Ramayana epi

Presentation by Dr G.B.Harisha
Author and Director
Swami Vivekananda Cultural Centre
Embassy of India Hanoi
ಸಾವರ್ಕರ್‌ಬಿಡುಗಡೆಯ ಮನವಿ ಪತ್ರ

 ಸಾವರ್ಕರ್‌ಬಿಡುಗಡೆಯ ಮನವಿ ಪತ್ರವನ್ನು

ಅವರು ಅಕ್ಷರಶಃ ಕಸದ ಬುಟ್ಟಿಗೆ ಎಸೆದುಬಿಟ್ಟರು.
ಸಾವರ್ಕರ್‌ ಬಿಡುಗಡೆಯ ಈ ಮನವಿಗೆ ಬೆಂಬಲ
ನೀಡಬೇಕೆಂದು ಕಾರ್ಯಕರ್ತರು
ಗಾಂಧಿಯವರನ್ನು ಕೇಳಿಕೊಂಡಾಗ ಗಾಂಧಿ
ತನಗೆ ಈ ಸಾವರ್ಕರ್‌ಯಾರೆಂದು ಗೊತ್ತಿಲ್ಲ
ಎಂದರು. (ಗಾಂಧಿ ಸೆಡ್‌ದಟ್‌ಹಿ ಡಿಡ್‌ನಾಟ್‌
ನೋ ಹು ದಟ್‌ಸಾವರ್ಕರ್‌ವಾಸ್‌). ‘೧೮೫೭ರ
ಭಾರತೀಯ ಸ್ವಾತಂತ್ರ್ಯ ಸಮರʼ ಗ್ರಂಥದ
ಲೇಖಕರಾ ಈ ಸಾವರ್ಕರ್‌ಎಂದು ಗಾಂಧಿ
ಕೇಳಿದರು. ಸಾವರ್ಕರ್‌ಬಿಡುಗಡೆಗೆಂದು ಬ್ರಿಟಿಷ್‌
ಸರ್ಕಾರವನ್ನು ಕೋರಿಕೊಳ್ಳುವುದು ಅಸಭ್ಯ
ವರ್ತನೆ ಎಂದು ಮುಂದೆ ಗಾಂಧಿ ಸಾರ್ವಜನಿಕ
ವಿವರಣೆ ನೀಡಿದರು. ಕಲ್ಪನೆಗಿಂತಲೂ
ವಿಚಿತ್ರವಾಗಿರುವ ಈ ಸತ್ಯಘಟನೆ ಇತಿಹಾಸದಲ್ಲಿ
ದಾಖಲೆಗೊಳ್ಳಲಿ.
 ನೆಹರು ಇದಕ್ಕಿಂತ ಒಂದು ಹೆಜ್ಜೆ ಮುಂದೆ
ಹೋದರು. ಅವರು ʼಸಾವರ್ಕರ್‌ಬಿಡುಗಡೆ
ಮನವಿ ಪತ್ರʼವನ್ನೇ ಅಹಿಂಸಾತ್ಮಕವಾಗಿ
ಹರಿದು ಚಿಂದಿ ಮಾಡಿಬಿಟ್ಟರೆಂದು ತಿಳಿದು
ಬಂತು. ಸಾವರ್ಕರ್‌ಕಾಂಗ್ರೆಸ್ಸಿಗೆ
ವಿರೋಧಿಯಾಗಿ ಹಿಂದು ಮಹಾಸಭೆಯನ್ನು
ಸೇರುವ ಮೊದಲೇ ಈ ಘಟನೆ ನಡೆಯಿತು.
ಮುಂದೆ ಆಗುವ ಘಟನೆಗಳಿಗೆ ಇದೊಂದು
ಮುನ್ಸೂಚನೆ ಎನ್ನಬಹುದು.
ಕಲ್ಪನೆಗಿಂತಲೂ ವಿಚಿತ್ರವಾಗಿರುವ ಈ
ಸತ್ಯಘಟನೆ ಇತಿಹಾಸದಲ್ಲಿ
ದಾಖಲೆಗೊಳ್ಳಲಿ.
Ramayana introduction
Srimad Ramayana authored by Srimad Valmiki
Maharshi has attained world renown as an
extremely beautiful and extremely auspicious work.
For thousands of years, it has remained as a
streetlight illuminating the journey of the lives of
the people of Bharatakhanda. Its fame is equally
extensive even outside Bharatakhanda. Researchers
and scholars have said that in Indonesia, Indo-
China, Cambodia (Champa), Bali, Java and other
islands, the study of Ramayana was widespread
during the fifth-sixth centuries, unambiguous
evidence for which is available in the remains of
temple sculptures and stone inscriptions, names of
their people, and societal traditions and symbols.
Love for Ramayana is immense
The Ramayana is a work extremely dear to the
Kannada people. The Pampa-Sarovara (the region of
Hampi) which was sanctified by the touch of Sita
and Rama, and Kishkindha, the native place of
Sugriva and Anjaneya are the geographical treasures
of Karnataka. In Kumaravyasa’s period—more than
five hundred years ago—it appears that there were
hundreds of Ramayana works. He has said:
The King of Snakes groaned under |
The Weight of the Ramayana poets |
There is no space to place one’s leg in this crowd of
Raghu’s history ||
Many Ramayanas
Despite this, newer works in Kannada on the
Ramayana have emerged and continue to emerge.
Among these, the Kaushika Ramayana published
recently by Sri Shivarama Karantha from Puttur is
one.  
Ramayana poems are available in abundance in all
languages of India. The Kamba Ramayana in Tamil
and Tulsi Ramayana in Hindi are two works that
have attained enormous popularity
Ramayana in sanskrit tradition
 In Sanskrit especially, the number of Ramayana-
based works composed in various literary forms—
poetic essays, Champus, plays, Stotras—is almost
infinite. Hundreds of Sanskrit poets like Bhasa
and Kalidasa have painted the Ramayana story in
various hues.
 Champu Ramayana of Bhoja is very impressive
Ramayana as spiritual text
 The most favourite works for even Vedantins are
Upanishads like Rama-Smarana, Rama-Rahasya,
and Rama-Taapani. Philosophical treatises like
the Yogavasistha and Adhyatma Ramayana are
basically the celebration of the glory of Sri Rama.
Writing about his work, Valmiki Maharshi says –
         This is the support for Poets || (Balakanda: 4-
20)

