16. Influence of other Sanskrit poets (in the Sita Raghava)

Ullur S.Paraneowara Iyer and Vatakimlaur Raja rajavarma Raja find many traces of influence of other Sanskrit dramas in Sita Raghava. In the preface to the 182 Sita Raghava, Suranad Kunjan Pillay says "He has derived incpiration for his innovations from other Sanokrit dramas based on Ramayana like Uttararamscarita, Janakiparinaya, Abcaryacudamani and Anargharaghava." The influence of 'salmuntala, Uttararmacarita, Mahaviracarita, Abcaryacudamani, Anargharaghava Prasanna Raghava,, Hanumat Nataka, Balaramayana, Venisonhare and Janata Parinaya oon be seen in the following instances in the drama Sakuntala: (1) The farewell scene in the third act of the play wherein king Janaka taltes leave of his daughters before they depart for Ayodhya is charnotoriotically modelled on the pattern of the parting scene in the fourth act of Sakuntala. (2) King Janaka expresses his sorrow at the forthcoming departure of hisdaughter sita to her husband's home in Ayodhya in the following verse. (2) Similarly, once Kanva expresses his grief at the impending departure of his daughter 'Saltuntala to her lord's home in the following veroe. pratyagdhamani kamacaravisayada tamgayogan ‌kudo- yasyatyadya sakuntaleti nakrsya pratibadhatamapi satamucairmanovaranam ' hrdayam samsprstamutkanthaya toyam nama yadekamasti tadukam mohaya vastvantaram kanthah stambhitabaspavrtti kalusacintajadam darsanam ! 182 Ibid., Introduction, p.5

bahulasya mamapi manjuti yanasceto mamatvambudhau " 183 (3) Sage 'Satananda speaks to the daughters of king Janaka of their duties in their lords homes and instructs them as to how they must perform them to the satisfaction of their elders. svasruh susrusanena svasuramapi tatha lalanaisaktivarga vaikuvyam mama tavadidrsamida sneha duranyaukasah pidyante grhinah katham nu tanaya vislesaduhkhairnanaih || (3) Sage Kanva offers advice to his daughter as regards her duties in her lord's home and how she must perform them. 184 susrusanna gurunkuru priyasakhivrtti sapanijane bhrtyan nrtyarpanena smitasucivacana- granthibhirbandhulokamh bharturviprakrtapi sesanataya ma sma pratipam gamah ! bhumistham bhava daksina parijane bhagyesvanutse kini yantaranyonyamainya samrdhika samupanchandana yantyevam grhinipadam yuvata ‌yo girnanandu- raradhyantyo yatharham bhavana patigrhe pujita rajitasca || 185 (4) The hermitage of sage Bharadvaja is described as follows. (4) vamah kulasyadhayah || 186 The hermitage of sage Kanva is described as follows: nivarah gurugarbhakotaramukha bhrasta sarisukayatana kotara samprarudha . syamakasaliphalasalivahad ‌mani ! gogarbhinicaritadarbhakusankurani visrantimasramapadani drsordisanti || starunamadhah prasnigdhah kacidinga ‌di phalamiduh 187 183 Ibid., Act. III, V.20, p.54. sucayanta evopalah ! visvasopagamadabhibhagatayah sabda sahante mrga- stoyadharapathaca valkalasikha- nisyandrarekhangitah || 188 184 Abhijnana Sakuntala edited by M.R.Kale, Act.IV,V.6, p.87, 185 186 Bombay Sita Raghava, Act.III, V.28, p.58. Abhijnana sakuntala, Act.IV, V.18, p.96 187 Sita Raghava, Act. VII, V. 16, p. 135. 188 Abhijnanabakun tala, Act. I, V. 14, p.16.

