Influence of Ramayana on Indian values and

culture

A Seminar Report

Submitted by

Arnav Kumar

20BCCN003
In partial fulfilment for the award of the degree

of

BACHELOR OF TECHNOLOGY
IN

COMPUTER SCIENCE & ENGINEERING

At

JECRC UNIVERSITY, JAIPUR

November, 2019
 Acknowledgements

Many people have supported me, in different ways, during the work with the thesis. I’d like to
thank my (Supervisor Name) & HOD Mr. Naveen Hemrajani for their kind and active support
and valuable guidance during the work process. My family has as always offered me their
unconditional support, thank you! I have taken efforts in the Seminar presentation. However, it
would not have been possible without the kind support and many individuals and organizations. I
would like to extend my sincere thanks to each and every member related to JECRC
University.

Arnav Kumar

20BCCN003
 Candidate’s Declaration

I, Arnav Kumar, bearing roll number 20BCCN003, hereby declare that the work which is being
presented in the Seminar, entitled “Influence of Ramayana on Indian values and culture” in partial
fulfilment for award of Degree of “Bachelor of Technology” in Deptt. of Computer Science
Engineering is submitted to the Department Computer Science & Engineering, JECRC University is
a record of Seminar work carried under the Guidance of Guide name, Department Computer Science
& Engineering.

Arnav Kumar

Computer Science

Enrolment No.: 20BCCN003

 Abstract

The Ramayana isn't only a level sonnet, it is an epic or a legendary story. It has a

ton of significance. The Ramayana was a custom and philosophy of the Aryans.

The Ramayana is a strict history book of old culture, customs, truth, religion,

recognition of ceremonies, the significance of different penances, and so forth. The

impact should be visible even right now. The act of recounting Ramayana in

different strict services actually exist. The impact of Ramayana on friendly

agreement is very perceptible. However Ramchandra is practically identical in the

public eye as a committed spouse, as a man centric child, as a begetter ruler. The

significance of Sita understands devotion actually motivates the Indian woman

group to become Lakshmi at home.

The Valmiki-Ramayana is a splendid creation of the sublime thoughts of Valmiki,

the seer poet; it serves as a source of eternal inspiration, salutary ideas and moral

behaviour for millions of people all over the world. It transcends the limitations of

time, place and circumstances and presents an universal appeal to people speaking

different languages, dwelling in different countries and having different religious

persuasions. The Vedas and the Puranas along with two great epics, the Ramayana

and the Mahabharata constitute the solid and enduring foundation of age long and

magnificent edifice of Indian culture and civilization. The everlasting appeal of

these treatises still influences, to a great extent, the cultural life and

behaviour-pattern of crores of Indians.The massive impact of Ramayana has been

acquiring impact in the field of writing from the fanciful age to right now.

Afterward, the Indian artist Ramayana advanced the type of the Gem store and

achieved interminability by turning into a writer himself.

TABLE OF CONTENTS Page

DECLARATION ........................................................................................................................... ii
CERTIFICATE.............................................................................................................................. iii
ACKNOWLEDGEMENTS ..........................................................................................................iv
ABSTRACT................................................................................................................................... v
CHAPTER 1 INTRODUCTION.................................................................................................... 1
1.1. Origin of Ramayana.............................................................................................. 1
1.1.1 Most influenced region....................................................................................2
1.1.2 Continuous and pervasive influence on the mass mind...................................2
1.2 Ramayana as an Adikavya……………………………………………………….4

