Sri D.V. Gundappa’s Essays on the Ramayana: An Introduction

Source: prekshaa series

[[Sri D.V. Gundappa’s Essays on the Ramayana: An Introduction Source: prekshaa]]

Note: This is the first part of a new series of an English translation of D.V. Gundappa’s essays on the Ramayana written in Kannada. These essays are originally the forewords that DVG wrote for the volumes of the magnificent Kannada translation of Valmiki’s Srimad Ramayana, undertaken by the late Vidwan Sri Ranganatha Sarma. They have been compiled and included in the complete works of DVG titled, DVG Kruti Shreni.

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Greatness of the Work

Srimad Ramayana authored by Srimad Valmiki Maharshi has attained world renown as an extremely beautiful and extremely auspicious work. For thousands of years, it has remained as a streetlight illuminating the journey of the lives of the people of Bharatakhanda. Its fame is equally extensive even outside Bharatakhanda. Researchers and scholars have said that in Indonesia, Indo-China, Cambodia (Champa), Bali, Java and other islands, the study of Ramayana was widespread during the fifth-sixth centuries, unambiguous evidence for which is available in the remains of temple sculptures and stone inscriptions, names of their people, and societal traditions and symbols.

The Ramayana is a work extremely dear to the Kannada people. The Pampa-Sarovara (the region of Hampi) which was sanctified by the touch of Sita and Rama, and Kishkindha, the native place of Sugriva and Anjaneya are the geographical treasures of Karnataka. In Kumaravyasa’s period—more than five hundred years ago—it appears that there were hundreds of Ramayana works. He has said:

The King of Snakes groaned under ।
The Weight of the Ramayana poets ।
There is no space to place one’s leg in this crowd of Raghu’s history ॥

(Kumaravyasa Bharata: 1-17)

Despite this, newer works in Kannada on the Ramayana have emerged and continue to emerge. Among these, the Kaushika Ramayana published recently by Sri Shivarama Karantha from Puttur is one.

Ramayana poems are available in abundance in all languages of India. The Kamba Ramayana in Tamil and Tulsi Ramayana in Hindi are two works that have attained enormous popularity.

In Sanskrit especially, the number of Ramayana-based works composed in various literary forms—poetic essays, Champus, plays, Stotras—is almost infinite. Hundreds of Sanskrit poets like Bhasa and Kalidasa have painted the Ramayana story in various hues.

The most favourite works for even Vedantins are Upanishads like Rama-Smarana, Rama-Rahasya, and Rama-Taapani. Philosophical treatises like the Yogavasistha and Adhyatma Ramayana are basically the celebration of the glory of Sri Rama. Writing about his work, Valmiki Maharshi says –

This is the support for Poets ॥ (Balakanda: 4-20)

These words of prophecy have rung true and found fulfilment in the course of time. The list of poets who have adopted Valmiki Maharshi for their livelihood is growing by the day.

Therefore, in this backdrop of thousands of Ramayana poems derived from Valmiki, is there still space for Valmiki’s original work itself? It is certainly the Adi Kavya, the First Poem. From the perspective of poetry, the fact that it truly stands at the forefront is indisputable. However, does it enjoy any other, special distinction apart from this? Yes it does. It certainly does. Plus it does enjoy this distinction in abundance. Even from the perspective of the quality of its poetry, it occupies a preeminent place.

In derivative poetry, each specific work is distinguished for a particular specialty. Some works are notable for their narrative style; some for the description of an episode or scene; others for dialogue; still others for characterization; some are notable for the beauty of language; some, for stylistic qualities; others for grace; others for vigour; yet others, for the importance laid on strengthening various Rasas like pathos and valour; still others for passionate Bhakti. In this manner, all such varieties of poetry have their own committed readership. There are gradations within literary readership. Thus, each grade of readership likes a specific work based on the Ramayana.

However, Valmiki Maharshi’s Ramayana is completely different from all these varieties of poetry and occupies a unique place. It encompasses all the noble traits of these poetic varieties. By its distinctive literary grandeur, skillful characterization and emotional magnanimity, it has retained its unparalleled influence and greatness. Derivative works are akin to a photographic reflection. They reflect just one part or one scene of the whole theme. The entire, integrated picture does not appear in a photo. Those who wish to savour the full essence of the Ramayana must necessarily go to the original Valmiki Ramayana. Those who are unacquainted with the Sanskrit language must read a translation of the full Valmiki Ramayana in any Bharatiya Bhasha.

Of the numerous paths to take the ordinary reader as close as possible to the sacred vicinity of Valmiki Maharshi in the Sanskrit original, the method of splitting each [Sanskrit] word and giving word-by-word meaning. However, those who wish to derive the full benefit of this approach must be ready to invest time. Additionally, they must be endowed with much patience, serenity, and mental poise. In the frenzied pace of our modern life, the number of such people is extremely few. Therefore, the path of word-by-word meaning might not be useful to a large number of people today. The other and easier method is the sentence-wise translation of the original Sanskrit into Kannada [or any other language]. Even without turning to the original Sanskrit, if the reader reads just the translation, he/she will be bestowed with Valmiki’s prasada.

Structure of the Work

We can now examine the structure of the work for a bit. From the time it was composed, the world has accepted the opinion that the Ramayana belongs to the literary genre named poetry.

The Ramayana is not a work of Sastra or history. It is poetry. However, it is poetry that includes both Sastra and history. It is not a work that discards Sastra. Neither is it a work that is not based on history. It is not imaginative or concocted fiction. It is sturdy poetry endowed with muscles and limbs by retaining real-life incidents as a skeleton.

What is poetry? Poetry is the aggregation of sentences that have the power to evoke pleasant experiences in the heart of human beings. The quality of composing poetic literature involves stimulating tumult within the heart of the reader. When we listen to it, a certain experience must occur within us. Our mind should say, Aha! Oho! Oh no! So sad! Wow! Awesome! Thus any experience that stimulates within us feelings of pity or surprise or fury or elation is known as Rasa. Any work of writing that elicits this Rasa in our inner life is poetry.

Our ancient Masters have engaged in elaborate and extraordinary contemplation on the secret of poetry. They have variously argued that poetry flows from the style of language, from prosody, from suggestion, from figure of speech, from beauty in meaning, and so on. All such arguments are not incorrect; however, each argument is one-sided and therefore incomplete. The stand that Rasa is the essence of poetry has received universal acceptance. The treasure of humankind called poetry is available throughout the world. It is not a special property of the Sanskrit language. The day the first human was born, the place of such birth was simultaneously the time and place of the birth of poetry.

[[Srimad Ramayana is the Inner Evidence of Our Heart Source: prekshaa]]

When we say “human,” it also means “mind.” When we mean mind, it means worries and joys. When these worries and joys overflow in words, it becomes poetry. Because the human, the mind and words are always glued together, the older the human is in this world, the older is poetry. All races and languages in the world have been endowed with poetic literature proportional to the refinement in its respective learning. The chief feature that can be noticed in all such literature is “Rasa.” Rasa means the taste that one wants (rasa āsvādana snehanayoh – that which one wants to savour; that which is likeable). It is the Six Rasas in food. It is the Rasa in music. It is the sport of lovers. It is the Rasa of compassion that does not exist in cruel people and that which exists in people rooted in Dharma.

In common parlance, the word “Rasa” denotes the essence of an object or experience. The same thing holds true for the Vedas as well:

raso vai saḥ ।
rasaggam hyevāyaṃ labdhvāSSnaṃdī bhavati ॥ (Tattiriya Upanishad: 2-7)

The Paramatman is “Rasa.” Therefore, one feels joy through the experience of Rasa. That which provides joy is Rasa.

Maharshi Valmiki indicates the eminence of his poetry using the word, “Rasa.”

rasaiH shR^iNgaarakaaruNyahaasyaviirabhayaanakaiH ।
raudraadibhishcha saMyuktaM kaavyametadagaayataam ॥ (Balakanda: 4 - 6)

This ballad of Ramayana, with poetic sentiments of love, pathos, comic relief, courage, fear, anger and others, was sung by Lava and Kusha.

Elements like prosody, suggestion, and innuendo are devices and methods for generating Rasa.

Just like how the Rasa of food is to the taste buds, Rasa of music is to the ears, the Rasa of (physical) form and charm is to the eyes, in the same manner, the Rasa of poetry and art is endearing to the mind. However, there is a specialty in the Poetic Rasa: along with being endearing to the mind, it also purifies our lives. The Rasas of sound, touch, form, taste and fragrance available to the five sense organs provide pleasure. However, the Rasa of Poetry and Art not only provide pleasure to the mind, the field of consequence of the five senses, they also encompass the Jiva and have the capacity to impact the very nature of Jiva. In this manner, the work of poetry occurs on two planes:

1. Entertainment 2. Elevation of Life

Any poetry which does not stop merely at the first plane but embarks on the second work becomes Great Poetry (Mahakavya). The greater the life-elevating elements in it along with entertainment, to that extent it becomes a Mahakavya. The preeminence of poetry is derived from its capability to refine and elevate life. The abundance of this capability is the glory of Srimad Ramayana.

