Rāmāyaṇa - Ayodhyā-kāṇḍa - Part 8 - Bharata meets Rāma

Bharata, the mothers, and the army reached the vicinity of the Citrakūṭa mountain. Bharata observed, “The trees on the mountains scatter their flowers on the mountain slopes just as the dark water-laden clouds send down showers when the heat of the summer is over. Look at the startled deer, Śatrughna! As they quickly dart off, scared of our huge army, they look like banks of clouds in the sky flying before the wind in the autumn. These trees wear bunches of flowers on their heads supported by cloud-blue boughs just as the dākṣiṇātyas wear a garland of flowers on their heads. This forest, which was dreadful a moment ago and now filled with throngs of people looks like Ayodhyā to me. The dust raised by the horses’ hooves darkens the sky, but the wind dispels it quickly, as if it wished to please me. Those lovely peacocks are frightened and are retreating quickly to the mountain. Let the army look for Rāma and Lakṣmaṇa here.” His men soon told him that they had spotted smoke at a distance. Hoping that it indicated the presence of his brothers, Bharata went ahead with Sumantra and Guru Vasiṣṭha.

Around the same time, Rāma was telling Sītā, “Nothing bothers me as I see this lovely mountain. I can live here all my life with Lakṣmaṇa and you, my dear wife, without feeling any pain. I have gained two fruits due to my stay in the forest – I have cleared my father’s dhārmic debt and Bharata has been pleased as well. Vaidehī! I trust you too are happy being with me on Citrakūṭa. My ancestors who were rājarṣis regarded this discipline of the forest life as amṛta and gateway to well-being after death. At night, the herbs on this lordly mountain look like the tongues of fire as revealed by their own luminescence. The Citrakūṭa appears as if it has risen splitting the earth.” Rāma also pointed at the crystal-clear waters of the river Mandākinī, its sandy shores, and the ṛṣis who perform tapas there. He suggested, “Consider the wild animals in the forest as the citizens of Ayodhyā, the mountain as the city, and the river Mandākinī as Sarayū. I do not crave for Ayodhyā or the kingdom. Bathing in this delightful river adorned by fully blossomed trees, one can shed fatigue and feel elated.”

As he walked along the lower altitudes of the Citrakūṭa speaking thus to Sītā, Rāma noticed the dust and noise of Bharata’s army rising to the sky. As Rāma instructed him to look for the cause of the tumult, Lakṣmaṇa climbed a tall sal tree and spotted a vast army to the east. He rushed to his brother and asked him to put out the fire and leave Sītā in the safety of a cave. He asked Rāma to get ready with his arrows, armours, and bow. When Rāma asked him whose army it was,  Lakṣmaṇa replied in wrath, as though he would burn the army with his eyes, “Now that Bharata, Kaikeyī’s son, has been coronated, he is coming to kill the two of us. I can see the insignia of the kovidāra tree atop his chariot. Your enemy has arrived, Rāghava, the cause of your expulsion from the kingdom. It is Bharata and I will kill him – I see no wrong in doing so. Once he is dead, you will rule the vast earth. Today,  Kaikeyī, who desired the kingdom, will be harrowed by grief seeing her son slain by me. I shall slay Kaikeyī too, her supporters and kinsmen. Let the earth be cleansed today of this foul scum! I will drench the woodlands of Citrakūṭa with my enemies’ blood!”

In order to calm Lakṣmaṇa, who was violently agitated with insensible rage, Rāma said, “It is indeed appropriate for Bharata, an excellent archer and a man of immense wisdom, to come and see us. He would never even think of causing us any harm. When has Bharata ever caused you any trouble that you should harbour such suspicions about him? You should not utter an unkind word about Bharata. If you do so, it is as good as hurling criticism at me. Would a son ever kill his father, or a brother his own brother, who is the very breath of his life? If you are speaking so because you desire the kingdom, I will instruct Bharata to handover the kingship to you. He will agree without a moment’s delay.” Looking at Lakṣmaṇa’s distressed being, Rāma said, “I think Bharata has come here only to visit us, or perhaps, to take Vaidehī back home. You can see the splendid horses and the army led by the aged, mighty elephant Śatruñjaya, belonging to our father.” Now consoled, Lakṣmaṇa climbed down the sal tree, and waited by the side of Rāma with folded hands.

Camping his army at a distance, Bharata went ahead looking for Rāma and instructed Śatrughna, “I shall find no peace until I see Rāma and bow my head at his feet; I shall find no peace until I see the powerful Lakṣmaṇa and the illustrious Vaidehī. I shall have no peace until Rāma is seated on the throne of our kingdom. How blessed is this Citrakūṭa Mountain to host Rāma!” As he searched, he spotted Rāma’s āśrama and hurried towards it along with Guha.

As he neared the thatched hut of Rāma, Bharata noticed split logs of firewood and heaps of flowers that had been gathered. In the forest nearby, he saw heaps of dry dung of deer and buffalo collected for burning to ward off cold. As they proceeded, Bharata excitedly remarked to Śatrughna, “This must be the spot that Sage Bharadvāja spoke of. Clothes made of tree-barks are tied up high on the trees;  Lakṣmaṇa must have fastened them in this manner to mark his trail as he heads out at odd hours. You can see thick smoke at a distance; it is customary for ascetics to maintain fire continuously in forests.” He addressed the people with him, “O! Cursed be the day I was born and cursed my life. It is on my account that this calamity has befallen on Rāghava and I am condemned by all the world. I will beg for forgiveness from Rāma and Sītā. I will fall at their feet again and again.”

