Setubandham-7

सेतुबन्धम्-७

पढमं वि‍अ मारु‍इणा हरिसभरिज्जन्तलो‍अणेण मुहेण ।

जण‍अतण‍आप‍उत्ती पच्छा वा‍आ‍इ णिअरवसेसं सिट्टा ॥ ३७ ॥

[ प्रथममेव मारुतिना हर्षभ्रियमाणलोचनेन मुखेन ।

 जनकतनयाप्रवृत्तिः पश्चाद्वाचा निरवशेषं शिष्टा ॥]

Right at the beginning Hanuman conveyed the well being of Sita only through his eyes which were brimming with happiness; later through words in its entirety.

दिट्ट त्ति ण सद्दहि‍अं झीण त्ति सबाहमन्थरं णीससिअम् ।

सो‍अ‍इ तुमं ति रुण्णं पहुणा जि‍अ‍इ त्ति मारु‍ई उवऊढो ॥ ३८ ॥

[ दृष्टेति न श्रद्धितं क्षीणेति सबाष्पमन्थरं निःश्वसितम् ।

शोचति त्वामिति रुदितं प्रभुणा जीवतीति मारुतिरुपगूढः ॥]

When Hanuman said “ (Sita was) seen”, Rama did not believe. When he said, “(She was) weak”, Rama constrained by tears, sighed deeply and slowly. When he said, “She is anxious about you”, Rama wept. (Finally) knowing that she is alive, Rama embraced Hanuman. [ Sometimes the original in Prakrut can be interpreted in Sanskrit in more than one way. In this verse the commentator has given another version also. As it did not seem to have any particular merit, it has not been translated.]

चिन्ताह‍अप्पहं मिव तं च करे खे‍अणिसहं च णिसण्णम् ।

वेणीबन्धणम‍इलं सो‍अकिलन्तं व से पणामे‍इ मणिम् ॥ ३९ ॥

[ चिन्ताहतप्रभमिव तं च करे खेदनिःसहमिव निषण्णम् ।

वेणीबन्धमलिनं शोकक्लाम्यन्तमिवास्य प्रणयति मणिम् ॥]

Hanuman brings with him the crest-jewel of Sita, which looked soiled due to its being tied to Sita’s (unkempt) hair and it looked as if it had lost its radiance due to sadness and was sitting in his palm unable to bear the grief.

सो कर‍अलञ्जलिग‍ओ वाहत्थवापह‍ओसिहन्तम‍ऊहो ।

ण‍अणेहिञ् दासरहिणा दिट्ठो पी‍ओ णु पुच्छि‍ओ णु प‍उत्तिम् ॥ ४० ॥

[ स करतलाञ्जलिगतो बाष्पस्तबकप्रहतावसीदन्मयूखः ।

नयनाभ्यां दाशरथिना दृष्टः पीतो नु पृष्टो नु प्रवृत्तिम् ॥ ]

When the eyes of Rama looked at the gem which was in the hollow of Hanuman’s hands with its glow destroyed by the tears (of Hanuman), it looked as if he was drinking it and enquiring it of (Sita’s well-being).  

सो अ‍इ अ णं रहुव‍ई विरलङ्गुलिगलि‍अकिरणधाराव‍अरम् ।

व‍अणे विमलुज्जो‍अं दररोत्तूण सलिलञ्जलिं व णिमेन्तो ॥ ४१ ॥

[ शोचति चैनं रघुपतिर्विरलाङ्गुलिगलितकिरणधाराप्रकरम् ।

 वदने विमलोद्द्योतं दररुदित्वा सलिलाञ्जलिमिव नियोजयन् ॥]

Taking the gem, whose rays were leaking away through his fingers, near his face Rama was feeling sorry for the gem and it looked as if he was taking a handful of water to clean his face after having wept for a while.

तं दह‍आहिण्णाणं जम्मि वि अङ्गम्मि राहवेण  ण णिमि‍अम् ।

सी‍आपरिमट्टेण व वूढो तेण वि णिरन्तरं रोमञ्चो ॥ ४२ ॥

[ तद्दयिताभिज्ञानं यस्मिन्नप्यङ्गे राघवेण न नियोजितम् ।

 सीतापरिमृष्टेनॆवव्यूढस्तेनापि निरन्तरं रोमाञ्चः ॥]

Even those limbs of Rama which did not come into contact with the gem experienced horripilation as they would have, had Sita touched them.

