Ramayana by Kamala Subramaniam
Ramayana by Kamala Subramaniam
Ramayana by Kamala Subramaniam
By
KAMALA SUBRAMANIAM
Let noble thoughts come to us from every side.
-Rigveda. 1-89-i
RAMAYANA
By
KAMALA SUBRAMANYAM
Foreword by
SWAMI RANGANATHANANDA
2018
BHARATIYA VIDYA BHAVAN
Kulapati K. M Munshi Marg, Mumbai 400
007
©All Rights Reserved
Bharatiya Vidya Bhavan
K. M Munshi Marg,
Mumbai 400007
1st Print Edition, 1981
2nd Print Edition, 1983
3rd Print Edition, 1983
4th Print Edition, 1988
5th Print Edition, 1990
6th Print Edition, 1995
7th Print Edition, 1998
8th Print Edition, 2003
9th Print Edition, 2007
10th Print Edition, 2009
11th Print Edition, 2012
12th Print Edition, 2014
13th Print Edition, 2017
Kindle Edition: 2018
PRINTED INDIA
By Atul Goradia at Siddhi Printers, 13/14, Bhabha
Building,
Khetwadi 13th Lane, Mumbai-400 004 and published
by P. V Sankarankutty,
Joint Director, for the Bharatiya Vidya Bhavan,
Kulapati Munshi Marg,
Mumbai-400 007.
email: bhavan@bhavans.info
website : www.bhavans.info
THE BOOK AND THE AUTHOR
Born on October 4, 1916, at Bangalore and educated in
that city, the author had the privilege of studying under
the distinguished Professor B.M.Srikantiah, Professor
and Head of the English Department, Central College,
Bangalore, and top litterateur in modern Kannada. She
developed early in life an avid taste for English
literature and particularly love for Shakespeare’s plays.
In 1937, she married Dr. V.S. Subramaniam, the
renowned E.N.T. Surgeon of Madras.
Preoccupation with family affairs did not come in the
way of her literary pursuit. She wrote a series of
“Imaginary Conversations” on the model of Lando’s for
the Triveni under the pen-name of “Ketaki.”
Smt. Kamala Subramaniam’s condensations of the
Mahabharata and the Srimad Bhagavatam, both
Bhavan’s publications, have won wide acclaim and
with her Ramayana she successfully concludes her
magnificient triad on the Epics and Puranas of India.
This latest offering marks a distinct landmark in her
great voyage of self-discovery on which she set off
long years ago.
The Epics and Puranas epitomize our culture. They are
suffused with spiritual fervour, their heroes and
heroines are exemplars of nobility, sublimity, valour,
heroism, steadfastness and chivalry. And anyone
reading them will find himself a little better, a little
nobler. They have moulded our outlook, our way of life
from times immemorial.
It this priceless treasure of the spirit Smt. Kamala
Subramaniam has tried to recapture for the benefit of
the younger generation who, alas are deprived of this
spiritual inspiration and nourishment.
A master story teller, Smt. Kamala Subramaniam has
retold the story of the “Perfect” man – the ideal man of
the conception of the ageless Valmiki – lucidly, simply,
elegantly.
If her Mahabharata established her as a born narrator
and in her Srimad Bhagavatam she has soared to
ecstatic devotional heights, in her Ramayana she has
excelled herself in retelling the story of Sri
Ramachandra – a story so soul-stirring, so ennobling,
so elevating. Each one of the characters stands out for
the quality predominant in him/her, but the focal point
is the intensely humane hero, the shinning symbol of
dharma, Rama.
Ramo Vigrahavan Dharmah
FOREWORD
After presenting to the English- reading public two great
books of the Hindu tradition earlier, namely, The
Mahabharatam and The Srimad Bhagavatam, Srimati Kamala
Subramaniam is now offering to the readers a third great book
of the Hindu tradition, namely, The Ramayanam of Valmiki.
Like the two previous books, this one also is an abridged
edition of the large epic, retaining, however, all the essential
parts of the book and its inspirational flow of epic narrative.
Eulogizing the two great epics of India, Swami Vivekananda
says (Complete Works, Vol. IV, p. 96):
“In fact, the Ramayana and the Mahabharata are the two
encyclopedias of the ancient Aryan life and wisdom,
portraying an ideal civilization, which humanity has yet to
aspire after.”
The Ramayana has been the perennial source of spiritual,
cultural, and artistic inspiration for these thousands of years,
not only to the people of India but also to the peoples of
South-East Asian countries. It has enriched the national
literatures of these countries, and has also provided themes for
every form of their art – dance, drama, music, painting and
sculpture. Its heroic characters have helped to mould the
Hindu character; and its three great personalities, namely,
Rama, Sita, and Hanuman, have inspired millions of her
people, high or low in the socio –economic scale, with the
deepest, tenderest and holiest love, reverence, and devotion.
