Chapter 94 - Kusha and Lava chant the Ramayana

When the dawn appeared, those two youthful ascetics, having bathed and ignited the sacred fire, began to sing, as the Rishi had previously instructed them to do.

Kakutstha listened to that poem, composed by the aged Valmiki, unheard till then, set to music in multiple cadences, accompanied by stringed instruments, in measured rhythm, and, hearing those youthful musicians, Raghava was greatly mystified.

During an interval in the sacrifice, that foremost of monarchs called together the great Sages, Kings, Pundits, Naigamas [i.e., Interpreters of the Veda], aged Grammarians, venerable brahmins and those versed in music, the Twice-born, those learned in omens and the citizens specially instructed in aesthetics, those who had knowledge of metres, words and accents, those who knew the different rhythms and measures, those versed in astronomy, those skilled in the science of sacrifices and rituals and experienced liturgists, those versed in discerning cause and effect, philosophers, scholars, teachers of hymns and legends and the Veda, those conversant with the Vrittas and Sutras, and also singers and dancers.

Thereafter, having assembled them all, Rama ushered in the two singers to that vast and murmuring throng of listeners for his own great pleasure. The two youthful disciples of the Sage began that recitation that unrolled melodiously, like unto the singing of the Gandharvas, nor could the company be sated with listening to so beautiful a song. In their delight, ascetics and great potentates, seemed to consume those musicians with their gaze, whom they looked upon again and again, and the whole assembly having centred its attention upon them, each said to his neighbour:—‘Both resemble Rama, like twin representations of the same planet. If they did not wear matted locks and bark robes, we should see no difference between the singers and Raghava!’

As the people of town and country spoke thus, Kusha and Lava, having introduced the first part according to Narada’s instructions, continued up to the twentieth Sarga [i.e., Chapter] during the afternoon, then Raghava, having heard the twenty Sargas, said to his beloved brother, “Give these two musicians eighteen thousand gold pieces immediately with aught else that they may desire, O Kakutstha!^[1]” Thereupon Saumitri instantly offered

this to those youthful boys, one after the other, but the great-souled Kusha and Lava would not accept the gold that was presented to them, enquiring in astonishment, “What good is this? Grain, fruit and roots suffice ascetics like ourselves, what should we do with gold or silver in the forest?”

These words amazed all Rama’s assistants extremely and, desiring to know the origin of the poem, that illustrious prince enquired of those two disciples of the ascetic, saying:—

“What is this poetical composition? Where is the residence of the sublime author of this great epic? Where is this bull among the ascetics?”

On this enquiry from Raghava, the two disciples of the Sage answered, saying:—

“The blessed Valmiki, who is attending the sacrifice, is the author of the poem in which thine whole life is told. Twenty-four thousand verses and a hundred Upakhyanas [i.e., Episodes or Tales] have been used by that ascetic, the son of Bhrigu^[2]. Five hundred Sargas divided into six Kandas, together with the Uttarakanda, O King, are the work of that magnanimous Rishi, our Guru. Your conduct, your circumstances, thine entire life is unrolled with its vicissitudes. If you desirest it, O King, you mayest hear it from us in the intervals of the sacrifice, in your moments of leisure.

Thereafter Rama, accompanied by the Sages and magnanimous monarchs, having heard that melodious chant, returned to the sacrificial pavilion.

That recitation accompanied by Talas and Layas^[3], divided into Sargas in harmonious notes and tones, in which the scansion was stressed by the stringed instruments, was heard by the King from the lips of Kusha and Lava.

Footnotes and references:

[1]:

This title being used for Lakshmana also.

[2]:

Really in the line of Bhrigu.

[3]:

Talas and Layas—Musical modes.