Chambu Ramayana-Bhoja -Rama’s Birth( Story Behind Verse-8)

Chambu Ramayana-Bhoja -Rama’s Birth( Story Behind Verse-8)

Today is Sri Rama Navami  Sri Rama’s Birthday.On this auspicious day we see few verse of Chambu Ramayana. Bhojaraja, fondly remembered was an Indian king from the Paramara dynasty. (reigned c. 1010–1055 CE) His kingdom was centred around the Malwa region in central India, where his capital Dhara-nagara (modern Dhar) was located. Bhoja was a warrior, a capable military commander; and, was also politically very active. 

One day, as he went round his capital, he happened to hear a discourse on the Ramayana. The topic that day was Jatayu moksha. As he listens to the story of Jatayu moksha So impressed that he himself then wrote the Champu Ramayana

Bhoja has written a Champu Ramayana that is often regarded as the best champū-kāvya in Sanskrit. This is a beautiful work in champū (a mixture of gadya, prose, and padya, verse) that follows the story of Vālmīki’s Rāmāyaṇa closely, but compresses it a great deal, and embellishes it with the most beautiful alaṅkāras:

The Champuramayana of Bhoja is one of the most popular kavya-s of the Champu type, known for the beauty of expressions. It is a Champu kavya, a genre that expertly alternates between prose and verse to tell a story.Bhoja's style is acclaimed for being ornate, descriptive, and poetic, often studied for its linguistic beauty and classical Sanskrit idioms.

 Bhoja only wrote 5 kāṇdas (up to the Sundarakāṇda), and there is a story about this: that he was inspired to write this work the night before a battle, that as he finished the Sundarakāṇda it was time to go, and that he announced that the Yuddhakāṇda would be enacted in the battlefield against the invader, but sadly he never returned. However, it is often noted that the final Yuddha Kanda was completed by later poets like Lakshmana Suri. I have read Bhoja’s Champu Ramayana only in bits and pieces, and would love to read it fully. It’s available in internet archive. 

This Sanskrit verse is from Bhoja's Champu Ramayanam (Balakandam, 1.27), describing the pregnancy of Kausalya, the mother of Lord Rama

 

न्यग्रोधपत्रसमतां क्रमशः प्रयाताम् अङ्गीचकार पुनरप्युदरं कृशाङ्ग्याः ।

जीवातवे दशमुखोरगपीडितानां गर्भच्छलेन वसता प्रथमेन पुंसा ॥

Nyagrodhapatrasamatam: Likeness (samatam) to a banyan (nyagrodha) leaf (patra), which is narrow at the base and expands gradually.

Kramashah Prayatam: Gradually becoming/transitioning.

Angichakara punarapyudaram krishangyah: Accepted (assumed/occupied) again the belly of the slender-waisted lady.

Jivatave: For the life, for the welfare, as a cure/remedy.

Dashamukhoragapiditanam: Of those tormented by the ten-headed serpent (Ravana).

Garbhachchalena vasata prathamena punsa: By the First Being (Vishnu) residing there under the guise (pretext) of a fetus.

The verse poetically describes how Queen Kausalya's belly, once slender, expanded like a growing banyan leaf during pregnancy, indicating that the unborn child was none other than the supreme Lord Vishnu, who took the form of a fetus to destroy the demon Ravana, who was like a snake (Urag) to the gods and humans.

Rama Birth Sloka (Balakanda, Sloka 29)

The verse details the specific astrological positions at the time of Rama's birth, including the tithi (lunar day) and the planetary alignments.

 

उच्चस्थे ग्रहपञ्चके सुरगुरौ सेन्दौ नवम्यां तिथौ ।

लग्ने कर्कटके पुनर्वसुयुते मेषं गते पूषणि ॥

निर्दग्धुं निखिलाः पलाशसमिधो मेध्यादयोध्यारणेः ।

आविर्भूतमभूतपूर्वमपरं ज्योतिर्जगन्मङ्गलम् ॥

uccasthe grahapañcake suragurau sendau navamyāṃ tithau |

lagne karkaṭake punarvasuyute meṣaṃ gate pūṣaṇi ||

nirdagdhuṃ nikhilāḥ palāśasamidho medhyādayodhyāraṇeḥ |

āvirbhūtamabhūtapūrvamaparaṃ jyotirjaganmaṅgalam ||

उच्चस्थे ग्रहपञ्चके (Uccasthe grahapañcake): Five planets were in their highest exaltation (Uccha) signs.