बाहम‍इलं पि तो से दहमुहचिन्ताविजृम्भमाणामरिसम् ।

जा‍अं दुक्खालो‍अं जरढा‍अन्तरविमण्डलं मिव व‍अणम् ॥ ४३ ॥

[ बाष्पमलिनमपि ततोऽस्य दशमुखचिन्ताविजृम्भमाणामर्षम् ।

जातं दुःखालोकं जरठायमानरविमण्डलमिव वदनम् ॥]

His (Rama’s) face indicating the anger generated by the thought about Ravana could be seen with difficulty despite darkened by tears like the orb of the sun with the day progressing. 

तो से चिरमज्झत्थे कुवि‍अक‍अन्तभुम‍आल‍आपडिरूए ।

दिट्ठी दिट्ठत्थामे कज्जधुरव्व णि‍अ‍ए धणुम्मि णिसण्णा ॥ ४४ ॥

[ ततोऽस्य चिरमध्यस्थे कुपितकृतान्तभ्रूलताप्रतिरूपे ।

दृष्टिर्दृष्टस्थाम्नि कार्यधुरेव निजके धनुषि निषण्णा ॥]

His gaze fell with the weight of the impending duty (of killing Ravana) as it were, on his bow which had established its strength (earlier in Vali’s killing) and was resting for quite some time and which was bent like the brows of angry Yama, God of Death.
- - - - 

Setubandham-6

सेतुबन्धम्-६

पज्जत्तकमलगन्धो महुतण्णा‍ओसरन्तणवकुमु‍अर‍ओ ।

भमिरभमरो‍अ‍इव्वो संचर‍इ सदाणसीअरो वणवाओ ॥ ३१ ॥

[ पर्याप्तकमलगन्धो मध्वार्द्रापसरन्नवकुमुदरजाः ।

भ्रमद्भ्रमरोपजीव्यः सञ्चरति सदानशीकरो वनवातः ॥]

The wind , replete with the fragrance of lotuses and fresh sweet and damp pollens emanating from the white water lilies,  is full of the spray of rutting elephants and is providing succour to bumble bees. 

कण्ट‍इ‍अणूमि‍अङ्गी धो‍अत्थो‍ओसरन्तमुद्धसहावा ।

र‍इ‍अरचुम्बिज्झन्तं ण णि‍अत्ते‍इ णिलिणी मुहं वि‍अ कमलम् ॥ ३२ ॥

[ कण्टकितगोपिताङ्गी स्तोकस्तोकापसरन्मुग्धस्वभावा ।

रविकरचुम्ब्यमानं न निवर्तयति नलिनी मुखमिव कमलम् ॥] 

The lotus-plant does not retract the lotus kissed by the rays of the sun, while it is hiding the thorns and slowly getting out of shyness like  a lady who does not retract her face kissed by her lover while she is hiding the horripilation on her body. 

परिघोलन्तक्खलि‍अं सत्तच्छ‍अकुसुमधवलरेणुक्ख‍‍इ‍अम् ।

उप्पुस‍इ दाणवङ्कं मुहुत्तग‍अकण्णचामरं भमर‍उलम् ॥ ३३ ॥

[ परिघूर्णमानस्खलितं सप्तच्छदकुसुमधवलरेणूत्खचितम् ।

उत्प्रोञ्छति दानपङ्कं मुहूर्तगजकर्णचामरं भ्रमरकुलम् ॥]

Swarm of bees fanned by the ears of the elephant throws up the slushy ichor which has dropped off due to elephant’s turning of the head and which is embedded with the white pollens of saptacchada flowers.  

इ‍अ पहसि‍अकुमु‍असरे भडिमुहपङ्क‍अविरुद्धचन्दालो‍ए ।

जा‍ए फुरन्ततारे लच्छिस‍अंगाहणवपओसे सर‍ए ॥ ३४ ॥

[ इति प्रहसितकुमुदसरसि भटीमुखपङ्कजविरुद्धचन्द्रालोकायाम् ।

जातायां स्फुरत्तारायां लक्ष्मीस्वयंग्राहनवप्रदोषे शरदि ॥]

छिज्ज‍इ झिण्णावि तणू अट्टि‍अवाहं पुणो परुण्णं व मुहम् ।

रामस्स अ‍ईसन्ते आसाबन्धे व्व चिरगए हणुमन्ते ॥ ३५ ॥ (जुग्ग‍अम्)

[ क्षीयते क्षीणापि तनुरास्थितबाष्पं पुनः प्ररुदितमिव मुखम् ।

रामस्यादृश्यमाने आशाबन्ध इव चिरगते हनूमति ॥] (युग्मकम्)

Thus in the early autumnal evening when Goddess Lakshmi voluntarily chooses her abode, the lakes looked as if they were laughing with blooming white water lilies . There was moonlight inimical to the lotus faces of soldiers’ wives and stars twinkled. Rama’s withered body shrunk further. His face with constrained tears looked as if he had wept again. Hanuman who was away for long who was the only strand of hope for Rama could not be seen.