1.2.1 Influence of the Epic on Life, Culture and Literature in India and Abroad….5

1.2.2 Ramayana is also a mirror of the social life of ancient India………………..6

1.2.3 Ramayana also influences the religious life of the Indians to a great extent..6

1.2.4 Science of Polity in Indian context………………………………………...11

1.2.5 Seven limbs of a state and their Enumeration in the Ramayana…………...13

1.2.6 Objectives of the Study…………………………………………………….15

CHAPTER 2 Effect of Ramayan on art………………………………………………………….18

CHAPTER 3 Effect on Indian Values…………………………………………………………....20

CHAPTER 4 Four Life Lessons you learn from Ramayana…………………………………….26

REFERENCES…………………………………………………………………………………..28
 1) Introduction:
Anybody, intending to know India’s present properly, even unwillingly, goes through its thriving
past history; because in order to know the present of a nation properly, one cannot ignore its past
history and cultural heritage. If we look into the great epics, all the traditional characteristics of
Indian civilization, along with its magnanimity as well as deficiency will be unveiled. The
popularity of the Rama-story spread throughout India so widely that the story is heard or read
with pleasure and piety in the palaces as well as in the hovels. The excellence of this unique
story enchants the hearts of the rich and poor, of the advanced and underprivileged, of the
intellectuals and illiterates as well as of the urban and rural people. Fr. C. Blucke rightly says that
“the popularity of the Valmiki Ramayana and the voluminous Rama-Literature of many centuries
is a monument to the idealism of India, its high esteem of moral values and its belief in the
ultimate triumph of good over evil. In the same way, the enthusiastic response of the millions of
Indians to the message of Ramacaritamanasa testifies to the deep-seated religious belief and
spontaneous piety of the soul of India.”[i]

1.1 Origin of Ramayana A number of scholars have traced the origin of the epics to the
Vedic literature, especially to the Akhyana hymns of the RgVeda as well as Akhyanas
(Narratives), itihasas (legend) and Puranas (ancient tales) and some other resembling topics in
the Brahmana literature. A simple subject-matter of the Gatha Narasamsis (one kind of song in
praise of men), gradually assumes the form of some lengthy ballads as well as different
song-cycles with complicated and elaborate plots. Passing through this preceding process and
having undergone through some intermediate stages, these ballads and song cycles transformed
into the great epics, the Ramayana and the Mahabharata, which may be called the finished
products of the lengthy process of transformation.

Although the Ramayana earns the distinction of great antiquity in world literature, still it is
accepted as a splendiferous literary specimen for all times due to its universal appeal in affording
perpetual solution of all the problems that confront us in every stage of life. There is, probably,
no other work than world literature, which has exercised such a stupendous influence on the
mind, life and thoughts of the masses. The epic portrays a many-sided picture of a perfect life.
The story of the Ramayana reveals the conquest of good over evil. Valmiki composes the epic,
merging religion with morality and statesmanship with common sense, in such a manner that it
presents an excellent combination of sociology, philosophy, Arthasastra, History and ethics.

The Ramayana comprises 24000 verses, divided into seven books, styled Kandas. After a minute
scrutiny of the comprehensive manuscript material, gathered by the Ramayana Department of the
M. S. University of Baroda, for preparing a critical edition of the epic, some scholars express the
opinion that the text of the Ramayana has been preserved in two recensions i.e. (1) the northern
and (2) the southern. Each of these recensions are further subdivided into three versions.

1.1.1 The Northern recension is composed of (i) the north eastern, (ii) the north western and
(iii) the western. The southern recension again comprises of (i) The Telugu, (ii) The Grantha and
(iii) The Malayalam versions.ii

Million of devout Hindus, spread across the length and breadth of India and also living abroad,
believe Rama, the hero of the epic, to be an incarnation of Lord Visnu. But, a study of the epic
reveals that in the texts of five books (from book II to VI) Rama is not portrayed as an
incarnation of Visnu, but as a heroic person embellished with superb human qualities and extra
-ordinary capabilities. There are, of course, just a few chapters which present Rama as an
incarnation of Visnu, but many scholars consider these as spurious insertions, added to the main
epic in later periods. Some chapters of Book I and VII, which presents the incarnation aspect, are
also considered interpolations by many scholars. It is interesting to note that in the very first
chapter of Bala Kanda, sage Valmiki, the epic poet asks the divine sage Narada to trace such a
man as the hero of his peerless work, who is the repository of all good qualities.

