Passage 1
रामो लतामण्डपमेत्य तस्य छायामधिसृत्य सुखेन तस्थौ। गन्धर्ववर्यैरुपवर्ण्यमानो ग्रामोल्लसन्मूर्छितमूर्छनाभिः॥१॥
“Rāma entered the vine pavilion and rested comfortably beneath its shade, while the foremost gandharvas praised him through musical scales and modulations swelling into rapture.
Passage 2
यदा वियोगाद्विरहोत्करस्य स्थातुं न तत्रैव शशाक कामी। तदा निषिध्याचिरान् समस्तान् द्वित्रिसहास्थाद्रघुवंशवीरः॥२॥
“When the loving hero could no longer remain there beneath the mounting force of separation, the valiant Rāghava dismissed the attendants and stayed with only two or three companions.
Passage 3
असाविहावर्त्तविवर्त्तनाभिः सुष्वाप धैर्येण विनैव निद्राम्। कदाचिदुत्थाय धृतोपधानस्तस्थौ भूरालस्यपरीतगात्रः॥३॥
“He lay down bravely, yet without sleep, turning and turning again. At times he rose clutching his pillow and stood with every limb overcome by deep languor.
Passage 4
ददर्श कञ्चिद्रुचिरं विहङ्गमं विचित्रपक्षद्युतिरोचमानम्। लोकातिगं पाण्डवमुद्वहन्तं विराजपुच्छाग्रकलाललासम्॥४॥
“He saw a wondrous bird, radiant with the brilliance of variegated wings, surpassing anything in the world, bearing a pale sheen, and resplendent in the beauty of its graceful tail-tip.
Passage 5
न राजहंसं न शुकं न कोकं न कोकिलं केकिं न वा कपोतम्। प्रपञ्चसर्गातिगनव्यसर्वं भान्तं तिरस्कृत्य विरञ्चिदाक्ष्यम्॥५॥
“It was neither royal swan, parrot, cakravāka, cuckoo, peacock, nor pigeon. New in every respect and beyond the created cosmos, its radiance outshone even Brahmā’s artistry.
Passage 6
ईदृग्विधो नैव दृष्टः श्रुतो वा विहङ्गमः केनचित् क्वापि लोके। इत्यादरेण प्रभुलक्ष्मणाभ्यां मुहुर्मुहुः संददृशे विहङ्गमः॥६॥
“No one anywhere in the world had ever seen or heard of such a bird. Lord Rāma and Lakṣmaṇa therefore gazed upon it again and again with wonder.
Passage 7
उत्पत्य तेन सुरुचा विहगोत्तमेन रत्नोत्तमद्युतिविचित्रसुविग्रहेण। रामस्य रूपरसराशिजलाशयस्य सद्यः सरोऽधिरुहे कमलभ्रमात्किम्॥७॥
“That foremost bird took wing, splendidly formed and variegated with the luster of the finest gems. Did it then alight at once, mistaking the lake of Rāma’s oceanic beauty for a lotus pool?
Passage 8
तच्चित्रवेशधरमेकविहङ्गमक्षि संपश्यतो रघुवरस्य न तृप्तिमाप। अङ्गं तथाप्यतिमृदुस्पृशतोऽस्य पाणिः संशृण्वतोऽतिमधुरं क्वणितं च कर्णः॥८॥
“Rāghava’s eye found no satisfaction in beholding that singular bird in its marvelous attire; neither did his hand tire of touching its exceedingly soft body, nor his ear of hearing its supremely sweet call.
Passage 9
तं राघवेन्द्रतनयो रुचिरं क्वणन्तं साकर्ण्य तं च परिपृच्छति यावदेव। तावत् सदक्षिणचरो विहगेश्वरस्त- मुच्चैरुवाच वचनोच्चयचुञ्चुचञ्चुः॥९॥
“As the son of the lord of the Rāghavas listened to its charming cry and was about to question it, the lord of birds, standing on his right, raised its beak and addressed him aloud with a stream of words. The bird said:
Passage 10
सामन्तभूपशतवर्यकुमारकं त्वां वेद्मि त्रिलोकजनतानयनाभिरामम्। मां च प्रमोदवनकुञ्जनिकेतनस्य लीलाविशेषरसिकं खगमेव विद्धि॥१०॥
“I know you as the foremost prince among the sons of hundreds of tributary kings, delightful to the eyes of the people of all three worlds. Know me as a bird who savors the distinctive pastimes of the bowers of Pramoda forest.
