More adventures

[Valmiki Sarga 31-, Kamban Velvi padalam]

Valmiki

There is one more skirmish before they could fully claim victory. Mareecha and Subaahu attack the vedic ritual. 

aavaarya gaganam megho yathaa praavR^iSi dR^ishyate |

tathaa maayaam vikurvaaNau raakSasau abhyadhaavataam || 1-30-11

The idea of  comparing the demons to dark clouds of torrential rain is a very powerful imagery. After all, what could create more havoc than massive clouds ready to pour down rains on the fire centric rituals. The demons actually pour down blood. Despite that Rama is at first reluctant to kill Mareecha. Is it because he just killed Mareecha's mother? Rama blasts a Maanava missile [expounded by Manu, clearly not The infamous Manu]. He kills Subaahu, even declares he is ready to kill the both of them but doesn't kill Mareecha. Perhaps because Mareecha is incapacitated and Rama doesn't want to hurt him then. Perhaps he knows as an omniscient being Mareecha is an important character that would bring about a major twist in the plot.

Whatever the case may be, the demons are out, all is well with the sages. Now comes the journey to Mithila. The bait is dangled - "there is this fantastic bow you must see." mind you, it is not - this fantastic girl you must see.

tvam caiva narashaarduula saha asmaabhir gamiSyasi |

adbhutam ca dhanuu ratnam tatra tvam draSTum arhasi || 1-31-7

A grand bow with such awesome powers, but sadly no one has been able to even lift it let alone string it, wouldn't he want to see that - what a tempting invitation for a twelve year old.

Doniger's book

Read the news about Penguin India's agreement to pulp The Hindus: An Alternative History with profound sadness. Many months ago I read the book. I found it gripping and read it in one breath. It helped I was travelling to Chennai by a day train. On the way back I got one of those four seater, two facing the other two. Three men sat around me while I got the window seat. When I raised my head for something the middle aged, bespectacled man across my seat asked if he could see the book. I gave it to him and he peered at the blurb and the cover. He quickly turned a few pages, in what could at best be called skimming. Then he handed it to me with a look of disdain. He said and his exact words were, "If you want to know about Hinduism, you read the Bhavan's journal, not these kind of books." I was quite astonished at his presumption, condescension [I am no school girl] and lastly the disdain. 

I still am not clear as to why this well researched, brilliantly written book that could have resulted only from someone's deep commitment to Hinduism studies, is provoking such anger. I was so moved and inspired by the book that I wrote a short piece on the Ramayana that I was planning to work into a series.

Sad, sad event. 

Tataka

[Valmiki Sarga 24-30, Kamban Tatakai padalam, Velvi padalam 1-5]

Valmiki

The adventure begins - it is part field trip, part trek, part on the job training as Vishwamitra take the young princes into the forest describing the origins of Sarayu. The geography and science deserves a separate post. Verse 15 of 24 for example lists a number of trees - other than Bilva I didn't know any - shame! Vishwamitra as part of explaining the origins of the forest starts with Vritra - Indra seems to be unjustly stained after the killing of the demon Vritra just because he was a brahman.

puraa vR^itra vadhe raama malena samabhiplutam || 1-24-18

kSudhaa caiva sahasraakSam brahma hatyaa sam aavishat |

Indra was never a favorite character so I didn't feel particularly bad, but I did to read what happened to Tataka.

Tataka is described as an epitome of beauty - ruupa yauvana shaliniim [1.25.18] that was before she tried to take revenge for the death of her husband. One could even argue that she was acting in self defence to protect her son Mareecha. I felt it was thoroughly unfair and chauvinistic of Agastya to not only curse her son to become a demon, but also make her look ugly. Why should she be deformed I could not understand - he seems to be responsible for creating a demon when there really was none.

bhakshaartham jaata sa.mrambhaa garjantI saa abhyadhaavata |

aapatantIm tu taam dR^iSTwaa agastyo bhagavaan R^iSiH || 

raakSasatvam bhajasva iti maariicam vyaajahaara saH | [1.25.11]

Rama's puzzled question of why they were all so terrified of a Yakshi remains, though Vishwamitra goes to some length in justifying to Rama that it was alright to kill a woman under the certain circumstances.

It is not revealed whether Rama thought it was justified. The young boy responds quite politely that he will do whatever it takes to fulfill his father's words. A promise is a promise and if I have to do this deed of killing a female I will do so, he seems to say. With hindsight, I thought this was a significant episode. Rama is definitely conscious of his duty and in a case of conflict he seems to fall back to his duty rather than pursuing his dilemma.

so.aham piturvacaH shrutvaa shaasanaad brahma vaadinaH |

kariSyaami na sa.ndehaH taaTakaa vadham uttamam || [1.26.4]

And then in a wonderful gesture that signifies his fair mindedness, he makes a thunderous noise from his bowstring warning Tataka.

evam uktvaa dhanurmadhye badhvaa muSTim arindamaH |

jyaa ghoSam akarot tiivram dishaH shabdena naadayan || [1.26.6]

Tataka puts up a fight, Rama still reluctant hurts her, mutilates her but does not seem to bring himself to kill her. And with a final push in the form of Vishwamitra's advise he kills her. The episode seemed like a great test of character - Rama thinks for himself, he questions, he even at the heat of the battle is brave and tries still not to do what he perceives as wrong. Yet, when he sees her might, when he realizes her capacity to destroy the sages, he does not shun away from killing her. Ability to question and an ability to change.