All Hindu spiritual teachers, ancient and modern, have
responded ecstatically to this great book and its heroes. Says
Swami Vivekananda in the course of his lecture on The Sages
of India (Complete Works, Vol. III, p. 255-56):
“Rama, the ancient idol of the heroic ages, the embodiment of
truth, of morality, the ideal son, the ideal husband, the ideal
father, and above all, the ideal king, this Rama had been
presented before us by the great sage Valmiki. No language
can be purer, none chaster, none more beautiful and at the
same time simpler, than the language in which the great poet
has depicted the life of Rama.”
“And what to speak of Sita? You may exhaust the literature of
the world that is past, and I may assure you that you will have
to exhaust the literature of the world of the future, before
finding another Sita. Sita is unique; that’s character was
depicted once and for all. There may have been several
Ramas perhaps, but never more than one Sita! She is the very
type of the true Indian woman, for all the Indian ideals of a
perfected woman have grown out of that one life of Sita. And
here she stands, these thousands of years, commanding the
worship of every man, woman, and child, throughout the
length and breadth of Arya varta (India). There she will always
be, this glorious Sita, purer than purity itself, all patience, and
all suffering.”
Rt. Hon. the late V.S. Srinivasa, Sastry, India’s distinguished
scholar and statesman, in his famous Lectures on the
Ramayana delivered in Madras in 1944 and published by the
Madras Samskrit Academy, invited the Indian youth to benefit
from this great and immortal epic of their country. (p.2):
“Perhaps, The Ramayana is not quite as familiar to the
younger generations that are coming up, as it was to us of an
older day. Is it not true, alas, that great numbers of our youth
at school and college are being brought up without adequate
knowledge of the very springs of our civilization and culture?
…. Is it an exaggeration to say that a student of the Ramayana,
not out of touch with its sanctity and its unequalled importance
to the study of our civilization, can talk to an audience largely
composed of the younger generation with some hope of
profiting them? I believe there is, and in the coming years
there is going to be, a greater need than ever of our going back
with reverent hearts to this most beautiful and moving of all
stories in literature.”
I cannot conclude this Foreword better than by quoting the two
popular verses which salute, in highly elevating poetic
imageries, the greatness of the intensely human sage –poet
Valmiki and the heroic and self –effacing devotee Hanuman:
Kujantam rama rameti madhuram amdhuraksaram;
Aruhya kavita sakham vande valmiki – kokilam
“I salute Valmiki, the cuckoo, who, perching on the tree of
poesy, melodiously sings the sweet syllables – Rama, Rama!”
Sita –rama guna –grama punyaranya viharinau
Vande visuddha –vijn anau kavisvara – kapis varau
“I salute the master of kavis, i.e. poets (Valmiki) and the
master of kapis, i.e. monkeys (Hanuman), who are endowed
with pure Reason and who move freely and joyously in the
sacred grove of the myriad virtues and graces of Rama and
Sita.”
The author and publishers have done a great service to
humanity by bringing out this immortal epic in a pleasantly
readable edition.
Janmashtami,
August 22, 1981
Ramakrishna Math
Hyderabad – 500 029 SWAMI
RANGANATHANANDA
PREFACE
It has been universally accepted that the three epics,
Mahabharata, Bhagavata and Ramayana, comprise our cultural
heritage. It has been my dream to render all three of them into
English in a manner which will appeal to the young people and
my dream seems to have come true. I have finally managed to
complete the narration of the Ramayana in the same vein as I
have the other two.
What is fascinating about these three treasure – houses is the
fact that each is completely different from the other. One
cannot but think of the river Ganga in this context. Ganga,
hurtling through space, rushing down in a torrent towards the
earth from the heavens, makes one think of the great epic
Mahabharata which is full of action, full of passions, full of
force, full of emotion. There is nothing placid about the flow
of the narration.
Now think of Ganga as she enters the sea, when she becomes
one with her lord. There is a feeling that the long tortuous
journey is ended: that the strife is over: that at last, at long
last, all passion spent, she has found Peace. This, to me,
seems to compare with Srimad Bhagavatam.
Let us watch Ganga between these two extremities. Flowing
calmly, placidly, in an unruffled manner, like the Mandakranta
metre, chastening everyone who comes in contact with her:
this Ganga makes me want to compare her to the Ramayana.
There is, in the Ramayana, everything that is beautiful and the
very atmosphere is purifying.
