Ramayana
The Ramayana (Sanskrit: रामायण, Rāmāyana, is an
ancient Sanskrit epic. It
is ascribed to the Hindu sage Valmiki and forms an important part of the
Hindu canon (smṛti),
considered to be itihāsa. The Ramayana
is one of the two great epics of India, the other being the Mahabharata. It depicts the duties of
relationships, portraying ideal characters like the ideal father, ideal
servant, the ideal brother, the ideal wife and the ideal king.The name Ramayana
is a tatpurusha compound of Rāma and ayana
("going, advancing"), translating to "Rama's
Journey". The Ramayana consists of 24,000 verses in seven books (kandas)
and 500 cantos (sargas),[3] and tells the story of Rama (an avatar of the Hindu preserver-God Vishnu), whose wife Sita
is abducted by the king of Sri Lanka, Ravana. Thematically, the Ramayana explores human values
and the concept of dharma.[4]
Verses in the Ramayana are written
in a 32-syllable meter called anustubh. The Ramayana
was an important influence on later Sanskrit poetry and Indian life and
culture. Like the Mahābhārata, the Ramayana
is not just a story: it presents the teachings of ancient Hindu sages(Vedas) in
narrative allegory, interspersing philosophical and devotional elements. The
characters Rama, Sita,
Lakshmana, Bharata, Hanuman and Ravana are all fundamental to
the cultural consciousness of India, Nepal,
and many South-East Asian countries such as Thailand and Indonesia.
There are other versions of
the Ramayana, notably the Ramavataram in Tamil, Buddhist (Dasaratha Jataka) and Jain
adaptations, and also Cambodian, Indonesian, Philippine, Thai, Lao,
Burmese and Malay versions of the tale.
Contents
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Textual history
and structure
Traditionally, the Ramayana is
attributed to Valmiki, regarded as India's first poet.[5] The Indian tradition is unanimous
in its agreement that the poem is the work of a single poet, the sage Valmiki,
a contemporary of Rama and a peripheral actor in the drama.[6] The story's original version in
Sanskrit is known as Valmiki Ramayana, dating to approximately the 5th to 4th
century B.C.[7][8] While it is often viewed as a
primarily devotional text, the Vaishnava elements appear to be later
accretions possibly dating to the 2nd century BC or later.[8] The main body of the narrative
lacks statements of Rama's divinity, and identifications of Rama with Vishnu
are rare and subdued even in the later parts of the text.
According to Indian tradition, and
according to the Ramayana itself, the Ramayana belongs to the genre of itihāsa,
like the Mahabharata. The definition of itihāsa has
varied over time, with one definition being that itihāsa is a narrative of past
events (purāvṛtta) which includes teachings on the goals of human life.[1] According to Hindu tradition, the
Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana
is an epic poem of some 50,000 lines. The text survives in several thousand
partial and complete manuscripts, the oldest of which appears to date from the
11th century A.D.[11] The text has several regional
renderings,[12] recensions and subrecensions. Textual
scholar Robert P. Goldman differentiates two major regional recensions: the
northern (N) and the southern (S).[11] Scholar Romesh Chunder Dutt
writes that "the Ramayana, like the Mahabharata, is a growth of centuries,
but the main story is more distinctly the creation of one mind.
There has been discussion as to
whether the first and the last chapters of Valmiki's Ramayana were composed by
the original author. Some still believe they are integral parts of the book in
spite of some style differences and narrative contradictions between these two
chapters and the rest of the book.
Famous retellings include the Ramayanam
of Kamban in Tamil
(ca. 11th–12th century), the Saptakanda Ramayana
of Madhava Kandali
in Assamese (ca. 14th century), Shri Rama Panchali or Krittivasi Ramayan
by Krittibas Ojha in Bengali (ca. 15th Century), and Ramacharitamanas by Tulasidas in Awadhi which is an eastern
form of Hindi (c. 16th century).[12] Adyatma Ramayanam Kilippattu By
Thunjethu Ezhuthachan in (Malayalam language).
