Srimad Vālmīki Rāmāyaṇa | Bāla Kāṇḍa ~ Sarga 4 of 77

The godly saint Valmiki composed Ramayana on Rama’s retrieving kingdom, wording admirably and meaningfully. [1-4-1].

Sage Valmiki said Ramayana in twenty four thousand verses, in six hundred chapters, in six books, likewise an end-piece too. [1-4-2]

The twenty-four are the letters in Gayatri hymn. Ramayana’s scheming is based on Gayatri hymn and for this: atra catur vi~Nshati sa~Nkhyo uktyaa catur vi~Nshati akShara gaayatrii tulyataa suucitam | prathama adhyaaye – tapaH svaadhyaaya – ityatra prathamam ta kaarasya – sargapraante – iti etasmin padye – mahatva miiyaat — ityatra yaat – iti akSharasya grahaNaat api gayatrii ruupatvam suucitam – dharmaakuutam

There is a controversy about the number of verses and cantos. If Uttara Ramayana, otherwise called abhudaya kaanDa , is ascribed to Valmiki, the cantos are seven and chapters are about 649 and verses are about 24,253. But some verses and chapters are deleted for standardization of Ramayana as per this verse and they contain 560 chapters and 24,00 verses only. Some argue that when it is said 24, 000 verses are there, it does not actually a mathematical assertion, like the calculation of mahaa yuga -s and manvantara -s, and as one would give a reply to his age as 30 years, or 60 years, but not as 29 years, 6 months, seven days or so… In furthering that standardization affair, some said that even this canto, Bala kaanda is not authored by Valmiki. It is not clear as of now when the pundits can decide as to which is standard and which is not.

The transcendental aspect of Ramayana and its content is explained in 18 terms by ancient commentator Govindaraja. 1] Rama’s Absoluteness, paramaatma tattva ; 2] Ideation to know Him, upaaya ; 3] Dedication in Him, kainkarya ; 4] Human aspect, puruSaakaara ; 5] Diviner, adhikaara ; 6] Resolve in God, adhikaara paaratantrya ; 7] God’s resolve in Dedicate, bhagavat paaratantrya ; 8] Knowledge of five Meanings, artha pancaka GYaana ; 9] Self-denial, akincinatvam ; 10] Teacher selecting, aacaarya varaNam ; 11] Climax, autkaNThata ; 12] Behaviour, pravartana ; 13] Residence, vaasa sthaana ; 14] Two Narayana hymns, naaraayaNa mantra dvaya ; 15] Gayatri, Gayatri hymn; 16] Negating negative-thinking, durvicaara parihaara ; 17] negating Love for Living, samsaara jihaasa ; 18] 64 Divinely Arts, catuSaSTi kalamayatva . Of them we take up the15thGayatri.

The identification of Gayatri with Ramayana scheme is explained in many ways. By tat savitR^i the features and attributes of the Absolute as per narrations in Bala Kanda. vareNya by the narration of Absolute’s attributes in Ayodhya and Kishkindha kaanda-s, and adherents like Lakshmana, Bharata, Sugreeva take shelter in Him here only. bharga is identified as per the description of resplendence of The Divine as envisaged by the sages and hermits in Aranya Kanda. devasya and in dhiimahi where that deva the Divine is explained by Hanuma, not only to Seetha but to all in Sundara kanda. hi dhii mahi is as explained in Uttara Kanda, which centers around moksha salvation..

Though that great scholar composed thus with leading and sequel legends, that godly saint thought over thus ‘really, who will render all this ballad…’ [1-4-3].

Then Lava and Kusha who are in the attire of hermits have touched the feet of that contemplative soul Valmiki, who is now thoughtful. [1-4-4].

Glorious Kusha and Lava are the virtue knowing princes, and they are endowed with melodious voice, besides being the residents of the same hermitage, thus Valmiki saw them saluting at his feet. [1-4-5].

On seeing that pair intellectuals who are proficient in Veda-s that self-reliant sage Valmiki made those two to memorize the epic, as the epic Ramayana is composed only to reinforce the import of Veda-s, as an ancillary. [1-4-6].