1.1.2 While answering to the query of the sage, Narada also asserts that Rama is merely a
human being, adorned with some excellent virtues, seldom found in the character of gods
even.depict the character of an extraordinary human being in his epic. As the epic beautifully
presents the ideal relationship between individuals of a family, viz. between the brothers,
between the husband and wife, between the mother and son and so on, its appeal remains
ever-lasting to all the peoples of our country and abroad. Jawaharlal Nehru, the first prime
minister of independent India, while commenting on the Ramayana and the Mahabharata, the
two great epics of India, says –– "They deal with the early days of the Indo-Aryans, their
conquests and civil wars, when they were expanding and consolidating themselves, but they
were composed and compiled later. I do not know of any books anywhere which have exercised
such a continuous and pervasive influence on the mass mind as these two. Dating back to a
remote antiquity, they are still a living force in the life of the Indian people.... They represent the
typical Indian method of catering all together for various degrees of cultural development, or the
highest intellectual to the simple unread and untaught villager..... Deliberately they tried to build
up a unity of outlook among the people, which was to survive and overshadow all diversity."iii
1.2 Ramayana as an Adikavya:

There is a difference of opinion amongst the scholars on the question whether the Ramayana
should be regarded as an epic or not. Some western rhetoricians do not accept the Ramayana as
an epic. But, in the light of the definition of epic as given by Indian rhetoricians like Dandin,
Bhamaha, Visvanatha and others, the Ramayana is recognised as an epic by most of the Indian
scholars.

The Valmiki-Ramayana is acclaimed as the 'adikavya' or the first spurt of poetry, sprung out of
excessive emotion, in this case out of karuna rasa or the sentiment of pathos. It may be regarded
as the milestone of a new epoch. This first poem, issued forth from the lips of Valmiki, takes
birth in the background of a sorrowful situation. One day, having got the advice to compose the
Ramayana from the distinguished divine sage Narada, Valmiki went to the river Tamasa for his
midday bath. On his way back to the hermitage, he saw a sportive pair of cranes, amongst which,
a Nisada (one belonging to a hunting wild tribe) struck and killed the male one. The female bird
of the pair, seeing her mate mortally wounded and fallen on the ground, began to wail
pathetically. Moved by this piteous event, Valmiki uttered some rhythmical speech, sprung out
from the bottom of his heart.

Being astonished, Valmiki himself said about the first poem spontaneously coming out of his
lips, that since this first spurt of poetry took birth from the womb of the sentiment of pathos or
the Karuna Rasa, the base of which is soka, it should be termed as 'Sloka'. This indicates that the
name of sloka or poetry was unknown before this incident. The composition of the Ramayana
takes place after this event. The separation of Sita from Rama and the resultant pangs, suffered
by both, seem to reflect the pangs of separation undergone by the female crane. On the question
of the Ramayana being designated an 'Adikavya', 'The Oxford History of India' says –– "The
Ramayana deserves the name of epic because it is essentially a single long narrative poem
composed by one author named Valmiki and is devoted to the celebration of the deeds of the
hero Rama with due regard to the rules of poesy. The work is in fact the first example of the
Sanskrit Kavya or artificially designed narrative poem."[iv] The epic-poet also says in many
places that the Ramayana is a 'kavya'. The Ramayana is not only an excellent poetry but also the
ideal specimen of many epics of later period; and that is why the Ramayana is called an
'Adikavya' and 'Valmiki' an [v] 'Adikavi'.

1.2.1 Influence of the Epic on the Life, Culture and Literature in India and Abroad:

The Ramayana left an ineffable and ineffable impression on the family life and social life,
culture and literature of the people dwelling various parts of India and various countries abroad.
The Ramayana, being the oldest epic of India, is the store-house of perpetual knowledge as well
as an abundant source of information about the social and political atmosphere of ancient India.
It occupies a unique place in the realm of literary development and religious thoughts. Moreover,
it exerts great influence on the activities and thoughts of the Indian people of the later ages too. It
is not only a very popular epic but also an ethical code of the Hindus. The teachings of the
Ramayana are easily comprehended because of its ethical contents. The Ramayana teaches us
how an ideal king, an ideal father, an ideal mother, an ideal son, an ideal brother, an ideal
servant, an ideal husband and an ideal wife should behave in life.