“Drama” is the first word which comes to the mind while
reading the great epic, Mahabharata. “Bhakti,” on the other
hand, is the thread running through the entire narration of the
Bhagavata. “Pain” is the predominant emotion in the
Ramayana. Pain is the monochord which can be heard
throughout: and yet, this very pain is ennobling, purifying and
satisfying. Ramayana is a threnody filled to the brim, with
noble thoughts, noble sentiments, noble characters, not one of
whom is spared the experience of pain.
The Bhagavata has a mystic veil which shrouds it throughout.
The Ramayana, however, has less number of “characters”, but
each is so clearly and sharply portrayed that we can almost see
them. It is full of word –pictures which reveal the sufferings
of the different characters.
The morning of the proposed coronation of Rama when the
young prince is summoned to the apartments of Kaikeyi where
he sees his father, the very picture of woe, while Kaikeyi is
‘different’, to quote Rama. This was one of the most painful
days in the life of Rama and how calm and composed he is
when he is told about the banishment! The death of
Dasaratha, and the moment when Bharat comes to know of it:
these three scenes are so clearly described, one cannot forget
them easily.
Can one forget the other scene when Rama comes back to the
ashrama at Panchavati and finds it empty? And we see Sita in
Lanka, in the Ashokavana, like a figure carved out of
suffering.
Consider the later scenes when Ravana’s pride is humbled day
after day and the ultimate heartbreak when he hears of the
death of Indrajit. Ravana rises to tragic heights during the end
when he faces the consequence of his ‘tragic fault’ and we see
the truth of the Greek proverb: “Character is Destiny.”
Ramayana has been called the Adi Kavya. If one were to try
and look at it as one would at a Sanskrit drama and search for
the predominant ‘Rasa’, it is evident that the Ramayana is, in
essence, full of ‘Viraha’, ‘Vipralambha Shringara’ in a very
wide sense. It is not just the separation of a husband and wife
but several partings of different kinds. The predominant motif
of the epic is: “Separation”.
The killing of the krauncha bird and the curse of Valmiki strike
the keynote of the entire epic. Consider the number of
partings. In the very beginning Rishyashringa is parted from
his father who was doting on him. Later, Rama is taken away
from his father by Vishvamitra though the duration of the
separation is short. Then comes the time when Bharata and
Shatrughna are parted from their father as they go to Kekaya.
Nothing is the same when they come back to Ayodhya.
Bharata’s father is dead and his mother so changed that he
refuses to consider her his mother any longer. And Rama was
far away. There is the exile of Rama to the Dandaka forest,
the great separation from his father and mother which kills the
king and breaks the heart of his mother.
We come to the poignant scenes in the Aranya Kanda when
Rama suffers the pangs of separation from Sita. The
Kishkindha Kanda is filled to the brim with sublime poetry
when Rama pines for Sita on the banks of the Pampa and later,
at Prasravana when the rainy season visits the hill.
We see Sugriva parted from his wife. Then follows the death
of Vali and the lament of Tara. Again later, we are confronted
with the painful scene when Mandodari grieves for Ravana.
Rama’s coronation takes place and, with Sita, he spends a
short happy time: and again, separation. Sita is sent away and
Rama spends the rest of his life in loneliness.
The Ramayana is a sad story. At the same time, like a Greek
tragedy, it is the very summit of poetic art.
“Unarm, Eros, the long day’s task is done,” says Mark Antony.
Even so, I am in a mood to say: a task which I undertook
thirty years ago has now been completed and I feel a strange
contentment stealing over me. I have but one regret. I only
wish Pujya Munshiji had been with us. He would have been
happy. But for his words of encouragement I would never have
been able to do what I have done.
I am extremely grateful to Swami Ranganathananda for having
been gracious enough to write the Foreword to the book. I feel
very happy that he has blessed this book, and highly honoured.