Period
Some cultural evidence (the presence
of sati in the
Mahabharata but not in the main body of the Ramayana) suggests that the Ramayana
predates the Mahabharata.[16] However, the general cultural
background of the Ramayana is one of the post-urbanization period of the
eastern part of North India, while the Mahabharata reflects the Kuru areas west
of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to
the Treta Yuga, second of the four eons (yuga)
of Hindu chronology. Rama is said to have been
born in the Treta Yuga to King Daśaratha in the Ikshvaku vamsa (clan).
The names of the characters (Rama,
Sita, Dasharatha, Janaka, Vasishta, Vishwamitra) are all known in late Vedic
literature, older than the Valmiki Ramayana.[19] However, nowhere in the
surviving Vedic poetry is there a story similar to the Ramayana of Valmiki.[20] According to the modern academic
view, Vishnu, who according to Bala Kanda was
incarnated as Rama, first came into prominence with the epics themselves and
further during the 'Puranic' period of the later 1st millennium CE. There is
also a version of Ramayana, known as Ramopakhyana, found in the epic Mahabharata. This version is depicted as a
narration to Yudhishtira.
There is general consensus that
books two to six form the oldest portion of the epic while the first book Bala
Kanda and the last the Uttara Kanda are later additions.[22] The author or authors of Bala
Kanda and Ayodhya Kanda appear to be familiar with the eastern Gangetic basin region of northern India and
the Kosala and Magadha region during the period of the
sixteen janapadas as the geographical and
geopolitical data is in keeping with what is known about the region. However,
when the story moves to the Aranya Kanda and beyond, it seems to turn abruptly
into fantasy with its demon-slaying hero and fantastic creatures. The geography
of central and South India is increasingly vaguely described. The knowledge of
the location of the island of Lanka also lacks detail.[23] Basing his assumption on these
features, the historian H.D. Sankalia has proposed a date of the 4th century BC
for the composition of the text. A. L. Basham, however, is of the opinion that
Rama may have been a minor chief who lived in the 8th or the 7th century BC.
The 7 Kandas or
Books
The Epic is traditionally divided
into several major kāṇḍas or books, that deal chronologically
with the major events in the life of Rama—Bāla Kāṇḍa, Ayodhya Kāṇḍa, Araṇya Kāṇḍa, Kishkindha
Kāṇḍa, Sundara Kāṇḍa, Yuddha Kāṇḍa, and Uttara Kāṇḍa.
The division into 7 kāṇḍas, or books, is as follows:
Kanda/Book
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Title
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Contents
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1
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Bāla Kāṇḍa (book of childhood)
|
The origins
and childhood of Rama, born to King Dasharatha of Ayodhya
and destined to fight demons. Sita's swayamvara and subsequent wedding to
Rama.[26]
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2
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Ayodhya Kāṇḍa (book of Ayodhya)
|
The
preparations for Rama's coronation in the city of Ayodhya, his exile into the
forest, and the regency of Bharata.[26]
|
3
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Araṇya Kāṇḍa (book
of the forest)
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4
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Kishkindha Kāṇḍa (book
of the monkey kingdom)
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Rama meets Hanuman and helps destroy the monkey people's king, Vali,
making Vali's younger brother, Sugriva, king of Kishkindha instead.[26]
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5
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Sundara Kāṇḍa (book of beauty)
|
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6
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The battle in
Lanka between the monkey and the demon armies of Rama and Ravana,
respectively. After Ravana is defeated, Sita undergoes the test of fire,
completes exile with Rama, and they return to Ayodhya to reign over the Ideal
State.[26]
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7
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Uttara Kāṇḍa (last book)
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Characters
- Rama is one of the protagonists of the tale. Portrayed as the seventh avatar of the God Vishnu, he is the eldest and favorite son of the King of Ayodhya, Dasharatha, and his Queen Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile.
- Sita is one of the protagonists and the beloved wife of Rama and the daughter of king Janaka. Rama went to Janakpurdham, current city of Janakpur, Nepal, and got a chance to marry her by lifting a heavy Bow in a competition organized by King Janaka. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatar of Goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by Ravana. She is imprisoned on the island of Lanka until Rama rescues her by defeating the demon king Ravana. Later, she gives birth to Lava and Kusha, the heirs of Rama.