Elevation of life means the radiance of ethics. However, the radiance of ethics in poetry does not take the form of a direct discourse or preaching. It occurs through an invisible change of heart. This is the special strength of poetry. Providing direct expositions and discourses is the work of Ethics. Srimad Ramayana has not endeavoured to offer us this kind of discourse. It tells us a story. After listening to that enchanting story, after experiencing within ourselves the episodes contained in it, we inculcate discerning wisdom on our own. Maharshi Valmiki has not explicitly preached to us - “Worship Sri Rama,” “Serve Sita Devi,” “Follow Lakshmana,” “Seek refuge in Anjaneya.” However, when we listen to Maharshi Valmiki’s narrative, we automatically feel that the heroes of the story were indeed, truly eminent and worthy of emulation. This flood of elevated feeling within ourselves invoked by voluntary change of heart is the greatest help rendered by a Mahakavya. The Veda clearly, emphatically says, “Satyam Vada (Speak the Truth),” “Dharmam Cara (Follow Dharma).” Like an emperor, the Veda has the power to command. The path of poetry is not that of issuing commands. It is one which is imbued with persuasion. Sri Rama’s fidelity to truth is truly marvelous. Sita Devi’s loyalty to her husband is indeed lofty. Maharshi Valmiki’s poetry automatically invokes these feelings inside us without any external motivation. Therefore, poetry is akin to a lover’s words, effortless and pleasing, according to an ancient poet’s lines: kāṃtāsammitatopadeśayuje ॥ (Kavyaprakasha: 1-2)

We’ve already seen that the Ramayana is neither a Sastra nor a biography. The clear elucidation of this topic is also important. In the present context, Sastra especially means:

1. Dharma Sastra, Manusmriti, and so on. 2. Philosophy—Sankhya, Vedanta etc 3. Sciences—Astronomy, Medicine, Physics, Chemistry, Biology, etc.

When we say “biography,” it roughly corresponds to the English word, “history,” which includes episodes about a country, an individual’s life story, Government reports, newspaper reports and so on. The field of operation of Sastra and history is the intellect. The field of operation of poetry is the heart. This is the first distinction. Secondly, Sastra and history depend on external premises. The Sciences come under the scrutiny of such things as weight, size, cause-effect relationship, experimentation and result. History and biography akin to a court, require external proofs such as day, date, time, place, evidence and records. Poetry does not require any such external proofs but Inner evidence.

The Ramayana is not a biography or history but a historical poetry. When we view a real incident from an external perspective it becomes history—just History. When we regard it from the impact it has on the heart, it becomes poetry; poetry that has greater impact than merely imaginative poetry containing a fictional narrative. Because the Ramayana is a poetry has internalized history so beautifully, it has attained widespread acceptance as though it is real history. It is definitely a source material of history for us; but beyond that, it is also material for the refinement of our heart. It is the history of a country, yes; but more than that, it is also the history of the Inner Life of our people.

The student of poetry and literature finds an opportunity to observe two important tenets here:

1. Willing suspension of disbelief 2. While deriving meaning for words and sentences, the implied meaning is more important than the linguistic meaning.

Is it actually true that Ravana was endowed with ten heads? We can’t really say that we don’t believe this unless his photograph is shown. As far as the Ramayana is concerned, we must believe that Ravana indeed had ten heads. In poetry, the external fact is unimportant compared with the inner suggestion. Externality is merely a symbol. Ravana was extremely strong and supremely valourous – this is the essence the poet conveys. The ten heads is the device to suggest it. Here, ten does not mean nine plus one or eleven minus one. What needs to be grasped is this: Ravana alone was endowed with the combined strength of four or six ordinary people. In this manner, if we don’t grasp this inner essence of external incidents and features, Ravana’s ten-headed attribute, the conversation of Hanuman, his leaping over the ocean: the incongruities of such incidents will become greater and the poem will be lost to our inner experience. Those who wish to approach a Mahakavya must do so in a spirit of a baby approaching its mother. The Poetic Mother will not bless those people who do not possess such feelings of non-pretence, non-distrust, suspension of logic, and innate faith.

[[An Honest Study of Srimad Ramayana is the Key to Understand the Veda Source: prekshaa]]

Even in the matter of understanding the meaning of words, one must keep the vision of the poet in mind first and then apply the sentence accordingly. The feats of cleverness in exposition and commentary that forgets this poetic vision will contribute to the destruction of Rasa. In his enthusiasm to narrate a story, the poet will pour words and sentences in a heap. He does not have the time or tenacity to carefully weigh the usage possibilities of each word. If he takes a break, the creative passion and heat would perhaps go cold. In the work of composing poetry, the aspect of speed is not only inevitable but desirable. In the force of its flow, we don’t really need to rip apart each letter and examine it separately. This is the drawback and failing that we notice in several commentators. Excessive cleverness leads to the loss of savouring Rasa. A commentary must enhance our enjoyment of Rasa and not destroy it. The logician must not assault the poet.

Srimad Ramayana is not mere poetry—it is the First Poem. Its primacy is not just in the realm of time but has been established in the realm of quality as well. In the literary history of the world, it is truly an astonishing feat. The first ever poetry available to the world also contains the features of what defines and constitutes good poetry. In the history of the firsts in this world, we notice a certain refinement between the very first work and later works. In the early works, we observe a kind of rawness and vulgarity. In the later works, we notice gentleness, refinement and class. The skill and acumen of the author becomes better with each day. We notice this in the history of English literature. One can compare the writing style of Johnson’s period (1649-1703) with that of Somerset Maugham who passed away recently. We can also compare the folk songs written in the days prior to Robert Burns with the poems of Tennyson. In both cases, we notice a sort of refinement process known as evolution. Has this occurred in the case of Sanskrit as well? If the early works been raw and had gradually been refined with the passage of time, it would have been imbued with betterment. However, in the case of Sanskrit, did the very first (poetic) creation become its absolute best? In this case, there is a special circumstance which we must carefully observe.

The work that folk literature accomplished in other languages was accomplished by the Vedic corpus in Sanskrit. In English, people gifted with the skill of language composed songs, wove folk poetry and added idioms to it and tamed language. The litterateurs who came later took this raw material made available in this manner and continued their work of refining it. however, in the case of Sanskrit, the task of taming language had already been accomplished by our Rishis. They had also accomplished the work of refining and purifying the mind and intellect of the common people. Poetic metres such as the Vedic Anushtup, Trishtup and others were readily available to Valmiki. Dasharatha’s court comprised nobles and musicians. Indeed, we have abundant praise of professional women in the Rishyashrunga episode! Weren’t they musicians? This shows that there were lyrical compositions (set to music) in such an ancient time. All of these became raw material for Valmiki. Likewise, a highly cultured society was already prepared to welcome and adore Valmiki’s poetry. An integrative poetry is that literary work which was not written prior to the current period but whose writing was pending. Narrative ballads in the form of musicals, proverbs and idioms, wise sayings, or chunks of independent verses must have existed prior to Valmiki’s time. A complete work of poetry (like the Ramayana) did not exist in that period. Thus, the first and original credit for composing an all-encompassing and self-complete, standalone work of poetry beautiful in all aspects using the readily available linguistic material goes to Maharshi Valmiki.

Isn’t Veda Poetry?

The various characteristic features of poetry are abundantly available in the Veda. Phrases that please the mind, style of articulating descriptions, metrical felicity, and above all, the music of compassionate longing that resides in the human heart—one can say that no other poetry contains all these in the manner in which it is expressed in the Samhita portions of the Veda. Despite this, Veda cannot be called poetry. Because the human being occupies the central place in poetry. The central place in the Veda is occupied by the Devatas. That secret spirit and consciousness that governs, directs and protects the entire cosmos – whose twin strength of punishment and blessing makes human life possible or extinguishes it – the Ishwara form of that all-encompassing Spirit is the hero of the Veda. In the Veda, the human is just a subject-being who has surrendered to that Spirit. “O Indra, please give me rain and harvest; O Agni, protect my family; O Varuna, please forgive my sins; O Rudra, please don’t be angry with me, but show your anger on my enemies.” A human being is one who begs in this fashion. In the duration of begging in this fashion, he describes and paints the miracles and powers of these Devatas in different ways. Thus, in the Veda, the hopes and anxieties of the human are merely instrumental; the aim is to obtain fruits [Prasada] from the Almighty. The Devata is important in the Veda; the human is just incidental. However, in poetry, the human is important and the Devata is incidental. In this way, Veda and Poetry are complementary to each other.

itihAsa purANAbhyAM vEdaM samupabriMhayEt ।

bhibhEdyalpa shrutA dvEdO mAyayaM pratarEditi ॥

(Mahabharata: Adiparva: 1-273)

The Vedas should be analysed and understood with the help of Itihasa and Purana. It seems that the Veda gets frightened that someone who doesn’t have the poetic experience will beat it! This means the person who wishes to accurately and comprehensively understand the Veda must necessarily earn the knowledge of the world. The method and path to gain worldly experience and worldly knowledge is good poetry. To the person who understands the secrets of life in this mortal world through an honest study of Srimad Ramayana, the meaning of the Veda will be easily available to him.