Lakshmana I know from my knowledge of Ramayana is going to make a habit of cutting off women's noses and ears. Though to be fair Rama seems to have put the idea in his head. 

saumitriH akarot krodhaat hR^ita karNaagra naasikaam || [1.26.18]

Now that Rama has done his job, he is rewarded with weaponry  - a long list of missiles litter the verses. Sanjay said - 'poor chap, Lakshmana, he didn't get any'. We scoured the text but couldn't find anything that implies Lakshmana too gained some weapons.

Again Rama shows intelligence and asks for knowledge on the destruction of the missiles. This was quite interesting. Was Rama just asking knowledge of defense ? That is, is he trying to improve his chances by knowing how to protect himself against an enemy who might employ similar astras? Or, even better, is he asking for knowledge to destroy an astra after deploying. If that is so, it is an uncommonly insightful question coming from a twelve year old boy.

gR^ihiita astro asmi bhagavan duraadharSaH suraiH api |

astraaNaam tu aham icChaami sa.mhaaram munipu.mgava || [1.28.2]

Sanjay was particularly impressed with the hymns Rama is taught. Not for the hymns themselves, but for tapasaa sa.mbhR^ite ca ete bahu ruupe bhaviSyataH | [1.28.19] -if you practice, if you nurture then no one can equal you.

The Sarga on Vamana   brought forth the same question I have always had about Mahabali, what evil deeds did he really do? I learnt to my surprise that he was the grandson of Prahalada. Same family bringing about two avatars!

Kamban


With a brief description of the grove they spend the night in, Kamban moves the scene to a desert landscape.   Talk of atmosphere! I felt the heat as I read the verses.  [1.7.5 - 1.7.10]

Venile allthor ruthu verinmai - no season other than summer,
karuthin vem ullamum kaanin vem nayanamum - to think of this desert your heart aches, to see your eyes burn,
manamamani ilanthu anjinar nenju pol and many more gems. The poet even describes a mirage.

One point I was curious about was the lack of mention of sand. Palai does not necessarily translate to desert and it possibly in this context means the dry harsh landscape that one can see even today during the summer months in south Tamilnadu.  Tatakai in this version is as beautiful as Mahalakshmi - poomida mayilinai poruvum porpodum [1.7.25]- tragic really that here too Agastya curses Tatakai and her children to become demons.  Tatakai does seem to have become a complete demoness in further descriptions a few more notches compared to the earlier version. Perhaps Kamban too felt there wasn't a strong justification in the original version?

1.7.45 is very visual. Rama asked shaking his head, 'so where does she live?' I wonder if the shaking head is equivalent to modern shrugging.

Tatakai is more confrontational, she arrives in fiery form and taunts them. She asks if they came to provide her with sweet meat. She initiates the battle so to speak. Despite her actions, despite Vishwamitra's views, Rama hesitates because she is a woman. Vishwamitra is more convincing. Ikkodiyalai mathendrennuvatho?  He goes to say who is as masculine as her. Lists all her evil deeds.  eeril nallaram parthisaithen [1.7.65] 'I have weighed the pros and cons and am not saying this lightly'

Rama's response is intriguing and to some extent indicative of the kind of man Rama is or will be.

Aiyanangathu kettranallaavum
eithinaalathu seigavendrevinal
meiya ninnurai vethamenakkondu
seigai yandro varancheu marendran. [1.7.66]

'Even if it weren't fair, whatever you command I would execute' Rama is supremely conscious of his duty, of why his father had sent him with Vishwamitra. He has his views, he does not state he agrees with Vishwamitra, the poet doesn't explain if he was convinced. But to me the response clearly indicates he isn't. It is a ' a man's got to do what a man's got to do' response.

Kamban repeats the word "thee" in . Theeyanai, theembunal, theeyathan, theeyodu.. [1.7.67]somehow reinforcing the evil with the usage.

Kamban sparkles in the description of the battle between Rama and Tatakai. He knows the drama of the scene - Rama's first battle and his first victory against the demons.

Valiyai thottathum kuniththaum kandilar, 
soola matrana thundangal kandanar. [1.7.69]

They didn't see him touch or set the arrow all they saw was Tatakai's weapon broken. How spectacularly fast and efficient Rama is.