णवरि अ जहासत्थि‍अणिव्वत्ति‍अकज्जणिव्वलन्तच्छा‍अम् ।

पेच्छ‍इ मारु‍अतण‍अं मणोरहं चे‍अ चिन्ति‍असुहोवण‍अम् ॥ ३६ ॥

[ अनन्तरं च यथासमर्थितनिर्वर्तितकार्यनिर्वलच्छायम् ।

प्रेक्षते मारुततनयं मनोरथमेव चिन्तितसुखोपनतम् ॥]

Then (suddenly) Rama sees Hanuman, son of Wind God, who was the embodiment as it were of his desire and cherished happiness and who was returning after accomplishing his work with a luster that distinguished him from other monkeys.

- - - - 

Setubandham-5

सेतुबन्धम्-५

पीणप‍ओहरलग्गं दिसाणञ् पवसन्तजल‍असम‍अवि‍इण्णम् ।

सोहग्गपढम‍इण्हं पम्माअ‍इ सरसणहव‍अं इन्दधणुम् ॥ २४ ॥

[ पीनपयोधरलग्नं दिशां प्रवसज्जलदसमयवितीर्णम् ।

  सौभाग्यप्रथमचिह्नं प्रम्लायति सरसनखपदमिन्द्रधनुः ॥]

The rainbow attached to the heavy clouds formed while the rainy season departs appears like the first mark of great fortune and makes the nail mark made on the heavy breasts (of ladies) when the lovers depart look dull. [The poet brings out a metaphor between the rain bow and the nail mark on the heavy breasts of ladies made by departing lovers and it revolves around the use of पीनपयोधरलग्नम्, which applies to the cloud as well as to the nail mark through श्लेष. After the rainy season lovers who were in the company of their beloveds leave after making nail marks as sign of their being loved just as rainy season leaves the directions leaving a mark of the rainbow.] 

पज्जत्तसलिलधो‍ए दूरालोक्कन्तणिम्मले ग‍अण‍अले ।

अच्चासण्णं व ठि‍अं विमुक्कपरभा‍अपा‍अडं ससिबिम्बम् ॥ २५ ॥

[ पर्याप्तसलिलधौते दूरालोक्यमाननिर्मले गगनतले]

 अत्यासन्नमिव स्थितं विमुक्तपरभागप्रकटं शशिबिम्बम् ॥]

In the sky which had been thoroughly cleaned by the rain waters and which looked spotlessly clean as far as eyes could see the moon’s orb bereft of the (cover) of clouds appears to be nearby.

चिर‍आलपडिणि‍उत्तं दिसासु घोलन्तकुमु‍अर‍अवेल्लवि‍अम् ।

भम‍इ अलद्धासा‍अं कमला‍अरदंसणूसुअं हंसौलम् ॥ २६ ॥

[ चिरकालप्रतिनिवृत्तं दिक्षु घूर्णमानकुमुदरजोविलिप्तम् ।

भ्रमत्यलब्धास्वादं कमलाकरदर्शनोत्सुकं हंसकुलम् ॥]

Returning after a long time a bevy of swans is circling around smeared by the pollen of blue lotuses (which blossom during nights) eager to have a look at lakes where lotuses bloom. [Swans are supposed to visit manas lake during rainy season and return during autumn.]

चन्दा‍अवधवला‍ओ फुरन्तदि‍असर‍अणन्तरि‍असोहा‍ओ ।

सोम्मे सर‍अस्स उरे मुत्ता‍अलिविब्भमं वहन्ति णिसा‍ओ ॥ २७ ॥

[चन्द्रातपधवलाः स्पुरद्दिवसरत्नान्तरितशोभाः ।

सौम्ये शरद उरसि मुक्तावलिविभ्रमं वहन्ति निशाः ॥]

Autumnal nights which are white with moonlight and which become obscured by dazzling daylight look like a string of pearls on the breasts of (ladies). [ Just as a string of pearls gets obscured by the dazzling luster of gems on the breasts of a lady, the moonlit nights of autumn get obscured by the dazzling sun at daytime.]