- Hanuman is the tritagonist and a vanara belonging to the kingdom of Kishkindha. He is portrayed as the eleventh avatar of God Shiva (He is also called Rudra) and an ideal bhakta of Rama. He is born as the son of Kesari, a vanara king, and the Goddess Anjana. He plays an important part in locating Sita and in the ensuing battle.He is believed to live until our modern world.
- Lakshmana, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra, and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the God Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
- Ravana, a rakshasa, is the king of Lanka. After performing severe penance for ten thousand years he received a boon from the creator-God Brahma: he could henceforth not be killed by Gods, demons, or spirits. He is portrayed as a powerful demon king who disturbs the penances of Rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
- Jatayu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of a eagle that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them the direction in which Ravana had gone.
- Dasharatha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
- Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals, and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years. He was married to Mandavi.
- Satrughna is the son of Dasharatha and his third wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
- Sugriva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali - Sugriva’s brother and king of Kishkindha-would be killed by Rama in exchange for Sugriva’s help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali, and fulfils his promise by putting the Vanara forces at Rama’s disposal
- Indrajit, a son of Ravana who twice defeated Lakshmana in battle, before succumbing to him the third time. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
- Kumbhakarna, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana’s army. During the war, he decimated the Vanara army before Rama cut off his limbs and head.[27]
- Surpanakha, Ravana's demoness sister who fell in love with Rama, and had the magical power to take any form she wanted.
- Vibhishana, a younger brother of Ravana. He was against the kidnapping of Sita, and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war, and he was crowned king after the fall of Ravana.
Synopsis
Bala Kanda
Dasharatha was the king of Ayodhya.
He had three queens and they are Kausalya, Kaikeyi and Sumitra. He was
childless for a long time and, anxious to produce an heir, he performs a fire
sacrifice known as Putra-Kameshti Yagya.[28] As a consequence, Rama is first
born to Kausalya, Bharata is born to Kaikeyi, and Lakshmana and Shatrughna are
born to Sumitra.[29][30] These sons are endowed, to
various degrees, with the essence of the God Vishnu; Vishnu had opted to be born into mortality in
order to combat the demon Ravana, who was oppressing the Gods, and who could
only be destroyed by a mortal.[31] The boys are reared as the
princes of the realm, receiving instructions from the scriptures and in
warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of
Dasharatha in search of help against demons, who were disturbing sacrificial
rites. He chooses Rama, who is followed by Lakshmana, his constant companion
throughout the story. Rama and Lakshmana receive instructions and supernatural
weapons from Vishwamitra, and proceed to destroy the demons.
Janaka was the king of Mithila.
One day, a female child was found in the field by the king in the deep furrow
dug by his plough. Overwhelmed with joy, the king regarded the child as a
"miraculous gift of God". The child was named Sita, the Sanskrit word
for furrow.[33] Sita grew up to be a girl of
unparalleled beauty and charm. When Sita was of marriageable age, the king
decided to have a swayamvara which
included a contest. The king was in possession of an immensely heavy bow,
presented to him by the God Shiva: whoever could wield the bow could marry
Sita. The sage Vishwamitra attends the swayamvara with Rama and Lakshmana. Only
Rama wields the bow and breaks it. Marriages are arranged between the sons of
Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila,
Bharata to
Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated
with great festivity at Mithila and the marriage party returns to Ayodhya.
Ayodhya Kanda
After Rama and Sita have been
married for twelve years, an elderly Dasharatha expresses his desire to crown
Rama, to which the Kosala assembly and his subjects express their support.[34][35] On the eve of the great event,
Kaikeyi—her jealousy aroused by Manthara, a wicked
maidservant—claims two boons that Dasharatha had long ago granted her. Kaikeyi
demands Rama to be exiled into wilderness for fourteen years, while the
succession passes to her son Bharata. The heartbroken king, constrained by his
rigid devotion to his given word, accedes to Kaikeyi's demands.[36] Rama accepts his father's
reluctant decree with absolute submission and calm self-control which
characterizes him throughout the story.[37] He is joined by Sita and
Lakshmana. When he asks Sita not to follow him, she says, "the forest
where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell
for me."[38] After Rama's departure, king
Dasharatha, unable to bear the grief, passes away.[39] Meanwhile, Bharata who was on a
visit to his maternal uncle, learns about the events in Ayodhya. Bharata
refuses to profit from his mother's wicked scheming and visits Rama in the
forest. He requests Rama to return and rule. But Rama, determined to carry out
his father's orders to the letter, refuses to return before the period of
exile. However, Bharata carries Rama's sandals, and keeps them on the throne,
while he rules as Rama's regent.