Sollokkum kadivegachuducharan kariya chemmal
Allokku niruthinanmel viduthalum vayirakundra
kallorkku nenjil thanga thapparng kazhandru kallap
pullarkku nallor sonna porulena poyitrandre. [1.7.71]

How arrow was faster than a word - essentially faster than the speed of sound- Mach 1. I especially liked the 'Kariya chemmal' The dark lord.  Dark is the color of the hero, the supreme lord. The weapon pierced her and went past her like the way a good advise goes past a fool.

Tatakai dies staining the ground with her blood, like an incongruous evening sky in land and everyone rejoices.

Rama gets his weapons. The weapons rejoice that they are now Rama's. 1.8.2 has a line describing the underlying philosophy of karma that Kamban subscribes to.

Theriya manaththan seitha nalvinai payangalellam 
mariya pirapir thedi varuva pol vantha vandre 

Like the way the fruits of good deeds from one birth automatically come to you the next, the weapons reached Rama.  Weapons are anthropomorphic.

The young princes move on to more adventures.

Birth and youth

[Valmiki Sarga 18 -23, Kamban 5 (contd.) and 6 ]


Valmiki 

Not many surprises in the birth of Rama and his brothers - except that twelve months pass between the ritual and the birth. Naturally he is of sarva lakshana,  lohita aksham [1.18.20],- the lotus eyed and long limbed.

Events unfold in quick succession and before we know it the princes are growing up. Rama is not as nerdy as I imagined and is portrayed to be quite athletic, riding chariots and elephants, champion in archery etc.

gaja skandhe ashwa pR^iSTe cha ratha charyaasu sammataH || 

dhanur.hvede cha nirataH pituH shushR^ISaNe rataH | [1.18.27]

We also see a bond developing between Rama/Lakshmana and Barata/Shatrugna.

Vishwamitra arrives [almost a Kamban like poem] like rain on a drought affected land , like regaining a lost treasure. I was quite intrigued about this verse since Vishwamitra seems to have arrived with unreasonable demands. Sanjay felt that it is appropriate since this arrival gives way to the momentous actions later on.

athaa amR^itasya sa.mpraaptiH yathaa varSam anuudake || [1.18.50]

yathaa sadR^isha daareSu putra janma aprajasya vai |

praNaSTasya yathaa laabho yathaa harSo mahodaye || [1.18.51]

tathaa eva aagamanam manye svaagatam te mahaamune 

Vishwamitra quite boldly suggests Dasharatha send his darling sons to battle. Poor Dasharatha promptly swoons.

sa tan nishamya rAjendro vishvAmitra vacaH shubham || [1.19.20]

shokena mahataa aaviSTaH cacaala ca mumoha ca |

labdha sa.nj~naH tato utathaaya vyaSiidata bhayaanvitaH || [1.19.21]

Despite the gravity of the situation and being a thoroughly distraught parent being asked to send his twelve year old boy to battle,  Dasharatha is not comfortable rejecting Vishwamitra's demand for fear.  I found that the emperor of a powerful state, who has incidentally done a ashwamedha few years ago is still afraid of Vishwamitra. The part where he negotiates offering his army, himself, asking questions about the demons, explaining how young Rama and his brothers are are nice details that plays like a modern novel.  'He is just a boy, what does he know - he has to assess the enemy, he has no expertise in warfare,' reasons the distraught parent. Sanjay was particularly impressed how despite knowing the circumstances of Rama's birth, Dasharatha still lets his parental concerns overwhelm him.

baalo hi akR^ita vidyaH ca na ca vetti balaabalam |

na ca astra bala sa.myuk{}to na ca yuddha vishaaradaH || 

na ca asau rakSasaa yogyaH kuuTa yuddhaa hi raakshasaa | [1.20.7]

'Its not like the demons would play fair,' he bemoans. Here is where I felt Dasharatha is true to his character as a loving parent. 

prati shrutya kariSye iti uk{}tam vaakyam akurvataH |
iSTaapuurta vadho bhuuyaat tasmaat raamam visarjaya || [1.21.8]

is a precursor to what is going to happen later. If you promise something you must keep it at all costs - this message is going to haunt Dasharatha again.  Dasharatha is duly consoled and reassured and he sends Rama and Lakshamana with him. Vishwamitra does teach them some clever skills on the first day itself. I liked the final poem of sarga 22, though they slept on grass beds  tR^iNa shayane, they were quite happy - sukham iva vibabhau. 


They get ready the next morning -samhR^iSTau- with a great deal of enthusiasm which I felt was so true to the character of two barely teen-age boys out for an adventure. 


Kamban 






Except for a mention of possible anemia - mathiyamodoppa [1.5.100] during the pregnancy, the detail oriented Kamban too glosses over the pregnancy and childbirth.  The poets were male and this was clearly a female domain.  Odinar Arasan maattu [1.5.108] the nursemaids rushed to the emperor to tell the news and the emperor after a ritual bath, went with Vashishta to see his sons Komagarthirumugam kurugi nokkinan  [1.5.111]. Pregnancy and childbirth are reduced to a message through the maids and then the subsequent show of joy. The story is told, at least so far in a very male point of view. I wonder if it will change after Sita or remain the same.