Passage 11
मां गोपिकानिवहहासविलासरास- लावण्यसागरसुधारसमापिबन्तम्। राम त्वया सह वने मणितारवस्य शिक्षैकभाजनमवेहि मनोजबन्धुम्॥११॥
“Rāma, know me as your loving friend: I drink the nectarean essence of the ocean of beauty formed by the cowherd women’s smiles, play, and rāsa, and in the forest I alone received instruction in the sounds of intimate love-play with you.
Passage 12
राम प्रियासु तव भानवतीषु सदयो भूरुह्भुजाग्रमधिरुह्य विमुक्तकण्ठम्। धीरैः स्वरैर्मनसिजप्रतिबोधनेन धैर्यं हरन्तमिह किं स्मरसि प्रभो माम्॥१२॥
“O Rāma, do you remember me? Out of tenderness for your radiant beloveds, I would mount the tips of the trees’ arms and sing freely in steady notes, awakening Love and stealing away their composure.
Passage 13
अथ त्वमेवं शशिमानसद्मा पाण्डुत्वमङ्गेषु किमाबभार। प्रायेण तस्मात् सुखितस्य गेहाद् विनिर्गत उद्विग्न इवासि दृष्टः॥१३॥
“Why, then, has your moonlike form taken on such pallor in every limb? Since leaving Sukhita’s home, you have appeared deeply troubled.
Passage 14
मैव प्रभो त्वं त्रिजगत्प्रतिष्ठा- भूतस्त्वमेवं विरहानुगमेन चित्ते। खिद्य स्वयं कमपि दासमिहादिशस्व स त्वद्गतं कुशलं कथयिष्यतीष्टम्॥१४॥
“Do not grieve in this way within your heart under the course of separation, O Lord who are the foundation of the three worlds. Appoint some servant here; he will convey the desired good news concerning you.
Passage 15
ताश्च प्रमोदवनमण्डपकुञ्जसंस्थाः सीदन्ति नाथ भवतो विरहेण गोप्यः। भूयः समाश्वसिहि ताः स्वकरे गृहीत्वा श्रीरामचन्द्र शरणार्थिमहाहारण्य॥१५॥
“Those cowherd women dwelling in Pramoda forest’s pavilions and bowers are fainting in separation from you, O Master. Take them once more by the hand and console them, Śrī Rāmacandra, great sheltering forest for those who seek refuge.
Passage 16
त्रैलोक्यपावनपुराणजनार्चितत्व- पादारविन्दपरिणद्धपरागराजीम्। सौरभ्यसंपदमवाप्तवतीमपूर्वा- मासेव्य राम कृतकृत्यमिदं जगत् स्यात्॥१६॥
“Rāma, by serving the unprecedented wealth of fragrance possessed by the row of pollen from your world-purifying lotus feet, worshiped by the ancients, this whole world would attain the fulfillment of its purpose.
Passage 17
अन्यास्तु गोपललना विरहागमार्ताः सन्त्येव कोटिश इह व्रजभूतलेषु। श्रीराम तत्र सहजा तु न दृश्यतेऽपि यत्रास्त्यशोकलतिका वनमण्डपश्रीः॥१७॥
“Millions of other cowherd maidens upon the lands of Vraja are indeed afflicted by the onset of separation. Yet, Śrī Rāma, Sahajā is not seen even where the splendid forest pavilion of aśoka vines stands.
Passage 18
संकेतदेशमतनुज्वरहारिशीलं तं संविहाय खलु सा क्व गता न जाने। भूयस्तवैव हृदये किमियं गता वा गेहं गता त्रिजगतां च गतिं गता वा॥१८॥
“I do not know where she has gone after leaving that trysting place whose very nature dispels Love’s fever. Has she entered your own heart again, returned home, or reached the supreme destination of the three worlds?
