Sunday, August 30, 2009
A few General observations on Vaalmeeki Ramayanam
Like all traditionally brought up Hindus, I am also a staunch devotee of Lord Sree Rama. Initiated at the age of seven or eight by my father, to read the great epic Vaalmeeki Ramayanam with an elaborate commentary in Malayalam and having listened to scores of discourses by eminent exponents, I have contemplated on the composition of 24000 nectar-like verses frequently and for long.To me, Ramayana appears to have much more than the purely religious significance. I recall an incident which occurred over three decades ago and which influenced my thought- process.
During my stay at Sri Mayavaram Lodge in Tiruchirapalli, in Tamil nadu, in December 1976, I witnessed the Tiruppalli Ezhucchi ritual at Sreerangam temple. While narrating the blissful eperience to Sre Balakrishna Jyosier(known to local people as Panicker), an eminent astrologer, Sanskrit scholar and Sree Vidya Upaasaka, who was a permanent resident at the Lodge, I mentioned to him that I felt guilty at having eaten the temple prasaadam comprising Rrice pongal, curry and kasthuri gulikai offered at the entrance, before paying my obeisance to the deity. This was contrary to our native custom. Jyosier pacified me quoting a proverb “ ännam krithva Harim Bhajeth”. When I told him that probably the words were meant to convey that one should pay obeisance to the Goddess (Am) first and then see the Lord , he said “that is the mistake we commit. We always presume that there is an inner meaning for everything and, in our efforts to ascribe such inner meanings, miss the simple statements and guidance offered to mankind through our epics and scriptures. Why should not a Kavi or pouraanika make a simple and straight statement and why should we always relate everything to high philosophy like Jeevaathma, Paramaathma or Prakrithi-Purusha relationship? Principles of healthy living have been beautifully ingrained in the stories through portrayal of characters. Let us accept them as they are, at their face value (unless such a construction leads to patently absurd conclusion) and let our lives be fashioned on the basis of principles advocated by or through them. The world will be worth living in.”.
Ramayana has been perceived differently by different persons including great saints. For instance, Adhyatma Ramayana views Rama’s avathaaram from a highly metaphysical angle, while some other versions lay great emphasis on the Bhakthi aspect. Sage Vaalmeeki also considers Rama as an Avathaara of Vishnu.
Looking at Vaalmeeki’s Aadikaavyam, purely as a literary masterpiece, shorn of its divinity aspect, I am awe-struck as to how a single person could have achieved so much with such perfection. Kaalidaasa, who is considered as number one and unrivalled as a poet, refers to Vaalmeeki as “Kavi” in verse 70 of canto 14 of Raghuvamsam (Kavih Kusedhmaaharanaaya yaathah). May be, in his opinion, the only individual who deserved the epithet was Vaalmeeki.
Take the selection of the theme. The poet wanted to know whether the perfect man combining in him the noblest qualities of valour, virtue, intelligence and the highest standards in very aspect of human existence, was living right at that time and set about writing a biography of that person. He did not want a mythical person or a mystic. No doubt, at certain places, he has referred to or indicated Rama’s divinity, like when he mentions very briefly how celestial beings sought the help of Lord Vishnu to destroy Ravana and counseled him to take avatar as Rama and he obliged and the Devas themselves descended on the earth as Monkeys, to be of help, or Rama’s confrontation with Parasurama. But the emphasis is on Rama, the man. Vaalmeeki sought information about such a person from NARADA MAHARSHI, who is ordained to travel endlessly and observe all that happens in the universe. What he gets is a synopsis of synopsis – just rudimentary brief. Then he prays to Lord Brahma who blesses him with the power to get the entire picture and every detail required . Thus he is able to visualize everything pertaining to his ideal hero. He is able to expand the rudimentary picture given by Narada Muni to fill the entire canvass and the Third Sargam of Baalakaandam gives what is revealed to him in this vision. He comes to know the circumstances leading to Rama’s birth, his life up to the current time at that point and the future course of events also.
By sheer chance, the poet sees a bird out of a couple, being killed by a hunter. This cruel deed makes him very sad and a verse springs out of his lips in anguish at the sight. “Maa nishaada prathishtthham thvamagamah saswatheeh samaah/ Yathcrounchamitthhunaadekamavadheeh Kaamamohitham”. He finds this spontaneous outburst coming in the form of a perfect and sweet verse a good augury and tells his disciple that he would compose the entire biography in the same meter as the verse. Then he decides to narrate the story in seven Kaandams (main parts) subdivided into more than 500 sargams.