Kamban attributes praise-worthy deeds to Dasharatha - upon hearing the good news of the birth, he decrees many measures - no tax for seven years, release of political prisoners, renovations of temples etc.


Alayam pudukkuga vanthanaalartham
salaiyum chathukkamunchamaikka santhiyum
kalaiyum malaiyun kadavularkani
malaiyum theepamum vazhangugaendranan [1.5.114]


I felt Kamban's more inclusive and socialist leanings are quite apparent in this series of poems. It reflects a more complex governance.


The citizens of the country are in equal celebratory mood. Already Dasharatha's great affection - body and soul - for Rama is articulated -
Kaviyamolirtharu kamalamumenave
Oviya eliludai oruvanaialathu or 
avaiyum udalum ilathena varulin
mevinanulagudai venthartham venthan [1.5.124]


This verse also briefly touches upon the dark beauty of Rama. After presumably their studies with the sages, Rama and his brothers spent the evenings with the citizens. Adding this to their rigorous athletic activities, they are the ideal princes. Kamban spares a couple of lines of details - 'What do you do? Are you well? And your family?" asks Rama to the citizens he meets and they praise his stewardship. It is an interesting line in Kamban when they say  Ninai ematharasanena udaiyem [1.5.135] - he  is not really their king yet, but they say how could we not be well when you are our king.


The episode with Vishwamitra is a separate padalam in Kamban titled 'Kaiyadai padalam' - the hand-over chapter. This chapter is one of the closest between the two versions.  The title itself portends things to come. When Vishwamitra arrives, the mighty king - kadithezhunthu adi thozhuthan [1.6.2] - stood up immediately, clearly telling who is important. There is a small side story about Sambasuran that was new to me. Killing asuras and helping Indra is something not new to Dasharatha. Vishwamitra recounts this perhaps with ulterior motives. Vishwamitra asks for Rama and here comes  most  poignant words describing Dasharatha's feelings. Kannilan petrilandhan [1.6.11] Like his life was in balance, like fire in a battle wound and then the most drastic - like a  man blind from birth gaining vision and then losing it. Vishwamitra's anger is very dramatic in Kamban. Vashista calms both of them down and persuades the king to send his son.


1.6.17 is a poem with beautiful sounds -
Vantha nambiyai thambi thannodummunthai
nanmarai munikku kaatti nalthanthai nee, 
thanithayunee ivarkkuenthai 
thanthananiyaintha seigendran


'I am handing them over to you, you are their mother, father, do what you can,' says Dasharatha. Did he say this with complete faith thanks to Vashishta's counsel or with a lot of worry. Kamban doesn't say.Off they go past picturesque scenes to a grove. The padalam finishes with Rama asking whose grove it was.

Ashwamedha - The horse ritual

[Valmiki Sarga 11-17, Kamban Padalam 5 ]


Sanjay smiled as soon as we began and said that this was going to be an interesting discussion.


Valmiki 


Narration continues with Dasharatha seeking Rishyasringa to invite him to his kingdom. He readily agrees, and is brought forth with much pomp and glory. The verse

tataH pramuditaaH sarve dR^iSTvaa tam naagaraa dvijam || 
praveshyamaanam satkR^itya narendreNa indra karmaNaa |
yathaa divi surendreNa sahasraaksheNa kaashyapam [1.11.27]
compares Dasharatha to Indra but more than that Rishyasringa to Vamana. That was a surprise to me.

It is interesting to note that the preparation didn't happen overnight and it took about a year and then another year when the horse wanders off. The description of the ritual, starting with the building of the hall gives me a clue as to why the ministers were all so enthusiastic. Clearly hundreds of jobs were created -  halls for the Brahmins,  arrangements for the city-dwellers, accommodation for visiting Kings, stalls for elephants and horses etc. needed to be built, soldiers following the horse had to be recruited and so much business with regards to the supplies. No wonder this is a ritual that only Kings performed and our epics have only a few mentions.

Sarga 14 is a shocker to modern sensibilities and is certainly not for the faint hearted.  In short, after a detailed description of the fire altar we learn

pashuunaam trishatam tatra yuupeSu niyatam tadaa |
ashva ratnaH uttamam tasya raaj~no dasharathasya ha [1.14.32]

Three hundred animals along with the horse that has come back after wandering about for a year are sacrificied. And, here is the total kicker, it is Queen Kaushalya, with great delight, paramayaa mudaa [1.14.33], who stabs the horse and then weirdly spends the night next to the dead horse as per the ritual. There is also the 'donation' of the wives to the Brahmans [they are returned back of course upon other compensation].