[[Sri Ramachandra: Deity by Day, Guru by Noon and Parabrahma by Night Source: prekshaa]]

Two Perspectives

Two perspectives are possible with respect to Srimad Ramayana.

veda vedye pare puṃsi jāte daśarathātmaje ।
vedaḥpracetasādāsīd sākṣād rāmāyaṇātmanā ॥

1. When the omnipotent, omniscient and the Omnipresent Almighty who can be known only through Veda, took birth as a son of Dasharatha, the most precious Veda has been rendered as Ramayana by the sage Prachetasa.(Valmiki). 2. Sri Rama was born as a human and then elevated to become Mahavishnu. Accordingly, the Ramayana authored by Valmiki became akin to the Veda.

The first perspective stems from an expectation of divine blessings. The second perspective is derived from earning qualification.

Both are different perspectives but they are not opposed to each other. Milk and ghee are different but they’re not opposites. Jackfruit and honey are different but they’re not enemies. Both mix with each other.

The chief intent in the first perspective is a desire to expect Prasada, or the fruit of divine blessings. Sri Rama is the living embodiment of the Divine. He is compassionate. The fact that those who seek refuge in Him will have their wishes satisfied is self-evident. Therefore, devotion in Sri Rama is the highest instrument for attaining virtue and auspices. In this realm, there is no scope for questioning and investigation. Duty is unshakeable conviction.

In the second perspective, sturdiness of attempt is the chief intent. Sri Rama is the embodiment of the ideal of the virtue of humanity. Although he is an Avatar of the Bhagavan, it is an Avatar taken for the benefit of guiding humankind. The story of Sri Rama is a fine illustration of this – how a human can attain the Highest State by transcending all the tribulations of worldly life through self-restraint, self-introsection, self-education, self-attempt and self-valour. Sri Rama is a Dharma Guru worthy of emulation by all humans. He is the personification of the Bhagavad Gita’s immortal line, uddhared atmanatmanam.

Of the two, which is the incorrect perspective? The answer: neither. Which is the correct one? The answer: Both. Can’t the Divine be a Guru? Can’t the Guru become the Divine?

yasya deve parā bhaktir yathā deve tathā gurau ॥( Shwetashvatara Upanishad: 6-23)

According to the predilection of the Inner Life of the devotee, Sri Rama who was his Deity in the morning can become his Guru by afternoon if he is in the throes of an ethical or moral dilemma; at night when he is in deep meditation, Sri Rama can become the symbol of the Parabrahma.

ramante yogino ’nante satyananda-cid-atmani ।
iti rama-padenasau param brahmabhidhiyate ॥ (Ramapurvatapinnyupanishad)

The Yogis derive unlimited transcendental pleasures from the Absolute Truth, and therefore the Supreme Absolute Truth, the Personality of the Divine, is also known as Rama.

It is my belief that the word “Rama” was originally used to denote the Parabrahman. Perhaps that word was used as the name of human beings even before Dasharatha’s period. Jamadagni’s son Parashurama was much older than Raghurama [i.e. Sri Rama]. Perhaps there existed other people with the name, Rama, as well.

rāmaḥ krātujāteyo vaiyāghrapadyaḥ I॥ (Jaimini Upanishad)

Valmiki desired to know about the human from Narada.

maharshe thvam samarthopi gnathumevam vidham naram ॥ (Balakanda: 1-5)

And Narada spoke about the human.

tairyuktaḥ śrūyatāṃ naraḥ ॥ (Balakanda: 1-7)

Sri Ramachandra considered himself as a human being.

ātmānam mānuṣaṃ manye rāmam dasarathāthmajam ॥ (Yuddhakanda: 120-10)

Brahma and the other Deities praised this Sri Rama as Vishnu himself.

Sri Rama himself narrates how he also suffered all the emotional sufferings and tumults just as other human beings. This makes him close to us and shows to us that it is possible for us to emulate him.

Details of Time and Place

There are no concrete evidences to accurately fix the details of Valmiki Maharshi’s period, geography, and various episodes of his life. Sri Rama’s Avatara occurred in the Treta Yuga. From the Ramayana, we learn that Valmiki was a contemporary of Sri Rama.

From the period of Sri Rama’s Avatar, up to the present—that is, 1966, the Vishwavasu Samvatsara—eight lakhs ninety nine thousand and sixty six years have elapsed. This is our traditional calculation, derived as follows:

Remainder of the Treta Yuga = 30,000 years

Dwapara Yuga=8,64,000 years

Kaliyuga=5,066 years

Total= 8,99,066 years

The westerners do not accept that the Ramayana is so ancient. They simply cannot get themselves to admit that India’s civilization is far more ancient than their own. They have given an estimation saying that the period of the composition of the Ramayana and the Mahabharata is between 500 BCE and 200 CE. According to one guesswork, the Ramayana was composed first in these seven hundred years followed by the Mahabharata. The scholar Winternitz says the following:

It is probable that Ramayana had its present extent and contents as early as towards the close of the second century A.D…It is probable that the original Ramayana was composed in the third century B.C. by Valmiki on the basis of ancient ballads.

This is a half-baked approximation of hypothetical probabilities. There are no unambiguous reasons to accept this. This matter has been quoted here to show how impossible the problem is. Majority of the source evidences of the ancient history of our country have been lost, scattered and buried in the depths of the earth and sea. Of late, some efforts have been ongoing in the direction of excavating them and engaging in their research. The archeological remains at Harappa Mohenjodaro date back much before 2000 BCE. The more such excavations are undertaken, the greater the antiquity of our civilization is established. Let us wait and watch.

The Ashrama of Valmiki Maharshi was located on the banks of the Tamasa River, in the region of the Ganga. We learn of this fact from the Ramayana itself.

Because he was born in the lineage of a Rishi named Prachetas, he was also known as Praachetasa. That Rishi was one of the ten Rishis created by Brahma, the Deity of Creation.

patīn prajānāmasṛjaṃ maharṣīnādito daśa ॥

marīciṃ atri āṅgīrasau pulastyaṃ pulahaṃ kratuṃ ॥

pracetasaṃ vasisṭham ca bhṛguṃ nāradameva ca ॥ (Manusmriti: 1-35)

There is a very famous story regarding Valmiki created by the exponents of Harikatha—perhaps, largely, Kannadigas. Valmiki somehow fell into the company of bandits and attacked innocent travelers, beat them up and extorted their money. This was how he earned his food. One day when Narada was accosted by him, the latter took pity on him, showed him the error of his ways and got him to repent for his sins. When Valmiki asked him for forgiveness, Narada showed him a tree and advised him, “have faith in it and chant its name.” Accordingly, when he began to chant, “Mara, Mara, Mara,” [Mara=Tree in Kannada], the name, “Rama” occurred to his mind. Thus, as he meditated upon Rama, the latter appeared before him after which he became the poet of the Ramayana. This is the story.

In which language did Valmiki and Narada speak? If it was in Sanskrit, then the word, “Mara” is not a synonym for “tree” in that language. The meaning of the word, “Mara” in both Kannada and Tamil is “a fully grown plant.” However, this is not present in either Telugu or Hindi. So, was Valmiki Maharshi a Kannadiga or a Tamilian?

We can regard this as a mere story and take leave from it at this point.

[[Introducing the Balakanda: Valmiki’s Renowned Curse Source: prekshaa]]

The method of the Western researchers is to put in extraordinary efforts to delve into the details of the poet’s time and place. For us, the poetry and not the poet, is more important. We need the poet because of the poetry and not the poetry because of the poet.

There are at least a hundred places that desire to claim that Valmiki lived there. The people of Avani near Mulabagilu say that it is the original Avanti-Kshetra, and that Sita Devi delivered her children there and point to a pool in the hills claiming that she washed her children’s clothes there. This indicates the pride they have in their town. We feel happy for that. Instead of denying, if we smile and accept it as though it’s a fact, it does not injure our enjoyment of the Ramayana poem even one bit. Others claim that Valmiki Maharshi did not hail from Avani but belonged to a place called Vanmiyoor near Madras. Be that as it may. No matter where Valmiki lived, he undoubtedly belongs to all of us—that is, if we feel the need for his poem.

The size of Srimad Ramayana which has come down to us in the present form—was it entirely written by Valmiki himself?—every letter from start to end? Or, did Valmiki author only some portions of the work and did numerous unnamed poets who came later add to his original creation? Perhaps this was so.

1. The work was not popularized in the form of a written book but by singing it orally. After Lava and Kusha, Purana exponents like the Rishi Suta sang the Ramayana wherever he was, wherever he went. In some places, new audiences would come to listen to it. For the benefit of such people, it was necessary to summarize the previous portions of the story and revise them. Then, in order to show new flavor to these new audiences, these Purana exponents would add a couple of lines not present in the original work. As these storytellers gained practice and mastery over their art and craft, they would’ve perhaps seen newer charms and infused more creative intricacies into the work. All this is verifiable by our own experience, right? As the story is narrated, it acquires various limbs. Scholars have averred that Homer’s epic poem Iliad grew in this fashion. Likewise, over time, even Valmiki Maharshi’s work might have also expanded in size as the Purana exponents sang it. 2. In a story popular with the masses, the opportunity for expounding on the element of Bhakti greatly increases. People who genuinely regarded Sri Rama as Vishnu himself might have added a few lines in the work which strengthened this belief. In the overall reckoning, some people claim that major portions of the Balakanda and the whole of the Uttarakanda are interpolations.