What is most important is the manner in which he has set about the whole endeavour. His main theme being the story of the perfect man, he comes to the stage of Rama’s birth very quickly with very brief reference to certain circumstances. Immediately after the narration of the birth, he comes to the take- off stage, for the main purpose of his epic, viz, Rama’s life and deeds as a person. He introduces Viswamithra into Dasaratha’s court in session. At this point, Rama is an adolescent (Oonashodasa Varshah). There is no description of Rama and his siblings as babies or as growing children. The present day scholars accept astrological statements as precise and geographical accuracy of the statements regarding rivers and lands are also likewise, by and larage, confirmed. Digressions and parenthetical references are brought in only as part of the main story – in response to the questions by Rama to satisfy his curiosity - like the description of the forest where Thaataka was killed, origin of river Ganga, Siddhaasramam where the sacrifice was performed, etc. Ahalya Saapamoksham comes as a part of history of the deserted hermitage of Sage Gauthama, which lies on their route to Mithila.
1. Portrayal of characters is again a speciality of Sage Vaalmeeki. He just describes situations and actions or behaviour of the characters and leads the reader to form his own opinion about them depending upon his own perception.
It is enough to look at a couple of instances to prove this aspect. Viswamithra’s entry into the narration is abrupt. He just comes up to the court of Dasaratha and tells the sentries. “Tell your king that Gaadhi’s son has come and seeks an audience with the king.” The very announcement creates a wave of nervous consultations and hurried activities. Dasaratha rushes out to receive the Sage in all humility and anxiety to please the sage, who is widely known for his spiritual prowess and volatile temper. Yet, the king puts forth all sorts of excuses to dissuade the sage from taking his son Rama along with him to fight the demons who defile the Sage’s sacrifice. In spite of repeated assurances from the Sage that though he himself was capable of annihilating the demons he, as the performer of the sacrifice, was bound to observe austerities and desist from doing so and that he would protect Rama, the king simply says “I shall not give Rama”. His attachment to his son is highlighted here. The Sage turns away in a huff.
But Raajaguru Vasishttha intervenes very briefly to say that Viswamithra’s depth of knowledge and powers are unfathomable and beyond anybody’s ken and that he is not only capable of teaching Rama all the Asthras (weapons powered by the forces of all the Gods) but also inventing new ones and that Rama is perfectly safe in his keeping, Dasaratha gladly gives Rama with instructions to obey the Sage in all respects implicitly. Bit by bit, Vaalmeeki reveals to us the greatness of Viswamithra and his innate qualities of benevolence, helpfulness, sincerity of purpose, courage and infinite spiritual powers. In a matter of days, the Sage teaches Rama two Manthras (Bala and Athibala), which will ward off hunger, thirst and fatigue and all the Asthras known to him. This is the real equipment that stands Rama in good stead in later years. After the destruction of Thaataka and Subaahu and driving away Maareecha and the successful completion of the sacrifice, Viswamithra goes to Mithila. En route Ahalya Saapamoksham takes place. At Mithila, Sathaananda, the Raajaguru of King Janaka,narrates Viswamithra’s background to Rama. Starting with his brush with Vasishttha where Viswamithra is completely defeated and humiliated, Sathananda traces the path of Viswamithra up to the attainment of the honourable title Brahmarshi. Wading through a few short sargams, Vaalmeeki effectively conveys the subtle message of Viswamithra being in fact, a friend and saviour of those in suffering and those cast off by their friends and even mentor. Thrisanku and Sunassepa episodes and even the Ahalya Saapamoksham amply prove this. Viewed in a different perspective, it would appear that even Viswamithra’s avarice to possess Vasishttha’s cow kaamadhenu, could be an engineered one as, despite Viswamithra declining the former’s offer of lavish hospitality, Vasishttha literally thrusts it on Viswamithra and thus ‘showed off’’ the potential of the cow to entice Viswamithra. May be, that was done to draw out the inherent greatness of Viswamithra, which emerges later through his penance and attainment of the position of a Brahmarshi. The respect shown by Vasishttha to Viswamithra on the several occasions when they are together, as described by Vaalmeeki, proves it.
Particular care has been taken by Vaalmeeki to indicate the failings of even the noblest of his characters and positive side of the vilest of them. The amorous Soorpanakha being tossed about by Rama and Lakshmana is one showing that they too were not above normal human failing of making fun of a fool. Hanuman jumping to conclusion that he had seen Seetha at Ravana’s palace, while it was really Mandodari, is another example. On the contrary, Vaalmeeki has highlighted Kumbhakarna’s intelligence and openness at criticizing Ravana and his loyalty, through subsequent assertion that he would fight for him despite his disapproving Ravana’s foolishness in abducting Seetha.
2 Another noticeable aspect of the epic is the repetition of certain choice expressions and verses to describe similar situations elsewhere.