348 "The banyan trees are adorned with Syamaka and 'Sali plants which bear corns and which have sprouted from the hollows of those trees, which are the homes of the parrots and mainas. The sprouts of the darbha grass have been grazed by pregnant cows. the surroundings of the hermitage presents an atmosphere of serenity" Thus "Grains of wild rice lying under the trees fallen from the mouth of the hollow in the interior of which live parrots in some places are oily stones, indicated as being used in breaking the nuts of the Ingudi treee the deer having acquired confidence, bear the noise (of our approach) and do not vary their gait and the passages to the reservoirs of water are marked with lines of water dripping from the fringe of bark garments" Uttararamacarita: (1) In the sixth act, Sita is undergoing intense pangs of separation from her lord and she is comforted by Trijata, Sarama and Mandaravati. (1) In the third act, Sita is undergoing severe pangs of separation from her husband Sri Rama and is comforted by Tamasa

349 (2) In the sixth act a sylvan goddess by name Mandaravati is introduced. She goes to Lanka, meets Sita and cheers her fallen spirits by conveying to her the happy news of the march of the army of 'Sri Rama towards Lanka. (3) In the sixthact, Sita is dejected by the fact that she has not yet been redeemed from Ravana's custody by her lord 'Sri Rama. She curses herself for her longevity of life. She gets reminded of those days when she could not brook even the separation from her lord caused by the twinking of her eyes. She can not however think of self destruction as the remedy for her distress as the scriptures forbid the (2) A sylvan goddess is introduced in the third 349 act of the drama She is known by the name Vasanti. She accompanies Sri Rama while the latter revisits the forest of Dandaka. (3) In the fourth act king Janaka who has come on a visit to Valmiki's hermitage and who has believed that his daughter Sita had perished in the forest of Dandaka when Sri Rama abandoned her, gets his memory of Sita revived on seeing the dreary forest. He is stricken with sorrow at the sad end of his daughter and he says that even the path of self destruction for removing his sorrow is not open to him as the scriptures strictly forbid it. The verse quoted

committal of suicide. The verse quoted by Sita is as follows. asurya nama ye loka andhena tamasa vrtah ! 350 by Janaka is as follows. tamste pratyabhigacchanti ye ke catmahano ( Tot 11. 189 andhatamisra hayasurya nama ne lokastebhyah pratividhi yante ya atmaghatinah ' It may be noted that in the Isavasyopanishad, there is the injunction forbidding the committal of suicide and it is quite possible that Ramapanivada might have kept this in mind while composing the aforesaid verse in his drama The upanishadic verse is as follows. asurya nama te loka andhena tamasa'davrtah ! tampraste pratyabhigacchanti ye ke caddatmahano janah || (4) In the seventh act, the hermitage of sage Bharadvaja is described as 191 (4) In the fourth act, the 190 penance grove of sage Valmiki is described. "The deer is eating the scum of the nivara follows "The precincts of the hermitage are lined with grain which is warm and savoury cows which are lying down and left by his mate who has just chewing their cud while their brought forth its young ones. bodies are licked by their young ones. The forest is blackened by the incense smelling smoke blown The odour of the boiled rice mixed with ghee and blended with the fragrance of vegetables and the karkandhu 189 sita Raghava, Act. VI, V.6, p.106 190 Uttararamacarita edited by M. R. Kale, Act. IV, p.103-04, Bombay, 1934 191 isavasyopanishad, v. 3, p. 7, Anandasrama Series, 1934. V.

