Living Literature: Ramakien – The Thai Rendition of the Rama Epic

Frederick B. Goss

“The King’s intention is to record a story

of the ancient ages, this tale of Ramakien.”

Thus states the introduction to King Rama I’s Ramakien; and what a tale, what a story,
what sadness and joy, what fun and satisfaction one gets from this Thai rendition of the Indic
Rama epic. Ramakien, a seminal piece of classical Thai literature, inspires in its readers
admiration, adulation and even awe, having endured the test of time to remain both popular and
relevant in modern Thailand. The title to Paula Richman’s book, Many Ramayanas, highlights
the diversity of the Rama story, with the Rama epic being represented in some form and manner
in almost every country and culture in Asia providing a means of mutual understanding and
cultural connection.

Ramakien – From Angkor to Ayutthaya

Tracing the origins of Ramakien is full of differing opinions, conjecture and conflicting
evidence. While it is clear Ramakien has its roots in Valmiki’s Ramayana, often considered the
‘original’ version of the Rama epic, and much of the basic story line of Ramakien can ultimately
be traced to India, it is also clear that Ramakien was not taken directly from Ramayana. Many
writers have tried to show some close association with different narratives from the Indian
subcontinent, most particularly the Tamil renditions in southern India. Others, however, have
indicated that there is a less direct connection with the Indian versions, Tamil or otherwise, and
have argued that the path taken was more circuitous.
Prince Dhani Nivat, a great lover of and frequent writer about Ramakien, made the
argument that the version used by the Khmer at Angkor from the 8th to the 13th centuries CE,
perhaps having come through the Javanese, was the most likely conduit between Indian versions
and what ultimately became Ramakien. This likely route of transmission is supported by the fact
that during the Ayutthaya period of Thai history, 1351 to 1767 CE, many Khmer customs and
traditions were adopted, including, one can surmise, the literary tradition of the Rama epic.
Although there are no written documents remaining showing evidence of the Ramayana story
from the Angkorian Empire, the legacy of this literature can be seen in bas relief carvings at
many ancient stone monuments that remain in Angkor in present day Cambodia and in the
northeast part of present day Thailand, providing a strong indication of the likely transmission of
the Rama tradition to later settlers and kingdoms in the area.

Ramakien – A Literary History

Even though there are some fragments of verse remaining from the Ayutthaya era, it is
not until the start of the Bangkok period, 1782 CE to present, under King Rama I, that Ramakien
took its full epic form as we know it today. After the fall of Ayutthaya, and the alleged
destruction of much of the art and literature of that period, Rama I directed the compilation and
re-composition of many literary works, including a complete Ramakien.

While Ramakien appears to have received the most attention under the reign of Rama I,
the importance and popularity of the story lived long after his reign. His successors, Rama II, IV,
V and VI made their own literary contributions to the Ramakien repertoire. Rama VI further
highlighted his recognition of the significance of Ramakien by choosing the ‘dynastic’ name
‘Ramathibodi’ in Thai, translated as ‘King Rama’ in English, to designate the kings in the Chakri
dynasty.

Completed in 1797 CE, Rama I’s text of Ramakien, written as a dance-drama, is the most
complete and comprehensive version in Thai, running to over 53,300 verses. Although it is not
clear how much Rama I personally wrote or participated in its drafting, what does seem clear is
that he attached great importance to this work, as it was one of the most important of his many
literary reconstruction endeavors. However, given the dearth of prior written texts, it is uncertain
what sources were used to compile this version of Ramakien. Most likely, there was a concerted
effort to collect all available material relating to the Rama epic, including stories from the
southern regions of present day Thailand which may have been influenced by Indian sources,
particularly Tamil.

Next to the Rama I edition, the most complete version is that written by Rama II, finished
in 1815 CE. It appears that one of the possible aims of Rama II, who was quite adept at literary
composition, was to create a piece that was more suitable for dramatic presentation. While the
Rama I rendition is the most complete, its very length and detail make it less adaptable for
performance.