If that is so, so be it. It is not easy to definitively prove as interpolations those portions in the work that are claimed to be interpolations. That is the field of doubt. We don’t need controversy. We are chiefly the connoisseurs of the Rasa emanating from pure poetry. If a verse is lovely, we do not need to ask how it appeared there. Is the sentence construction beautiful? Is the emotion appropriate? If the answer is yes to such questions, we don’t need other disputes.

Balakanda

For now, let us examine the portion of the Ramayana that is before us. Of the seventy-seven Sargas of the Balakanda, the first four were not composed by Valmiki. Some folks make a guess that one of his disciples composed and added these to the work. It appears to me that this guesswork is correct. These four Sargas are in the form of a preface and not part of the story itself. The story begins from the fifth Sarga:

*sarvā pūrvam iyam yeṣām āsīt kṛtsnā vasuṃdharā ॥ *

However, I simply cannot drop the first four Sargas. These are the themes they deal with:

Sarga (1): Conversation between Narada and Valmiki: summary of the entire story.

Sarga (2): Brahma blessing Valmiki with the theme of the Ramayana

Sarga (3): Manifestation of the theme of the poem before the poet’s eyes

Sarga (4): Method of popularising the work—singing the poem

All four are beautiful.

tapasswAdhyaya niratham tapaswI vAgvidAm varam ॥

Tapas, the study of the Vedas, the glory of knowledge, recalling the traits of great people—the poet transports us to this sacred world the moment he spots us. The poet who beseeches Narada about the extraordinary curiosity (param kautūhalaṃ hi me) he experienced invokes within us the same curiosity. In order to quickly satisfy this curiosity, he shows us a complete sketch of the entire account of Sri Rama’s life-story. In this manner, contentment accompanies this satisfaction of curiosity and our mind is prepared for concentration.

The second Sarga contains the story of how the poet’s mind was stimulated and filled with passion. Indeed, this story of the poet’s inner passion infuses astonishment in us. However, I have a slight dispute in this. The verse in which Valmiki curses the hunter is not composed in the poet’s usual style.

mā niṣāda pratiṣṭhāṃ tvamagamaḥ śāśvatīḥ samāḥ ।
yatkrauṃcamithunādekamavadhīh kāmamohitam *।। *(Balakanda: 2-15)

It is natural for compassionate people to feel pity when they look upon a scene where lovemaking is cruelly interrupted. Even as small kids are happily playing and someone comes along and beats them for no reason, it is but natural for any person to feel enraged. The situation is certainly appropriate. However, was it a crime to kill only one bird in the couple? *ekamavadhī—*wouldn’t it sadden us if both the birds were killed?

pratiṣṭhāṃ śāśvatīḥ samāḥ mā agamaḥ ॥

“May you never find shelter anywhere in in this world.”

What kind of a curse is this? Is this world everlasting for only innocent people? Is there anxiety in the words, “May you never live eternally?” If the hunter replies, “Even I don’t need eternal life, sir. Fifty more years are enough,” what would be Valmiki’s reply to it?

This is an artificial verse—composed with a view to imply two meanings. The first meaning is to curse the hunter. The second meaning is as follows: “Hey cruel Ravana! You have kidnapped one among the Sita and Rama couple who are verily the incarnations of Mahalakshmi and Vishnu. Therefore, may you quickly be subjected to death.” Commentators have argued that the poet’s intent was to indicate the theme of the story in this fashion.

[[Maharshi Vishwamitra Trains Sri Ramachandra Source: prekshaa]]

āśīrnamaskriyā vastunirdeśo vā ॥ (Dandin: Kavyadarsha)

is a famous aphorism. However, this was composed long after Maharshi Valmiki’s period. I simply cannot believe that Valmiki was completely bound by this rule. We don’t find any other example to claim that Valmiki was a poet who specialized in puns. One can shut the mouth of the opponent in an argument through clever feats of grammar. We can even astonish the opponent akin to performing acrobatics in a circus. However, we cannot instill peace and contentment within his heart. If we discount just this one sloka, the entire second Sarga of the epic has the capacity to provide evidence as to the poet’s nobility of heart.

The third Sarga informs us about the mental purity and preparation of the poet. The kind of our inner-life richness that true poetry expects, an attempt which has innate respect for opposing views, the sort of Tapas this is—we notice all of this in the third Sarga.

The fourth Sarga is extremely enchanting. This is the topic of the Sarga: the song of Kusha and Lava and the Rishis giving them gifts. We observe the shadow of Maharshi Valmiki’s sense of charm here.

In this manner, all these four Sargas, held to be the creations of Valmiki’s disciples are beautiful and appropriate in their place.

The Wonderful Circumstance of the Avatara

The story of the Balakanda contains three sections:

1. The Birth of Sri Rama and his brothers 2. Their education 3. Marriage

In the circumstance of the Avatara of Sri Rama and his brothers, there is mention of several thrilling happenings: Rishyashringa who officiates a Yajna, and the Yajna-Purusha who gives the *Payasam—*these are the main events. The birth of a great man endowed with divine qualities is not like the birth of ordinary people. Much before his actual birth, several exceptional qualities will be innate in him—it appears that this belief is common to all countries and cultures. It is visible in the myths and epics of the ancient Greeks. At the time of the birth of the great person, a voice is heard from the skies; stars and planets provide indicators; special preparations for the birth take place with a feeling of fear and devotion. The most eminent people take part in it. In this way, Rishyashrunga was one such eminence who took part in the preparations for the Avatara of Sri Rama.

The episode of the Divine Payasam is similar. The Great Man is not born of human seed. We may recall that, like Kausalya, Sumitra and Kaikeyi, even Kunti and Madri became pregnant through Divine means.

Are such miracles real? This is not a question one must ask in such cases. We are reading poetry, not court records. The intent of the poet is for us to regard the main theme of the work with an attitude of respect and seriousness. It is to create such an attitude within us that the poet builds an environment of miraculous and fantastic events.

The episode of Rishyashrunga shows an ancient belief system: prosperity resides wherever a Tapasvi or Rishi resides; a Tapasvi who essentially practices Vrata brings safety to the populace.

Another ancient belief: as early as in the Tretayuga, courtesanship was recognized as a separate profession governed by separate rules and laws. The society had accepted the necessity of the existence of this profession. People of those days didn’t have false pretences about it akin to a cat closing its eyes and drinking milk thinking nobody would see it. A lake for a town or village. A sex market for the lustful. A commercial market for the consumerist. If these are not clearly demarcated, such buyers would regard every home as a store. This is a subject that today’s ultra-civilised social reformers need to think about.

One of the summits of Valmiki Maharshi’s artistic finesse is bringing Vishwamitra to educate Sri Rama. Only great men are necessary to help other great men prepare for their great tasks. Vishwamitra is truly an extraordinary person. He was originally a Kshatriya who attained Brahmatva [the State of realizing Brahman]. He had realized both the depth and the tip of human nature. He had experienced the vagaries of happiness and sorrow, suffered and transcended them. He embarked on several adventurous feats, tasted defeat, and without losing heart, had enlightened himself through ceaseless efforts. He was valourous and gave refuge to those who sought his help. Indeed, it is only such persons as him who were capable of providing caution against the dangers faced in the path of life and to instill enthusiasm and drive out fear. Sri Rama derived five benefits from his guidance: (1) Training in weapons (2) Knowledge about the Rakshasas (3) History lessons (4) Travelling to various countries as a way of uplifting the mind (5) Ideal marriage.

Chief among the stories narrated by Vishwamitra to Sri Rama are: Vishwamitra’s own life story, the story of Sri Rama’s birth and ancestors, the story of Shanmukha, the story of Bhagiratha, and the story of Ahalya. Of these, some are related to the history of the country and others are historical episodes that had come down from a remote past. Ahalya’s episode is derived from the Vedas.

*gaurāvaskandinnahalyāyai cāra ।
kauśikabrāhmaṇā gautamabruvāṇa॥ *

Devendra [or Indra] was a resplendent personality but a lustful person. One cannot live without him. However, one must not be unguarded even while trusting him. He is always scared of people on the earth who are involved in Yajna or Tapas because they might ask for some boon which might damage his position. And so, he immediately begins piling up obstacles in their way. In the past, he had sent the celestial damsels Rambha and Menaka to ruin Vishwamitra’s penance. When the Emperor Sagara performed the Sankalpa for a Yajna and sent the Yajna-horse on a campaign of Digvijaya [conquest of victory], Indra stole the horse, hid it in the nether world and became the cause for the deaths of Sagara’s sons. All such stories must have stimulated Sri Rama’s intellect.

What Sri Ramachandra needed was not textbook lessons but knowledge of the world, practice of distinguishing the appropriate and the inappropriate, felicity of understanding the nuances of Dharma, self-confidence, and respect for his own duties in this world. Vishwamitra’s narratives and stories helped cultivate and nuture these qualities within Sri Rama. The boy Rama’s travels to various countries with Vishwamitra strengthened his body, perfected his prowess in archery, blossomed his mind, and sharpened his intellect. Likewise, Vishwamitra gained confidence in Rama’s ability and competence to discharge the weighty duties of an enlightened life.