Aranya Kanda
Rama, Sita and Lakshmana journeyed
southward along the banks of river Godavari, where they built cottages and
lived off the land. At the Panchavati forest
they are visited by a rakshasa woman, Surpanakha, the sister of Ravana. She
attempts to seduce the brothers and, failing in this, attempts to kill Sita.
Lakshmana stops her by cutting off her nose and ears. Hearing of this, her
demon brother, Khara,
organizes an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches
Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa
Maricha. Maricha, assuming the form of a
golden deer, captivates Sita's attention. Entranced by the beauty of the deer,
Sita pleads with Rama to capture it. Lord Rama, aware that this is the play of
the demons, is unable to dissuade Sita from her desire and chases the deer into
the forest, leaving Sita under Lakshmana's guard. After some time Sita hears
Rama calling out to her; afraid for his life she insists that Lakshmana rush to
his aid. Lakshmana tries to assure her that Rama is invincible, and that it is
best if he continues to follow Rama's orders to protect her. On the verge of
hysterics Sita insists that it is not she but Rama who needs Lakshmana's help.
He obeys her wish but stipulates that she is not to leave the cottage or
entertain any strangers. He draws a chalk outline, the Lakshmana rekha around the cottage and
casts a spell on it that prevents anyone from entering the boundary but allows
people to exit. Finally with the coast clear, Ravana appears in the guise of an
ascetic requesting Sita's hospitality. Unaware of the devious plan of her
guest, Sita is tricked into leaving the rekha and then forcibly carried away by
the evil Ravana.[40][41]
Jatayu, a vulture, tries to
rescue Sita, but is mortally wounded. At Lanka Sita is kept under the heavy
guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted
to Rama, refuses.[39] Rama and Lakshmana learn about
Sita's abduction from Jatayu, and immediately set out to save her.[42] During their search, they meet
the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva
and Hanuman.
Kishkindha Kanda
The Kishkindha Kanda is set in the
monkey citadel Kishkindha. Rama and
Lakshmana meet Hanuman, the greatest of monkey heroes and an adherent of Sugriva, the banished pretender to the
throne of Kishkindha.[45] Rama befriends Sugriva and helps
him by killing his elder brother Vali thus regaining the kingdom of
Kiskindha, in exchange for helping Rama to recover Sita.[46] However Sugriva soon forgets his
promise and spends his time in debauchery. The clever monkey Queen Tara, second wife of Sugriva (initially
wife of Vali), calmly
intervenes to prevent an enraged Lakshmana from destroying the monkey citadel.
She then eloquently convinces Sugriva to honor his pledge. Sugriva then sends
search parties to the four corners of the earth, only to return without success
from north, east and west.[47] The southern search party under
the leadership of Angad and Hanuman learns from a vulture
named Sampati that Sita was taken to Lanka.
Sundara Kanda
The Sundara Kanda forms the heart of
Valmiki's Ramayana[49] and consists of a detailed,
vivid account of Hanuman's adventures.[45] After learning about Sita,
Hanuman assumes a
gargantuan form and makes a colossal leap across the ocean to Lanka. Here,
Hanuman explores the demon's city and spies on Ravana. He locates Sita in
Ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry
Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He
offers to carry Sita back to Rama, however she refuses, reluctant to allow
herself to be touched by a male other than her husband. She says that Rama
himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka
by destroying trees and buildings, and killing Ravana's warriors. He allows
himself to be captured and produced before Ravana. He gives a bold lecture to
Ravana to release Sita. He is condemned and his tail is set on fire, but he
escapes his bonds and, leaping from roof to roof, sets fire to Ravana's citadel
and makes the giant leap back from the island. The joyous search party returns
to Kishkindha with the news.
