‘UTTARA-RĀMACARITA'
45
our mind the supreme love that exists between them. The tragic touch is present even then, for the thought of separation is suddenly sprung upon Sita. Rama reminds her that she is mis- taking a picture for a reality, but it is not long before the real blow is delivered. The separation takes place under circumstances which are distressing in the extreme. There is, for example, the dream which Rama attributes to a past experience while, in realitv, it forecasts the future to Slta’s innocent soul. The depth of sorrow is at this stage relieved by the incidents relating to Lavana and Sambuka. The second act opens with the expression of a doubt as to what might have happened to Sita. To all appearances she is gone for ever, and Atreyl who comes from Valmlki’s hermitage, speaks of her as namasesa . Rama now appears on the stage in the discharge of his kingly duty ; but he is not the Rama we know. He is quite out of heart and, in spite of his absolute purity of motive, regards himself as a wicked wretch. He finds himself in the Dandaka forest, which transforms his mood of self- depreciation into one of intense sorrow. When the pathos advances further, Lopamudra’s invitation intervenes to ease the tension. In the third act, which marks the centre of the play, the passion still further grows in intensity. Rama is amidst the old associates of his life — VasantI and others, includ- ing even Sita. In the fourth and fifth acts, curiously enough, Rama does not appear at all, but we are still kept in constant touch with his sorrow and its cause — the misery of Sita: for we are in the midst of those that are dear to Sita and to whom Sita is dear — Janaka, Kausalya, and the twins. In these acts we have a splendid display of valour by one of Slta’s children which, under the appearance of an outside factor, helps to bring about the denouement , and serves as a set-off against the acute pathos of the previous act. In the sixth act Rama meets Lava and Kusa, and the striking resemblance between them and Sita excites his grief. Here Bhavabhuti, with his characteristic partiality for tender touches, makes the boys repeat certain slokas from the Ramayana, which melt the heart of the hero. Rama is once again in the depths of misery, but the presence of the sweet boys brings him consolation in some mysterious way. In the last act comes the inset play, through which we visualize all the misery which Sita underwent. At this stage there is final relaxation and the curtain falls on the hero and the heroine restored to peace.