One instance is the combination “Dhanyosmyanugriheethosmi”. Similarly, the entire set of verses describing Rama and Lakshmana accompanying Viswamithra, is used in sargam 48 – verses 2 to 6 and sargam 50 – verses 17 to 24 of Balakaandam. It is not that the Kavi was incapable of coining new expressions or composing new verses. There are plenty of such verses and beautiful descriptions of nature, places, incidents and individuals sprinkled all over the composition to make the epic glittering and colourful. Probably, having found the earlier set of verses well-suited to certain situations, the poet did not want to waste time and energy in composing new ones for similar situations, as the epic is long and he goes from stage to stage quite fast.
3 Portrayal of human behaviour is realistic and, even to this day, the emotions described in various circumstances are the standard ones observed in similar situations. The fact that Rama was inwardly sore at the behaviour of Kaikeyi in sending him to the forest, is brought out at several stages in the epic. His anger, though rarely exhibited, could be explosive (“Kaalaagnisadrisah Kroddhe” – verse 18, Sargam 1, Baalakaandam). This is brought out by the poet, while describing Rama’s response to Parasurama’s challenge (sargam 76 – Baala kaandam) and his reaction,when he finds that Seetha has been abducted. He calls out to the Vanadevathas that he would turn the universe upside down, if they do not divulge where she is held captive - vide Sargam 64 of Aaranya Kaandam. His anger is “”ävyarttha kopah” and it is never wasted – the Kaakaasura episode is an example.
Lakshmana’s suspicion of Bharatha’s intentions in coming to them at the Chithrakoota forest, is another instance. More subtle than any other, is Rama’s own doubt as to how Bharatha, who has been ruling over Ayodhya for 14 years, would react to Rama’s return. So Rama privately tells Hanuman who carries the news of Rama’s arrival at Bharadwaja aasramam after killing Ravana, to closely watch Bharatha’s countenance, while breaking the news, for any tell-tale signs of uneasiness. Rama says “ whose mind will not be turned by the possession and enjoyment of the ancestral kingdom of ours flourishing with all that one can desire and well equipped with chariots, cavalry, etc ?. So, if Bharatha wants to continue as king, let him be “ - verses 14 to 18 , Sargam 128 of Yuddha kaandam.”. And this suspicion in Rama’s mind about Bharatha (even though he had proved his attachment to Rama and reluctance to take over the kingdom, at the interview with Rama in Chithrakoota vanam 14 years back), shows the genious of vaalmeeki in bringing out the normal human emotions. Curiously, in his classic work, “Ivanhoe”, Sir Walter Scot describes a situation when the younger brother, who enjoyed the full happiness of ruling the kingdom in the absence of the King , was put out, on hearing of the latter’s return. Rama’s doubts about Bharatha were therefore those of a normal human being with the added virtue of magnanimity that is natural to Rama, the Sathvik person.
4 The epic,having been conceived as the biography of the ideal man, Vaalmeeki has taken elaborate pains to indicate the gross and finer aspects of principles of propriety, protocol and decorum through some of the important characters, irrespective of whether they are human beings, demons or animals and birds. He has handled aspects like diplomacy, politics, religion, astrology, leadership qualities, communication, management and the like with great skill. What is popularly called Vibeeshana Saranaagathi and Rama giving asylum to him, is in my opinion, the shrewdest diplomatic move, besides being a humanitarian act of highest level of compassion (“”sakrideva prapannaaya”.......... verse 34, saragam 18, Yuddha kaandam) . Vibhishana’s role, using his knowledge of the secrets of the enemy side, in the revival of the troops at crucial times and in the annihilation of Indrajith and Ravana, would amply justify this conclusion. But for him, the secrets like that of Nikumbhila would not be known to Rama. Rama the God is also the perfect captain
Let me indicate one classic example of the sense of propriety and protocol, which the Kavi has brought out through the words and deeds of his characters. Immediately after Vibheeshana is anointed King of Lanka, Rama tells Hanuman “ Oh Blessed one,please pay obeisance to this king and, with his permission, enter the city and inform Seetha that Ravana has been killed by me and that I am quite well in the company of Lakshmana and Sugreeva.” - verses 21 to 24 of Sargam 115 Yuddha kaandam. In his position as the benefactor of Vibheeshana, he could have simply ignored him and told Hanuman to meet Seetha. But he wanted to uphold Vibheeshana’s position and teach the world at larage that one should not take undue advantage of his relaltlionship with others, even in trivial matters.
No wonder Saint Thyagaraja ecstatically sings “Sarasa Saamadaana Bheda Danda Chathura” in praise of Rama.