Passage 19
शून्यामशोकवनमण्डपिकां विलोक्य न ज्ञायते दशदिगन्तदृदि[शा?] मयापि। तद्रामचन्द्र पुरुषोत्तम तान् विलासान् भूयोऽपि तत्र कुरु लोकसुखैककन्दान्॥१९॥
“Seeing the aśoka-grove pavilion empty, even I cannot know toward which of the ten directions she has gone. Therefore, Rāmacandra, Supreme Person, enact there once again those pastimes that are the sole root of the world’s joy. Śrī Rāma said:
Passage 20
नाहं प्रमोदवनतः खग निर्गतोऽस्मि नित्यं वसामि तदशोकलतानिकुञ्जे। किंत्वेष लौकिकदृशां विषयोऽस्मि नाहं ये भावुकाः सुरसिका विषयोऽस्मि तेषाम्॥२०॥
“Bird, I have never departed from Pramoda forest. I dwell eternally in that aśoka-vine bower. Yet I am not an object of perception for worldly eyes; I am perceived by those sensitive souls who truly savor sacred rasa.
Passage 21
अवतारचरित्राणि कर्तुं भूमितलेष्वहम्। अवतीर्णोऽस्मि पूर्णोऽपि स्वांशेन द्युमणेरधः॥२१॥
“Though complete in myself, I have descended by my own portion beneath the sun to enact the deeds of an avatāra upon the earth.
Passage 22
अयोध्यामागतोऽस्म्येष सहजानन्दिनी च सा। अयोनिजा निमेर्वंशे स्वांशेनावततार ह॥२२॥
“Thus have I come to Ayodhyā, while Sahajānandinī, unborn from a womb, descended by her own portion into Nimi’s lineage.
Passage 23
बुधास्तत्रैव पश्यन्ति क्रीडमानां मया सह। रक्ताशोकलतामञ्जुमण्डपान्तरचारिणीम्॥२३॥
“The wise behold her there even now, playing with me and moving within the lovely pavilion of red aśoka vines.
Passage 24
नित्यः स खलु सर्वोऽपि लीलापरिकरो मम। सर्गादौ जायते नैव प्रलये न विनश्यति॥२४॥
“The whole retinue of my divine play is eternal indeed. It is not born at the beginning of creation and does not perish at dissolution.
Passage 25
अपरं च द्विजश्रेष्ठ भवता वचनान्मम। नैम्यस्य मिथिलेन्द्रस्य गन्तव्यं त्वरितं गृहे॥२५॥
“Moreover, best of the twice-born, at my command you must go quickly to the home of the king of Mithilā, descendant of Nimi.
Passage 26
तत्र त्वमेत्य सच्चित्रं लिखितं रङ्गविद्यया। देयं जीवातयेऽमुष्याः सहजायाः कराम्बुजे॥२६॥
“Once there, place in Sahajā’s lotus hand, as a support for her life, an exact portrait of me executed through the art of color.
Passage 27
तस्याः पुनः प्रतिकृतिः पतगेन्द्र मह्यं संजीवनौषधविशेषतया प्रदेया। वाच्यं च सन्निहितमेव करिष्यतेऽसौ पाणिग्रहं सपदि ते जनकेन्द्रपुत्रि॥२७॥
“Then, lord of birds, bring me her likeness as a special life-restoring herb. Tell the daughter of King Janaka: ‘He is close at hand and will soon take your hand in marriage.’
Passage 28
शंभोर्धेनुः कठिनमित्यधिगम्य बाले चित्रायितव्यमपि दाशरथो न बाले। एतद्रहस्यतरमेव विधाय कार्यं त्वं जीव देवतमते शरदां सहस्रम्॥२८॥
“Let the maiden understand that Śambhu’s bow is hard; yet Daśarathi must not be pictured as a mere child. Carry out this most secret task, and may you live a thousand autumns, honored like a deity.