भमररु‍अदिण्णसण्णं घणरोहविमुक्कदिण‍अर‍अरालिट्टम् ।

फरिससुहा‍अन्तं वि‍अ पडिबुज्झ‍इ जलणिहित्तणालं णलिणम् ॥ २८ ॥

[भ्रमररुतदत्तसंज्ञं घनरोधविमुक्तदिनकरकराश्लिष्टम् ।

 स्पर्शसुखायमानमिव प्रतिबुध्यते जलनिहितनालं नलिनम् ॥]

The lotus with its stalk hidden in water which has been signaled by the sounds of bumble bees looks like being woken up pleased by the touch of the embracing rays of the sun free from the cloud coverings. [The poet suggests a parallel scene of a person being woken up by the pleasing touch of a friend.]    

मम्महधणुणिग्घोसो कमलवणक्खलि‍अलच्छिणे‍उरसद्दो ।

सुव्व‍इ कलहंसर‍ओ महु‍अरिवाहित्तणलिणिपडिसंला‍ओ ॥ २९ ॥

[ मन्मथधनुनिर्घोषः कमलवनस्खलितलक्ष्मीनूपुरशब्दः ।

 श्रूयते कलहंसरवो मधुकरीव्याहृतनलिनीप्रतिसंलापः ॥]

 The cackle of swans at night in the lakes appears like the twang of the bow of Love God Manmatha, like the sound of the anklets of Goddess Lakshmi who is leaving the lotuses which are closing shut and like the reply of the lake to the utterances of the bumble bees. [ The commentator takes pain to link up the various metaphors. But I have departed from his way as it looked less attractive and less natural.]

खुडिडप्प‍इ‍अमुणालं दहूण पि‍अं व सिढिलवल‍अं णलिणिम् ।

महु‍अरिमहुरुल्लावं महुम‍अतम्बं मुहं व घेप्प‍इ कमलम् ॥ ३० ॥

[ खण्डितोत्पाटितमृणालां दृष्ट्वा प्रियामिव शिथिलवलयां नलिनीम् ।

   मधुकरीमधुरोल्लापं मधुमयाताम्रं मुखमिव गृह्यते कमलम् ॥ ]

Lotus fibres have been cut and removed in the lake in the manner a lady is troubled by her lover. The borders of the lake have become loose. The red lotus in the lake which is plucked (by people) looks like the face of a lady which has become red on account of imbibing drinks and which has been held by a lover. The buzzing of bees look like the utterances of the lady. 

- - - - 

Setubandham-4

सेतुबन्धम्-४

तं तिअसवन्दिमोक्खं समत्थतेल्लोक्कहिअ‍असल्लुद्धरणम् ।

सुणह अणुरा‍अ‍इण्हं  सीआदुक्ख‍अं दहमुहस्स वहम् ॥ १२ ॥

[तं त्रिदशबन्दिमोक्षं समस्तत्रैलोक्यहृदयशल्योद्धरणम् ।

शृणुतानुरागचिह्नं सीतादुःखक्षयं दशमुखस्य वधम् ]

Listen now to the famous story of slaying of Ravana, which enabled releasing of the imprisoned divine beings, which removed the heart’s anguish of all the three worlds, which dissipated the grief of Sita and which was an emblem of love.

अह पडिवण्णविरोहे रहववम्महसरेण माणब्भहिये ।

विद्धाइ वालिहिअए रा‍असिरीअ अहिसारिए सुग्गीवे ॥ १३ ॥

ववसाअरैपओसो रोसग‍इन्ददिढसिङ्खलापडिबन्धो ।

कह कह वि दासरहिणो ज‍अकेसरिपञ्जरो गओ घणसमओ ॥ १४ ॥

[अथ प्रतिपन्नविरोधे राघवमन्मथशरेण मानाभ्यधिके ।

विद्धया वालिहृदये राजश्रियाभिसारिते सुग्रीवे ॥

व्यवसायरविप्रदोषो रोषगजेन्द्रदृढशृङ्खलाप्रतिबन्धः ।

कथंकथमपि दाशरथेर्जयकेसरिपञ्जरो गतो घनसमयः ॥]

Having had an adversary (in Rama), when the Goddess of royal wealth residing in the exceedingly proud heart of Vali was hit by the arrow of Love God in the form of Rama, she departed to reside in Sugriva. Rama son of Dasaratha some how (with difficulty) spent the rainy days which happened to be night for the sun called Activity, which was a strong binding chain for the elephant called Anger of Rama and which was a cage for the Lion called Victory (of Rama). [ The poet imagines that the Rama’s arrow that hit Vali became an arrow of love that affected the Goddess of royal prosperity and made her fall in love with Sugriva. As no activity was possible in rainy days, they became night for the sun called Activity; Rama’s anger became like a chained elephant; Victory of Rama was like a caged lion.]     

