midday, and the king mourns the loss of his son. In Act II we have first a long-drawn-out conversation between Çunaḥçepha and Paçumeḍhra, two pupils of Viçvāmitra, which serves to enlighten us on the history of Vālin, Rāvaṇa, the Rākṣasas, Jāmbavant, Hanumant, and Tāḍakā. The entr'acte is followed by the appearance of Rama and Lakṣmaṇa who describe the hermitage and the doings of its occupants, and then the heat of midday. Time, however, does not trouble the dramatist; though there is no further action and no interruption in the dialogue, we find ourselves transported to the evening; Viçvāmitra enters and describes in converse with the boys the sunset. A cry behind the scene announces the approach of the demoness Tāḍakā; Rāma hesitates to slay a female, but finally departs for the necessary duty; on his return he has to describe the rising of the moon. Viçvāmitra then suggests a visit to Janaka of Mithilā, affording an opportunity for a description of the city and its ruler.
In Act II only do we reach the motif which Bhavabhūti with far greater skill made the leading idea of the drama, thus giving it effective unity, so far as the story permits. The chamberlain of Janaka in conversation with Kalahaṅsikā, one of Sītā's suite, lets us know that the princess is now ripe for marriage, and Rāvaṇa seeks her hand. In the scene that follows the king accompanied by Çatananda receives Rāma, but hesitates to put him to the severe test involved in bending Çiva's bow. Çauṣkala, Rāvaṇa's envoy, arrives to demand the maiden's hand, but indignantly declines the request that his master should bend the bow. He eulogizes Rāvaṇa whom Rāma depreciates. Rāma is at last allowed to make the trial; those who remain on the stage describe his wonderful deed in breaking the bow. He is promised Sītā's hand, while the other sons of Daçaratha are also awarded consorts. Çauṣkala departs, menacing revenge. Act IV shows us Rāvaṇa's minister Mālyavant lamenting the failure of his scheme to win Sītā. Çūrpanakhā arrives from Videha and tells of the union of Rāma and Sītā. Mālyavant recognizes that Rāvaṇa will insist on seeking to separate the pair, and he counsels Çūrpaṇakhā to assume the disguise of Mantharā, the maid of Kaikeyī, with the view of securing the banishment of Rāma to the forest, where he will be more vulnerable to attack.