That sage with observed sacred vows has rendered the entire epic in the name of ‘Ramayana’, ‘Sublime Legend of Seetha’ and ‘elimination of Ravana’. [1-4-7]

Seetha’s conduct is the primary aspect and Ravana’s elimination is secondary in the epic of Ramayana. poulasthya vadha . Giving one to many names to poem/epics is usual as in maagha kaavya’ which is known as shishupaala vadha whereas it is actually kR^ishNa carita ..

To read or to sing it is melodious, adaptable to music with three scales and sevenfold tune, and orchestral to the tunes of string-instrument and rhythm included… [1-4-8]

The three Indian scale pauses are dR^ita, madhyama, vilambita . These though not equal but identical to Breve, Minim and Quaver of Western classical music. The seven fold classifications of swara-s are 1] shadja [2] madhyama [3] gaandhara [4] niSaada [5] R^iSabha [6] dhaitava [7] pa~nchama . These are roughly identical to Accelerando, Calando, Decresando, Smorzando, Sostentuo, and others of Western classical music..

Aesthetics like romance, pathos, comic, fury, fright, valour etc., embodying the epic is sung [by Kusha, Lava.] [1-4-9]

The Indian categorization of aesthetics rasaa -s is in nine emotions. sR^ingaa [romance] haasa , [humour] shoka , [grief] krodha , [fury] utsaaha , [enthusiasm, bravery] bhaya , [fright] jugupsa , [disgust] vismaya [amaze.] Again sR^ingaara is of two kinds – a] sambhoga , [being with his/her partner,] b] vipralamba [not being with his/her partner.]

Rama’s togetherness with Seetha from Bala Kanda till her abduction is the first category of romance. After her departure and until regain, it is second sort of romantic narration. Episodes of Surpanakha, Trijata are humorous. Those of Dasharatha, Jatayu etc., are of grievous nature. Killing, torturing etc., situations arouse furiousness. Lakshmana, Indrjit and others are showing bravery. Seeing ugly demons either in forests or those that surround Seetha is causing fright. The very sight of ugly bodied demons like Viradha, Kabandha is creating disgust. Hanuma’s leaping ocean, burning Lanka, and the entire Rama-Ravana war are amazing.

They are conversant with the art of music and proficient with the pitch and pausing their voices, and those two brothers have not only a wealthy voice, but they also look like celestial singers. [1-4-10]

The gandharva-s are celestial beings with adorable personalities and performers of all kinds of performing arts. Hence, Indian musical art is termed as gaandhava vidya ..

They have charm in their appearance and melodiousness in their voice, they are like the two reflections of one original object, and thus they came out from the body of Rama, separately. [1-4-11]

Vishnu’s reflection is Rama, and Kusha, Lava are two reflections of Rama, and thus, in turn, these two princes are adorable like Vishnu, as in bimba-pratibimba nyaaya , image-reflection syndrome..

They the princes have memorized that virtue-expounding epic, the best; in its entirety and in doing so, they rendered that epic faultlessly. [1-4-12].

They sung the epic as schooled, well aware of its content and intent, among the assemblages of sages, scholars and also of eminent persons, with their best concentration [1-4-13].

Enthralling courtier’s bodies, minds and hearts also, and thus that song sone forth as it is for all ears, bearing a comfort in its manifestation, among the gathering of the people. [1-4-34].

“These two saint-like Kusha and Lava, who also possess kingly features, but they are great hermits… this narration is endowing good fortune to me also, listen to that great efficacious legend [of Seetha…]” [So said Rama to those courtiers.] [1-4-35]

Here Rama tells that this legend is ‘efficacious’ for it is the legend of Seetha, and should it be Rama’s alone, he will get the blemish of self-glorification, aatma prashamsaa doSa , and brave heroes of legends cannot be subjected to such a blemish. And to listen to the legend of his dearest, who at present is not with him, gives a kind of consolation, and thus he is asking all of us to listen to siitaayaH caritam mahaan ….

Then those two singers, motivated by Rama’s words, sang the ballad in maarga system, for they are well versed in it, then even Rama, who is also in the congregation, again to pacify his mind, [for the story of Seetha puts his mind to turmoil,] became interested at heart [to continue listening Seetha’s story…] [1-4-36].