Sarga 14 is problematic in the sense the interpretations are needlessly explosive. Either we bow to the modern jingoist/revival environment and look desperately for allegory and symbolism, where there really isn't any. Or we take the position that everything in the Hindu mythology is trash and barbaric. In both cases forgetting that we are possibly talking of something two to three millenia in the past. To me the fascinating part is the connection of cause and effect - these rituals and sacrifices are so elaborate but are not remotely connected to the problem at hand. How is the ashwamedha justified for fertility?

In Sarga 15 much to my surprise I find the mention of Ravana. Ravana is established to be a thorough rakshasha torturing sages, full of conceit even striyaH api apakarSati cha [1.16.6] abducting woman [ a hint to events to be unfolded]. It is as though the whole premise for Ramayana is the killing of Ravana.  If one were to reflect on the two birds at the beginning,  the fundamental basis for Ramayana is supposed to be the sorrow of parting. But in Sarga 15-17, it is clearly not the case. This avatar is meant for killing Ravana. And Ravana is an already established demon King. That was a big surprise to me for I had always been under the impression unlike the other avatars, Rama avatar's purpose was not just the slaying of Ravana.

I had to smile at antardhaanam gato devaiH puujya maano maharShibhiH [1.16.10]. Vishnu is certainly an impatient God. While his virtues are being extolled, he vanishes.

The putrakameshti yaga follows suit and the payasam is divided amidst the queens. [1.16.27,28,29] I can see the debate as to whether only one of the children [we know already there are going to be 4 - second queen drinks it twice] is the avatar or are all four part of the avatar would seem interesting from religious scholarship.

Another surprise is the birth of the vanaras and how they are all sundry devas. Well, maybe not sundry - a few biggies there too - Jambavan for example.

Next is the birth of the lord.

Kamban

Kamban rearranges the narrative slightly and covers all of the action in a single padalam.  Dasharath is more humble here. [1.5.1]Munivaratroludhu - he asks with humility, [1.5.3] pirithoru kurayillai vaiyagam marukumenbathor marukkamundaro - 'I am not asking for selfish reasons, I am asking because I am worried about the future of my people' - there is none of the high-handedness that I felt in the earlier version.

The narrative switches as a stream of consciousness - Vashista connects the promise of Lord Vishnu to protect the world from the demons to his king's dilemma. Then he suggests Dashratha perform a yagna. I thought this was a clever attempt to get some semblance of story sequencing.

Apart from Ravana, the triumph of Megnath over Indra is mentioned making this more personal to the Devas. The biggest surprise was the portrayal of Shiva. Clearly Kamban is a deep vaishnavaite - Shiva is portrayed almost like a minor god - he goes along with the other Devas to beseech  Brahma [1.5.8] Nanmugak kadavulai adi tholuthu, then later [1.5.10] Seyalindrengalal deciding in consultation with Brahma that Thirumal needs to be approached.

Thirumal [Mahavishnu] declares that he will be born as the son of Dasharatha and here with no confusion also declares that his Shanka, Chakra and Adishesha will be born as his brothers. [1.5.25] Kamban clearly subscribed to the school of thought that Rama is a purnavatar. The vanaras birth is also duly explained.

Vashishta, keeping in mind all this suggests Dashrath brings Rishyashringa to preside over the yaga. Kamban's Rishyashringa  gets angry when he finds out that he has been duped into coming to the country first and [1.5.51] King Romapada has to beg for forgiveness. I liked this minor variation better - it gave more flesh to the character of Rishyashringa.

The whole of Ashwamedha is reduced to a single verse in Kamban - [1.5.84]
Mulangalan mummaiyumudugi yaguthi
Valangiye iraru thingal vaithapin
thalangina thunthumi thavil vanagam
vilunginar vinnavar veliyindrannave.


There is no mention of animal sacrifice, no horse running around and getting stabbed by the queen. It is simply a year long prayer at the end of which the three queens get their dessert. Dasharath does donate a lot to the utmost satisfaction and happiness of everyone, but this version is completely lacking of the elements of ritual.

The millennia passage and possibly a dominance of the Dravidian outlook towards the rituals clearly has an effect on the narrative. In the hundred or so verses in this padalam, Kamban spares just a verse for the ritual itself. Already by the eleventh century we are seeing a more 'modern' form of the ancient religion.

Landscape

[Valmiki Sarga 4-10, Kamban Padalam 1-4 ]


Valmiki


They knew people like me would hear or read this, I thought as soon as I read the words "anasuuyataa shrotavyam. [1.5.4]" 'Listen, park your trivial objections and read it without finding unnecessary faults,' Valmiki seems to be telling me personally.  Nevertheless,  skeptic is my middle name so that demand is unlikely to daunt me. 