In this regard, the statement, made by U. Thein Hen, chairman of the Burma Historical
Commission, deserves special mention –– "Ramayana is not only a literary treasure but also a
source of ennobling influence of the relationship of men as parents and children, husbands and
wives, brothers and sisters, relations and friends, teachers and pupils and rulers and the
ruled."[vi] Dasaratha's sincerity in keeping his promise, his fondness for his son etc. are unique.
Kausalya's sense of duty or Sumitra's spirit of sacrifice are unparalleled and Laks mana's
reverence towards his elder brother and his brother's wife is simply amazing. To speak briefly, in
the Ramayana, we find living examples of the highest moral idealism of life. The ethical
standard of Aryan (noble) culture, has been brought out by the epic poet, through a portrayal of
the spirit of sacrifice, deep attachment to adventure, utmost esteem for veracity, persistence and
rigid constancy. Some sorts of superstitious practices, harmful features of the caste system,
common practice of polygamy etc. are the shortcomings of the people of the period alluded in
the Ramayana.
1.2.2 Ramayana is also a mirror of the social life of ancient India:

It shows us that all good attributes like faithfulness, sincerity, obedience, truthfulness etc. are the
spine of a civilized social order prevailing in those days. The high ideals of life as portrayed in
the epic, influence the Indian people in the field of their daily activities. Thus, it helps us to build
our character at a young age. Rishi Sri Aurobindo says –– "The work of Valmiki has been an
agent of almost incalculable power in the moulding of the cultural mind of India : it has
presented to it to be loved and initiated in figures like Rama and Sita, made so divinely and with
such a revelation of reality as to become objects of enduring cult and worship, or like Hanuman,
Laksmana, Bharata, the living human image of its ethical ideals, it has fashioned much of what is
best and sweetest in the national character, and it has evoked and fixed in it those finer and
exquisite yet firm soul-tones and that more delicate humanity of temperament which are a more
valuable thing than the formal outsides of virtue and conduct...."[vii]

1.2.3 Ramayana also influences the religious life of the Indians to a great extent:

Religion is a part and parcel of the social life of a nation, which plays a great role in moulding
the socio-cultural life of that particular race. The high ideals represented in the Ramayana are
revered as religious teachings. Thus, we find that the characters, delineated in the Ramayana,
ordinary human beings, are elevated to the rank of gods by the common people of India. The
mighty monkey chief Hanuman is also worshiped as a deity, who saves hapless people from
calamities. As such, the Ramayana is regarded as the oldest religious book by the Indians. The
Ramayana songs are performed before a huge audience composed of people of all the castes and
classes. It will not be an exaggeration to say that the Ramayana inspired millions of lives in India
and abroad in the past, inspires today and will inspire in the future.

It would be pertinent to mention here that some social conventions, mentioned in the epic, are
found to be prevailing in the societies of later periods in India. The reflection made by the poet
exhibits that the people of that period have a great respect for their parents and elders, absence of
which is regarded as an offence. The people should obey the orders of their elders at any cost 14.
Four social divisions or castes of the Hindu society (Chaturvarna) viz, Brahmanas, Ksatriyas,
Vaisyas and Sudras and Catur Ashrama i.e. the four stages of life, viz, Brahmacharya,
Garhasthya, Vanaprastha and Sannyasa and Caturvarga, i.e. four objects of human pursuit, viz,
virtue (dharma), riches (ortha), lust (kama) and final beatitude (moksa) etc. are considered as the
foundation of a well planned society in India. The epic informs us that the members of the
society as found in the epic, are men of various professions, such as, architect, artist or mechanic,
cutter, excavator astrologer, actor, expert in fine arts, dancer, warriors, well versed in the science
of weapons, businessmen, manufacturer of weapons, jeweller, potter, weaver, surveyor,
goldsmith, persons attending one at bathing, doctor, carpenter, artisan, vintner and so on.15 It is
most amazing to find that the application of surgery at the time of child-birth is very common at
that time.[viii] Selling of lac, honey, meat, iron or metal, poison etc, are regarded as sinful
business.[ix] But the prostitute has a specific importance in the society of that period.[x] The
purdah system[xi] as well as the veil system[xii] are also present in the period, portrayed in the
epic. The long-practiced ethical code, established in the society, exhibits that the elder brother,
father and teacher are regarded as fathers, the younger brother as own son and the virtuous
disciples are regarded as sons.[xiii] Accepting of the younger brother's wife as one's[xiv] own
and abduction of women [xv] are considered as most reproachable and contemptible deeds
during the Ramayanic period. The evidence found supports the fact that the women of that period
can move freely and openly. The epic upholds that the house, cloth or veil or enclosurethese all
are not the coverings of a women; it is only the good conduct of a woman, which can cover her.
The epic further expresses that a women can appear before others publicly at the time of
adversity, marriage and also at the time of the ceremony of choosing one's husband. Moreover,
the women of ancient India can join in the army of the country and the post of air hostess is also
meant for the ladies.

