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Updated: June 10, 2025
Our melodies give voice to the star-spangled night, to the first reddening of dawn. They speak of the sky-pervading sorrow which lowers in the darkness of clouds; the speechless deep intoxication of the forest-roaming spring. Valmiki Pratibha We had a profusely decorated volume of Moore's Irish Melodies: and often have I listened to the enraptured recitation of these by Akshay Babu.
Ganga replies "who can close the door of Fate?" But Earth says, "has it been proper for the good Rama? He disregarded the hand he pressed when a boy. He disregarded me and Janaka. He disregarded the children she was about to bring forth." But Ganga pacifies her and they agree to make over the children to Valmiki, when they become a little old.
A few of Akshay Babu's compositions find place in the Valmiki Pratibha and also adaptations from Vihari Chakravarti's Sarada Mangal series of songs. I used to take the leading part in the performance of these musical dramas. From my early years I had a taste for acting, and firmly believed that I had a special aptitude for it. I think I proved that my belief was not ill-founded.
Encouraged by the success of this new line taken in the Valmiki Pratibha, I composed another musical play of the same class. It was called the Kal Mrigaya, The Fateful Hunt. The plot was based on the story of the accidental killing of the blind hermit's only son by King Dasaratha. It was played on a stage erected on our roof-terrace, and the audience seemed profoundly moved by its pathos.
Alas, my reading of Valmiki had been limited to the short extract from his Ramayana given in my Sanskrit reader, and even that I had not fully mastered. Moreover, on looking over it now, I found that my memory had played me false and much of what I thought I knew had become hazy.
Ye bulls among the Kurus, the slaughter of Bhurisravas, accomplished by me, hath been very proper! That which is ordained must happen. It is destiny that works. Bhurisravas hath been slain in press of battle. What sin have I perpetrated? In days of yore, Valmiki sang this verse on earth, viz., 'Thou sayest, O ape, that women should not be slain.
So I think that the Mahabharata grew up in the centuries, many or few, that followed the Great War, or, say, during the second millennium B.C.; that in that millennium, during some great 'day' of literary creation, it was redacted into a single poem; and that, the epic habit having thus been started, a single poet, Valmiki, in some succeeding 'day, was prompted to make another epic, on the other great traditional saga-cycle, the story of Rama.
In the famous Hindoo epic, the "Ramayana" of Valmiki, "by singing and hearing which continually a man may attain to the highest state of enjoyment, and be shortly admitted to fraternity with the gods," the exploits of Hoonamunta, the Divine Monkey, are gravely related, with a dramatic force and figurativeness that hold a street audience spell-bound; but to the European imagination the childish drollery of the plot is irrestistible.
He vainly seeks for her possession, but at last goes away on the advice of his companion Visanti. The sage Valmiki makes great preparations for receiving Vasishtha, Janaka, Kaushalya, the mother of Rama and other eminent guests. The pupils are delighted because the visit of the guests affords hopes of a feast at which flesh meat is to constitute one of the dishes.
Thou art like Khatwanga, Nabhaga, and Dilipa. In prowess thou art like Yayati and Mandhatri. In splendour equal to the sun, and of excellent vows, thou art O monarch, like Bhishma! Like Valmiki thou art of energy concealed. Like Vasishtha thou hast controlled thy wrath. Like Indra is thy lordship. Thy splendour also shines like that of Narayana.
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