[[The Ayodhya Kanda as a Harbinger of an Entire Tradition of Nobleness Source: prekshaa]]

Around this time, King Janaka in Mithila was making arrangements to find a suitable groom for his daughter. It was Vishwamitra’s futuristic vision that sensed the capacity for forging a long lasting and inseparable relationship between Dasharatha and Janaka. Those who recall the episodes of Rambha and Menaka in Vishwamitra’s life must also not forget the fact that it was the same Vishwamitra who mediated the marriage of Sita Devi and Sri Rama. Likewise, it was solely due to Vishwamitra’s guidance that Ahalya obtained liberation from her curse when she met Sri Rama. Shatananda, the son of this wife of Rishi Gautama, was the Purohita of Maharaja Janaka. We must not forget also, that it was Shatananda who officiated the marriage of Sita Devi and Sri Ramachandra. In this way, everything culminates in auspiciousness.

Maharshi Parashurama is akin to a revolutionary. When injustice and oppression becomes powerful in the world, a certain revolutionary fervor arises in the mind of some person. That becomes a revolution. Revolution is the response for injustice that has crossed all limits. It is the uprising of the Sattva feeling in human nature—however, this uprising is mixed with the zeal of Rajas. The rage of the revolutionary does not have any place for pity or restraint. There is also no place for patience or a measured discrimination of the wisdom of sifting the relevant from the irrelevant. Everything hinges upon obstinacy—a stubbornness devoid of reason. Indeed, there is a place in human history for even such feverish obstinacy. Because there is opportunity in human nature for committing injustice. When this injustice reaches a heightened state, a revolution rooted in justice will be the most appropriate vengeance. The kind of medicine required is directly proportional to the nature of the disease. Ginger for common cold. The first sign of a safe and healthy society is the complete absence of any cause for a revolution. The second sign is to remedy the aftereffects of a revolution as soon as possible.

The revolutionary work of Parashurama was complete. However, the intensity of the blaze of his fury had still not cooled down. Isn’t this similar to Narasimha Swami, the fire of whose rage was still burning even after he had finished his appointed work? Once the cooking is complete and the vessel is taken down from the stove, the charcoal continues to burn. The world would not experience contentment until the heat of Parashurama’s anger has not cooled down. Of the twenty-four hours in a day, the stove in our home must burn only for a maximum of a couple of hours or so. Similarly, a society might require a revolution for just a couple of days in an entire era. At all other times, what it needs is contentment and orderly peace. That can be established by Dasharatharama.

*kālāgnisadṛśaḥ krodhe kṣamayā pṛthvīsamaḥ ॥ *

It was an era that demanded a competent person endowed with an understanding of the nuances of Dharma, one who would undertake a battlefield confrontation between innately opposed qualities so that the welfare of the world could be attained. The Balakanda concludes by informing us that such a magnanimous warrior was ready in the person of Sri Rama.

The Balakanda is a narrative that tells us the process of the ripening of Sri Rama’s conduct and nature.

However, several other episodes are harmoniously woven into and make the story flow in an enchanting manner, and in the Ayodhyakanda, shows how Sri Rama got himself ready to face a sudden, dire question.

viśvāmitrāṃraṃgāya mithilānagaripateḥ ।

bhāgyānāṃ paripākāya bhavyarūpāya maṃgaḻaṃ ॥

***

Of the seven Kandas in the Ramayana, the Ayodhyakanda is the largest excluding the Yuddhakanda. One can characterize the Ayodhyakanda as the heart of Srimad Ramayana. It contains the story of the obstacle to Sri Rama’s coronation as King up to the beginning of his exile in the forest. This portion of the story comprises several heart-wrenching episodes. These episodes bring before our eyes the various tribulations related to Dharma faced by Sri Rama, Sita Devi, Bharata, Lakshmana, Dasharatha, Kausalya, and Sumitra. Even while reading the work and becoming involved in the respective circumstances and characters, the proverbial ordinary reader will be unable to stop his heart from overflowing with emotion and shedding tears.

A caution is essential to bear in mind for those who embark on reading Maharshi Valmiki’s poetry. Valmiki does not merely narrate a story but a poem. Poetry contains a far subtle element apart from the incidents narrated in the story. Overall, it can be couched in the term, Rasa. To elucidate this further, it can be called Bhava (feeling, emotion) or Bhava-Dhwani (suggestion of feeling). This is known as “reading between the lines” in English. A special emotional, suggestive strength lies hidden between one written or printed sentence and the next, which is deeper than the direct meaning it conveys. When we carefully grasp this subtlety and internalize it, our learning of poetry attains fulfilment.

Maharshi Valmiki’s writing appears simple on the surface. His words are derived from common usage and his sentence construction is simple. Its flow is beautiful. In this manner, his poetry has a lilting quality to it. Thus, there is the danger of us being content only with the easy bits and forgetting its true depth. We need to be careful about this attitude. It is not advisable to regard Valmiki Maharshi’s poetry akin to reading a cheap short story or novel. The beauty of Valmiki’s prose also ensconces the depth of meaning.

In the episode of denying the coronation of Sri Rama in the Ayodhyakanda (Sarga 8,9), the conversation between Manthara and Kaikeyi is noteworthy. Here, Valmiki makes us laugh uproariously. Kaikeyi did not initially like Manthara. Then, Manthara provokes Kaikeyi’s selfishness. It is at this point that torrents of praise flood forth from Kaikeyi’s mouth regarding Manthara. This is followed by heartless and heart-tugging events: the conversation between Dasharatha and Sri Rama, the sorrow of Kausalya and Sumitra, Lakshmana’s fury, Sri Rama’s equanimity, and Sita Devi’s unswerving, courageous fidelity to her husband…in short, an entire tradition of nobleness.

[[Sri Rama’s Renunciation and the Dharma of Giving a Promise Source: prekshaa]]

The story of the Ayodhyakanda begins during the time after Sri Ramachandra returns to Ayodhya with Sita Devi from Mithila and the couple spend several days in happiness.

jīvatsutātapādeṣu nūtane dārasaṃgrahe ।
mātṛbhiścintyamānānāṃ te hi no divasā gatāḥ ॥ (Uttararamacaritam: 1-19)

As father, Dasharatha has taken up all the responsibilities of the kingdom and his own family, and has provided all comforts so that his children could life without any worries. The wives of Sri Rama and his brothers have newly entered the home; all the couples are in the full bloom of youth; they are in the throes of budding romance; the three mothers—Kausalya, Sumitra and Kaikeyi take enormous joy watching the playful antics of these newly-wedded couples. They are constantly thinking about ways and methods to further heighten the joy of these couples—newer varieties of delicacies, garments, ornaments and sports. This is the picture of the life led by Sita and Rama when they newly came to Ayodhya. The very thought of Dasharatha who hit upon a way to increase their happiness by a greater measure is precisely what destroyed their existing joy itself. The thought of coronating Sri Rama swallowed the familial happiness that had been established by then. Indeed, this kind of poisonous concoction is certainly not rare in the history of manmade, grand plans.

In this manner, the Ayodhyakanda contains several heart-touching episodes. The obstacle in the way of the coronation, the conversation chain between Manthara and Kaikeyi, the conversations between Dasharatha, Kausalya and others and Rama, Lakshmana and others, the arrangements made for the forest exile, the parting, the anger and sadness of the citizens…and later, descriptions of the river and mountain, portraits of the Rishi Ashrams, the Ashrama at Chitrakoota—thus it unfolds, all these heart-wrenching scenes in the story. The Ayodhyakanda is the portion of the story from the departure of the city of Ayodhya up to entering the Dandaka forest.

A good work of poetry contains several beautiful aspects within it. The architecture of the plot, description of the conversation, beauty of vocabulary, the beat of the verses—all of these are definitely interesting. Rasa awakens in the mind of the reader on account of the experience of all these interesting elements. All these are desirable fruits that one obtains in such poetry. That is truly a great insight (Darshana). The greatest benefit accruing to us from a Mahakavya is the vision of this insight.

The work of a Mahakavya is to make us experience the loftiness hidden inside humanity. By bringing characters endowed with different temperaments before our eyes, it unfolds different types of greatness. We witness in our daily lives in this world how ordinary people behave in ordinary circumstances. However, it is only in the Ramayana and Mahabharata that we discern how a great person conducts himself under extraordinary circumstances. A great poet’s work is the portrayal of such a great person. His creation chiefly is not linguistic feats or sojourns in fleeting emotions or using brilliant figures of speech. It is verily a creation of a truly great personality. Creating a special circumstance that tests human nature and placing this great personality inside it, and showing how his or her conduct divulges itself in it…what is his/her response to questions raised by the circumstance…this is what the great poet shows. It is this expression of human nature that the reader should always bear in mind. The reply that a person gives to the questions posed by a particular circumstance is what reveals his conduct and actions. This is known as character study in English. Be it the Ramayana, Mahabharata, Shakespeare’s plays, the novels of Dickens, George Eliot and others, what stands out is the unfurling of characters therein—and the markers of their nature.

In this way, a Mahakavya becomes an instrument and a vehicle for investigating and revealing human nature.