सुरगुरौ सेन्दौ (Suragurau sendau): Jupiter (Suraguru) was with the Moon (Sendu).

नवम्यां तिथौ (Navamyāṃ tithau): On the 9th lunar day (Navami).

लग्ने कर्कटके (Lagne Karkaṭake): Cancer (Karkataka) was rising as the ascendant (Lagna).

पुनर्वसुयुते (Punarvasuyute): Under the influence of the Punarvasu Nakshatra.

मेषं गते पूषणि (Meṣaṃ gate Pūṣaṇi): The Sun (Pushan) was in Aries (Mesha).

निर्दग्धुं निखिलाः They are all to be burnt out पलाशसमिधो मेध्यादयोध्यारणेः the sacrifice of the lotus is offered in the forest of Ayodhya

आविर्भूत भूतपूर्व परं appeared past past after ज्योतिर्जगन्मङ्गलम् who brings welfare to the entire universe'

When five planets were in their exalted positions, when the preceptor of the gods (Jupiter) was with the Moon, on the ninth lunar day (Navami Tithi), with the rising sign being Cancer joined with the Punarvasu asterism, and when the Sun had entered the sign of Aries. To burn all the lotus sacrificial fires in the forests of Ayodhya and other places The, unprecedented, other light, the auspicious of the universe, has appeared

The sloka mentions that five planets were in their exalted positions (uccasthe grahapañcake), the Moon and Jupiter (suraguru) were in Cancer (karkaṭaka lagna), the Sun was in Aries (meṣa), and it was the Navami tithi under the Punarvasu nakshatra.

It describes the birth of Rama as the appearance of an unprecedented, divine Light (jyotir) from the sacred wood (araṇi) of Ayodhya, intended to burn away the "Palasha wood" representing the Rakshasas (demons).

True to the Champu style, this verse blends dense poetic imagery with the traditional narrative of the Ramayana.

"Red Earth and Pouring Rain" -Kurunthogai (Story Behind Verse-7)

 "Red Earth and Pouring Rain" -Kurunthogai

In Story Behind Verse- Knowing our Root  about Tamil culture and famous poems in sangam literature  This lyric “Yayum yayum yarakiyaro” is  famous by an ancient Tamil poet of the Sangam age, and favourite love song from the Kurunthokai anthology. The beautiful kurinji thinai poem from kurunthogai, one of the Eight Anthologies of sangam poems. The name of the poet is unknown. Hence he is called by the pseudonym, "Sembulap peyaneeraar" (செம்புலப் பெயனீரார்) where the words are taken from the poem itself. The poem depicts the words spoken by the hero to the heroine. The metaphor of earth and rain for the lovers retains its urgency across the centuries often referred to as the "Red Earth and Pouring Rain" poem lyricised it some 2,000 years ago.

 

குறுந்தொகை 40

"யாயும் ஞாயும் யாராகியரோ?

எந்தையும் நுந்தையும் எம்முறைக் கேளிர்?

யானும் நீயும் எவ்வழி அறிதும்?

செம்புலப் பெயல்  நீர் போல

அன்புடை நெஞ்சம் தாம் கலந்தனவே"- Poet : SembulaPeyaneerar

(Kurunthokai–40, Ancient Sangam Period Tamil Literature, Period 2nd - 1st Century BCE)

"yaayum ngyaayum yaaraagiyaro?

endhaiyum nundhaiyum emmuraik kelir?

yaanum neeyum evvazhi aridhum?

sembulap peyal neer pola

anbudai nenjam thaam kalandhanave"-

Poem meaning:

My mother and your mother, who are they to each other? My father and your father, how are they related? Me and you, how we do know each other? Similar to the red soil mixed with water, hearts earnest in love became one.

This poem beautifully describes love as feeling which comes out naturally. The poem depicts the words spoken by the hero to the heroine. Hero and heroine are in love. The heroine is worried if their love will succeed. So the hero assures her that they would be united forever and that they would be inseparable. He says though they are not of kin, maternally or paternally, their hearts fell in love naturally. He relates beautifully something happening in nature and uses it as a simile for their love. He says that their loving hearts became one like the rain water mixed with red soil.