The education system as reflected in the epic is Gurukula based. In this system of education, the
students are entitled to take their education, residing in the houses of their preceptors. The
preceptors bear all the expenditure of their students. The preceptors or sages, who have the
capacity to bear the expenditure of and to give the shelter to ten thousands students, are entitled
to get the title of kulapati. The epic shows that sage Atri has got the title of kulapati.[xvi]
Moreover, the epic reflects that the hill tribes of ancient India are also blessed with higher
education. The Nisada-king Guha is described in the epic as an architect of exalted quality.[xvii]
Description of Rama's friendship with Guha illustrates that the society of that period is free from
untouchability or unhealthy trends of disintegration. Some aspects of social life, as reflected in
some texts of the Ramayana, sometimes compel us to think over that whether the described
events actually happened in the long past, or whether we are going through the narration of the
events of present age. Description of the use of bricks for building palaces and houses or the
walls,[xviii] or using of machine to carry away the stones from one place to another,[xix] the air
conditioned puspa ratha,[xx] the technique of constructing a bridge on the sea[xxi] etc. present
enough room to think over on these matters. In one place, Vibhisana, with a view to dispelling
the fear of the Vanara force, narrates Kumbhakarna as a Yantra or machine.[xxii] This assertion
makes some people think that the yantra in the shape of human beings as described in the epic is
nothing but a robot of the present day.

Thus, it is found that whatever existed in the society of the Ramayanic age is extended through
the ages. Not even the modern age is free from the impression of the society of the epic period.
The Ramayana exercises a tremendous influence on the individual life, social life or religious life
of the common people of India in every respect. It will not be a hyperbole to say that the
Ramayana serves as the foundation stone of Indian culture and social life through the ages, on
which, the whole structure of the present society also has settled firmly.

The Ramayana has also influenced later literature in India and abroad in various ways. Its use of
Alamkaras, sentiments, description of nature, subject-matter and plot making –– all these things
are copiously imitated by the poets of succeeding generations. The poets of later periods use
some words or convey some senses in their poetic compositions, which appear as the facsimile of
Valmiki's work. We can mention the names of illustrious figures like Asvaghosa, Bhasa, Bhatti,
Bhavabhuti, Kalidasa, Rajasekhara and others, who have adopted the themes of their works from
the Ramayana in various ways. The latter Sanskrit poets and dramatists have been greatly
influenced by the epic Ramayana in selecting the subject matters of their works. Bhasa, the
antique poet as well as the pre-Kalidasian dramatist, composes his two dramas, viz, the Pratima
Nataka and the Abhiseka Nataka on the model of the Ramayana. The great poet Kalidasa, the
prince of Indian poets, writes his famed work Raghuvamsam, taking the theme from the
Ramayana. Bhavabhuti earns much fame in delineating the sentiment of pathos in dramas like
the Mahavira Carita and the Uttararamacharita, the subject-matter of which are adopted from the
epic of Valmiki. The plot of Bhattikavya, otherwise known as Ravanavadhakavya, the famous
work of the noted scholar Bhatti, is also taken from the Ramayana. The Anargharaghava, a
drama composed by Murari on the Rama -episode of the Ramayana, is also influenced by the
Ramayana. Rajasekhara composed his drama Balaramayana. This epic also gives birth to the
Janakiharana, the drama, composed by Kumaradasa.