351 351 helter skelter by the wind. fruit is spreading everywhere." romanyasphurado4gostha dayana presthanga - nivarodanamanda munnamadhuram kanduyana- sadyah prasutapriya- kridasakatagavinavina sisuka vya- valgitopantabhuh hanyadravya sugandhigandhavahanavyadhuna gandhena sphurata managanusrto dhumavali - pitadabhyadhikam tapovanamrgah paryaptamacamatih bhaktasya sarpismatah syamibhutaviyanpayo niyaminah kasyathamo drsyate || 192 karkandhuphala misrasakapacana . Mahaviracarita: modah paristiryate || 193 (1) In the second not the (1)In the first act, Ravana sendo demon Mayavasu appears as the false Dasaratha in order to thwart the marriage of 'Sri Rama with sita. (2) In the fourth act the demoness Ayomulchi takes the guise of Manthara and poisons the mind of queen Kaikeyi. an emissary by name Sarvamaya to king Janaka to convey his desire namely to get the hand of Sita. (2) In the fourth act, the demoness (Surpanakha enters the body of Manthara and poisons the mind of queen Kaikeyi. (3) The first unsuccessful (3) The abortive coronation of coronation is arranged in (Sri Rama takes place in Mithila. Mithila. 192 sita Rechava, Act. VII, V.25, P.234 193 Uttararamacarita, Act.IV, V.1, p.99

352 (4) Parasurama comes to Mithila for seeking vengeance on 'sri Rama. (5) Mayavasu incites Parasurama to take action against Sri Rama. Ascaryacudamani: (1) In the sixth act, Trijata while consoling Sita informs her what she has heard from Sampati namely the construction of the bridge across the sea by Sri Rama for his army to reach Lanka. She tells her that the bridge besides helping the army of her lord to pass through (4) Sage Parasurama arrives in Mithila and the duel between the former and Sri Rama takes place in that city. (5) Here Malyavan incites sage Parasurama to wreak vengeance on Sri Rama. (1) In the sixth act, Hanuman before taking leave of sita assures her that her lord after killing the demons and laying down his bow, with his hands bearing the scars produced by the hand cover and the finger cover and the symbol of an umbrella and a jar in his palm, would untie her braid of hair. the ocean would also cons 011- rovadharitakarma visrjya capa date her chastity. She says that her lord would soon untie her braid of hair. vaidehi distya parivardhase tvam krto'dya bhanna nava venimoksah ! sativratasya sthiratatye ne sa eva senuh paramekahetuh 11 194 godhanga kimvrapadavisu dhrtavranena ! rekhanapatraphalasaड़ि tatalena ramo veni karena nava moksyati devi devah 194 Sita Raghava, Act.VI, V.22, p.110 195 Ascaryacudamani, Act. VI, V.21, p. 204. 195

353 In both these instances, there is the reference to the untying of sita's braid of hair by Sri Rama symbolising the union of the couple. Anargharaghava : (1) With the prologue over, the play proper is introduced through a device called pravrttaka. The Sutradhara says: (1) The play proper is introduced through a similar device. The Sutradhara says: aye, prastune vastuni prakrannameva kathamupakrantameva nartakaih, kusilavaih ! yato visvabhyudaya- yadiyam dasarathotsangadrama- hetoradhvarasya paribhranaya bhagavata visvamitrena svamasrama mupanine ramacandre tadvirahaparyu- nsukasya maharajadasarathasya ki dhruva pravesiki 2171196 gitiriyamaka - bhadrakarsino visvamitrasya pravesiki dhruva ! 197 (2) In the second act, when sage Viswamitra seeks the permission of king Janaka for wielding the divine bow 196 Sita Raghava, Act.7, p.3 (2) In the third act, when sages Viswamitra and 'Satananda suggest that Sri Rama may be permitted to tackle the bow 197 Anargha Raghava, Act.I, p.25, Nirnaya Sagar Press, Bombay, 1937.