The description of the city of Ayodhya amazes me, it reads almost like a modern metropolis - skyscrapers [7 stories tall, how did they build it?], teeming with people, no space wasted,  hundreds of square miles in area [possibly larger than Bangalore going by the 10 yojana by 3 yojana measurement].  I say almost because unlike the modern metropolis Ayodhya also has abundant water. The streets were sprinkled with water and flowers. I wonder why, was it to keep the dust down and as a warm welcome?


The city has moats and soldiers guarding it with modern weapons, so clearly they were sharp on their defense. The virtues of the horses and the elephants [not much mention of cows!] in the city is extolled. The horses are bred from countries like Kaambhoja [which Sanjay tells me is Kabul], Baahlika etc.


The description of the people made me feel that it was an extremely boring country to live in. Everyone is contented, virtuous, scholarly,  they all seem to enjoy good health and are all uniformly happy. It is like Ramarajya ahead of time. I was a little put out by the use of the word Mahatma for Dasharatha somehow feeling he didn't deserve it.


One part that struck both Sanjay and me was the notes on grooming - people of Ayodhya did not go without earrings, turbans and - get this - did not go unscented or unadorned with sandal paste.
na akuNDalii na amukuTii na asragvii na alpabhogavaan |
na amR^iSTo na aliptaa~Ngo na asugandhaH cha vidyate [1.6.10]


Thou shalt not covet thy neighbors wife would be lost on the citizens of Ayodhya for there was no one para daara ratoH naraH. [1.7.15]


Sanjay was quite impressed with the fact that Dasharatha could charm the urban dwellers as well as the rural population 'paura janapada priyaH'. But, he was not impressed with the 'naastiko na'. As part of listing all the sins that the good citizens of Ayodhya didn't commit, the sage says there weren't any atheists. Sanjay felt that was surprising since he didn't think atheism was necessarily a sin according to Hindu traditions.


With such citizens, needless to say the ministers are equally impressive - there seems to be two types of ministers some holding the posts due to heredity, others not. We see the same pattern in the descriptions of the ministers - they are not just smart, they are also polite and clean [suchiinaam ].  Of course the clincher was that the Ministers efficiency and relationships were subject to some sort of a vigilance. kushalaa vyvahaareshhu sauhR^ideshhu pariikshitaaH [1.7.10]


There is a line with regards to taxation that we both debated about. brahma kShatram ahi.msantaH te kosham samapuurayan [1.7.13] Does that mean that the Brahmins and Kshatriyas were exempt from taxes or that they had a better tax bracket? I am inclined to think the former whereas Sanjay thinks its the latter.


As we move forward, we get a glimpse of Dasharatha's state of mind. mama laalasya maanasya [1.8.8]. He is perturbed about not having a son, all is not clearly well as we had been led to believe in the earlier chapter. It is odd he declares one fine morning, that the ashwamedha yaga is the solution for his predicament. Ashwameda yaga requires considerable resources from the government and I suppose it is after all for the future king so is legitimate. Yet, Dasharatha comes up with the idea seemingly out of thin air and asks for the courtier's advise and not vice-versa. Naturally with great adoration they agree it is the right thing to do. I wonder if it is somehow connected to the whole enthusiastic description of the horses earlier.  He even mentions it to his wives much later, and just tells them to follow. Sanjay thought this was a righteous thing to do, putting kingdom before family, but I was inclined to think the whole episode was high handed.


The story of Rishyashringa that I have heard seemed more adult rated compared to what I read in the Ramayana. The courtesans didn't entice him by dancing away to an item number, nor did Rishyashringa seem to get thoroughly intoxicated. Its like a bare outline story of Rishyashringa is given and the rest is either assumed to be known to the listener or is left to the listener's imagination.


Can't wait for the birth of our hero.


Kamaban :


Kamaban is a poet - yes this is a retelling of a great epic and he does so with the humility of a very devout man but what comes through most strikingly is that he is first and foremost a brilliant poet. It shines through as  I begin to read the first few verses.


Kamban's epic rendering starts with the river, it makes sense after all civilization originated on the great river banks. The wandering clouds, the rains, the origin of the river in the himalayas, its course towards Ayodhya are sung in glorious details full of such delightful and unexpected similes.  Clouds white like the color of the holy ash smeared lord became dark like the color of the lord who has Lakshmi in his heart - Neeranintha kadavunirathavan, thirumangaithan veeraninthavan meni [1.1.2] -, River is filled with various objects - flowers, wood and minerals colorful like a rainbow he says. He compares the river chanelling to tributaries to family lineages and many more such beautiful similes abound.


The comparison of the river to a mother's breast was poetic but I had to sit up at the comparison of the river to a whore. Verse [1.1.6] - 'With her fleeting touch of the body from forehead to toe she carries off all the riches,' he compares thus the river flood falling off the mountain top.


Kamban outlines his secular views with a beautiful verse - like the same water sometime manifesting as a river, as a lake, as a pond religions worship the same Almighty in different forms.