The War of Lanka by Sahibdin.It depicts the monkey army of the
protagonist Rama (top left, blue figure) fighting the
demon-king of the king of Lanka, Ravana in order to save
Rama's kidnapped wife Sita. The painting depicts multiple events
in the battle against the three-headed demon general Trisiras, in bottom left – Trisiras is
beheaded by the monkey-companion of Rama – Hanuman.
This book describes the battle
between the army of Rama, constructed with the help of Sugriv, and Ravana.
Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their
allies towards the shore of the southern sea. There they are joined by Ravana's
renegade brother Vibhishana. The
monkeys named "Nal" and "Neel" construct a floating bridge
(known as Rama Setu)
across the ocean, and the princes and their army cross over to Lanka. A lengthy
battle ensues and Rama kills Ravana. Rama then installs Vibhishana on the
throne of Lanka.
On meeting Sita, Rama asks her to
undergo an "agni pariksha" (test of fire) to prove her purity, as he
wanted to get rid of the rumours surrounding Sita's purity. When Sita plunges
into the sacrificial fire, Agni the lord of fire
raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni
pariksha varies in the versions of Ramayana by Valmiki and Tulsidas.[53] The above version is from
Valmiki Ramayana. In Tulsidas's Ramacharitamanas Sita was under the
protection of Agni so it was necessary to bring her out
before reuniting with Rama. At the expiration of his term of
exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is
performed. This is the beginning of Ram Rajya, which implies an ideal state
with good morals.
Uttara Kanda
The Uttara Kanda is regarded to be a
later addition to the original story by Valmiki.[12] and concerns the final years of
Rama, Sita, and Rama's brothers. After being crowned king, many years passed
pleasantly with Sita. However, despite the Agni Pariksha (fire ordeal) of Sita,
rumours about her purity are spreading among the populace of Ayodhya.[54] Rama yields to public opinion
and reluctantly banishes Sita to the forest, where sage Valmiki provides
shelter in his ashrama (hermitage). Here she gives birth to twin boys, Lava and
Kusha, who became pupils of Valmiki and are brought up in ignorance of their
identity.
Valmiki composes the Ramayana and
teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki,
with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence
of Rama and his vast audience. When Lava and Kusha recite about Sita's exile,
Rama becomes grievous, and Valmiki produces Sita. Sita calls upon the Earth,
her mother, to receive her and as the ground opens, she vanishes into it.[54][55] Rama then learns that Lava and
Kusha are his children. Later a messenger from the Gods appears and informs
Rama that the mission of his incarnation was over. Rama returns to his
celestial abode.
Influence on
culture and art
One of the most important literary
works of ancient India,
the Ramayana has had a profound impact on art and culture in the Indian subcontinent
and Southeast Asia. The story ushered in the
tradition of the next thousand years of massive-scale works in the rich diction
of regal courts and Hindu temples. It has also inspired much secondary
literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 13th century, the
Telugu-language Molla Ramayana,
14th century Kannada poet Narahari's Torave
Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan,
as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in
Southeast Asia during the 8th century and was represented in literature, temple
architecture, dance and theatre. Today, dramatic enactments of the story of
Ramayana, known as Ramlila, take place all
across India and in many places across the globe within the Indian diaspora.
Variant versions
The epic story of Ramayana was adopted by several
cultures across Asia. Shown here is a Thai historic artwork depicting the battle
which took place between Rama and Ravana.
As in many oral epics, multiple
versions of the Ramayana survive. In particular, the Ramayana related in North
India differs in important respects from that preserved in South India and the
rest of South-East Asia. There is an extensive tradition of oral storytelling
based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos,
Vietnam, and Maldives.[citation
needed] Father Kamil Bulke, author of Ramakatha, has identified
over 300 variants of Ramayana.
India
The 7th century CE "Bhatti's
Poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the
grammatical examples for Pāṇini's Aṣṭādhyāyī
as well as the major figures of speech and the Prakrit language.