Passage 29
इत्याज्ञाप्य द्विजं रामस्तूष्णीमास ततो द्विजः। गत्वा जनकराजस्य मन्दिरं मिथिलां प्रति॥२९॥
“Having thus instructed the bird, Rāma fell silent. The bird then flew toward Mithilā and the palace of King Janaka.
Passage 30
तत्र क्षितेः सप्रमभूरिभागे प्रासादवर्यस्य तले निषण्णाम्। आकर्णयन्तीं विपुलान् वयस्यामुखाम्बुजेभ्यः स्वपतेर्गुणौघान्॥३०॥
“There, seated upon a floor of the splendid palace in a richly adorned part of the grounds, was Sītā, listening to abundant streams of her future husband’s virtues from the lotus mouths of her companions.
Passage 31
पुनः पुनः प्रश्नयन्तीं श्रुतानपि गुणोत्करान्। [प्रीतिभरान् प्रियस्य हि] अस्य योग्या न वास्मीति खिद्यमानां मुहुर्मुहुः॥३१॥
“Again and again she asked about the treasury of virtues she had already heard—virtues filled with love for her beloved—while repeatedly grieving, ‘Am I truly worthy of him or not?’
Passage 32
जघनन्यस्तदोर्दण्डतले संस्थाप्य चाननम्। क्षणे क्षणे सरोमाञ्चां कम्पमानां क्षणे क्षणे॥३२॥
“She rested her face upon the surface of her forearms laid across her lap; moment after moment her hair stood on end, and moment after moment she trembled.
Passage 33
क्षणे क्षणे धृतस्तम्भां रम्भास्तम्भवदद्भसा। स्विद्यमानां क्षणोष्णेन साश्रुनेत्रां क्षणे क्षणे॥३३॥
“At every moment she grew motionless like the trunk of a plantain tree, then perspired with sudden heat; at every moment her eyes filled with tears.
Passage 34
ददर्श पक्षी मिथिलेन्द्रनन्दिनीं भित्त्वापरार्द्धस्मरसुन्दरीमदम्। विराजमानां मणिनिर्मिताङ्गणे सहस्रमूर्तिप्रतिबिम्बकेतवान्॥३४॥
“The perceptive bird beheld the daughter of Mithilā’s king, whose beauty broke the pride of countless lovely embodiments of Love, resplendent in a jewel-fashioned courtyard that reflected her form a thousandfold.
Passage 35
नमस्कृत्य तां मैथिलीं रामकान्तां परार्द्धेन्दिरारूपगर्वान् हरन्तीम्। नमस्कृत्य चञ्चुपुटा चित्रपत्रीममुञ्चत्तदग्रे पुरतस्तत्सखीनाम्॥३५॥
“Bowing to Maithilī, Rāma’s beloved, who stole the pride in beauty of immeasurable hosts of Lakṣmīs, the bird bowed with its beak and dropped the painted sheet before her in the presence of her companions.
Passage 36
तदादाय चित्रं नरेन्द्रस्य कन्याप्रपञ्चातिगं पुरुषं तत्र मत्वा। कुतः पत्रिकेयं मुहुस्तर्कयित्वा विचित्रायमाना समन्तादपश्यत्॥३६॥
“The king’s daughter took up the portrait and recognized in it a man who surpassed the created world. Wondering again and again where the picture had come from, she looked all around in astonishment.
Passage 37
गृहोपानसीसंस्थं दृष्ट्वा पक्षिणमद्भुतम्। मणितुण्डं स्वर्णपक्षं हरिन्मणिपदप्रभम्॥३७॥
“She saw the marvelous bird perched upon the roof beam, with a jeweled beak, golden wings, and feet shining like emeralds.
Passage 38
तं गृहीतुमनाः सीता बहु प्रयतते स्म सा। उत्प्लुत्योत्प्लुत्य स च तां निन्ये मध्ये रहो वनम्॥३८॥
“Wishing to catch it, Sītā made many attempts. Leaping away again and again, the bird led her into a secluded place within the forest.