Kallidaippiranthu ponthu kadalidaikalantha  neetham
ellaiyin marakalalumiyamparum poruleethenna
thollaiyilondreyagi thuraithorum parantha shoolchi
palperunchamayam sollum porulum porparanthathandre. [1.1.19]


Kamban seems to be so interested in describing the beauty of the country and then the city that he spends more than a hundred verses. Here too the country seems to be a great place to live and Kamban paints pictures of prosperity [Flowers and bees and cane filled fields, buffaloes lounging by the ponds]. Kamban's descriptions deals with aesthetics and the picturesque. What caught my attention was the presence of women through out his poems. He describes their beauty and their talents  tirelessly. This Ayodhya and possibly the chola kingdom it was modelled after is quite modern.


The citizens spend their time in debates, music, social gaming [whole verse on cock-fights!] and their love life also seems to occupy a lot of their time. Women definitely are learned - yay! - Selvamum Kalviyum poothalal.


The city description is equally elaborate with the fort walls, the moat and even the woods beyond the moat described in lyrical terms.


Other eye-catchers in the trove of verses include
Geographical consciousness - Kamban describes the effects of the river on the five types of land in great details [Forest, Mountainous, Farm, Desert, Seashore] , and the agriculture and the crops and the types of crops [grains, fruit trees, lentils, tubers, greens]
Describing the noises/smoke of the country and the city  [1.2.41, 1.3.41, 1.2.57]


Kamban almost tongue in cheek says things were so great that people didn't realize how great things were.


Vanmaillai or Varumaiinamaiyal
Thinmaiyillai Nerserunarinmaiyal
Unmaillai Poiyurailamaiyal
Onmayillai palkelviyongalal [1.2.53]


The fourth padalam praises Dasharath in the similar levels though not in similar lengths as that of Valmiki. The approach here is to elaborately set the description of the country and the city and conclude by the ability and valor of the king.

The Prologue

[Valmiki Sarga 1-4, Kamban Tharchirappu Payiram]


We sit by the restaurant with the unholy plate of bhajjis, I look uneasily at the volume of work and I wonder what possessed me to make the off the cuff remark about reading Valmiki and Kamban. I know I wanted something that was a long term project and something not trivial but this is very serious - numerous sargas/padalams with hundreds of verses spread over 6 Kandas - are we ever going to finish? Sanjay casually says its a four year project and I make some vague remark about a plan. We start nevertheless, I fervently hope we finish.


Valmiki :


The first thing that strikes me as we start reading Valmiki Ramayana is the format of the opening. Valmiki asks Narada, who is cleverly established upfront as a discerning thinker and articulator,  to tell the story of the most principled, courageous, able, good looking man. Narada responds by further extolling the virtues of the hero -

buddhimaan niitimaan vaa~Ngmii shriimaan shatru nibarhaNaH |
vipulaa.mso mahaabaahuH ka.mbu griivo mahaahanuH
mahorasko maheSvaaso guuDha jatruH arindamaH |
aajaanu baahuH sushiraaH sulalaaTaH suvikramaH   [1.1.9]


This is the story of the man - that it is not a plot driven story but a character driven one. The hero is the supreme motivation for the story, it is crystal clear, leaving no doubt in the reader's mind - all I am curious about now is what did this man do to deserve these accolades.


The next surprise was how the following verses literally tell the synopsis of the whole story. As a modern reader I find it intriguing whether in the retelling in the ancient times, did they really start with this opening? Did they really gave away the ending so to speak? If yes, what a gutsy way to tell the story.


There are indications Rama is God incarnate - prajaapati samaH shriimaan [1.1.13],  but it is not explicitly repeated. The accolades oscillates  from character based  - just, righteous,  learned... to looks based - high cheek bones, long arms, broad-shouldered... to abilities based - destroyer of enemies, intelligent, possessor of long bow - as though the writer doesn't want to leave any room for debate. Whichever way you cut it, to paraphrase Shakespeare he is THE MAN.


The synopsis tells the whole story in rapid succession of events giving glimpses of characters and actions. Sita predictably is described as ever amiable and in the context of Rama - Rama's praaNa samaa [1.1.26]. Lakshmana  surprisingly does not get much air time, Shatrughna does not even merit a mention whereas Sabhari and Tara do. We see surprisingly more glimpses of Sundara Kanda than of Yuddha Kanda. A pattern of minor and major characters and events begin to emerge.


Rama is often described as Ajanu Bahu, Maha Bahu - almost repetitively centering on the abilities of his arms, making one wonder about the symbolism.


The much debated agni pariksha is no doubt mentioned, two sets of words there surprised me - first is the 'humiliation' Rama felt at having to reclaim his wife from Ravana - vriiidam upagaamat [1.1.81].  Why  shame and humiliation after the victory, what was he expecting really that he spoke harshly to Sita in front of the assemblage? The second word that surprised was vigata kalmasaam [1.1.83].  In the context of Sita coming out of the fire the word used is getting rid of her sins not proving that she is sinless. Both are interesting hooks for me to watch for later.


