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OCTOBER, 1893.)
NOTES ON TUL'SI DAS.
253
NOTES ON TUL'SI DAS. BY G. A. GRLERSON, I.C.S.
(Concluded from p. 236.) 8. The Kabitta Ramayan, or Kabittabali. The history of Rama in the kavitta, ghanákshari, chhappai and sawaiyá metres. It is devoted to the contemplation of the majestic side of Rama's character. Pandit Sudhakar Dvivêdi informs me that the poem has been enlarged in later times by the addition to the last kúnd of occasional verses written by Tul'si Dâs in karitta metres. "That Tul'si Das did write occasional verses, like other poets of his time, is to be expected, and they have been collected and arranged in appropriate groups by admirers of the poet. Such are K. Rám., Ut., 132 ff., in praise of the Jánaki-vaļa, or peepal tree at the site of Valmiki's hermitage, which still exists on the banks of the Ganges, and is an object of worship to the present day. So also, Ut. 94-96, addressed to the Kaliyuga, Ut., 170 and ff., lamenting over the insults offered by the Musalmans to Banaras, and Ut., 174, which is said to have been uttered by him when at the point of death. Other collections of similar verses, frequently found appended to the Kabitta Rámáyan are the Rám-stuti, Uddhav-göpiká-samhád, Hanumanádi-stuti, Janaki-stuti, Sankar-batisi, and the Hanumán báhuik (written when the poet was suffering from a severe sore in the arm). In seven kúnds or cantos, viz. :
(1) The Bal-kand, Childhood. Commencing with Rama's childhood and ending with the breaking of Siva's bow. 22 stanzas (pada), mostly quatrains.
(2) The Ayodhya-kand, Ayodhyå. Describes the circumstances attending Rama's departure on exile. 28 stanzas.
(3) Aranya-kand, the Forest. Describes the chase of the golden deer. One stanza.
(4) Kishkindha-känd, the Adventures in Kishkindhya. A description of Hanumat's famous leap. One stanza.
(5) Sundar-kand, the Beautiful. Sita in the garden in Lauka. Hanumat's adventures there. The conflagration of Lauka. Hanumat bids farewell to Sitâ, and returns to Råma. Thirty-two stanzas.
(6) Lanka-kánd, Lanka. The news of Rama's arrival in Ceylon. Trijatá tells Sità. Alarm of the citizens. The first battle, Aigada's challenge. Vibhishana's remonstrarce. Mandödari's remonstrance. The battle resumed. Hanumat's journey for the sanjivani root. The final victory. Fifty-eight stanzas.
(7) Uttar-kand, the Sequel. Verses in adoration of Rama. Miscellanea. One hundred and seventy-seven stanzas.
1 The commentators say that there are three ways of looking at Rama (tini bhanti lila), vix, the tonder side of his character (mddhurya), the majestic side of his character (uistarya), and the complex (misrita) in which tenderness and majesty are combined. There are four ways of singing his praisce, as a magadha or panegyrist, a vandin or bard, sata or historical poet, and an arthin or suppliant. A work in which the complex view of Rama's character, together with his glory and his power, is celebrated is called a charita, and should be sung by a sita (also called a pauranika,) an historical poet. His tenderness should be sung by a magadha, and his majosty by # vandin; while entreaties addressed to him should be sung by an arthin. Tul'si Das first composed the Rama. charita-mangsa, dealing with the complex side of Råma's character, as a sita. Then, to encourage the faithful with a true idea of Roma's power, he illustrated his majesty in the Kabittabali, assuming the rule of vandin. Then to strengthen the love of the worshipper, he dwelt on Rama's tenderness in the Gitaball, taking the role of a magadha. Finally becoming an arthin, a suppliant, he wrote tho Binay pattrika. Pandit Sudh Akar Dvivedi gives me the following $óka :
sútál pauranikah próktil, magadhi varsa alakan
vandinas tv amala-prajñili prastava-sadrisaktaya from which we gather that a suta is a reader of ancient histories, a magadha praises the king's family, and a tandin is expert in complying with his demand for a fine poem.