गमिआ कलम्बवा‍आ दिट्टं मेहन्ध‍आरिअं ग‍अण‍अलम् ।

सहिओ गज्जिअसद्दो तह वि हु से णत्थि जीविए आसङ्घो ॥ १५ ॥

[गमिताः कदम्बवाता दृष्टं मेघान्धकारितं गगनतलम् ।

सोढो गर्जितशब्दस्तथापि खल्वस्य नास्ति जीवितेऽध्यवसायः ॥]

 Somehow the wind blowing through kadamba groves were tolerated; somehow the deep  dark skies of rainy season passed; somehow the roaring thunders were heard; Rama is still not determined whether to live.

A description of Autumn faced by Rama follows:

तो हरि व‍इजसवन्थो राहवजीवस्स पढमहत्थालम्बो ।

सीआबाहविहाओ दहमुहवज्झदिअहो उवगओ सरओ ॥ १६ ॥

[ ततो हरिपतियशःपथो राघवजीवस्य प्रथमहस्तालन्बः ।

सीताबाष्पविघातो दशमुखवध्यदिवस उपगता शरत् ॥]

Then came Autumn, which acted as a path to Sugriva’s fame, a first hand of support to the life of Rama, a cessation of Sita’s tears and the day of death for Ravana.

र‍इअरकेसरणिवहं धवलब्भदलसहस्सपरिगवम् ।

महुमहदंसणजोग्गं पि‍आमहुप्पत्तिपङ्क‍अं व णह‍अलम् ॥ १७ ॥

[रविकरकेसरनिवहं शोभते धवलाभ्रदलसहस्रपरिगतम् ।

मधुमथनदर्शनयोग्यं पितामहोत्पत्तिपङ्कजमिव नभस्तलम् ॥]

The sky looks resplendent like the lotus flower from which Brahma emanated and fit to be seen by Vishnu ( as he gets up from his sleep), the slayer of Madhu, with sun’s rays looking like stamens and thousands of white clouds looking like petals.

दिणमणिमोहप्फुरिअं गलिअं घणलच्छिर‍अणरसणादामम् ।

उदुम‍अणबाणवत्तं णहमन्दारणवकेसरं इन्दधणुम् ॥ १८ ॥

[दिनमणिमयूखस्फुरितं गलितं घनलक्ष्मीरसनादाम ।

ऋतुमदनबाणवक्त्रं नभोमन्दारनवकेसरमिन्द्रधनुः ॥]

The rainbow looks like the sparkling rays of day-gem (sun), a torn waist band of the lady called the cloud-lustre, the front of the bow of Love-god called Season and fresh stamens of the mandara flower called sky. 

धु‍अमेहमहु‍अरावो घणसमाआ‍अड्ढिओण‍अविमुक्काओ ।

णहपाअवसाहाओ णि‍अ‍अड्ढाणं व पडिग‍आओ दिसाओ ॥ १९ ॥

[धुतमेघमधुकरा घनसमयाकृष्टावनतविमुक्ताः ।

 नभःपादपशाखा निजकस्थानमिव प्रतिगता दिशः ॥]

It looks like the directions have returned to their original places like branches of the tree called sky, with bees called clouds being scattered while the rainy season pulled, bent and then released them. ( During the rainy season the directions look overhanging. After the rainy season has ceased the directions have returned to their original places like branches of a tree pulled, bent and then released!)

अहिणवणिद्धालो‍आ उद्देसासारदीसमाणजललवा ।

णिम्मा‍अमज्जणसुहा दरवसु‍आ‍अच्छविं वहन्ति व दि‍अहा ॥ २० ॥

[अभिनवस्निग्धालोका उद्देशासारदृश्यमानजललवाः ।

निर्मितमज्जनसुखा दरशुष्कच्छविं वहन्ति दिवसाः ॥]

Days display a slightly dry luster; sights are new and friendly; there are water drops to be seen at elevated places; it is pleasant to take a dive in water bodies.