5. In the whole of the epic, one cannot find any inconsistency or conflicting statements. Where there is likely to be any confusion in the minds of the reader, the Sage has given succinct and precise clarification elsewhere in the composition. For example, anticipating a doubt in the reader’s mind about the reason for undue haste in fixing the date for anointing Rama as the Yuvaraja (crown prince), he puts Dasaratha’s statement to Rama of bad omens and astrologers’ opinion that his own stars do not augur well and signify imminent danger. Therefore, he has to install the successor in position soonest. (Sargam 4 – verses 17 to 20 of Ayodhya kaandam). Likewise, in the Yuddhakaanda, when the dead soldiers on Rama’s side are restored to life by the influence of the Sanjeevani herbs brought by Hanuman, Vaalmeeki pre-empts the question why Ravana’s troupes who had died, were not revived, by saying that Ravana had the dead bodies dumped into sea with a view to concealing the number of casualties and to retain the morale of his soldiers – Sargam 74 – verses 78 and 79.
6. The sage has indicated the principles of dharma, namely, duties and responsibilities and right code of conduct of different strata of the society, some times explicitly through direct dialogues between characters and, quite often in a subtle manner through their conduct.See how Rama justifies killing Vaali and convinces him of the correctness of the action.
To put it in a nut shell, three reasons are quoted.
a) Rama has entered into a formal treaty with Sugreeva for mutual protection and support in the presence of Agni ( agnisaakshikam). The essence of any such treaty as a diplomatic strategy, as between the parties, is "your friend is my friend; your enemy is my enemy" No questions are asked as to the background for the enmity or friendship. So when Sugreeva has to fight his enemy, it is incumbent on Rama to go to his aid and annihilate the enemy. In the malayalam commentary written by Sri G.S.Sreenivasa Iyer, he has quoted the instance of England and France going to the support of Poland when Germany attacked Poland in the second world war.
It is significant that Kabandha whom Rama killed and who got emancipation from his sins, advised Rama to go to Risyamooka parvatham and establish friendship with Sugreeva (steeped in comparable distress) in the presence of burning fire (enter into treaty) “”vayasyam tham kuru kshipram ...deepyamane vibhaavasow”” – verse 21, Sargam 72, Aaranya kaandam).
b) Rama says that, in administering the kingdom belonging to his dynasty, Bharatha was to look after the city and people, while it was Rama's function to establish and maintain order and peace in the forest lands. (Sargam 107 of Ayodhya Kaandam contains a verse in which Rama tells this to Bharatha in clear terms). Therefore, it is his duty to punish Vali, who had not only driven out his younger brother on unjust presumption and without proper enquiry, but who was also committing the heinous crime of enjoying carnal pleasures with his younger brother's wife, the punishment for which is nothing short of death. If the king does not award such punishment for such a crime, the sin attaches itself to the King for dereliction of duty. Having been punished in that fashion by the King's hand, Vali is now free from the sin. Please note that as the basis for this argument which occurs in Kishkindha Kaandam, the poet has made legal and factual provision in Sargam 107 of Ayodhya Kaandam itself. No documnt can be better edited than Vaalmeeki Ramayanam and there is no inconsistency or flaw or conflict/contradiction in the entire 24,000 verses.
c) Vali is a wild animal, prone to give trouble and become violent. It is the practice of kings on hunting expedition and others to set traps, capture and confine or even shoot such wild animals from hiding. Therefore, there is no violation of code of conduct.
No wonder, the epic has been treated as a re-statement of the Vedas. (“”Vedah Praachethasaadaaseeth Saaskshaath Raamaayanaathmana””) Rama is also Dharmagjna and Krithagjna (one who knows what is right and what is wrong and who has a deep sense of gratitude).
There are many such aspects which deserve to be highlighted and will be dealt with in further papers of this type.
7. One more fact worth mentioning here is the way the Sage propagated his work. He chose Lava and Kusa, the handsome sons of Rama himself, who were under his care, for this purpose. They were very handsome, possessed exceedingly sweet voices and were well trained in music and diction. He chose them as bards to go forth singing the composition in pleasing tunes. And they were noticed by Rama himself and invited to render the Mahakavyam in his court.- Sargam 4 of Baalakaandam. Good music has a direct appeal to people’s sensibilities and wins their admiration.. (Incidentally, having written a brief commentary on Sree Appayya Deekshithar’s composition called “Sree Durgachandrakalasthuthi”, which was published in the Oct/Nov 1989 issue of Tattvaloka, I went round scouting for some one to set the 18 verses to music in Nine carnatic music ragas. Shri and Smt. Balasubramanyam, a couple accomplished in carnatic music obliged and now, the composition is sung by many. )
To conclude, Vaalmeeki’s Rama was an exemplary human being, though he was an Avathaaram (Vishnorarddham - half of Lord Vishnu) or conversely, Divinity chose to be born as a man and, going by Vaalmeeki’s epic, He and all the characters played their roles most realistically. To me, He is an Ishta Devatha and Vaalmeeki’s Ramayana, a beacon light guiding me in my life - rather, the last and dependable resort to resolve complicated issues, to control conflicting emotions and to restore tranquility, when my mind is in turmoil.