There are diverse regional versions
of the Ramayana written by various authors in India. Some of them differ
significantly from each other. During the 12th century AD, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. The earliest translation to a
regional Indo-Aryan language is the early 14th century Saptakanda Ramayana
in Assamese by
Madhava Kandali.[58] Valmiki's Ramayana inspired the Sri Ramacharit
Manas by Tulasidas in 1576, an
epic Awadhi (a dialect of Hindi) version with a
slant more grounded in a different realm of Hindu literature, that of bhakti. It is an acknowledged masterpiece of India,
popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana
in the 17th century. Other versions include Krittivasi Ramayan,
a Bengali
version by Krittivas in
the 14th century, in Oriya by
Balarama Das in the 16th century, in Marathi by Sridhara in the 18th century, in
Maithili by
Chanda Jha in 19th century, a Telugu version by Ranganatha in the 15th century,
a Torave
Ramayana in Kannada by the 16th
century poet Narahari and in the 20th century Rashtrakavi Kuvempu's Sri Ramayana Darshnam and Adhyathma Ramayanam
Kilippattu, a Malayalam version by Tunccattu
Ezhuttaccan in the 16th century.
There is a sub-plot to Ramayana,
prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil
brother of Ravana, which enhances the role of Hanuman in the story. Hanuman
rescues Rama and Lakshmana after they are kidnapped by the Ahi-mahi Ravana at
the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed
to the Goddess Kali.
Mappillapattu—a genre of song popular among
the Muslims belonging to Kerala and Lakshadweep—has incorporated some episodes
from the Ramayana into its songs. These songs, known as Mappila Ramayana, have
been handed down from one generation to the next orally.[56] In Mappila Ramayana, the story
of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of
characters except for that of Rama which is `Laman' in many places. The
language and the imagery projected in the Mappilapattu are in accordance with
the social fabric of the earlier Muslim community.
Buddhist version
In the Buddhist variant of Ramayana,
Dasaratha was the king of Benares and not Ayodhya.
According to Romila Thapar: "Rama, Sita and Lakshmana were the siblings
born to the first wife of Dasaratha. To protect his children from his second
wife, the king sent the three in exile to the Himalayas. Twelve years later,the
trio came back to the kingdom with Rama and Sita ruling as consorts. The
abduction of Sita did not find a place in this version.
Sikh Version
In Guru Granth Sahib, there is description of
two types of Ramayana. One is spiritual Ramayana which is actual subject of
Guru Granth Sahib, in which Ravan is Ego, Seeta is Budhi(Intellect), Raam is
Inner Soul and Laxman is Mann (Attention, Mind). Guru Granth Sahib also
believes in existence of Dasavtara who were Kings of their times which tried
their best to bring revolution in the world. King Ramchandra was one of those
and It is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ ॥
हुकमि उपाए दस अउतारा ॥
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth, In Dasam Granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man by calling him Insect, though he call himself Insect too.
हुकमि उपाए दस अउतारा ॥
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth, In Dasam Granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man by calling him Insect, though he call himself Insect too.
Jain version
Jain version of Ramayana can be
found in the various Jain agamas like Padmapurana (story of Padma or Rama),
Hemacandra’s Trisastisalakapurusa Caritra (hagiography of 63 illustrious
persons), Sanghadasa’s Vasudevahindi and Uttarapurana by Gunabhadara.[61] According to Jain cosmology, every half time cycle
has nine sets of Balarama, Vasudeva and Prativasudeva. Rama, Lakshmana
and Ravana are the eighth Baladeva, Vasudeva, and Prativasudeva respectively. Padmanabh Jaini notes that, unlike in the
Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama
and Krishna in Jain puranas. Instead they serve as names of two distinct class
of mighty brothers, who appear nine times in each half time cycle and jointly
rule the half the earth as half-chakravartins. Jaini traces the origin of
this list of brothers to the Jinacharitra (lives of the Jinas) by Acharya Bhadrabahu
(3–4th century BCE).
In the Jain epic of Ramayana, it is
Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu
version.[63] In the end, Rama who lead an
upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and
Ravana go to hell.[64] However, it is predicted that
ultimately they both will be reborn as upright persons and attain liberation in
their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of
Jainism.
The Jain versions has some
variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four
queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four
sons. Aparajita's son was Padma, and he became known by the name of Rama.