Sri Ramachandra has made up his mind to renounce the kingdom. Dasharatha, Kausalya and others are getting ready for this parting with a heavy heart. Everyone knows that Sri Rama will never waver from his vow. In the end, Dasharatha puts forward a small request: “My son, you’re steadfast in your vow. It is impossible for anybody to make you come back. Which is good. I will not stop you. But here’s the thing: postpone your journey for just this one night. If you stay here tonight, I and your mother will at least have the joy of spending some more time with you. Please agree to this at least.”

This is the request of Maharaja Dasharatha. What was the reply given by Sri Rama?

prāpsyāmi yānadya guṇān

ko me śvastān pradāsyati ।

apakramaṇamevātaḥ

sarvakāmairahaṃ vṛṇe ॥ (Ayodhyakanda 34:40)

Father, the qualities that I possess today—adherence to truth, reverence to the progenitors, readiness for renunciation—who will infuse these qualities within me tomorrow? My mind and intellect might change tomorrow morning. Tonight, somebody might visit me and give a discourse which might make me change my mind. Dharma is always faced with such dangers. Human nature is constantly susceptible to change and fickleness. The safest path is this: the moment the mind realizes Dharma, it must be implemented there and then. Therefore, I must depart right now. I like to follow in this path.

This is the expression of Sri Rama’s inner life.

It is true that Dasharatha had given his word to Kaikeyi. However, how just was this promise? When he was giving his word, what was his state of mind? Was it equanimous and content? Was it deserved? Wasn’t it agitated with fear and passion? Was the promise really wise? Or was it given in haste? There is no value for a promise that is not rational and wise. Secondly, should we regard it only literally or in its essence? What was the innate desire in Dasharatha’s mind when he gave the promise? Was it to deprive his eldest son of the kingdom? Thirdly, was Kaikeyi’s request consonant with the Dharma of her station and country? Was it Dharma to grant her whatever she desired? If she had asked, “renounce Kausalya,” would it have been granted?

All such logical questions become relevant in this context. However, Sri Rama needed none of them. Sri Rama had no need to question the justifiability or otherwise of Dasharatha’s promise to Kaikeyi. Had he possessed even an iota of the desire to get the kingdom, he would have begun searching for reasons for a dispute. He had absolutely no such desire to begin with. Within himself, it was as though Sri Rama had decided that exile in the forest rather than ruling the kingdom was far more preferable. The manner in which Sri Rama had already prepared for the exile and conducted himself with great enthusiasm gives us this impression. Preparation for sacrifice was his response to that dire question that faced him in that circumstance.

[[The Five Warriors of Renunciation in Srimad Ramayana Source: prekshaa]]

Let’s consider another example. Sri Rama is in the forest. Dasharatha who is stricken with sorrow at the separation from his son, is lamenting with his queens:

manye khalu mayā pūrvaṃ
vivatsā bahavaḥ kṛtāḥ ।
prāṇino hiṃsitā vāpi
tasmād idam upasthitam ॥ (Ayodhyakanda: 39:4)

“This is how I feel. Sometime in the past, I must have caused the separation of numerous children from their parents; or I must have indulged in the torture of animals. As the fruit of those sins, the present suffering has come upon me.”

yad ācarati kalyāṇi
śubhaṃ vā yadivāśubham ।
tad eva labhate bhadre
kartā karmajam ātmanaḥ ॥ (Ayodhyakanda 63:6)

“O Kausalya, whatever a person performs—be it auspicious deeds or sins, he gets back the same in return.”

As an illustration to this principle, Dasharatha recalls a past incident from his life. Sometime in his remote past, when he had set out on a hunting expedition, night fell. In the darkness, he heard some sound. He fell into a delusion and thought that it was the sound of an elephant playing in water and shot an arrow in that direction. However, the arrow struck the son of a Rishi. Thus, Dasharatha discharged an arrow under an illusion based on sound thinking that it was some animal. The Rishi’s son died due to this wound. Something was thought but something else occurred.

Dasharatha was a hasty man, endowed with a rash nature – this is what we learn from this incident. The boon that he gave to Kaikeyi was also done in rashness. Didn’t he say, without any thought, that he would give whatever she asked? Did he put forth any conditions when he gave his word: is the object really mine? If it is indeed mine, then I’m free to that extent but you cannot ask things that don’t fully belong to me. No. He didn’t impose any such conditions. He never had such foresight. Later, when Kaikeyi actually asked for the boon, did he keep the window of opportunity open to deliberate whether what she asked for was just or unjust? Indeed, he did not think of any such situation. The bewitching damsel asked him something; the naïve man said, “whatever it is, it is all yours.” Dasharatha was in a hurry to impress his young wife during wartime; he was equally in a hurry to fill his basket while he was hunting. What is the use of possessing a thousand other virtues? In this great king who flourished due to his courage and magnanimity, the mentality of rashness culminated into a fatal weakness. The actions taken without thinking about consequences became disastrous.

The other ideal personality in Maharshi Valmiki’s world is Bharata. It is not easy to decide whether Bharata’s sacrifice was greater or that of Rama’s. In the world that Valmiki has painted, Sri Rama, Sita Devi, Lakshmana, Bharata and Anjaneya—these five are the warriors of renunciation. Who is the greatest among them? When we stand amidst a dense forest and look upwards, we feel as if the tips of the massive trees are touching the sky. Which among them is the tallest? All of them are definitely taller than us. To a certain extent – till the height that we can reach with our hands – we can measure the height of another object. If a tree or hill or mountain has grown beyond that height, it is not possible for our mere eyes to measure that excess height. Likewise, the majesty of character of great people does not lend itself to the confines of our yardstick. Our place in life is to stand afar and bow down our heads before all these Murtis.

According to an ancient dynastic tradition, the kingdom of Kosala had to automatically pass on to Sri Rama. Had Dasharatha not interfered in this matter, had Manthara not provoked Kaikeyi, had there not been the premise of Dasharatha’s hasty promise, the kingdom of Kosala would have belonged to Rama without anybody’s attempts and without any arguments. In this manner, Rama on his own volition, renounced the kingdom which rightfully belonged to him by the authority of national tradition by bowing down to the principle of upholding the truth.

As for Bharata, the kingdom was offered twice. The first time due to the words of his parents; next, on account of Rama’s own words. In this manner, Bharata gave up that which was offered to him on two occasions. Not just that. When Rama refused the kingdom and insisted that Bharata rule it, did the latter ascend the throne? No. He regarded Rama’s footwear as the icon of Sri Rama’s kingship, respected and worshipped it as if it was the manifest form of Sri Rama himself, and akin to a worker who submits his administration to another Master, submitted the kingly works to Rama’s footwear and ruled the kingdom. This is a phenomenal episode of fidelity to duty.

yadā hi yatkaryamupaiti kiñcit
upāyanaṃ copahrutam mahārhaṃ ।
sa pādukābhyāṃ prathamaṃ nivedya
cakāra paścādbharato yathāvat ॥

Bharata forsook the opulent luxuries of ruling the kingdom and opted to shoulder the burden of its duties. He is a Tapasvi; a duty-minded Tapasvi. Bharata was that great soul who had harmonized both worldliness and the renunciation of worldly life.

Bharata truly followed these words of the Ishavasya Upanishad:

tena tyaktena bhuñjīthā… ।
kurvanneveha karmāṇi ।
jjīviṣet śataṃ samāḥ ॥

The greatness of Bharata lies in how he showed in practice, the equanimous blend of renunciation and worldly life.

Bharata placed Sri Rama’s footwear on his head, proclaimed its glory and prestige throughout the kingdom and till Sri Rama returned, became a Yati (monk), became emaciated, became a devotee, and became humble. The descriptions of various episodes involving this Bharata wedded to truth and Dharma will shake and melt any person’s heart and distill one’s life itself.

Those who read the Ayodhyakanda especially the 99 – 114 Sargas even once will find themselves reading them repeatedly – this is my conviction. The scenes and conversations are truly beautiful.

The Ayodhyakanda which culminates in a portrait of Sita-Rama’s romantic life is truly auspicious. As Anasuya tells Sita: “Devi, the night is lovely. This is the time when the animals and birds will be asleep. The moonlight is joyous. Bedeck yourself with auspicious decorations and prepare your mind to be with Sri Rama.”

Later, upon seeing Sita once more, she says:

alaṃkuru ca tāvatvaṃ
pratyakṣaṃ mama maithili ।
prītiṃ janaya me vatse
divyālaṃkāra śobhitā ॥

[[Aranyakanda: The Hub of the Wheel of Srimad Ramayana Source: prekshaa]]

maharṣiśuśrūśāsaktam tadvairidhvaṃsanodyatam ।
jānakīvihārtam śrīrāmaṃ naumi salakṣmaṇaṃ ॥

Always intent on serving the Maharshis, the destroyer of wicked enemies
One who sports with Janaki, I bow down to that Sri Rama who is always accompanied by Lakshmana.

The Ayodhyakanda is often described as the heart of Srimad Ramayana. To extend the same metaphor, it is even more appropriate to term the Aryanakanda as the inner life of the heart of the Ramayana poem. The circumference of the wheel of this heart is the story of the Ayodhyakanda. The hub of this wheel is the story of the Aranyakanda.

Both these Kandas are truly heart-wrenching. In the Ayodhyakanda, if Sri Ramachandra becomes the cause for melting our hearts, in the Aranyakanda, the episodes that occur with both Rama and Sita pierces our heart. Some people might feel that the difficulty faced by Sita is more painful. However, I am not one of them.