During my stay at Sri Mayavaram Lodge in Tiruchirapalli, in Tamil nadu, in December 1976, I witnessed the Tiruppalli Ezhucchi ritual at Sreerangam temple. While narrating the blissful eperience to Sre Balakrishna Jyosier(known to local people as Panicker), an eminent astrologer, Sanskrit scholar and Sree Vidya Upaasaka, who was a permanent resident at the Lodge, I mentioned to him that I felt guilty at having eaten the temple prasaadam comprising Rrice pongal, curry and kasthuri gulikai offered at the entrance, before paying my obeisance to the deity. This was contrary to our native custom. Jyosier pacified me quoting a proverb “ ännam krithva Harim Bhajeth”. When I told him that probably the words were meant to convey that one should pay obeisance to the Goddess (Am) first and then see the Lord , he said “that is the mistake we commit. We always presume that there is an inner meaning for everything and, in our efforts to ascribe such inner meanings, miss the simple statements and guidance offered to mankind through our epics and scriptures. Why should not a Kavi or pouraanika make a simple and straight statement and why should we always relate everything to high philosophy like Jeevaathma, Paramaathma or Prakrithi-Purusha relationship? Principles of healthy living have been beautifully ingrained in the stories through portrayal of characters. Let us accept them as they are, at their face value (unless such a construction leads to patently absurd conclusion) and let our lives be fashioned on the basis of principles advocated by or through them. The world will be worth living in.”.
Ramayana has been perceived differently by different persons including great saints. For instance, Adhyatma Ramayana views Rama’s avathaaram from a highly metaphysical angle, while some other versions lay great emphasis on the Bhakthi aspect. Sage Vaalmeeki also considers Rama as an Avathaara of Vishnu.
Looking at Vaalmeeki’s Aadikaavyam, purely as a literary masterpiece, shorn of its divinity aspect, I am awe-struck as to how a single person could have achieved so much with such perfection. Kaalidaasa, who is considered as number one and unrivalled as a poet, refers to Vaalmeeki as “Kavi” in verse 70 of canto 14 of Raghuvamsam (Kavih Kusedhmaaharanaaya yaathah). May be, in his opinion, the only individual who deserved the epithet was Vaalmeeki.
Take the selection of the theme. The poet wanted to know whether the perfect man combining in him the noblest qualities of valour, virtue, intelligence and the highest standards in very aspect of human existence, was living right at that time and set about writing a biography of that person. He did not want a mythical person or a mystic. No doubt, at certain places, he has referred to or indicated Rama’s divinity, like when he mentions very briefly how celestial beings sought the help of Lord Vishnu to destroy Ravana and counseled him to take avatar as Rama and he obliged and the Devas themselves descended on the earth as Monkeys, to be of help, or Rama’s confrontation with Parasurama. But the emphasis is on Rama, the man. Vaalmeeki sought information about such a person from NARADA MAHARSHI, who is ordained to travel endlessly and observe all that happens in the universe. What he gets is a synopsis of synopsis – just rudimentary brief. Then he prays to Lord Brahma who blesses him with the power to get the entire picture and every detail required . Thus he is able to visualize everything pertaining to his ideal hero. He is able to expand the rudimentary picture given by Narada Muni to fill the entire canvass and the Third Sargam of Baalakaandam gives what is revealed to him in this vision. He comes to know the circumstances leading to Rama’s birth, his life up to the current time at that point and the future course of events also.
By sheer chance, the poet sees a bird out of a couple, being killed by a hunter. This cruel deed makes him very sad and a verse springs out of his lips in anguish at the sight. “Maa nishaada prathishtthham thvamagamah saswatheeh samaah/ Yathcrounchamitthhunaadekamavadheeh Kaamamohitham”. He finds this spontaneous outburst coming in the form of a perfect and sweet verse a good augury and tells his disciple that he would compose the entire biography in the same meter as the verse. Then he decides to narrate the story in seven Kaandams (main parts) subdivided into more than 500 sargams.