Sumitra's son was Narayana: he became to be known by another name, Lakshmana.
Kaikeyi's son was Bharata and Suprabha's son was Shatrughna.[66] Furthermore, not much was
thought of Rama's fidelity to Sita. According to Jain version, Rama had four
chief-queens: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita
takes renunciation as a Jain ascetic after Rama abandons her and is reborn in
Heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a
Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally
liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell,
will attain liberation in their future births. Accordingly, Ravana is the
future Tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
In Nepal
Two versions of Ramayana are present
in Nepal. One is written by Siddhidas Mahaju in Nepal Bhasa. The other one is written by Bhanubhakta Acharya.
The Nepal Bhasa version by Siddhidas Mahaju marks a great point in the renaissance of
Nepal Bhasa, whereas Bhanubhakta Acharya's version is the first epic
of Nepali.
Southeast Asian
versions
Many other Asian cultures have
adapted the Ramayana, resulting in other national epics. In Indonesia, Kakawin Ramayana is an old Javanese rendering; Yogesvara Ramayana is
attributed to the scribe Yogesvara circa 9th century CE, who was employed in
the court of the Medang in Central Java. It has 2774 stanzas in manipravala style, a mixture of Sanskrit and Kawi language. The most influential version
of the Ramayana is the Ravanavadham of Bhatti, popularly known as Bhattikavya. The Javanese Ramayana differs markedly from the
original Hindu prototype. The 9th century Javanese Kakawin Ramayana has become
the reference of Ramayana in the neighboring island of Bali.
The bas reliefs of Ramayana and Krishnayana scenes is carved on balustrades
wall of 9th century Prambanan temples in Yogyakarta. In Indonesia, Ramayana has been
integrated into local culture especially those of Javanese, Balinese and Sundanese, and has become the source of
moral and spiritual guidance as well as aesthetic expression and also
entertainment. Cultural performances such as Wayang shadow puppet and traditional dances often took
their story from Ramayana. In Bali as well as in Java, the dances based on the
episode of Ramayana often performed in temples such as Prambanan in Java and Pura
in Bali.
Phra Lak Phra Lam is a Lao language version, whose title comes
from Lakshmana and Rama. The story of Lakshmana and Rama is told as the
previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson
of the Prophet Adam. Ravana receives boons from Allah
instead of Brahma.[68] In many Malay language versions, Lakshmana is given
greater importance than Rama, whose character is considered somewhat weak.[citation
needed]
The Cambodian version of Ramayana,
the Reamker, is the most famous story of Khmer
Literature since the Funan era.
It adapts the Hindu concepts to Buddhist themes and shows the balance of good
and evil in the world. The Reamker has several differences from the original
Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which
influences the Thai and Lao versions. Reamker in Cambodia is not confined to
the realm of literature but extends to all Cambodian art forms, such as
sculpture, Khmer classical
dance, theatre
known as Lakhorn Luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor wat.
Thailand's popular national epic Ramakien (Thai: รามเกียรติ์, from Sanskrit rāmakīrti,
"Glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is
the daughter of Ravana and Mandodari (Thotsakan and Montho). Vibhisana (Phiphek),
the astrologer brother of Ravana, predicts calamity from the horoscope of Sita.
Ravana has her thrown into the water, who, later, is picked by Janaka (Chanok).
While the main story is identical to that of the Ramayana, many other aspects
were transposed into a Thai context, such as the clothes, weapons, topography,
and elements of nature, which are described as being Thai in style. It has an
expanded role for Hanuman and he is portrayed as a lascivious character.
Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Theological
significance
Rama, the hero of the Ramayana, is
one of most popular deities worshipped in the Hindu religion. Each year, many
devout pilgrims trace his journey through India and Nepal, halting at each of
the holy sites along the way. The poem is not seen as just a literary monument,
but serves as an integral part of Hinduism, and is held in such reverence that
the mere reading or hearing of it, or certain passages of it, is believed by
Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama
is an incarnation (Avatar) of the God Vishnu. The main purpose
of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
Arshia Sattar states that the central theme
of the Ramayana, as well as the Mahabharata, is respectively Ram's and
Krishna's hidden divinity and its progressive revelation.
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