Passage 39
तत्रापि च तदग्रे स कूजमानः पुनः पुनः। न यावत्करयोरेति स्मित्वा तावद्वचोऽब्रवीत्॥३९॥
“There too it called repeatedly before her. Just before it came within her hands, it smiled and spoke these words.
Passage 40
मैथिलि त्वामहं वन्दे राघवेन्द्रप्रियासि भोः। योऽसौ चित्रगतः साक्षाल्लिखितो रङ्गविद्यया॥४०॥
“Maithilī, I bow to you, for you are dear to the lord of the Rāghavas. The one shown in this portrait is his very self, rendered through the art of color.
Passage 41
अचिरादेव ते तन्वि पाणिं रामो गृहीष्यति। तावज्जीवातवे तस्य चित्रमर्पय तावकम्॥४१॥
“Slender maiden, Rāma will take your hand very soon. Until then, entrust me with your portrait as a support for his life.
Passage 42
इति ब्रुवाणं तं साधु प्रत्यपूजत् सपर्यया। भवान् प्राणेशदाता मे विधिना मेलितोऽसि भोः॥४२॥
“She duly honored the bird who spoke in this way, saying, ‘Providence has brought you to me as the giver of my life’s Lord.’
Passage 43
त्वत्प्रसादात् प्रियो मेऽद्य मिलितः प्राप्त एव हि। चिरं जीव चिरं जीव चिरं जीव सखे सदा॥४३॥
“‘By your grace my beloved has met me today—he is as good as attained. Live long, live long, live long forever, dear friend!’
Passage 44
दापयित्वा सखीहस्ताच्चित्रं स्वीयं नृपात्मजा। मार्गे त्वं कुशली याहीत्युक्त्वा कृच्छ्राद्व्यसर्जयत्॥४४॥
“The king’s daughter had her own portrait delivered through a companion’s hand and, saying, ‘Travel safely on your way,’ released the bird only with great difficulty.
Passage 45
स राजधानीं संगम्य राज्ञो दशरथस्य ताम्। ययौ तत्र वनोद्देशे युवराजोऽस्ति यत्र वै॥४५॥
“It reached the capital of King Daśaratha and went to the woodland place where the crown prince was staying.
Passage 46
सीताचित्रमदात्तस्मै तदवस्थां निवेद्य च। संतोषितः श्रीपतिना तद्विसृष्टः खगो ययौ॥४६॥
“The bird gave him Sītā’s portrait and reported her condition. Rewarded by the Lord of Śrī and then dismissed, it departed.
Passage 47
तच्चित्रं तस्य जीवातुर्बभूव श्रीरमापतेः। भूयः सहजया सार्धं यावत्पाणिग्रहो भवेत्॥४७॥
“That portrait became the very support of life for the Lord of Ramā until his hand was joined once more with Sahajā’s in marriage.” --- Thus ends the sixty-fifth chapter, entitled “The Arrival of Sītā’s Portrait,” in the dialogue of Brahmā and Bhuśuṇḍa in the Śrīmad Ādi Rāmāyaṇa. Textual notes The chapter begins on source leaf 415, occupies leaves 415–420, and ends with its colophon on physical PDF page 421. All forty-seven numbered passages were transcribed directly from the 1975 scan; archive OCR was used only as a locating and typing aid. The edition presents a clean numerical sequence from 1 through 47. Passages 7–16, 27–28, 30, and 34–36 contain extended printed units under single source numbers and are retained as such. Passage 31 includes a bracketed additional line printed in the edition and preserves it visibly. The scan itself marks a doubtful segment in passage 19, represented as [शा?], and this edition does not conceal that uncertainty. The difficult or irregular printed readings पाण्डवमुद्वहन्तं (4), सरोऽधिरुहे (7), शशिमानसद्मा (13), त्रैलोक्यपावनपुराणजनार्चितत्व- (16), सप्रमभूरिभागे (30), and रम्भास्तम्भवदद्भसा (33) are preserved or translated conservatively rather than silently regularized.