सुहसंमाणिअणिद्दो वरकालुङ्खिअसमुद्ददिण्णुकण्ठो ।

असुवन्तो वि विबुद्धो प्रढमविबुद्धसिरिसेविओ महुमहणो ॥ २१ ॥

[सुखसम्मानितनिद्रो विरहस्पृष्टसमुद्रदत्तोत्कण्ठः ।

अस्वपन्नपि विबुद्धः प्रथमविबुद्धश्रीसेवितो मधुमथनः ॥]

Vishnu, the slayer of Madhu, got up after having been served by Lakshmi who had got up earlier and having enjoyed a pleasant rest although he did not sleep at all. The ocean is weary of his impending absence (as he has got up). [ The reference is to the legend that Vishnu who is lying down on the milky ocean gets up during autumn (on utthaanadvaadasi). Lakshmi is supposed to have got up earlier. The words used suggest that Rama has become ready to fight Ravana after having been saddened by the sight of Sita’s ring brought by Hanuman.]

सोह‍इ विसुद्धकिरणो ग‍अणसमुद्दम्मि र‍अणिवेलालग्गो ।

तारामुत्ताव‍अरो फुडविहडिअमेहसिप्पिसंपुडमुक्को ॥ २२ ॥

[शोभते विशुद्धकिरणो गगनसमुद्रे रजनिवेलालग्नः ।

तारामुक्तप्रकरः स्फुटविघटितमेघशुक्तिसंपुटमुक्तः ॥]

The sky is like an ocean where darkness of night acts as the seashore, the stars look like heaps of pearls and the clear separated patches of autumnal clouds look like pearl oysters scattered all over.

सत्तच्छाणञ् गन्धो लग्ग‍इ हिअए खल‍इ कलम्बामो‍ओ ।

कलहंसाणञ् कलरओ ठाइ ण संठाइ परिण‍अं सिहिव्रुअम् ॥ २३ ॥

[सप्तच्छदानां गन्धो लगति हृदये स्खलति कदम्बामोदः ।

कलहंसानां कलरवस्तिष्ठति न संतिष्ठते परिणतं शिखिविरुतम् ॥]

The fragrance of saptaparna trees is pleasant (being seasonal); the smell of kadamba flowers does not appeal, (being non-seasonal); The cackling of swans is pleasant, while the sound of peacocks is not so, being non-seasonal. 

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Setubandham-3

सेतुबन्धम्-३

Poet pays his obeisance to Shiva:

णमह अ जस्स फुडरवं कण्ठच्छाआघडन्तणाणग्गिसिहम् ।

फुर‍इ फुरिअट्टहासं उद्धपडित्ततिमिरं विअ दिसाअक्कम् ॥ ५ ॥

[नमत च यस्य स्फुटरवं कण्ठच्छायाघटमाननयनाग्निशिखम् ।

स्फुरति स्फुरिताट्टहासमूर्धप्रदीप्ततिमिरमिव दिक्चक्रम् ॥]

Bow to (Shiva) whose burning eyes associated with the dark luster of the neck appear accompanied by the sound of gyration ( in his gyrations of tandava dance) like the horizon in a dark night brightened due to lightning accompanied by thunder. [ When Shiva gyrates during Tandava dance, gyration creates whirling sound like that of thunder and the lustrous eyes look like the horizon lit by lightning and accompanied by thunder in a dark night. The darkness of Shiva’s neck is compared with The darkness of night.]

Now is a reference to Shiva as ardhanarisvara:

वेव‍इ जस्स सविडिअं बलिउं मह‍इ पुलाआ‍इअत्थण‍अलसम् ।

पेम्मसहावविमुहिअं वीआवासगमणूसुअं वामद्धम् ॥ ६ ॥

[वेपते यस्य सव्रीडं वलितुं महति पुलकाचितस्तनकलशम् ।

प्रेमस्वभावविमुषितं द्वितीयावकाशगमनोत्सुकं वामार्धम् ॥]

(Bow to Shiva), whose left half (Parvati), whose breast is covered by horripilation due to shyness and fear, feels deceived of expressing her love (to him) as she tries to reach towards the right side(Shiva) during Shiva’s gyrations. [ As ardha narisvara, left half of Shiva is Parvati herself. When he gyrates the left half leans towards the right half with fear and shyness and feels deceived of expressing her love due to shyness and fear of being seen by others. As a consequence her breast is covered by horripilation. An involved imagery indeed!]

