Page:A history of Sanskrit literature (1900), Macdonell, Arthur Anthony.djvu/323

 of the great classical epics (mahākavis) when they refer to him as the ādi-kavi or "first poet."

The story of the Rāmāyaṇa, as narrated in the five genuine books, consists of two distinct parts. The first describes the events at the court of King Daçaratha at Ayodhyā and their consequences. Here we have a purely human and natural account of the intrigues of a queen to set her son upon the throne. There is nothing fantastic in the narrative, nor has it any mythological background. If the epic ended with the return of Rāma's brother, Bharata, to the capital, after the old king's death, it might pass for a historical saga. For Ikshvāku, Daçaratha, and Rāma are the names of celebrated and mighty kings, mentioned even in the Rigveda, though not there connected with one another in any way.

The character of the second part is entirely different. Based on a foundation of myths, it is full of the marvellous and fantastic. The oldest theory as to the significance of the story was that of Lassen, who held that it was intended to represent allegorically the first attempt of the Aryans to conquer the South. But Rāma is nowhere described as founding an Aryan realm in the Dekhan, nor is any such intention on his part indicated anywhere in the epic. Weber subsequently expressed the same view in a somewhat modified form. According to him, the Rāmāyaṇa was meant to account for the spread of Aryan culture to the South and to Ceylon. But this form of the allegorical theory also lacks any confirmation from the statements of the epic itself; for Rāma's expedition is nowhere represented as producing any change or improvement in the civilisation of the South. The poet knows nothing about the Dekhan beyond the fact that Brahman hermitages are to be