In both Kandas, both Rama and Sita’s virtue and goodness is tested. The aspect that stands out in the Ayodhyakanda is Sri Rama’s fidelity to truth and his preparation for sacrifice. Unwilling to accept the kingdom that came to him rightfully, he departs for the forest owing to his conviction in truth. This renunciation is really magnanimous. In the Aranyakanda, the element that stands out is Sita’s discharge of vows and her ability to withstand hardship. The tribulation she faced was far crueler than that of Sri Rama.

The Ramayana story cannot begin without the mention of the Ayodhyakanda. If there was no Aranyakanda, the story would have been crippled right there. Sri Rama who set out for the forest-exile, could have easily embarked on a happy sojourn and visited various rivers, mountains, and jungles for fourteen long years and happily returned to Ayodhya. In that case, that would become a travelogue. The world could have regarded Sri Rama, Sita and Lakshmana as great travelers. There would have been no reason to count them among the greatest warriors of the world. The main story of Srimad Ramayana is the destruction of Ravana or the punishment of the enemy of Dharma. The reason for this destruction lay in Ravana’s abduction of Sita. Therefore, the seed of this story is contained in the Aranyakanda.

In this manner, when we ponder upon the episodes and the tenet, it appears justified that the real name for the poem should have been Sitayana. If Janaki Devi had not faced this calamity or if she was not endowed with such unswerving chastity, the story of Rama would’ve trodden a different path. It was Sita Devi who provided the material for the story’s phenomenal renown in the world.

Because we have analysed it in this form, there is nary an injury to Sri Rama’s greatness. The fact he is endowed with extraordinary courage is clearly evident right in the beginning of the story. If he was not so, if he had behaved in a different manner after being separated from Sita, the chain of the story would not have been the story of Rama. It is well-known that Sri Rama’s fidelity to his wife has been worshipped throughout the world. However, the story of Srimad Ramayana would not have attained fulness only on that account. In this manner, the opportunity for Sri Rama’s grand victory was provided by Sita Devi’s penance. In this saintly couple, I feel that her importance is greater.

The main qualities of Sri Rama are: his conviction in truth and detachment towards sensual enjoyments. Sita Devi’s are: fidelity to vows and self-restraint.

The substance of Sita Devi’s Inner Life becomes clear at the beginning of the Aranyakanda. After Sri Rama visits numerous ashrams of Rishis in the Dandakaranya and visits Sharabhanga Muni’s ashram, the other sages present there confide their problems in him and request him to save them from the incessant troubles of the Rakshasas (Sarga 6). Sri Rama’s nature is revealed in the humility of his speech after he consoles them and promises to protect them.

naivamarhatha māṃ vaktuṃ āgnapto’haṃ tapasvinām ।

kevalenātmakāryeṇapraveṣṭavyaṃ mayā vanaṃ ॥ (Sarga 6: Sloka 22)

The words uttered by you to me are not requests but commands. I have come to the forest owing to a personal duty. Punishment of the wicked is also a duty for us.

After Sri Ramachandra took this vow, it became imperative for him to equip himself with weapons. Accordingly, he departed from Sharabhanga’s ashram and proceeded towards the ashram of Rishi Sutikshna. There, as he was getting for the onward journey, when Sri Rama picked up the bow and arrows Sita became a little suspicious. It is impossible for a person who holds weaponry in his hands to not use it. The wealth of arsenal is a motivation for cruelty; cruelty is a sin; thus, Rishis and sages must give up weapons, which are a cause for cruel actions – Sita gives this discourse to Sri Rama and gives an example of a Puranic story (Sarga 9). Among sins, three are most important: (1) Untruth (2) Coveting another person’s wife (3) Unprovoked enmity. Among these, Sri Rama gives no chance for the first two. Her doubt is whether he will incur the third sin. She says:

agnisaṃyogavaddetuḥ śastrasaṃyoga ucyate ।
snehāśca bahumānāśca smāraye tvāṃ na śikṣaye ॥ (Sarga 9: Slokas 23, 24)

I not preaching to you. I am merely reminding you of what you already know. Friendship with weapons is akin to friendship with fire.

*strīcāpalādeśadudāhrutam me dharmaṃ ca vaktuṃ tava kassamarthaḥ ।
vicāryabuddhyātusahānujena yadrocate tat kuru mayā cireṇa ॥ *(Sarga 9: Slokas 33)

This is the dignity of Sita’s speech. These lines reveal exactly how delicate and pure her mind was. Purity, simplicity, delicateness along with loyalty, fear of sin and magnanimous outlook – these are the true traits of Sita. We must keep these qualities in mind while examining the story further.

A sentence that Sri Ramachandra utters as he gets ready to depart from Suktikshna’s ashram towards Agastya’s ashram must be remembered by all of us now, in 1968 CE:

amārgeṇāgatām lakṣmīṃ prāpyevānvayavarjitaḥ । (Sarga 4: Sloka 8)

Just like how the world finds it difficult to tolerate the arrogant egotism of a rogue who acquires wealth through illegitimate means, the heat of the Sun in the afternoon is unbearable.

Let the bribe-takers and the black marketeers tap their own shoulders in their own praise!

Later, when Sri Ramachandra goes to the ashram of Agastya, the conversations that ensue there are really splendid.

[[Shurpanakha and Maricha: The Germination of Ravana’s Enmity Source: prekshaa]]

According to Agastya’s instructions, when Sri Rama goes and resides in Panchavati, the major events in the story occur there. Shurpanakha sees Sri Rama, becomes infatuated with him, approaches him and pleads with him, “become my husband.” As Rama rejects her proposal, he makes fun of her.

anujaḥ tu eṣa me bhrātā śīlavān priya darśanaḥ ।
śrīmān akṛta dāraḥ ca lakṣmaṇo nāma vīryavān ॥ (Aranyakanda: Sarga 18:3)

He is my younger brother named Lakshmana, he is with a good conduct, good looking, a promising and valiant one, and he is without a wife.

Here, some commentators have taken enormous trouble to use all sorts of ingenuity to explain the meaning of the word, “akṛta dāraḥ.” The straightforward meaning of the word is “one who is unmarried.” But Lakshmana was already married, right? This is the problem of such commentators. It never occurred to these folks that Sri Rama was indeed mocking and making fun of Shurpanakha. Either that or their intent seems to be that Sri Rama must not be endowed with a sense of humour. Or it could be that Sri Rama must not utter an untruth even in jest. In a different situation – during the Vali episode –

vivāhakāle ratisaṃprayoge prāṇātyaye sarvvadhanāpahāre ।
viprasya cārthe hyanṛtaṃ vadeta pañcānṛtānyāhurapātakāni ॥

If a man speaks an untruth at the time of marriage, during alliance, when his life is in danger, or loss of his whole property (is threatened), and also for the sake of a Brahmana, it has been declared that these untruths are not mortal sins.

These aforementioned commentators who justify all sorts of untruths using this ancient dictum somehow find this sixth untruth uttered in jest intolerable. It is really hilarious. There are numerous untruths which are not sinful. Not just that; they are instruments to attain Dharma as well. Sri Krishna has shown to Arjuna many examples of this. Any word that helps the welfare of all beings is the truth. Those words which cause injustice to others, which injure others, are untruths. When one bears this fundamental tenet in mind, there is absolutely no fault in the aforementioned joke of Sri Rama.

As for Valmiki Maharshi, it is clear that he has a great sense of humour as evidenced by scores of instances in Srimad Ramayana. Is Swarga denied to those who laugh?

svargāyatiṃ na parihāsakathā ruṇaddhi ॥

Neither is this restricted only to this circumstance. In numerous poetic episodes, our commentators and critics being incapable of experiencing humour, have written arid commentaries.

Those who laugh at the fate undergone by Shurpanakha at the hands of Sri Rama can easily make a guess as to what her fate would have been had she made the same love proposal to Sri Krishna. A lady named Kubja was really ugly. Although Shurpanakha was ugly in her real form, she had the power to transform herself into any beautiful form according to her will. Kubja too approached Sri Krishna with a similar love proposal. Sri Krishna in turn bestowed her with beauty and fulfilled her desire.

eṣyāmi te gṛhaṁ su-bhru puṁsām ādhi-vikarśanam।

sādhitārtho ’gṛhāṇāṁ naḥ pānthānāṁ tvaṁ parāyaṇam ॥ (Srimad Bhagavatam: 10^(th) Skanda: 12)

O lady with beautiful eyebrows, as soon as I fulfill My purpose I will certainly visit your house, where men can relieve their anxiety. Indeed, you are the best refuge for us homeless travelers.

The outcome of the Shurpanakha episode was the germination of Ravana’s enmity.

In the following story involving the incident with Mārīca, Valmiki’s creative talent touches the sky. The architecture of the Mārīca episode is extremely interesting. The device of bringing a person like Mārīca into Ravana’s evil scheme in itself is a feat of great imagination. This is really not inevitable to the main thread of the story. Any pretext could have been created to isolate Sita in the story—say, taking a bath, cooking, or Puja. However, the introduction of Mārīca feeds and heightens the interestingness.