Describes the boisterous laughter of Shiva:

अस्स विलग्गन्ति णहं फुडपडिसद्दा दिसाअलपडिक्खलिआ ।

जोण्हाकल्लोला वि‍अ ससिधवलासु र‍अणीसु हसि‍अच्छेआ ॥ ७ ॥

[यस्य विलगन्ति नभः स्फुटप्रतिशब्दा दिक्तलप्रतिस्खलिताः ।

ज्योत्स्नाकल्लोला इव शशिधवलासु रजनीषु हसितच्छेदाः ॥]

(Bow to Shiva) whose punctuated boisterous laughter spreads towards the sky as it gets reflected from the horizon like the waves of moonlight on a bright night lit by the moon.

णट्टारम्भक्खुहिआ जस्स भडब्भन्तमच्छपह‍अजलर‍आ ।

होन्ति सलिलुद्धुमा‍इ‍अधूमाअन्तवडवामुहा म‍अरहरा ॥ ८ ॥ (आ‍इकुल‍अम्)

[नृत्यारम्भक्षुभिता यस्य भयोद्भ्रान्तमत्स्यप्रहतजलरयाः ।

 भवन्ति सलिलोद्ध्मापितधूमायमानवडवामुखा मकरगृहाः ॥]

(Bow to Shiva), at the start of whose dance oceans get disturbed by the terrified fishes while the fuming submarine fire looks like being excited by blowing.  

Speaks of the difficulty of work undertaken:

अहिणवरा‍आरद्धा चुक्कक्खलि‍एषु जिहडि‍अपरिट्ठवि‍आ ।

मेत्ति व्व पमुहरसि‍आ णिव्वोड्ढुं होइ दुक्करं कव्वकहा ॥ ९ ॥

[अभिनवराजारब्धा च्युतस्खलितेषु विघटितपरिस्थापिता ।

मैत्रीव प्रमुखरसिका निर्वोढुं भवति दुष्करं काव्यकथा ॥]

This story started by the young king (Pravarasena) with its slips and errors appropriately re-connected and corrected and centred on sentiments (rasa) is difficult to be carried on like friendship, associated with the discerning. [ Just as to maintain friendship with a discerning person requires course corrections and is not easy, creating this work needs vigilance to make appropriate corrections. The poet uses subtle श्लेष  to reinforce the simile.]  

Talks of benefits of good literary work:

परिवड्ढ‍इ विण्णाणं संभाविज्ज‍इ जसो विढप्पन्ति गुणा ।

सुव्व‍इ सु‍उरिसचरि‍अं किं तं जेण ण हरन्ति कव्वालावा ॥ १० ॥

[परिवर्धते विज्ञानं संभाव्यते यशोऽर्ज्यन्ते गुणाः ।

श्रूयते सुपुरुषचरितं किं तद्येन न हरन्ति काव्यालापाः ॥]

Is there any manner with which narration of a poetical work does not become attractive? It enhances knowledge, it brings fame, it enables acquiring noble qualities and it enables listening to the stories of noble persons.

इच्छाइ व धणरिद्धी जोव्वणलद्ध इव आहिआ‍इअ सिरी ।

दुःखं संभाविज्जै बन्धच्छाआइ अहिणवा अत्थगयी ॥ ११ ॥

[इच्छयेव धनऋद्धिः यौवनलब्धेवाभिजात्या श्रीः ।

दुःखं संभाव्यते बन्धच्छाययाभिनवार्थगतिः ॥ ]

It is with difficulty that well crafted verses get associated with lofty meaning just as gain in wealth get associated with desire for wealth and good heritage with the luster arising out of youth. [ Combination of well crafted verses with lofty meaning is as rare as getting wealth to meet ones desires or having the combination of youth and good heritage.]