 These words of prophecy have rung true and

found fulfilment in the course of time. The list of
poets who have adopted Valmiki Maharshi for
their livelihood is growing by the day.
Ramayana in sanskrit tradition
 Therefore, in this backdrop of thousands of
Ramayana poems derived from Valmiki, is there
still space for Valmiki’s original work itself? It is
certainly the Adi Kavya, the First Poem. From the
perspective of poetry, the fact that it truly stands
at the forefront is indisputable. However, does it
enjoy any other, special distinction apart from
this? Yes it does. It certainly does. Plus it does
enjoy this distinction in abundance. Even from
the perspective of the quality of its poetry, it
occupies a preeminent place.
Ramayana and readers
 In derivative poetry, each specific work is
distinguished for a particular specialty. Some
works are notable for their narrative style; some
for the description of an episode or scene; others
for dialogue; still others for characterization;
some are notable for the beauty of language;
some, for stylistic qualities; others for grace;
others for vigour; yet others, for the importance
laid on strengthening various Rasas like pathos
and valour; still others for passionate Bhakti.
 In this manner, all such varieties of poetry have
their own committed readership. There are
gradations within literary readership. Thus, each
grade of readership likes a specific work based
on the Ramayana.
Significance of original
Ramayana
 However, Valmiki Maharshi’s Ramayana is
completely different from all these varieties of
poetry and occupies a unique place. It
encompasses all the noble traits of these poetic
varieties. By its distinctive literary grandeur,
skillful characterization and emotional
magnanimity, it has retained its unparalleled
influence and greatness. Derivative works are
akin to a photographic reflection. They reflect
just one part or one scene of the whole theme.
The entire, integrated picture does not appear in
a photo. Those who wish to savour the full
essence of the Ramayana must necessarily go to
the original Valmiki Ramayana. Those who are
unacquainted with the Sanskrit language must
read a translation of the full Valmiki Ramayana in
any Bharatiya Bhasha.
Structure of Ramayana