The part I liked the most is how when Sugreeva doubts Rama's capability to fight Vali, Rama with a self assured smile, flicks the remains of Dhundubi with his big toe. It is a classic case of someone knowing their power full well, demonstrating it with a casual assurance. utsmayitvaa ca [1.1.65]  he  not only flicked the thing, but did it with a smile. My kind of hero.


Second sarga turns direction and goes into the present as it tracks Valmiki by the banks of the Tamasa river and the story of the krouncha birds. With Valmiki staying so close to the Tamasa river, why is it that he never heard of this great man before I wondered. The story of the Krauncha birds, mostly agreed upon as the Sarus cranes, raises more questions than answers - why is there a reference to the hunter as paapa nishchayaH [1.2.10], is hunting for food evil, or perhaps this is a special case because of the fact the birds were mating. I think it is the latter if not the curse for ages seems disproportional and unlike the hindu scriptures of that time.


The interesting but believable part is how as soon as he utters the verse in the height of his sorrow, the focus shifts from the bird's plight to his own creativity. Valmiki almost obsesses about his ability to speak in poetic terms that Brahma seems to ask him to move on with writing with the Ramayana. The birds are a sacrifice at the altar of poetry. I also find it intriguing why Shoka or grief and sorrow is the root emotion for the epic. Is the central theme of Ramayana the sorrow of parting a loved one?


In sarga three,  I found it interesting that the narrative is said to be revealed to Valmiki through his yogic insight - is that euphemism for imagination?


As Valmiki seeks further details, we see some passing references to ritualistic and social details of the times that I found fascinating - facing eastward, the use of darbhe, touching water, amalakam in the hand etc.


More idolatory words describing rama as though the author can't have enough of it.
sumahad viiryam sarvaanukuulataam |
lokasya priyataam kshaantim saumyataam satya shiilataam [1.3.10]


The course of sarga three goes into further details almost sketching the episodes that are going to come up. More minor characters that didn't make it in sarga two get referenced here.


 I found the aapaana bhuumi gamana [1.3.29], visit to a bar(?) by Hanuman in the course of searching in Lanka  an interesting highlight in the synopsis. Does that an indicator that bars were not indicative of a just kingdom?


Finally there is a reference to this being Sita's story  siitaayaaH charitam mahat . The verse describing the ramayana as embodying nava rasha is a good bait, will have to see if it really does.


The fourth sarga is a puzzle to me. I subscribe to the school of thought that uttarakanda is not part of the original ramayana and thus I found the sarga four somewhat of a misfit. Lava and Kusha make an appearance more so to sing the ballads composed by Valmiki as his disciples. In which case, if they were indeed Rama's sons why could Sita have not told her story, why does it say it happened long ago and the verses also say that they sang it to Rama himself. The time element didn't compute for me.


At the end of the prologue I have a good idea of what type of story this is going to be, a sampling of events and some idea of the author himself.


Kamban :


Kamban's prologue, many centuries latter is much smaller and does not give any synopsis. The beginning prayer is striking in its simple profoundness. Kamban bows to the One who creates, protects and destroys this world in an eternal game in the first verse.


He then gets on with the difficulties of embarking on such a project. The verses depict his humility, the scope of the project and the anxiety that it brings.


'How am I going to talk about something even great minds can't explain,' - 'Sirgunaththar therivaru nannilai ergunatharithu, [TP.2] ' he asks with anxiety. 'I'm like a cat in front of the great ocean of milk where Vishnu resides' [ksheera sagara/parkadal] he bemoans.  And then in an elegant shift he says, 'my desire has made me shed the fear of shame and here I have embarked on retelling this great story.'


Valmiki Ramayana must have already been considered as an important scripture and as he started the retelling, he must have been aware of the critics waiting in the wings. Kamban  sort of negates all of it by the disclaimers. He declares himself to be a child, a madman. What else can anyone say worse?


There is due respect to Valmiki and a two line mention of the episode with the birds but clearly Kamban is not out to do a translation. He is out to retell, adapt or even be just inspired by.


Kamban's intro is succint and doesn't give a lot of details about the story itself, he mentions almost in passing - nadayindruyar nayagan [TP:11] - the story of a hero of character.


With a short blessing he finishes the prologue and starts the Ramayana with the first padalam.

Ramayan

Was reading Kishore's Changi Sree Ramar Temple - Donate Bricks - $11 each post.

The squirrel story has fascinated me ever since I saw the first squirrel sans stripes in the U.S. Further research on many US squirrel species, got me browsing pictures after pictures of uninteresting, bare backed squirrels. The striped squirrels, turns out are mostly from South India or Ceylon. So the fascination remains - Is this story part of the Valmiki Ramayana? If not when was it added? Was it simply a coincidental addition of an imaginative yet observant storyteller? More importantly how could he have known the existence of a different type of squirrel?