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Setubandham-2

सेतुबन्धम्-२

This verse refers to Krishna bringing Parijata tree to please his consort Satyabhama:

ओआहिअमहिवेढो जेण परूढगुणमूलतद्धत्थामो ।

उम्मूलन्तेण दुमं पारोहो व्व खुडिऒ महेन्दस्स जसो ॥ ४ ॥

(अवगाहितमहीवेष्टं येन प्ररूढगुणमूललब्धस्थाम ।

उन्मूलयता द्रुमं प्ररोह इव खण्डितं महेन्द्रस्य यशः ॥)

(You all bow to) Krishna, by whose action of up rooting the (Parijata) tree (for pleasing Satyabhama), the fame of Indra, which had surrounded the earth and whose stability was obtained by his practicing good qualities, was also torn asunder in the manner the roots of the tree were torn asunder.
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Setubandham of Pravarasena

श्रीप्रवरसेनविरचितम्

सेतुबन्धम्

Setubandham ( also called Ravanavadhah ) is an epic composed in Maharashtri, one of the Prakrit languages, by King Pravarasena. This epic whose subject matter is the story of yuddhakanda of Ramayana  finds a mention in Kavyadarsa of Dandin, in Harshacharita of Bana and in Auchityavicharacharcha of Kshemendra, making it evident that Pravarasena lived earlier to these three renowned authors. There appear to be four kings by the name Pravarasena, the earliest of whom lived in the first century AD and the second one lived in the second century AD. Two of the four find a mention in Rajatarangini of Kalhana. It is not clear who among the four was the author of this epic. However scholars agree that his time could not be later than 5^th century AD.

Ramadasa Bhupati has written a commentary “Ramasetupradipa” in Sanskrit on this epic. Based on this commentary, which has been published by Bharatiya Vidya Prakashan, Varanasi, I propose to give a prose rendering in English along with Prakrit original and its shadow (छाया) in Sanskrit as a serial blog. My rendering in English is circumscribed by the Sanskrit commentary as I do not have any knowledge of Maharashtri.

प्रथमः आश्वासः (First canto)

The poet starts with an invocation to Vishnu, the slayer of Madhu:

णमह अवड्ढिअतुङ्गं अवसारिअवित्थ‍अं अणोणागहिरम् ।

अप्पलहुअपरिसह्णं अणाअपरमत्थपाअडं महुमहणम् ॥ १ ॥

[ नमतावर्धिततुङ्गम् अप्रसारितविस्तृतम् अनवनतगभीरम् ।

अप्रलघुकपरिश्लक्ष्णम् अज्ञातपरमार्थप्रकटम् मधुमथनम् ॥]

All of you bow to Vishnu, who destroyed the demon Madhu, who is tall yet never nurtured, who is broad yet never expanded, who is deep yet was never bent, who is subtle yet large and who is open yet whose real meaning is unknown.

Note: The poet juxtaposes apparently contradictory qualities of Vishnu, whom the poet considers as Brahman.  

The poet refers to the slaying of the demon Hiranyakashipu by Narasimha:

दणुएन्दरुहिरलग्गे जस्स फुरन्ते णहप्पहाविच्छड्डे ।

गुप्पन्ती विवला‍आ गलिअ व्व थणंसुए महासुरलच्छी ॥ २ ॥

[दनुजेन्द्ररुधिरलग्ने यस्य स्फुरति नखप्रभाविच्छर्दे ।

व्याकुला विपलायिता गलित इव स्तनांशुके महासुरलक्ष्मीः ॥]

 As the nails (of Vishnu) smeared with the blood of Hiranyakashipu sparkled, it looked like the upper garment of Goddess of prosperity of the great demon (Hiranyakashipu) slipping away while she ran away in distress. [ White nails of Vishnu which were partly smeared with the blood of Hiranyakashipu looked like the upper garment of the goddess of prosperity of the demon slipping away from the body as she ran away in distress. This is in continuation of the first stanza and acts as an adjectival clause for Madhumathana(Vishnu). It is a poetic description of the luster of Hiranyakashipu fading away as Vishnu stuck his nails into his body.]

He refers to the exploit of Krishna killing a demon in the form of a bull.

पीणत्तणदुग्गेज्झां जस्स भुआ‍अन्तणिट्ठुरपरिग्गहिअम् ।

रिट्ठस्स विसमवलिअं कण्ठं दुःखेण जीविअं बोलीणम् ॥ ३ ॥

[ पीनत्वदुर्ग्राह्यं यस्य भुजान्तनिष्ठुरपरिगृहीतम् ।

अरिष्टस्य विषमवलितं कण्ठं दुःखेन जीवितं व्यतिक्रान्तम् ॥]

The life of the demon in the form of a bull whose neck, which could be held with great difficulty because of its girth, was harshly held between the shoulders of (Krishna) ebbed away with considerable pain. [ This verse also acts as an adjectival clause qualifying Madhumathana in verse 1.]

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