What is most important is the manner in which he has set about the whole endeavour. His main theme being the story of the perfect man, he comes to the stage of Rama’s birth very quickly with very brief reference to certain circumstances. Immediately after the narration of the birth, he comes to the take- off stage, for the main purpose of his epic, viz, Rama’s life and deeds as a person. He introduces Viswamithra into Dasaratha’s court in session. At this point, Rama is an adolescent (Oonashodasa Varshah). There is no description of Rama and his siblings as babies or as growing children. The present day scholars accept astrological statements as precise and geographical accuracy of the statements regarding rivers and lands are also likewise, by and larage, confirmed. Digressions and parenthetical references are brought in only as part of the main story – in response to the questions by Rama to satisfy his curiosity - like the description of the forest where Thaataka was killed, origin of river Ganga, Siddhaasramam where the sacrifice was performed, etc. Ahalya Saapamoksham comes as a part of history of the deserted hermitage of Sage Gauthama, which lies on their route to Mithila.
1. Portrayal of characters is again a speciality of Sage Vaalmeeki. He just describes situations and actions or behaviour of the characters and leads the reader to form his own opinion about them depending upon his own perception.
It is enough to look at a couple of instances to prove this aspect. Viswamithra’s entry into the narration is abrupt. He just comes up to the court of Dasaratha and tells the sentries. “Tell your king that Gaadhi’s son has come and seeks an audience with the king.” The very announcement creates a wave of nervous consultations and hurried activities. Dasaratha rushes out to receive the Sage in all humility and anxiety to please the sage, who is widely known for his spiritual prowess and volatile temper. Yet, the king puts forth all sorts of excuses to dissuade the sage from taking his son Rama along with him to fight the demons who defile the Sage’s sacrifice. In spite of repeated assurances from the Sage that though he himself was capable of annihilating the demons he, as the performer of the sacrifice, was bound to observe austerities and desist from doing so and that he would protect Rama, the king simply says “I shall not give Rama”. His attachment to his son is highlighted here. The Sage turns away in a huff.
But Raajaguru Vasishttha intervenes very briefly to say that Viswamithra’s depth of knowledge and powers are unfathomable and beyond anybody’s ken and that he is not only capable of teaching Rama all the Asthras (weapons powered by the forces of all the Gods) but also inventing new ones and that Rama is perfectly safe in his keeping, Dasaratha gladly gives Rama with instructions to obey the Sage in all respects implicitly. Bit by bit, Vaalmeeki reveals to us the greatness of Viswamithra and his innate qualities of benevolence, helpfulness, sincerity of purpose, courage and infinite spiritual powers. In a matter of days, the Sage teaches Rama two Manthras (Bala and Athibala), which will ward off hunger, thirst and fatigue and all the Asthras known to him. This is the real equipment that stands Rama in good stead in later years. After the destruction of Thaataka and Subaahu and driving away Maareecha and the successful completion of the sacrifice, Viswamithra goes to Mithila. En route Ahalya Saapamoksham takes place. At Mithila, Sathaananda, the Raajaguru of King Janaka,narrates Viswamithra’s background to Rama. Starting with his brush with Vasishttha where Viswamithra is completely defeated and humiliated, Sathananda traces the path of Viswamithra up to the attainment of the honourable title Brahmarshi. Wading through a few short sargams, Vaalmeeki effectively conveys the subtle message of Viswamithra being in fact, a friend and saviour of those in suffering and those cast off by their friends and even mentor. Thrisanku and Sunassepa episodes and even the Ahalya Saapamoksham amply prove this. Viewed in a different perspective, it would appear that even Viswamithra’s avarice to possess Vasishttha’s cow kaamadhenu, could be an engineered one as, despite Viswamithra declining the former’s offer of lavish hospitality, Vasishttha literally thrusts it on Viswamithra and thus ‘showed off’’ the potential of the cow to entice Viswamithra. May be, that was done to draw out the inherent greatness of Viswamithra, which emerges later through his penance and attainment of the position of a Brahmarshi. The respect shown by Vasishttha to Viswamithra on the several occasions when they are together, as described by Vaalmeeki, proves it.
Particular care has been taken by Vaalmeeki to indicate the failings of even the noblest of his characters and positive side of the vilest of them. The amorous Soorpanakha being tossed about by Rama and Lakshmana is one showing that they too were not above normal human failing of making fun of a fool. Hanuman jumping to conclusion that he had seen Seetha at Ravana’s palace, while it was really Mandodari, is another example. On the contrary, Vaalmeeki has highlighted Kumbhakarna’s intelligence and openness at criticizing Ravana and his loyalty, through subsequent assertion that he would fight for him despite his disapproving Ravana’s foolishness in abducting Seetha.
2 Another noticeable aspect of the epic is the repetition of certain choice expressions and verses to describe similar situations elsewhere.
One instance is the combination “Dhanyosmyanugriheethosmi”. Similarly, the entire set of verses describing Rama and Lakshmana accompanying Viswamithra, is used in sargam 48 – verses 2 to 6 and sargam 50 – verses 17 to 24 of Balakaandam. It is not that the Kavi was incapable of coining new expressions or composing new verses. There are plenty of such verses and beautiful descriptions of nature, places, incidents and individuals sprinkled all over the composition to make the epic glittering and colourful. Probably, having found the earlier set of verses well-suited to certain situations, the poet did not want to waste time and energy in composing new ones for similar situations, as the epic is long and he goes from stage to stage quite fast.
