ततस्तु रामवचःप्रचोदितावगायतां मार्गविधानसम्पदा।
स चापि रामः परिषद्गतः शनैर्बुभूषया सक्तमना बभूव ह॥
tatas tu rāma-vacaḥ-pracoditāv
agāyatāṁ mārga-vidhāna-sampadā
sa cāpi rāmaḥ pariṣad-gataḥ śanair
bubhūṣayā sakta-manā babhūva ha
tataḥ tu = then; rāma-vacaḥ-pracoditau = impelled by the words of Śrī Rāmacandra; agāyatām mārga-vidhāna-sampadā = they followed the mārga style of singing; saḥ ca api rāmaḥ = Lord Rāma; pariṣad-gataḥ = [descended from His siṁhāsana and] sat with His assembly; śanaiḥ = slowly; bubhūṣayā = to experience it; āsakta-manāḥ babhūva = His mind attached to the songs of two boys; ha = indeed.
Then, impelled by the words of Śrī Rāmacandra, they followed the mārga style of singing. Lord Rāma slowly descended from His siṁhāsana and sat with His assembly. Indeed, He desired to happily hear the Rāmāyaṇa, His mind attached to the songs of the two boys.
After Lord Rāma created an interest among the hearers, Kuśa and Lava began to speak. This indicates the great respect they had towards Lord Rāma. There are two styles of singing: the mārga that is used universally, and the deśī used sometimes. Lord Rāmacandra did not want to abruptly get down from His elevated throne as it would spoil the mood. Therefore, He slowly got down from the throne to be amidst His assembly. The Lord considered that being seated on His elevated siṁhāsana was akin to being alone. There is a saying—ekaḥ svādu na bhuñjīta: “One cannot relish a delicacy alone.” Therefore, He sat amidst His assembly. Bubhūṣayā also indicates that by hearing about His beloved wife, He desired to regain His existence.
The author Vālmīki Muni happily states that Lord Rāma Himself became respectfully attached to hearing the poem that was sung by his disciples.