by 'Sri Rama, the latter reluctantly gives his assent. The king doubts as to whether/Sri Rama can handle the mighty bow. He says: 354 of 'Siva, king Janaka pauses to give a reply. While giving assent the king warns the sages that the task of handling the divine bow is formidable for many kings have failed previously, in taokling it. kathitamasakrdasmai karmukasyotkatatvam tripuravijayino'nyaidurdharatvam ca bhuyah ! He says: bhujavibhavavibhango bhubhujanca prakasam yesam capasamarpitatribhuvana- tadapi bhagavato'sya granthita nodyamena || (3) While king Janaka pauses to give a reply to 198 cchidrapidhanam vratam jatam rohitameva kevalamapajya - bandhamendra dhanuh ! tedapi praksya pura sarasanamidam maurvikinasyamika kasturisurabhikrtana bibhara- yartham bhujanbhubhujah 1 199 (3) /Sri Rama voices his concern at the delay in king Janaka the request of sage Visvai granting him permission to mitra Sri Rama expresses his impatience at the delay in handling the bow. kodandam gasikhandamandanabhujastambhana sambhavitam mbhirastanitatibhairavaravajyavali- kumbhinasam handle the divine bow. balena sambhavyamidam ca karma braviti ca pratyayito maharsih ! iti dhruvam mannrayate nrpo'yam datte kimanrontarama kulodasmi || visvavyativicitra vikrama maha dhanuska- duskarsama 200 pyutkrastum tarasanavajya nanu mem hasto'yamuttamyati || 198 sita Raghava, Act. II, V. 10, p. 20 199 Anargharaghava, Act. III, V. 30, p.159 200 Sita Raghava, Act.II, V.11, p.21 201 Anargharaghava, Act.III, V.29, p.158 201

355 (4) Mayavasu appears disguised as Dasaratha and unsuccessfully prevents Sri Rama from tackling the divine bow. 355 (4) Soushkala, the priest of Ravana arrives and makes a fruitless bid to prevent 'Sri Rama from handling the divine bow. (5) While 'Sri Rama disappointed (5) A similar situation is by the obstruction posed by the intervention of Mayavasu to his task of handling the divine bow expresses his sense of frustration to Lakshmana, the latter humourously remarks that he was not the only person that has been disappointed. 'Sri Rama pretends to feel angry at the quip played by his brother and asks him to elaborate his point. Lakshmana replies that the person for attaining whom he is performing the task might also have been disappointed. 'Sri Rama smiles at the remark made by his brother and says that the latter has correctly divined the working of his mind. found in the third act of the play when the gate keeper announces the arrival of 'Soushkala. 2121 - (2702121 stalled on vatsa laksmana, kathamannaritoड़- yamanena duratmana raksasena kamarikarmuka-

ramah - (janantikam ) vansa laksmana, cirabhilavitalabdha- prayasya sarasanaropena- mahotsavasyakasmikapratyuhena duyane mem hrda ‌yama ! laksmanah- (janantikam ) na kevala- masyaiva ityarthokanau hasati ! 356 paricaryamahotsavah ! laksmanah - arya na kevalamayam ! ityarthoktau isati ! (ramah sapranayarosasmitam namapangena pasyati ! ramah (sarosamiva ) kasya punaranyasyapi ? laksmanah- yannimitto'sau tasyapi ! 202 ! 203 (6) In the second act Maya- (6) Soushkala is very angry at vasu disguised as Dasaratha vainly tries to prevent 'Sri Rama from tackling the divine bow. The arrival of sage 'Satananda brings about a change in the situation. The sage detects the trick played by the demons and orders Sri Rama to go and handle the divine bow with the permission of Visvamitra. uses strong words in a fruitSri Rama goes to mount it. Maya va su gets angry and accuses king Janaka of showing disrespect to him by not paying heed to his words in a vain attempt to prevent Sri Rama from handling the bow. king Janaka's refusal to give his daughter in marriage to Ravana without the latter successfully wielding the divine bow. In his very presence, sage Satananda with the permission of Visvamitra orders Sri Rama to handle the bow. This causes great consternation in 'Scushkala and the latter less attempt to effect the marriage of his master with sita. The sound of the breaking of the bow by 'Sri Rama sets at nought the high hopes held by Soushkala and the latter dejected by the failure of his plan goes. 202 Sita Raghava, Act.II, p.24-25 203 Anargharaghava, Act.III, p.163.