3 Portrayal of human behaviour is realistic and, even to this day, the emotions described in various circumstances are the standard ones observed in similar situations. The fact that Rama was inwardly sore at the behaviour of Kaikeyi in sending him to the forest, is brought out at several stages in the epic. His anger, though rarely exhibited, could be explosive (“Kaalaagnisadrisah Kroddhe” – verse 18, Sargam 1, Baalakaandam). This is brought out by the poet, while describing Rama’s response to Parasurama’s challenge (sargam 76 – Baala kaandam) and his reaction,when he finds that Seetha has been abducted. He calls out to the Vanadevathas that he would turn the universe upside down, if they do not divulge where she is held captive - vide Sargam 64 of Aaranya Kaandam. His anger is “”ävyarttha kopah” and it is never wasted – the Kaakaasura episode is an example.
Lakshmana’s suspicion of Bharatha’s intentions in coming to them at the Chithrakoota forest, is another instance. More subtle than any other, is Rama’s own doubt as to how Bharatha, who has been ruling over Ayodhya for 14 years, would react to Rama’s return. So Rama privately tells Hanuman who carries the news of Rama’s arrival at Bharadwaja aasramam after killing Ravana, to closely watch Bharatha’s countenance, while breaking the news, for any tell-tale signs of uneasiness. Rama says “ whose mind will not be turned by the possession and enjoyment of the ancestral kingdom of ours flourishing with all that one can desire and well equipped with chariots, cavalry, etc ?. So, if Bharatha wants to continue as king, let him be “ - verses 14 to 18 , Sargam 128 of Yuddha kaandam.”. And this suspicion in Rama’s mind about Bharatha (even though he had proved his attachment to Rama and reluctance to take over the kingdom, at the interview with Rama in Chithrakoota vanam 14 years back), shows the genious of vaalmeeki in bringing out the normal human emotions. Curiously, in his classic work, “Ivanhoe”, Sir Walter Scot describes a situation when the younger brother, who enjoyed the full happiness of ruling the kingdom in the absence of the King , was put out, on hearing of the latter’s return. Rama’s doubts about Bharatha were therefore those of a normal human being with the added virtue of magnanimity that is natural to Rama, the Sathvik person.
4 The epic,having been conceived as the biography of the ideal man, Vaalmeeki has taken elaborate pains to indicate the gross and finer aspects of principles of propriety, protocol and decorum through some of the important characters, irrespective of whether they are human beings, demons or animals and birds. He has handled aspects like diplomacy, politics, religion, astrology, leadership qualities, communication, management and the like with great skill. What is popularly called Vibeeshana Saranaagathi and Rama giving asylum to him, is in my opinion, the shrewdest diplomatic move, besides being a humanitarian act of highest level of compassion (“”sakrideva prapannaaya”.......... verse 34, saragam 18, Yuddha kaandam) . Vibhishana’s role, using his knowledge of the secrets of the enemy side, in the revival of the troops at crucial times and in the annihilation of Indrajith and Ravana, would amply justify this conclusion. But for him, the secrets like that of Nikumbhila would not be known to Rama. Rama the God is also the perfect captain
Let me indicate one classic example of the sense of propriety and protocol, which the Kavi has brought out through the words and deeds of his characters. Immediately after Vibheeshana is anointed King of Lanka, Rama tells Hanuman “ Oh Blessed one,please pay obeisance to this king and, with his permission, enter the city and inform Seetha that Ravana has been killed by me and that I am quite well in the company of Lakshmana and Sugreeva.” - verses 21 to 24 of Sargam 115 Yuddha kaandam. In his position as the benefactor of Vibheeshana, he could have simply ignored him and told Hanuman to meet Seetha. But he wanted to uphold Vibheeshana’s position and teach the world at larage that one should not take undue advantage of his relaltlionship with others, even in trivial matters.
No wonder Saint Thyagaraja ecstatically sings “Sarasa Saamadaana Bheda Danda Chathura” in praise of Rama.