 

    The Metaphor of this poem the "red earth and pouring rain" represents a union so complete that the two elements can never be separated again. The rain which has no relation with red soil , falls from the sky and slowly but steadily mingles with the red soil and becomes a part of it Whereas when water meets a certain kind of soil, the water and soil bonds together and becomes mud, where the water attains the color of soil and the soil becomes almost liquid, losing its dry and solid state.

Thus, merged the heart of two, in love, inseparable and into one, by losing itself. And together they could be created into new formations, which isn’t possible to be attained by either water or soil independently. Just as rain water takes on the colour and character of the red soil it falls upon, the lovers' hearts have merged into a single entity.

This is the example given by ancient Tamil poet to describe love at first sight. And it touches on the "universality of love" and the idea of destiny. It suggests that true love transcends social structures like kinship or prior acquaintance.

The Mango Season-Royal Fruit Drama- (Story Behind Verse-6)

MangoSeason- Story Behind Verses-6

Mangoes are not just fruits; they are a cultural emblem. The earliest mention of mangoes in India dates back to around 2000 BCE, with references found in ancient texts and scriptures such as the Vedas and Puranas. They are revered in ancient scriptures, celebrated in literature, and woven into rituals that span thousands of years.

 

The mango is as popular in India now as it was in the days of Kālidāsa. In ancient Sanskrit texts, mangoes are called “Asymbol of love and fertility.

 

Mango season today falls in late May, high summer, when the fruit ripens and the streets are suddenly filled with a huge variety of mangoes from all over the country. The leaves of the mango are auspicious for Hindus, and are hung across doorways for any special occasion and in temples. Sanskrit poetry tends to celebrate the fragrant mango flower more than the fruit or the leaves and as a result it is vasanta not grīṣma that is the season of the mango. Vasanta starts as the mango tree puts forth buds and sprouts which gradually turn into a golden blossom as the season reaches its height.

अङ्कुरिते पल्लविते कोरकिते विकसिते च सहकारे।

अङ्कुरितः पल्लवितः कोरकितो विकसितश्च मदनो ऽसौ॥

aṅkurite pallavite korakite vikasite ca sahakāre |

aṅkuritaḥ pallavitaḥ korakito vikasitaś ca madano 'sau ||

This verse, found in the Sadūktikarṇāmṛtam (in the section on Spring/Vasanta), describes the simultaneous flowering of the mango tree and the awakening of love (Madana/Kāma).

(The Saduktikarṇāmṛta (1205 AD) is a major Sanskrit subhāṣita (anthology of poetry) compiled by Śrīdharadāsa during the Sena dynasty in Bengal.)

अङ्कुरित (Ankurita): Sprouted / Germinated

पल्लवित (Pallavita): Spread with new tender leaves (foliage)

कोरकित (Korakita): Budded

विकसित (Vikasita): Bloomed / Flowered

सहकार (Sahakara): A fragrant species of Mango tree

मदन (Madana): Kamadeva (the God of Love) or Desire/Passion

आम्रे पल्लविते स्थित्वा कोकिला मधुरस्वरम् ।

चुकूज कामिनां चित्तम् आकर्षन्तीव दूतिका ॥

“As the mango flowers swell, put forth sprouts, bud and blossom, love, too, swelled, sprouted, budded and blossomed” (Sadūktikarṇāmṛtam, 13th c)

The dark green leaves, with fragrant buds and blossoms attract the swarms of humming bees and singing cuckoo birds. The relationship of Mango tree laden with blossoms and Cuckoo bird is that of a lover and the beloved.

The secret of Cuckoo’s melodious voice is associated with the sweet fragrance of mango blossoms and honey laden mango fruits.

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The verse uses the blossoming of the mango tree—a symbol of the arrival of Spring (Vasanta)—to mirror the awakening and intense growth of romantic longing or desire in a person's heart. The stages of the tree's growth (sprout to flower) directly correspond to the stages of love's intensification

āmre pallavite sthitvā kokilā madhurasvaram |

cukūja kāmināṃ cittam ākarṣantīva dūtikā |

    आम्रे: In the mango trees (from आम्र, meaning mango).

    पल्लविते: Blooming or flowering (from पल्लव, meaning sprout or shoot).

    स्थित्वा: Having stood (from स्थित, meaning to stand).

    कोकिला: Cuckoo (a bird symbolizing love and longing).