We can now examine the structure of the work for a

bit. From the time it was composed, the world has
accepted the opinion that the Ramayana belongs to
the literary genre named poetry.
The Ramayana is not a work of Sastra or history. It is
poetry. However, it is poetry that includes both
Sastra and history. It is not a work that discards
Sastra. Neither is it a work that is not based on
history. It is not imaginative or concocted fiction. It
is sturdy poetry endowed with muscles and limbs by
retaining real-life incidents as a skeleton.
Ramayana as poetry why?
 What is poetry? Poetry is the aggregation of
sentences that have the power to evoke pleasant
experiences in the heart of human beings. The
quality of composing poetic literature involves
stimulating tumult within the heart of the reader.
When we listen to it, a certain experience must
occur within us. Our mind should say, Aha! Oho!
Oh no! So sad! Wow! Awesome! Thus any
experience that stimulates within us feelings of
pity or surprise or fury or elation is known as
Rasa. Any work of writing that elicits this Rasa in
our inner life is poetry.
Significance of original
Ramayana
 Our ancient Masters (Valmiki, Vayasa) have
engaged in elaborate and extraordinary
contemplation on the secret of poetry. They have
variously argued that poetry flows from the style
of language, from prosody, from suggestion,
from figure of speech, from beauty in meaning,
and so on. All such arguments are not incorrect;
however, each argument is one-sided and
therefore incomplete. The stand that Rasa is the
essence of poetry has received universal
acceptance. The treasure of humankind called
poetry is available throughout the world. It is not
a special property of the Sanskrit language. The
day the first human was born, the place of such
birth was simultaneously the time and place of
the birth of poetry.
Case study of ayodhya kanda-
valmiki Ramayana-1
 Around this time, King Janaka in Mithila was
making arrangements to find a suitable groom
for his daughter. It was Vishwamitra’s futuristic
vision that sensed the capacity for forging a long
lasting and inseparable relationship between
Dasharatha and Janaka. Those who recall the
episodes of Rambha and Menaka in Vishwamitra’s
life must also not forget the fact that it was the
same Vishwamitra who mediated the marriage of
Sita Devi and Sri Rama. Likewise, it was solely due
to Vishwamitra’s guidance that Ahalya obtained
liberation from her curse when she met Sri Rama.
Shatananda, the son of this wife of Rishi
Gautama, was the Purohita of Maharaja Janaka.
We must not forget also, that it was Shatananda
who officiated the marriage of Sita Devi and Sri
Ramachandra. In this way, everything culminates
in auspiciousness.
Case study of ayodhya kanda-
valmiki Ramayana-2
 Maharshi Parashurama is akin to a revolutionary.
When injustice and oppression becomes powerful
in the  world, a certain revolutionary fervor arises
in the mind of some person. That becomes a
revolution. Revolution is the response for
injustice that has crossed all limits. It is the
uprising of the Sattva feeling in human nature—
however, this uprising is mixed with the zeal
of Rajas. The rage of the revolutionary does not
have any place for pity or restraint. There is also
no place for patience or a measured
discrimination of the wisdom of sifting the
relevant from the irrelevant. Everything hinges
upon obstinacy—a stubbornness devoid of
reason. Indeed, there is a place in human history
for even such feverish obstinacy. Because there is
opportunity in human nature for committing
injustice. When this injustice reaches a
Case study of ayodhya kanda-
valmiki Ramayana-3
Of the seven Kandas in the Ramayana,
the Ayodhyakanda is the largest excluding
the Yuddhakanda. One can characterize
the Ayodhyakanda as the heart of Srimad Ramayana.
It contains the story of the obstacle to Sri Rama’s
coronation as King up to the beginning of his exile
in the forest. This portion of the story comprises
several heart-wrenching episodes. These episodes
bring before our eyes the various tribulations
related to Dharma faced by Sri Rama, Sita Devi,
Bharata, Lakshmana, Dasharatha, Kausalya, and
Sumitra. Even while reading the work and becoming
involved in the respective circumstances and
characters, the proverbial ordinary reader will be
unable to stop his heart from overflowing with
emotion and shedding tears.
Case study of ayodhya kanda-
valmiki Ramayana-3
In the episode of denying the coronation of Sri Rama in
the Ayodhyakanda (Sarga 8,9), the conversation between
Manthara and Kaikeyi is noteworthy. Here, Valmiki makes us
laugh uproariously. Kaikeyi did not initially like Manthara.
Then, Manthara provokes Kaikeyi’s selfishness. It is at this
point that torrents of praise flood forth from Kaikeyi’s mouth
regarding Manthara. This is followed by heartless and heart-
tugging events: the conversation between Dasharatha and Sri
Rama, the sorrow of Kausalya and Sumitra, Lakshmana’s fury,
Sri Rama’s equanimity, and Sita Devi’s unswerving,
courageous fidelity to her husband…in short, an entire
tradition of nobleness.
Case study of bala kanda-
valmiki Ramayana-1: origin of
poetry
mā niṣāda pratiṣṭhāṃ tvamagamaḥ śāśvatīḥ samāḥ ।
yatkrauṃcamithunādekamavadhīh kāmamohitam ।।
 (Balakanda: 2-15)
 This is an important poem in many ways to
understand Ramayana.
origin of poetry
 What kind of a curse is this? Is this world
everlasting for only innocent people? Is there
anxiety in the words, “May you never live
eternally?” If the hunter replies, “Even I don’t need
eternal life, sir. Fifty more years are enough,”
what would be Valmiki’s reply to it?
 This is an artificial verse—composed with a view
to imply two meanings. The first meaning is to
curse the hunter. The second meaning is as
follows: “Hey cruel Ravana! You have kidnapped
one among the Sita and Rama couple who are
verily the incarnations of Mahalakshmi and
Vishnu. Therefore, may you quickly be subjected
to death.” Commentators have argued that the
poet’s intent was to indicate the theme of the
story in this fashion.  
Before concluding
 Here story is embedded with Indian values of life,
family, kinship, and friendship.
 Poetry is written in musical meter, it has 24
syllables for each poem. Easy to remember and
use in life situation. 
 It is the first epic of the world
 Older and bigger than Greek, Roman epics of
Homer and Virgil.