5. In the whole of the epic, one cannot find any inconsistency or conflicting statements. Where there is likely to be any confusion in the minds of the reader, the Sage has given succinct and precise clarification elsewhere in the composition. For example, anticipating a doubt in the reader’s mind about the reason for undue haste in fixing the date for anointing Rama as the Yuvaraja (crown prince), he puts Dasaratha’s statement to Rama of bad omens and astrologers’ opinion that his own stars do not augur well and signify imminent danger. Therefore, he has to install the successor in position soonest. (Sargam 4 – verses 17 to 20 of Ayodhya kaandam). Likewise, in the Yuddhakaanda, when the dead soldiers on Rama’s side are restored to life by the influence of the Sanjeevani herbs brought by Hanuman, Vaalmeeki pre-empts the question why Ravana’s troupes who had died, were not revived, by saying that Ravana had the dead bodies dumped into sea with a view to concealing the number of casualties and to retain the morale of his soldiers – Sargam 74 – verses 78 and 79.
6. The sage has indicated the principles of dharma, namely, duties and responsibilities and right code of conduct of different strata of the society, some times explicitly through direct dialogues between characters and, quite often in a subtle manner through their conduct.See how Rama justifies killing Vaali and convinces him of the correctness of the action.
To put it in a nut shell, three reasons are quoted.
a) Rama has entered into a formal treaty with Sugreeva for mutual protection and support in the presence of Agni ( agnisaakshikam). The essence of any such treaty as a diplomatic strategy, as between the parties, is "your friend is my friend; your enemy is my enemy" No questions are asked as to the background for the enmity or friendship. So when Sugreeva has to fight his enemy, it is incumbent on Rama to go to his aid and annihilate the enemy. In the malayalam commentary written by Sri G.S.Sreenivasa Iyer, he has quoted the instance of England and France going to the support of Poland when Germany attacked Poland in the second world war.
It is significant that Kabandha whom Rama killed and who got emancipation from his sins, advised Rama to go to Risyamooka parvatham and establish friendship with Sugreeva (steeped in comparable distress) in the presence of burning fire (enter into treaty) “”vayasyam tham kuru kshipram ...deepyamane vibhaavasow”” – verse 21, Sargam 72, Aaranya kaandam).
b) Rama says that, in administering the kingdom belonging to his dynasty, Bharatha was to look after the city and people, while it was Rama's function to establish and maintain order and peace in the forest lands. (Sargam 107 of Ayodhya Kaandam contains a verse in which Rama tells this to Bharatha in clear terms). Therefore, it is his duty to punish Vali, who had not only driven out his younger brother on unjust presumption and without proper enquiry, but who was also committing the heinous crime of enjoying carnal pleasures with his younger brother's wife, the punishment for which is nothing short of death. If the king does not award such punishment for such a crime, the sin attaches itself to the King for dereliction of duty. Having been punished in that fashion by the King's hand, Vali is now free from the sin. Please note that as the basis for this argument which occurs in Kishkindha Kaandam, the poet has made legal and factual provision in Sargam 107 of Ayodhya Kaandam itself. No documnt can be better edited than Vaalmeeki Ramayanam and there is no inconsistency or flaw or conflict/contradiction in the entire 24,000 verses.
c) Vali is a wild animal, prone to give trouble and become violent. It is the practice of kings on hunting expedition and others to set traps, capture and confine or even shoot such wild animals from hiding. Therefore, there is no violation of code of conduct.
No wonder, the epic has been treated as a re-statement of the Vedas. (“”Vedah Praachethasaadaaseeth Saaskshaath Raamaayanaathmana””) Rama is also Dharmagjna and Krithagjna (one who knows what is right and what is wrong and who has a deep sense of gratitude).
There are many such aspects which deserve to be highlighted and will be dealt with in further papers of this type.
7. One more fact worth mentioning here is the way the Sage propagated his work. He chose Lava and Kusa, the handsome sons of Rama himself, who were under his care, for this purpose. They were very handsome, possessed exceedingly sweet voices and were well trained in music and diction. He chose them as bards to go forth singing the composition in pleasing tunes. And they were noticed by Rama himself and invited to render the Mahakavyam in his court.- Sargam 4 of Baalakaandam. Good music has a direct appeal to people’s sensibilities and wins their admiration.. (Incidentally, having written a brief commentary on Sree Appayya Deekshithar’s composition called “Sree Durgachandrakalasthuthi”, which was published in the Oct/Nov 1989 issue of Tattvaloka, I went round scouting for some one to set the 18 verses to music in Nine carnatic music ragas. Shri and Smt. Balasubramanyam, a couple accomplished in carnatic music obliged and now, the composition is sung by many. )
To conclude, Vaalmeeki’s Rama was an exemplary human being, though he was an Avathaaram (Vishnorarddham - half of Lord Vishnu) or conversely, Divinity chose to be born as a man and, going by Vaalmeeki’s epic, He and all the characters played their roles most realistically. To me, He is an Ishta Devatha and Vaalmeeki’s Ramayana, a beacon light guiding me in my life - rather, the last and dependable resort to resolve complicated issues, to control conflicting emotions and to restore tranquility, when my mind is in turmoil.
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