Even as he thus lamented, Bharata saw a large and enchanting hut, that was thatched with the leaves of sāla, tāla, and aśvakarṇa. Kuśa grass was spread around the hut and it appeared like a yajña-vedī. Bows that looked like rainbows and arrows that flashed like sunbeams adorned it; Bharata also saw swords, shields, forearm-guards, and finger-guards studded with gold hanging there. He also saw a vedī with blazing fire in the north eastern direction of the house.

As he glanced around for a moment, Bharata spotted his revered Rāma clad in tree bark and deer skin, wearing matted hair and blazing like fire. He saw Sītā and Lakṣmaṇa seated next to him. Bharata was overwhelmed by sorrow and he said with his voice choking, “The person to whom his subjects in the assembly should pay homage is being attended upon by wild beasts. It is my fault that this misery has befallen Rāma! A vile creature that I am, an object of scorn to the entire world!” He collapsed weeping before he could reach Rāma’s feet. He only called out, “Ārya!” Śatrughna fell at Rāma’s feet as well and Rāma hugged them both.

Rāma took Bharata on to his lap and asked him[1], “What has happened to your father, my child, that you have come to the forest? As long as he is alive, your place is not in the forest. I am seeing you after such a long time, Bharata! You have changed beyond recognition! I trust that King Daśaratha is in good health, performing aśvamedha and rājasūya-yāgas. I hope that the upādhyāya of Ikṣvākus is being honoured adequately. Are Kausalyā and Sumitrā well? Hope the noble queen Kaikeyī is happy. I trust you still honour your purohita and I hope have appointed a knowledgeable person to take care of Agni. I trust you continue to hold the upādhyāya Sudhanva in high esteem, dear brother. I hope you have appointed as ministers reliable men, who are resolute, well-versed in polity, self-controlled, and belong to good families. They must be able to understand your intentions in no time. Good counsel is the basis of a king’s success, Rāghava! I trust you are not ruled by sleep, but wake up early and reflect on the principles of prudent statecraft late at night. I hope you do not make decisions all alone or consult too many people. A brave and wise minister is better than a thousand fools. I trust that people have no reason to despise you. I hope you honour your foremost soldiers and pay the appropriate wages and rations to your army. If the schedule of payment is missed, servants grow angry and get easily corrupted. I hope you choose a discerning man as your envoy, who is faithful, born in your kingdom, and repeats exactly what is told to him. I hope your spies who are undercover know the hearts of the eighteen chief officials in the foreign state and fifteen for your own; three spies need to be appointed for every official. I trust you do not associate with brāhmaṇas who are materialists.

I hope the city gates of Ayodhyā, true to the city’s name, are unassailable. I hope people belonging to all the four varṇas live in comfort and harmony. I trust the devasthānas are flourishing and agriculture, animal husbandry, and trade are going well. A well-founded economy promotes happiness in the world. I hope your revenue exceeds your expenses and your treasure does not pass into unworthy hands. I hope no honest person is charged with theft and thieves are not set free out of desire for wealth. You pay homage to the aged, to ascetics, guests, deities, caityas,  and brāhmaṇas, don’t you? I trust you are not causing harm to artha in the name of dharma and to dharma in the name of artha; and I hope that dharma and artha are not being sacrificed for the sake of kāma. I hope you have organised your time to devote adequately to each of dharma, artha, and kāma.

I hope you are free of the fourteen flaws common to a king – nāstikya, dishonesty, anger, heedlessness, procrastination, shunning the wise, indolence, sensuality, autocracy, consulting men who mislead, failure to act upon decisions, failure to guard one’s counsel, skipping auspicious rites, and attacking many enemies at once. Finally, I trust you never savour foods alone and you offer aid to allies when they seek it.”

Bharata, upon listening to Rāma’s words, replied, “The eternal dharma says that when the elder brother is alive, the younger should not become the king. So, you must come back with me, Rāghava. When I was away in the country of the Kekayas, our king passed on to svarga. Arise, my dear brother, offer waters (tarpaṇa) to our father. Śatrughna and I have already done so.

Hearing the words of Bharata, which struck him like a bolt of lightning, Rāma lost consciousness and collapsed. His brothers and Sītā wept as they sprinkled water upon him and helped him regain consciousness. He lamented, “I am a wretched son. My father died of grief for me, and I could not even perform his final rites. Ayodhyā has lost its lord and its direction. I can never bear to go back to the city. Sītā, you have lost your father-in-law, and Lakṣmaṇa, your father!” Rāma offered waters to his dead father on the banks of the river Mandākinī. With his brothers, he offered food to his departed father, in the form of the iṅgudī cake mixed with badarī fruit. Out of deep sorrow, he said, “Eat with pleasure, great King, such is the  food as we ourselves now eat!”

Rāma returned with his brothers and Sītā to his hermitage and started weeping. Their cries echoed around the mountains and Bharata’s soldiers hurried to the spot.

To be continued...
[The critically constituted text and the critical edition published by the Oriental Institute, Vadodara is the primary source. In addition, the Kannada rendering of the epic by Mahāmahopādhyāya Sri. N. Ranganatha Sharma and the English translation by Sri. N. Raghunathan have been referred.]



[1] The questions posed by Rāma which constitute the ninety-fourth sarga in the critically constituted text is called the kaccit-sarga. It captures the dhārmic duties of a king and Rāma’s concern for the kingdom.

 

Author(s)

Valmiki
About:

Visionary sage and the author of the fifth Veda, the Rāmāyaṇa

Translator(s)

About:

Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...