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Syngare Vipralambhakhye
On more example will be from the 'Uttararāmacarita'. For its third Act one scholar of old states - one who does not weep on view. ing the third act of this drama on the stage, "should be either a god or an animal"_“sa nu devo athavā pasuh". Here, Sita is invisible and Rama experiences now the very presence of Sita and then her absence. For Rāma now and again, there is an illusion of her very presence and her smooth, soft, warm and soothing touch followed by the feeling of her absence. It seems as if he smells her presence all round. When again, he just thinks as to what should have happened to her when Laxmaņa left her in the forest, he takes her for dead. The illusory joys and real sorrws of Rama change hands and we see that he is experiencing Samyoga Sșngara as also Karuna, all at a time, in the act. Surely this picture is unique in its own way, it is sweet and delicate both. Here again, the Sahfdaya experiences and deciphers the sweet, sweeter and the sweetest of Rāma, with Rama. In the case of Sitā the three sentiments are equally inter-related and intermerged. Several years of sorrow of separation have led to her Karuna because she saw no end to her separation; she knew that to Rama, she was dead. Now she deeply feels the grave injustice of being discarded and that too secretly, after all love and warmth that he was showering on her in the last days of pregnancy and hence a very delicate physical and mental condition. She is separated from her two sons by destiny, a state most unbearable for any woman, more so to Sita who is all lonely. She is expected to stay at her mother's place where Räma cannot reach even if he desires. That is the reason why the poet depicts her as--
“Karuṇasya moorti rathava saririni Virahavyathā”.
But as compared to Rāma, Sitä has atleast one consolation. All misunderstandings have been set at rest. Her mind is reconciled, she is convinced that Rāma is hers and only hers as ever. But at the end, both Sita and Rāma have to enter the dark realm of pathos, they do not know how long it will last or whether it will ever end. All this is the charm of the lofty poetry of the third act, it is Vipralambha and Karyna with all its sweetness and following that, delicacy in which Dhvani i 4t its unique heights. It speaks volumes for the suffering, tensions, excitement of lovers, whose attachments of the hearts and the consequent experie. nces can hardly be described in words. When, the lovers, be they attached by any relation, are separated from eachother, their suffering and strifes are again dificult to describe. Poetry has a world of its own in which this attachment and the resultant experience are objectivised,
Sambodhi XII—7
| SR No. | 520762 |
| Book Title | Sambodhi 1983 Vol 12 |
| Original Sutra Author | N/A |
| Author | Dalsukh Malvania, H C Bhayani, Nagin J Shah |
| Publisher | L D Indology Ahmedabad |
| Publication Year | 1983 |
| Total Pages | 326 |
| Language | English, Sanskrit, Prakrit, Gujarati |
| Classification | Magazine, India_Sambodhi, & India |
| File Size | 11 MB |