Ramakien – Culture and Customs

Inside Ramakien one will find time-honored themes of love and devotion, good versus
evil, right over wrong, presented through intricate plots and sub-plots with a multitude of
characters. The actions and behavior of these characters often exemplifies the basic
characteristics of traditional Thai society. One of these characteristics is the patron-client
relationship, which can be seen through four recurring character traits: loyalty toward family and
friends, particularly elders; obedience to those in a superior or more powerful position; respect
for those who are older and wiser; and deference to ones of higher rank.

Today, Ramakien is widely represented in Thai culture and is an important manifestation

of long-established Thai social customs. From abstract ideas of ‘ideal’ behavior, to concrete
representations of paintings on walls, Ramakien is a reflection of traditional Thai society. This is
an epic that is seemingly both a dusty volume on the shelf and living literature reflecting the face
of Thailand.

Ramakien - A Synopsis of King Rama I’s Version

King Rama I’s Ramakien follows essentially the same story line as Valmiki’s Ramayana:
Phra Narai (Vishnu) incarnates as Phra Ram (Rama) to destroy the demonic forces and overcome
the wickedness in the world. The means for doing this is a war between Phra Ram, assisted by a
divinely created simian army, and Thotsakan (Ravana), the leader of the demons.

The first quarter of Ramakien is devoted to the origin of the multitude of characters, a
part that distinguishes Ramakien from most other Rama narratives which typically start with the
incarnation of Vishnu as Rama. The story continues with Phra Ram’s exile to the forest,
accompanied by his younger brother and his wife, Nang Sida (Sita). After they settle at a
hermitage to perform penance, Thotsakan learns of Nang Sida. Falling deeply in love, he devises
a plot to kidnap her by having Phra Ram leave Nang Sida alone as he goes in chase of a demon
disguise as a golden deer, a scene common to almost all renditions of the Rama epic. Thotsakan
then abducts her, setting the stage for the long war for her rescue.
 Before the fighting begins, Thotsakan tries several tricks to get Phra Ram to turn back,
including the much performed Ramakien episode in which a female demon assumes the form of
a dead Nang Sida floating down the river. Phra Ram is convinced and laments, but Hanuman, a
divinely created monkey with magical powers and Phra Ram’s leading soldier, is suspicious and
uncovers the ruse, foiling the plot. When ordered to take the female demon back to Thotsakan,
Hanuman seduces her. This is the first of his many amorous adventures and his playboy image in
Ramakien is one aspect that sets the Thai rendition apart from his portrayal in most other
versions.

There is a long series of battles in which each demon that fights Phra Ram is eliminated.
In the final battle, Thotsakan dies when Phra Ram shoots him with an arrow, while Hanuman
crushes a box containing his heart. Nang Sida is thus rescued and they return to Ayuthaya. After
living peacefully for a number of years, one day Phra Ram suspects Nang Sida of being
unfaithful and orders her execution; but given her merit, she does not die. After a series of
misadventures and attempts at reconciliation, Phra Isuan (Shiva) intervenes and reunites the
couple, and all live happily ever after.

Ramakien – A cultural peace ambassador

Given the shared tradition of the Rama epic among nearly all the cultures of Southeast
Asia and India, this story has the ability to serve as a cultural peace ambassador promoting
mutual understanding among the people of this region. This was clearly shown at the
International Ramayana Festival, held in Bangkok in December, 2011, where dance and music
troops from eight countries held a performance of the entire story, each performing a separate
scene. This gathering highlighted and reinforced the sense of cultural pride and appreciation for
each other that the Rama epic has been able to foster as it has spread.

Ramakien in Thailand, as with the Ramayana in India and elsewhere in Southeast Asia,
has endured the ages to remain both popular in performance and captivating in depiction. Given
its enduring qualities and universal themes, it is likely to continue to do so for time immemorial.