357 The sound of the breaking of the bow by 'Sri Rama causes dismay in the mind of Mayavasu and joy to others and the demon along with Karambaka disappears immediately. (7) In Sita Raghava, Surpanakha sends as her spy a demoness by name Ayomukhi to Mithila to obtain more information about the princes Sri Rama and Lakshmana with whom he fallen in love. (8) As instructed by Mayava su Ayomukhi takes the guise of Manthara and thwarts the coronation of Sri Rama (9) In Sita Raghava in the sixth act, Trijata, Sarama and Mandaravati witness the hattle between the forces of Sri Rama and Ravana and they report to the audience the important events taking place in the battlefield. (10) In the sixth act, there (7) Here 'Surpanakha herself goes to Mithila. (8) At the behest of Jambavan Sabari assumes the guise of Manthara in Mithila and prevents the coronation of Sri Rama from taking place. (9) In the sixth act Malayavan and Sarana witness the battle between the forces of 'Sri Rama and Ravana and furnish to the audience a report of the important events taking place in the battlefield. (10) In the sixth act, the

358 is the description of the monkeys who fall dead in the battlefield and who are con ducted to heaven by celestial damsels. unmukta rajanicarena khan ‌gayastih yavanno nipatati vanarasya kanthe ! tvaramana kuvalayamalikaya bandhum kramata enamapsarasameka || navat 204 (11) In the seventh act, the flight of the Puspaka chariot carrying Sri Rama, Lakshmana, Sugriva, Vibhishana and the monkey warriors from Lanka to Ayodhya is described in detail. (12) In the seventh act while Lakshmana is returning from Lanka in the Pushpaka chariot, he sees the Chitrakuta mountain on the way. To Sugriva and Vibhishana he recounts an episode which took place formerly when he was living in that mountain, He tells them how they shed tears on hearing demons who meet with death in the battlefield are described as being conducted to heaven by celestial nymphs. rahah svayamvara vidambaparai mukhibhih punpotkare sukhadhubhiranu jjhite'pi ! hastrikrtena taruna harina 0 hatodasau nakatacarah svapini tatkusuma vakirnah || (11) In the seventh act, there is seen the description of the flight of the Puspaka chariot with 'Sri Rama and others surveying the scenery in the course of the journey 205 (12) In the seventh act, Sri Rama while coming back to Ayodhya from Lanka in the Pushpaka chariot sees the mountain Malyavan which makes him recollect an episode that took place ere long while he was living near that mountain. He says that his sorrow caused 204 Sita Raghava, Act. VI, V.22, pal 17 205 Anargharachava, Act, VI, V. 34, p. 354-55.

the death of their father king Dasaratha from prince Bharata and how the trees in the outlying forest taking pity on them shed tears in the guise of drops of honey from the flowers which appeared as eyes and produced sobs in the guise of the humming of the bees. asmimstanavipattimarya bharatadaka- rnayabhih pura nasmabhih paramebhiranyatitaramakra- 359 by the separation of his wife became intensified on seeing the sky overcast with clouds and he shed copious tears and that the trees and peacocks seeing him in that desperate condition did not favourably respond to the onset of the rainy season by not producing leaves and by refusing to sing respectively in token sympathy of him. nditam sakhibhih ! asmanmalyavata skuti parisare ye muncantyadhuna puspajayanairbanyana madhucchabhana bhrngaravamivada vilapavacananyulai- citanvanti ca || Prasanna Raghava: 206 (1 ) In the second act when sage Viswamitra suggests to king Janaka that Sri Rama be permitted to wield the great bow, the latter is put in a dilemma. He is beset with conflicting thoughts and he doubts asto asminmalyavanastiparisare kadambinidambarah sasthulamkarano madanupayasa- masidavarsamapi yadvaravalitairna sakhibhirapi tvatpalitairma tatha hava kandalina na kekibhirapi prarambha samgitakam " (1) Similarly in the third act, king Janaka is placed in a fix. He is assailed by conflicting thoughts and he doubts asto whether Sri Rama is capable of handling the divine bow and at the 207 206 Sita Raghava, Act. VII, V. 14, p. 134. 207 Anargharaghava, Act. II, V. 100, p. 467-68 Act.II,