    मधुरस्वरम्: With a sweet voice (from मधुर, meaning sweet, and स्वर, meaning sound or voice).

    चुकूज: Sang or called (past form of the verb from चुकूज, derived from the root associated with calling).

    कामिनां: Of lovers (from कामिन्, meaning a lover or one who desires).

    चित्तम्: Heart or mind (from चित्त, meaning the seat of emotion or consciousness).

    आकर्षन्तीव: Appearing to attract (from आकर्षण, meaning to attract).

    दूतिका: Like a messenger (from दूतक, meaning emissary or messenger).

"Standing amidst the blossoming mango trees, the cuckoo sings sweetly, enchanting the hearts of lovers like a messenger."

This shloka can be found in various poetic texts of Sanskrit literature, often used in contexts celebrating nature, love, and the beauty of spring. It can serve as a metaphor in romantic poetry or a description of the idyllic and romantic scenery, highlighting how nature influences human emotions.

 

The shloka paints a vivid picture of a cuckoo singing sweetly while perched on blossoming mango trees. The imagery evokes a serene and romantic atmosphere as the bird's melodious song captivates the hearts of lovers. Here, the cuckoo symbolizes not just nature’s beauty but also serves as a metaphor for a messenger of love and longing, subtly connecting the natural world with human emotions. The reference to the mango trees, known for their sweet fruit and fragrant flowers, suggests the freshness of spring and the joys of love.

 

Additionally, the cuckoo is often associated with the arrival of the monsoon and romantic feelings in Indian poetry. Thus, the verse connects the beauty of nature with the emotional experiences of love, indicating how the environment influences human feelings and relationships. This verse is significant as it encapsulates the relationship between nature and love, emphasizing how the beauty of the natural world can inspire and evoke deep emotional responses.

Royal Fruit Drama

Sanskrit poets turn the mango season into a royal fruit drama. Its authorship is not attributed to any specific historical or ancient poet; it is generally considered a modern narrative poem ( Sanskrit subhashita) composed by Sanskrit lovers

त्रपाश्यामं जम्बु स्फुटितहृदयं दाडिमफलं

सशूलं संधत्ते हृदयमतिमानेन पनसम् |

अभूदन्तस्तोयं तरुशिरसिजं लाङ्गलिफलं

समायाते चूते जगति फलराजे रसमये ||

This beautiful Sanskrit verse uses personification to describe how other fruits feel "jealous" or "inferior" now that the Mango (the King of Fruits) has arrived.

The poet attributes human emotions to fruits to explain their physical characteristics:

"The Rose Apple (Jambu) has turned dark (purple) out of shame; the Pomegranate (Dadima) has literally burst its heart open (the cracking of a ripe pomegranate); The Jackfruit (Panasa) is covered in thorns because its heart is filled with excessive pride; and the Coconut (Langali/Nariyal), appearing at the top of the tree, has turned into water inside. All this happened because the juicy Mango, the King of Fruits, has arrived in the world." [1]

    Jambu (Rose Apple): Its dark purple color is wittily described as "turning blue/dark with shame" (Trāpāśyāmaṃ) because it cannot compete with the mango's beauty.

    Dadima (Pomegranate): It is so heartbroken by the mango's superiority that its heart has physically "split open" (Sphuṭitahṛdayaṃ), revealing its seeds.

    Panasa (Jackfruit): Its thorny exterior is described as "thorns of pride" (Saśūlaṃ), as it tries to act tough despite being overshadowed.

    Narikela/Langali (Coconut): Growing high up, it has become "liquefied with fear or anxiety" (Abhūdantastoyaṃ), referring to the coconut water inside.

When the succulent mango arrives, the jamun turns black with shame, the pomegranate's heart (dana) bursts, the jackfruit becomes thorny and proud, and the coconut brings forth water (tears) and even the coconut melts!

This Sanskrit verse poetically describes the jealousy and shame of other fruits (jamun, pomegranate, jackfruit, coconut) at the arrival of the mango (the king of fruits)

Conclusion: Once the Chuta (Mango), the juicy king of the fruit kingdom, makes its grand entrance, no other fruit can hold its ground!

Sanskrit literature, particularly in descriptions of spring (Vasanta), portrays the mango tree (Sahakara or Rasala) as the king of trees, symbolizing love, sweetness, and beauty. 

 (Pic Credit- Google images)