing eight equal number of syllables in each line. That is, short and long vowels are inserted in each quartet in accordance with the rules of prosody. Further, it accompanies laya, i.e. rhythm bringing out sweetness of song, supported by a string instrument. Afflicted by compassion for the bird, I composed this verse. It criticizes the hunter’s behaviour that interrupts the story of Raghunatha. However, it should be treated as suggestive of Raghunatha’s theme’. This is what the poet means to say.
Or, the experts in the Science of music have paid importance to the art of singing. This verse is imbued with musicality. Tormented by grief, I have composed it in quartets in the manner a great bull is tied to the pole. The simile means that the fettered bull cannot move anywhere from his place. Similarly, its meaning revolves round none except Raghunatha. The word ra is recorded in the lexicon in the sense of ‘king’ and ‘the foremost’.
Contemplation of Valmiki and Brahma’s grace 1.2.24-30
With Brahma there, Valmiki hurriedly stood up with hands folded in reverence. Since he was intent upon meditating Raghunatha, he did not talk about other things. He had restrained his mind also. On seeing Brahma, he was struck with great wonder. The term paramavismitah suggests that he was unaware of Brahma’s appearance. He bowed to Brahma and offered him water for washing his feet and a seat. On receiving hospitality from Valmiki, Brahman queried about the seer’s well-being.
Permitted by Brahma, Valmiki took his seat and entered into meditation with his mind overpowered by Raghunatha’s life. Thus he lost himself in the thought of the verse ma nishada. The verse has two objects. First, it abuses the hunter. Secondly, it reveals Raghunatha’s story in brief. The poet intends to narrate it in the seven Kandas. He said, ‘Brahma, I unnecessarily formed a malicious opinion about the hunter, which, in itself, was a ruthless affair. I ought not to have committed such an offence’. Valmiki said further: ‘The hunter killed the sweet-voiced kraunch for no reason. I felt pity for the female bird. She was lamenting beside the dead body of her male companion. Thus I uttered, in my mind, the verse ma nishada, which conveyed two meanings’.
Thereafter, Brahma concentrated his mind on Rama, one who is free from causeless grief. Narada had taught Valmiki everything about Rama. On hearing Valmiki’s story, Brahma, in all cheer, spoke to the great seer. He knew that the verse was devoted to Rama. The use of the word prahasan connotes this sense. The idea implied here is that the story of Raghunatha removes the obstacles in the way of the seer’s meditation on him.