368 360 whether 'Sri Rama can perform such an arduous task and at the same time he fears that his refusal to comply with the request of the sage might provoke the wrath of the latter. same time he fears that a negative reply from him might provoke the wrath of the sage. yasya khyata jagati sakale nistamisa naparthi- stanujah ! mithyotkanthah kathamiha bhavedevagadhe- bako ramah kimapi gahanam karmuke candra dalaroha kankyani mudustena mem (2) In the second act when Mayavasu disguised as Dasaratha comes and prevents Sri Rama from handling the divine bow, Sri Rama feels much disgusted and confides to his brother his sense of disappointment. Lakshmana makes a humorous remark as stated above. mola- cittavrttih | (2) In the third act Viswamitra praises king Janaka by stating that both the latter and king Dasaratha have been lavishly blessed by fortune in as much as they respectively have as their children Sita who is as beautiful as 208 a blossomed blue lotus and 'Sri Rama who is as beautiful and charming as the full moon. On hearing this, Lakshmana remarks that the sage by citing the illustration of the flower and the moon is suggesting some other thing. /Sri Rama pretending to feel indignant at the joke played by his brother asks him not to make such wild and baseless 208 Prasanna Raghava, Act. III, V.35, p.53, Bombay, saka 1814

(3) In the fourth act, when Ravana is undergoing pangs of love in the Asokavanika Prahasta, his minister brings before him a portrait of Sita in order to relieve his master of his agony. (4) The incidents that take place in the battle field between the forces of Sri Rama and Ravana are announced to the audience through dialogues between Sarama and Mandaravati on the one hand and Trijata and Sarama on the other. 361 361 conjectures with reference to him. laksmanah- (apavarya ) indukumudini drstantena kimapi samvidhanam sucitam bhagavata ramah- (sapranayakopama ) alamalika lapinaya ! 209 (3) In the seventh act, when Ravana is afflicted by pangs of love for Sita, Prahasta brings before him a picture in which the lovely form of Sita as well as the incidents beginning from the arrival of the army of 'Sri Rama on the shores of the South Sea till they set foot on the Suvela mountain in Lanka are depicted. (4) Through a conversation between a vidyadhara and his consort who survey the battle ground from the sky the important events in the battle are conveyed to the audience. 209 Ibid., Act.III, p.51

362 362 Hanumat Nataka: (1) In the second act, Mayavasu tries to prevent Sri Rama from tackling the divine bow. (2) The duel between 'Sri Rama and Parasurama takes place in Mithila. (1) In the first act, the priest to Ravana vainly pleads with king Janaka for giving his daughter Sita in marriage to his master. (2) The meeting of 'Sri Rama with Parasurama takes place in Mithila. Balaramayana: (1) In the sixth act, Trijata while consoling Sita strongly advises her against committing suicide for the scriptures explicitly forbid such a course of action. 210 (1) In the second act, Ravana boastfully says to Parasurama asto how he attempted to cut off his twenty heads with his sword Chandrahasa in order to invoke the blessing of 'Siva and how the lord prevented him from executing his plan. Parasurama twits him by saying that his action to put and endto his life went contrary to the scriptural injunction which forbade the 210 Sita Raghava, Act.VI, V.6, p.106