Mārīca is a Rakshasa by birth. However, by his innate nature, he is not out-and-out evil. He is akin to Vibhishana. Both of them counselled Ravana that his design was opposed to Dharma. This is how Mārīca’s counsel runs:

tvat vidhaḥ kāma vṛtto hi duḥśīlaḥ pāpa maṃtritaḥ ।
ātmānam sva janam rāṣṭram sa rājā hanti durmatiḥ ॥ (Aranyakanda: Sarga 37: 7)

Any king of your like who is endowed with a self-will, ill-will, ensorcelled by evil, and malicious in intent, that king alone ruins his own country, his own people, even himself, as a matter of actual fact.

However, Marciha’s conviction in Dharma was not as sturdy as that of Vibhishana. In the past, the selfsame Mārīca had had a taste of Sri Rama’s arrows at the ashram of Vishwamitra. Perhaps the fear of Sri Rama was still deeply embedded in his mind. Along with it, he was imbued with jealousy and vengeance as well. Therefore, he submitted to Ravana’s insistence and obligation. The description of how he becomes the illusory golden deer that saunters around and enchants both Sita and Rama counts as one of the incredibly beautiful episodes in Srimad Ramayana.

ropyaiḥ bindu śataiḥ citro bhūtvā ca priya darśanaḥ ।
viṭapīnām kisalayān bhakśayan vicacāra ha ॥

punar gatvā nivṛttaḥ ca vicacāra mṛgottamaḥ ।
gatvā muhūrtam tvarayā punaḥ prati nivartate ॥

vikrīḍan ca punar bhūmau punar eva niṣīdati ।
āśrama dvāram āgamya mṛga yūthāni gacchati ॥ (Ayodhyakanda: Sarga 42: 22, 25, 26)

And with hundreds of silvery stipples of body he became an astonishing deer with pleasant looks and indeed moved chewing new grass-blades of trees ॥

That excellent deer beats a retreat and again returns, and meanders thus time and again, and turns its tail for some time only to return once again very playfully ॥

Again gambolling everywhere it sits somewhere on the ground, then, on coming to the threshold of hermitage it goes towards herds of deer ॥

“Mārīca’s disguise,” “Ravana’s sanyasa” – these are every day idioms that still are a part of the common person’s vocabulary. Akin to the “Shakuni Mama” of the Mahabharata and Mir Sadiq of Mysore’s history. Wherever we discern guile, fraud, cheating, and skullduggery, we recall Mārīca.

There is an interesting aspect to his name. The word “Marīca” means sunray. When the sunray touches the sandy expanse of a desert, it appears as a lake or river to people who see it from afar. This is known as the mirage or Marīcaka. It is plainly an illusion or hallucination. Therefore, the meaning of the word “Mārīca” is, that which generates an illusion or is an apparition. Perhaps Valmiki Maharshi kept this meaning of Mārīcikā in his mind while creating this character.

[[Invoking Sita Devi’s Name is Catharsis of the Heart Source: prekshaa]]

In the realm of Advaita Vedanta, the term Maya has a popular analogy with Mārīcikā.

mṛgatṛṣṇāmbhasi snātaḥ khapuṣpakṛtaśekharaḥ ।
eṣa vaṃdhyāsuto yāti śaśaśṛṅgadhanurdharaḥ ॥

This son of a barren woman had bath in the water of the illusion of the desert, decorated himself with the flowers of the sky and is coming towards us holding the bows and arrows of the horn of a rabbit.

In this depiction, all elements are imaginary; nothing is real. They are not realities but mere appearances. Likewise, the import here is that even the world is just a mere appearance or a tradition of illusion.

During the same time as the killing of Marīca, in another region, that is in the very ashram of Sri Rama, Sita was abducted by Ravana. In this instance, the reader must read the argument between Sita and Ravana (Sargas: 47, 48).

Upon returning to his ashram, when Sri Rama doesn’t find Sita Devi there, he becomes upset. Then, the manner in which he blames Lakshmana should always be borne in our mind. On that occasion, the kind of bind of Dharma that Lakshmana was caught in reminds people of similar dichotomies that occurred in their own lives. For Lakshmana, on one side, there was the anger of his sister-in-law and on the other, the fury of his brother. Whose words should he have obeyed? Both their arguments were justified from their own individual perspectives. However, in their anxiety, it occurred to neither of them that even Lakshmana might have had his own perspective. The servant of Dharma, in this manner, will on many occasions, be subjected to the red eye of both parties. The person who is endowed with an unswerving vision on Dharma alone will need to set aside the words of both parties and tread on the path that he feels is the righteous one. The noblest trait of Lakshmana was that he bowed down to both these worship-worthy souls and confronted them and conducted himself according to the voice of his conscience. His independence, and his conviction in Dharma must always be remembered by people who are rooted in Dharma.

The story following this is the search for Sita. In this episode, the natural beauty that Rama and Lakshmana savoured during their journey is described by Maharshi Valmiki in truly enchanting verses. The Aranyakanda closes with Rama and Lakshmana reaching the Pampa Lake in the Karnataka country.

****

Overall, Karuna (compassion) is the dominant Rasa of the Aranyakanda. It doesn’t mean other Rasas don’t exist; they do. There is a smattering of Vira (heroic), Adbhuta (wonder) and Shrungara (love).

Equally, it doesn’t mean that there is no Karuna Rasa in other Kandas. In both the Ayodhya and Uttarakandas, Karuna Rasa flows like successive rivulets. However, in the rivulet of Aranyakanda, Karuna has become a flood.

What does compassion mean? It is the quality that makes us say, “Oh no! Poor thing!” when we witness the difficulty of another person. It is also known as sympathy.

Two inner impulses operate jointly in providing impetus to compassion. These are the true impulses innate within every human being. One is self-experience; the second relates to justice.

If in some situation we experience either joy or sorrow, we automatically regard another, similar situation as causing either joy or sorrow. This conduct emanating from self-experience is the foundation for all human bonds. That which hurts our body also hurts others’ body as well. That which is sweet to our tongue is similarly sweet to that of others. We caress our own back and then rub the back of others. We pinch ourselves first and then go pinch others. This behaviour drawn from self-experience is the first part of acquiring worldly knowledge. Its shadow known as our voluntary acceptance of the self-experience of others is the second part. When others are undergoing suffering, we join in their suffering. We make the sorrows of other people our own. We become participants in the joy and sorrow of others. This is sympathy. It is compassion, pity, and mercy, the realization of the experience of others through self-experience.

After realizing the feelings of others, we become partners in their experience. This is the root of the behaviour that exhibits soul-similitude. And soul-similitude is the inner secret of working for the world’s welfare.

Ātmaupamyena sarvatra samam pasyati yo’rjuna ।
sukham va yadi va duhkham sa yogī paramo mataḥ। । (Bhagavad Gita: 6:32)

Compassion and sympathy are the works of the heart. What should be joined to them is the work of the intellect that distinguishes between the right and the wrong, the relevant and the irrelevant. Under what circumstance is compassion applicable, and to what extent? This is a matter of fairness. Compassion should be just. Justice derives from the distinction between the deserving and the undeserving. Hunger is difficult to bear for all of us. However, between the hunger of a three year-old child and a strong youth of thirty, whose difficulty is greater? The greater compassion flows to the person whose capacity to endure difficulty is lesser. A journey in the jungle is certainly strenuous for all of us. However, the strain is more pronounced for a person who is used to the luxury of the palace. In this manner, we distribute compassion according to the strengths and weaknesses, and needs of the person in question.

In the case of Sita Devi, there are numerous reasons that evoke our compassion. A woman and helplessness – these are universal reasons for said compassion. Let’s set them aside and look at other reasons. (1) She is the daughter of a Maharaja and the daughter-in-law of a Maharaja. She’s unaccustomed to difficulties. Can such a fate befall her? (2) She is a Tapasvini. She is steadfast in the vows of Truth, self-restraint and non-violence. Such trouble for such a person? (3) That too, at the hands of a totally evil man? (4) And what is the nature of her hardship? A mortal threat to her lifelong vow of purity of the senses? When we consider these aspects, our mind naturally melts and we join in Sri Ramachandra’s piteous cries.

There is a tiny seed that anticipates justice in all episodes that evoke our compassion. Sri Rama was endowed with such an expectation of justice. By nature, he was a jovial person. His mental outlook was one which was immersed in the gentle beauty present in nature. Maharshi Valmiki has used charming colours to paint a picture of the mind of such a person.

krameṇa gatvā pravilokayan vanam
dadarśa paṃpām śubha darśa kānanām ।
aneka nānāvidhapakṣijālakām ॥

It is already said that in compassion, there is an innate feeling of oneness in the hardships of others and in giving justice to the aggrieved person. It is for this reason that compassion transforms to sorrow. “Oh no! What a fate Sita Mata has to undergo! What a great travesty! How cruel!” – we bewail on these lines. There is an exalted feeling of humanity in this sorrow. That is why it becomes endearing to us and becomes Rasa. We repeatedly turn to such episodes out of curiosity. In this manner, the tragedy Rasa of poetry becomes a distillation of our own lives. Recognising this, the philosopher Aristotle has said that tragedy is catharsis. The more we sympathise with Sita by constantly invoking her name, the greater is the refinement of our heart.

Concluded