Kamban scales a new high with every other verse that follows. Speaking of the gait of Rama walking towards the bow, he draws an elaborate picture of it in just two lines.
'maaga madangalum maal vidayum pon naagamum naagamum naaNa nadandhan.' The majesty of his gait would put the lion, the best of bulls, the Mount Meru and the elephant to shame, sings the Poet! Delightful picture and a divine vision, flowing through delectable poetry. He simply lifts the souls up in sheer joy.
The bow was just waiting for him to be tamed.
'sUdaga vaal vaLai sUttida nIttum Edu avizh maalai idhu enna eduththaan.' He picked it up as easily as he would pick the garland that he is to adorn the shoulders of Sita with, on the day of their marriage. The people around had frozen in amazement. Their eyes remained wide-open. 'They struggled hard to remain without winking.'
'thaduththu imayaamal irundhavar,' They made a conscious effort to stop their eyelids from batting. (Even then)
'thaaLil maduthadhum, naaN nudhi vaiththadhum nOkkar' they could not see him pressing his foot firmly on the bottom edge of the bow (that juts out like an inverted walking-stick so that it springs up). Nor could they see him stringing the lower end.
They never knew when he bent the bow so that he could take the string to the upper end.
'kaduppinil yaarum arindhilar.' He was too quick for them to follow his actions even with their eyes remaining wide-open.
'kaiyaal eduthadhu kaNdanar.' They saw him picking up the bow.
'itradhu kEttaar.' And they heard the thunder of a noise that issued forth from it when it broke into two.
"Having set the string to the bow, the highly illustrious Sri Rama (a jewel among men) bent the said bow and (lo!) the bow broke into two at the middle. A great noise reverberating like a crash of thunder issued from it (even as it broke) and a violent earthquake followed (in its wake) as it would in the event of a mountain cracking." (Valmiki Ramayana, Bala Kanda, Canto LXVIII, Sloka 17 and 18)
The people were overjoyed and danced in glee. Unbounded was the joy of Janaka and Satananda. Should we say anything about Viswamitra! But the Poet so very carefully, and meticulously avoids writing even a single line on the mental state that Rama is in! That speaks volumes. What is unsaid in the right place throws more light than the spoken word. That is an important character trait in Rama. But we are devoting our time on Sita now. We will take that up later.
Now, Sita is in her gynaesium, totally unaware of what is happening in the King's court. She did not know that such a thing is going on at all. Of course, she would have heard the noise of the bow breaking, but did not know what it was due to. 'O was that the reason for the noise,' would shout a joyous Dasaratha much later when messengers took him the news. The noise was heard even in Ayodhya. Sita had obviously heard the noise but could not make anything out of it. She was lost in her dreams about the boy whose smile had 'sipped her soul away.' Not until her endeared friend Neelamala ran to her from the Court, carrying the joyful news, danced about, and told her that Rama, the son of emperor Dasaratha had taken the bow in hand, but the bow broke when he attempted to string it.
Sita was in great suspense. She knew only the 'lotus-eyed-cloudlet' that walked along her gynaesium the previous day. She did not know him by name. She had fallen in love with him. But now her friend is saying that somebody known as Rama had broken the bow! Is this the same boy? Or is this a different person?
The Poet beats his luminous wings in the void. He brings out the finest nuances of the feelings that run in her heart.
Kamban scales a new high with every other verse that follows. Speaking of the gait of Rama walking towards the bow, he draws an elaborate picture of it in just two lines.
'maaga madangalum maal vidayum pon naagamum naagamum naaNa nadandhan.' The majesty of his gait would put the lion, the best of bulls, the Mount Meru and the elephant to shame, sings the Poet! Delightful picture and a divine vision, flowing through delectable poetry. He simply lifts the souls up in sheer joy. 
The people were overjoyed and danced in glee. Unbounded was the joy of Janaka and Satananda. Should we say anything about Viswamitra! But the Poet so very carefully, and meticulously avoids writing even a single line on the mental state that Rama is in! That speaks volumes. What is unsaid in the right place throws more light than the spoken word. That is an important character trait in Rama. But we are devoting our time on Sita now. We will take that up later. 