363 363 committal of suicide. asurya iti te loka andhena tamasavrtah tamste pratyabhigacchanti ye ke catmahano janah 211 (2) In the third act, king Janaka and sage Satananda while bidding farewell to sita and her three sisters give them words of advice. (3) Sage 'Satananda details to sita the numerous duties that await her in her lord's (2) In the fifth act, king Janaka and sage Satananda give words of advice to sita before she leaves for Ayodhya, (3) Sage Satananda advises sita asto how she must live with her lord. home and explains to her asto abhyutthanamupagane grhapatau tadbhasane namrata how she must perform them to tatyadarpitadrstirasanavidhistasyo the satisfaction of her elders. 212 (4) King Janaka explains to Sita asto how she must serve 214 her lord. pacarca svayamh supte tatra sayita tatprathamato jahyaca rayyamiti pracyaih putri niveditah kulavadhusiddha . nnadharma ama 11 213 (4) King Janaita advises sita as follows. nirvyaja dayite nanandrsu natasvabhrusu bhakata bhava snigdha bandhusu vatsala parijune smesa sapanisvapi ! patyumivrajana sanamavucana khinnaca nadvesisu strinam samvananam natam nadidai vitosadham 212 Balaranayana, Act, II, V. 32, p. 42, Benares 1869 212 Sita Rachava, Act. III, V.28, p.58 213 Balaramayana, Act.IV, V.43, p.102. 214 Sita Raghava, Act.III, V.28, p.58 215 Balaramayana, Act.IV, V.44, p.102-03 bhartrsu " 1215

(5) Mayavasusends a demoness by name Ayomukhi to Mithila for preventing the coronation of Sri Rama from taking place and she takes the guise of Manthara. 364 367 (5)/Surpanakha takes the guise of Kaikeyi while the demon Mayamaya assumes the form of Dasaratha. The servant of 'Surpanakha takes the guise of Manthara. Venisamhara: (1) In the interlude to the seventh act, the characters introduced area demon and a demoness respectively known as Mamsapriya and Visragandhini. (2) Through the interlude, the death of Ravana is announced. (3) The demon and the demoness indulge in eating flesh and drinking blood from the dead bodies of warriors that lay helter-skelter in the battlefield. (1) In the interlude to the third act, a demon and a demoness respectively known as Rudhirapriya and Vasagandha are introduced. (2) Through it, the death of Drona is announced. (3) The demon couple indulge in drinking blood and eating flesh from the dead bodies of warriors in the battlefield. Janaki Parinayam: (1) In the second act, Karambaka goes to the city of Mithila as desired by Mayavasu (1) In the first act, 'Suka goes to Mithila on the orders of Ravana to persuade king

to gather information about the efforts made by sage Viswamitra for bringing about the marriage of Sri Rama with sita. (2) In the second act, Mayavasu and Karambaka assume the forme of King Dasaratha and Sumantra respectively and come to Mithila to prevent the marriage of Sri Rama with Sita from taking place. (3) Towards the close of the second act, Mayavasu goes to incite Parasurama to take action against 'Sri Rama for the latter's insolance in breaking the bow of Siva. (4) In the sixth act Mandaravati handsover to sita the miraculous 365 365 Janaka to give away his daughter Sita in marriage to him. (2) In the fourth act, Ravana, Sarama and Viayujjihva assume the forms of 'Sri Rama, Lakshmana and Visvamitra respectively before king Janaka in the latter's comp near the hermitage of sage Visvamitra in order to stop the proposed marriage of 'Sri Rama with sita from taking place. (3) In the sixth act, Surpanakha tells Viradha that her brother had succeeded in rousing the anger of sage Parasurama against Sri Rama by bringing to his notice the latter's unholy deed of breaking the divine bow of Lord Siva. (4) In the second act, Anasuya goes with her ford sage Atri

366 366 cosmetic presented by Anasuya which will help her to withstand the agonies of separation from her lord. towards the hermitage of sage Visvamitra to participate in the sacrifice conducted by the latter. Anasuya takes with her a divine cloth and a magical unguent in order to present them to Sita who has come to the hermitage with her father king Janaka They are said to protect the wearer from the menace of demons. (5) In the sixth act, a character (5) In the sixth and seventh by name Sampati is introduced. He is said to be a friend of Vibhishana. acts, a character named Sampati is introduced. He is announced to be a minister of Vibhishana. (6) At the end of the play sage Visvamitra appears and offers blessings to Sri Rama and Sita. (6) Towards the close of the play, sage Visvamitra comes to Ayodhya and blesses Sri Rama and his wife.