365bet娱乐

閰� 255 the Prat at some length in order to enable the readers to
find for themselves the changes introduced by the poet in
the story of the epic. The valkala incident in the first
act and the presence of Satrughna at the coronation are
the poet's innovations.' The second act brings to
Dasaratha on his death-bed the vision of his ancestors
who have come to carry him off to the region of the manes.
The third act (in which Bharata is shown as younger
than Lak峁�ma峁嘺) dealing with
with
the statue-houses is
exclusively the creation of our poet, as also the novel
method of abduction by bringing R膩ma and R膩vana
together and making the golden deer necessary for the
艣r膩ddha ceremony of Dasaratha; Lak峁�ma峁嘺 has been
kept out. Then Sumantra is again made to visit Dandaka
after S墨t膩's abduction and the scene between Bharata and
Kaikeyi after hearing the news, and Kaikeyi's explanation
of the curse and her slip in saying 'years' instead of
days', Bharata's preparing for an expedition with a large
army to vanquish R膩vana, are the innovations in
the sixth act. The coronation of R膩ma in the forest
where Bharata, his mothers, and the citizens from
Ayodhya attend, as also Bibh墨峁�a峁嘺, Sugr墨va, Hanuman,
etc., and R膩ma's assuming the reins of government,
and the journey of the whole assembly to Ayodhy膩
in the Puspaka 忙roplane for celebrating the ceremony
a grand scale,-are the deviations in the last act.
There are similar changes in characterization also.
All the characters in the Prat, though quite human,
appear on an elevated plane as compared with the
R膩m膩ya峁嘺. Thus, e. g., R膩ma has been shown more
noble and dignified and more devoted to his father by
his leaving for the forest without any ill comment, and
by making him hunt for the golden deer for the sake of
艣r盲ddha, instead of in obedience to his wife's wishes, as
pictured by the R膩m膩ya峁嘺, cf. II. 21. 57-59; 22. 12-13;
III. 43. 9-21; 24-50.
on
啶椸�佮ぐ啷佮ざ啷嵿�� 啶班ぞ啶溹ぞ 啶� 啶�啶苦い啶� 啶� 啶掂�冟う啷嵿ぇ啶�
啶嗋ぐ啷嵿く啶�啷佮い啷嵿ぐ啶距き啶苦ぐ啶距ぎ啷嬥そ啶膏�� 啶�啷冟�椸�� 啶灌ぐ啶むた 啶�啷� 啶�啶ㄠ�� 啷�
啶曕�嵿ぐ啷嬥ぇ啶距い啷� 啶�啷嵿ぐ啶灌ぐ啷嵿し啶距う啶ムさ啶距お啶� 啶曕ぞ啶�啶距い啷� 啷むイ 啶嗋え啶�啷堗え啶� 啶�啶灌ぞ啶�啶距す啷� 啶曕�嵿ぐ啷�啶∴ぞ啶ム�� 啶ㄠ�� 啶�啶掂た啶粪�嵿く啶むた 啷ムォ.啷�啷�.啷� 啷�
[guru艣ca r膩j膩 ca pit膩 ca v峁沝dha岣�
膩ryaputr膩bhir膩mo'sau m峁沢o harati me mana岣� |
krodh膩t prahar峁Ｄ乨athav膩pi k膩m膩t || 膩nayaina峁� mah膩b膩ho kr墨岣嵞乼hai no bhavi峁�yati ||3.43.6 ||
] KI11.83.8||
1 Prof. Paranjape proposes to read Satrughna as "the vanquisher of the
enemies"
(Pratima, Poona, 1927, notes, p. 91); but to us the views expressed by
Prof. Pisharoti (QJMS, 11, p. 864; 12, p. 385) seem to be sound. There is no
necessity for the poet to follow the epic; and again Bharata's speech (Act III, p. 58,
啶曕た 啶多い啷嵿ぐ啷佮�樴�嵿え啷� 啶�啶距ぎ啶�啶苦�椸い啶� 啷�) [ki 艣atrughno m膩mabhigata岣� |) ] renders it probable that Satrughna was at Ayodhy膩 while he was
visiting it after being summoned there after his father's death. Cf. also Devdhar,
Pratima, Poona, 1930, notes, p. 64.