KAMALA SUBRAMANIAM
CONTENTS
THE BOOK AND THE AUTHOR
FOREWORD
PREFACE
BALAKANDA
1. VALMIKI AND NARADA
2. THE COMING OF BRAHMA
3. VALMIKI COMPOSES THE GREAT POEM
4. DASARATHA, AND HIS GRIEF
5. THE ASHVAMEDHA YAGA
6. THE DEVAS IN DISTRESS
7. THE BIRTH OF RAMA
8. VISHVAMITRA COMES TO DASARATHA
9. VISHVAMITRA AND THE YOUNG PRINCES
10. TATAKA VANA
11. THE KILLING OF TATAKA
12. SIDDHASHRAMA
13. THE YAGA OF VISHVAMITRA
14. TO MITHILA
15. GANGA
16. BHAGIRATHA’S PENANCE
17. TOWARDS GAUTAMA’S ASHRAMA
18. MITHILA
19. VISHVAMITRA
20. VASISHTHA HOSTS THE KING
21. A FRUSTRATED KING
22. THE POWER OF THE BRAHMIN
23. TRISHANKU OF THE SOLAR RACE
24. A NEW HEAVEN
25. SUNASHEPHA
26. KAUSHIKA’S LAPSES
27. VISHVAMITRA, THE BRAHMARSHI
28. THE BOW OF MAHADEVA
29. DASARATHA LEAVES FOR MITHILA
30. IN MITHILA
31. SITA KALYANAM
32. PARASURAMA, THE BHARGAVA
AYODHYA KANDA
1. RAMA
2. THE DESIRE IN THE HEART OF DASARATHA
3. “TOMORROW”— SAID THE KING
4. PREPARATIONS
5. THE MAID, MANTHARA
6. KAIKEYI’S DECISION
7. DASARATHA COMES TO KAIKEYI
8. THE DAWN OF THE TERRIBLE DAY
9. KAIKEYI TALKS TO RAMA
10. LAKSHMANA’S ANGER
11. RAMA’S FIRMNESS
12. A MOTHER’S BLESSINGS
13. RAMA AND SITA
14. LAKSHMANA’S REQUEST
15. IN THE PRESENCE OF DASARATHA
16. KAIKEYI BRINGS THE VALKALAS
17. A PAINFUL FAREWELL
18. DASARATHA’S DESPAIR
19. ON THE BANKS OF THE TAMASA
20. THE JOURNEY
21. GUHA, A CHIEFTAIN OF HUNTERS
22. THE THIRD NIGHT OF THE EXILE
23. THE ASHRAMA OF BHARADVAJA
24. CHITRAKUTA AT LAST
25. SUMANTRA RETURNS TO AYODHYA
26. THE CURSE OF A RISHI
27. THE DEATH OF DASARATHA
28. BHARATA HAS BAD DREAMS
29. BHARATA IN AYODHYA
30. THE WRATH AND SORROW OF BHARATA
31. BHARATA’S OATH
32. THE LAST RITES FOR THE KING
33. MANTHARA AGAIN
34. THE THRONE IS YOURS
35. BHARATA ON HIS WAY
36. BHARATA MEETS BHARADVAJA
37. LAKSHMANA IS WORRIED
38. BHARATA’S QUEST
39. BHARATA MEETS RAMA
40. BHARATA’S APPEAL
41. BHARATA ASKS FOR THE PADUKAS
42. BHARATA’S RETURN
ARANYA KANDA
1. RAMA ABANDONS CHITRAKUTA
2. ATRI AND ANASUYA
3. THE DANDAKA FOREST
4. THE KILLING OF VIRADHA
5. THE SAGE SHARABHANGA
6. THE SAGE SUTHEEKSHNA
7. SITA’S ADMONITION
8. THE GREATNESS OF AGASTYA
9. AGASTYA’S ASHRAMA
10. PANCHAVATI
11. SHURPANAKHA
12. KHARA, DUSHANA AND TRISHIRAS
13. RAVANA IS TOLD ABOUT JANASTHANA
14. SHURPANAKHA AND HER TALE OF WOE
15. TO MARICHA’S ASHRAMA AGAIN
16. THE GOLDEN DEER
17. THE KILLING OF MARICHA
18. RAVANA IN OCHRE ROBES
19. JATAYU’S DEATH
20. SITA IN RAVANA’S CITY
21. RAMA’S LAMENT
22. THE FRUITLESS SEARCH
23. MEETING WITH JATAYU
24. AYOMUKHI AND KABANDHA
25. A RAY OF HOPE
26. SHABARI’S ASHRAMA
27. THE LAKE BY NAME PAMPA
28. RAMA’S GRIEF
KISHKINDHA KANDA
1. SUGRIVA SENDS HANUMAN TO RAMA
2. A FRIENDSHIP IS FORGED
3. VALI AND SUGRIVA
4. THE VALOUR OF VALI
5. SUGRIVA HAS DOUBTS
6. THE KILLING OF VALI
7. VALI’S CENSURE
8. RAMA JUSTIFIES HIS ACTION
9. TARA’S GRIEF
10. THE CORONATION OF SUGRIVA AND ANGADA
11. RAMA AND LAKSHMANA IN PRASRAVANA
12. RAMA’S IMPATIENCE
13. THE FURY OF LAKSHMANA
14. LAKSHMANA IS PACIFIED
15. THE BEGINNING OF THE SEARCH
16. THE SOUTH-BOUND VANARAS
17. THE DESPAIR OF THE VANARAS
18. SAMPATI, THE OLD EAGLE
19. HOW TO CROSS THE SEA?
20. THE GREATNESS OF HANUMAN
SUNDARA KANDA