चौ0—रघायपिि ुनय`गिU ुावि दे„ी । बागिU` चिंिा की‹िगU बिसेाी॥ `नकसयिा परिगUरिगयU ुकेरली । ुायगयU िाि बचन मम पेली॥ 1॥ निसिचर निकर U ¨िररगिंU बनमागUीउ । मम मन सीिा ुाŸाम नागUीउ॥ »गिU पद कमल ुनय` कर `ôरी । कगे'U नाथ कछयU मôगिU न „ôरी॥ 2॥ ुनय` समेि »० पýभय िगUवा¡ । »ôदावरि िंU ुाŸाम `गUवा¡॥ ुाŸाम दे„ि `ानकी गUीना । भ० बिकल `स पýाकहरि दीना॥ 3॥ गUा »यन „ानि `ानकी सीिा । रूरप सील बýि नेम पयनीिा॥ लछिमन समयÛा० बगयU भा¡िी । पŒछि चले लिा िLर पा¡िी॥ 4॥ गेU „» मह» गेU मˇयकर U Ÿोनी । ियगU दे„ी सीिा मह»नानी॥ „ं`न सयक कपôि मह» मीना ।मˇयप निकर कôकिला पýबीना॥ 5॥ कंयरद कली दा˙ि‚Uमदामिनी। कमल सरद ससि ुगिUभामिनी॥ बLरन पास मनô` ˇनय गंUसा । »` केरगUरि नि` सयनि पýसंसा॥ 6॥ Ÿाी¨रल कनक कदलि गUरागUीउ । नेकयर न संक सकयरच मन मागUीउ॥ सयनय `ानकी िôगिU बिनय ुा`Œ । गUरो सकल पा§ `नय रा`Œ॥ 7॥ किमि सगिU `ाि ुन„ िôगिU पागUीउ । पिýया बे»ि पý»ंUसि कस नागUीउ॥ ०गिU बिˇि „ô`ि बिलपि Sवामी ।मनगय¡U मगUा बिरगUी ुिि कामी॥ 8॥ पŒरनकाम राम सय„ रासी । मनय` चरिि कर ु` ुबिनासी॥ ुा»ेउ परा »ीˇपिि दे„ा । सयमिरि राम चरन `ि‹गU रेU„ा॥ 9॥
raghupati anujahi Œvata dekhī, bŒhija cintŒ kīnhi biseṣī. janakasutŒ pariharihu akelī, Œyahu tŒta bacana mama pelī.1. nisicara nikara phirahi ò bana mŒhī¡, mama mana sītŒ Œśrama nŒhī ¡. gahi pada kamala anuja kara jorī, kaheu nŒtha kachu mohi na khorī.2. anuja sameta gae prabhu tahavŒ¡ , godŒvari ta¢a Œśrama jahavŒ ¡. Œśrama dekhi jŒnakī hīnŒ, bhae bikala jasa prŒkṛta dīnŒ.3. hŒ guna khŒni jŒnakī sītŒ, rµupa sīla brata nema punītŒ. lachimana samujhŒe bahu bhŒ ¡ tī, pµuchata cale latŒ taru pŒ ¡tī.4. he khaga mṛga he madhukara śrenī, tumha dekhī sītŒ mṛganainī. khañjana suka kapota mṛga mīnŒ, madhupa nikara kokilŒ prabīnŒ.5. kunda kalī dŒRima dŒminī, kamala sarada sasi ahibhŒminī. baruna pŒsa manoja dhanu haṁsŒ, gaja kehari nija sunata prasaṁsŒ.6. śrīphala kanaka kadali harŒṣŒhī¡, neku na saṅka sakuca mana mŒhī ¡ . sunu jŒnakī tohi binu Œjµu, haraṣe sakala pŒi janu rŒjµu.7. kimi sahi jŒta anakha tohi pŒhī ¡, priyŒ begi praga¢asi kasa nŒhī ¡. ehi bidhi khojata bilapata svŒmī, manahu ¡ mahŒ birahī ati kŒmī.8. pµuranakŒma rŒma sukha rŒsī, manuja carita kara aja abinŒsī. Œge¡ parŒ gīdhapati dekhŒ, sumirata rŒma carana jinha rekhŒ.9.
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When the Lord of Raghus saw His younger brother coming, He outwardly expressed much concern. “Alas! You have left Janaka’s daughter alone and come here against my instructions. Hosts of demons are roaming about in the forest; I, therefore, suspect S¶tŒ is not at the hermitage.” Lakƒma˜a clasped Ýr¶ RŒma’s lotus feet and replied with joined palms, “Lord, it is no fault of mine.” Accompanied by His younger brother, the Lord went back to His hermitage on the bank of the GodŒvar¶. When He saw the hermitage bereft of Janaka’s Daughter, He felt as perturbed and afflicted as any common man. “ Alas! S¶tŒ, Janaka’s daughter, the very mine of virtues, of such flawless beauty, character, austerity and devotion!” Lakƒma˜a consoled Him in many ways. He questioned all the creepers and trees (that stood on the way ) as He went along (in search of Her): “ O birds and deer, O string of bees, have you seen the fawn-eyed S¶tŒ? The wagtail, the parrot, the pigeon, the deer, the fish, the swarms of bees, the clever cuckoo, the jasmine buds, the pomegranate, the lightning, the lotus, the autumnal moon, the gliding serpent, the noose of Varu˜a (the god of water), the bow of Cupid, the swan, the elephant and the lion now hear themselves praised. The Bilva fruit and the gold banana rejoice and do not feel the least misgiving or bashfulness * Listen, Janaka’s daughter : in your absence today they are all glad as if they have got a Kingdom. How can you bear such rivalry? Why do you not reveal yourself quickly, my darling?” In this way the Lord searched and lamented like an uxorious husband sore smitten with pangs of separation. Ýr¶ RŒma, who is Bliss personified and has all His wishes accomplished, and who is both unborn and immortal, behaved like a mortal. Further on they saw the king of vultures lying, with his thoughts fixed on Ýr¶ RŒma’s feet which bear characteristic marks on their soles. † (1—9) Indian poets usually liken the limbs of a charming lady. Of these the eyes are compared to the fish and the wagtail as well as to the eyes of a fawn, the nose to the parrot’s beak, the neck to that of the pigeon, the curly hair to a swarm of bees, the voice to the notes of a cuckoo, the teeth to the jasmine buds and the seeds of the pomegranate, the complexion to the lightning, the eyes and the face as well as the hand and feet to the lotus, the face to the autumnal moon, the braid of hair hanging on the back to a gliding serpent, the smile to the noose of Varu˜a, the eyebrows to Cupid’s bow, the gait to that of the swan and the elephant, the waist to that of the lion, the breasts to the Bilva fruit and the thigh to the gold banana. The idea here is that though models of beauty so far as earthly women are concerned, none of these analogues stood comparison with S¶tŒ’s limbs and hence they dare not face the latter out of shame. Now that S¶tŒ was no more to be seen, they all regained their supremacy and exulted over their good fortune. (1) a vertical line (UrdhvarekhŒ), (2) a Svastika, (3) an Aƒ¢ako˜a ( a figure consisting of a pair of squares intersecting each other), (4) Goddess Lakƒm¶ (represented by a golden coil describing two and a half concentric circles), (5) a plough, (6) a pestle, (7) a figure of Ýeƒa (the serpent-god), (8) an arrow, (9) the sky (represented by a cipher), (10) a lotus, (11) a chariot, (12) a thunderbolt, (13) a grain of barley, (14) the wish- yielding 692 * ÝR” RMACARITAMNASA*
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