Besides the drama and court epics, in composing Champu Kavyas also, poets have taken themes
from various familiar events of the Ramayana. For instance, we may mention here the name of
Ramayana Campu, written by Bhojaraja. The epic Ramayana is abound with copious myths and
legends, which give birth to various literary works of later periods. The Ramayana has an
immense popularity among the poets of different languages and religions also. Thus it is
observed that many Buddhist and Jaina literatures are moulded by the epic events and style of
composition in different modes. Asvaghosa composed his famous work Buddhacarita on the
life-cycle of Buddha, on the model of the Ramayana. As we mentioned earlier, Kalidasa, the
greatest poet of Sanskrit literature, also is greatly influenced by the earliest poet, Valmiki. It may
be said that Kalidasa is in some respects no other than Valmiki himself, in a different garb.

The delineation of Sita by Valmiki while she is detained by Ravana in the Ashoka garden[xxiii]
reminds us the misery of the love-sick yaksavadhu, the heroin of his melodious lyric poem
Meghaduta, in Alkapuri where she holds a single braid of hair. The bridge of Rama on the sea,
looking like the milky way in the sky[xxiv] is equally described in the Raghuvamsam too.[xxv]
Kalidasa's noticeable attraction for Valmiki makes us think that he perhaps plucks the name of
his illustrious court epic Kumarasambhavam from the epic Ramayana.[xxvi]
Bharavi, although, takes the plot for his literary work Kiratarjuniyam from the epic Mahabharata,
still, some ideas and words used by him seem to be picked up from the Ramayana. Not only in
India, but also in many other countries abroad, the Ramayana has become the source of
numerous literary endeavours. Thus, the Rama story has been attracting the Indians or the
foreigners even in the form of translations. The life and culture of the people as well as the poets
of the classical period are influenced by the Ramayana profoundly. Because of their remarkable
attraction towards this epic, the poets abroad also feel a strong inclination to express Rama's
story in various ways. Thus, this Rama legend is revealed in multifarious ways in countries like
China, Srilanka, Tibet, Bhutan, Indonesia, Burma, Japan, Malaysia, Thailand, Philippines, Laos
etc. In India also, many versions of the Ramayana have been composed in various modern Indian
languages and in the dialects of forest and hill tribes, living in remote parts of India. The
extensive popularity of the Ramayana overflows the poets of the later periods all over the world.
We are amazed to observe such immensity of influence of the epic on them and their poetic
creation. It is not an exaggeration to say that as an ornate poetry, this epic has influenced the
thoughts and minds of the poets of later periods more than any other poem of the world for
thousands of years.

A reputed scholar of N E Region observes –– “The story of Rama was so popular that it flooded
each and every corner of our country and overflowed many countries abroad. We have seen ups
and downs, rise and fall in the events of Indian history but the Ramayana remained an
ever-lasting source of inspiration to every section of Indian people. It is so popular that it
exercises an unparalleled influence in the mind of Indian people.

Similar to air and water, the story of the Ramayana has become an indispensable constituent of
the life of our countrymen. Its eternal message penetrates into the heart of people residing even
in the remotest part of the vast country through popular tales, paintings, episodes, folklore’s, oral
tradition etc."[xxvii]

From the above discussion, it is apprehended that, in the eyes of Indians, Rama is the ideal prince
or king, the embodiment of all worth-accepting virtues and Sita is the ideal of India woman, as
corporeal image of conjugal law and fidelity. Through the portrayal of the exemplary character
of Sita, the poet attempts to bring out the propriety of conduct, considered worthy of admiration
and adoration by Indian women in general.

1.2.4 Science of Polity in Indian context:

Indian statesmen and seers pondered different aspects of the science of polity and presented their
views on the subject in various treatises. Rajasastra, Rajadharma, Dandaniti, Arthasastra,
Nitisastra etc. are the synonyms for the Rajanitisastra or the science of polity in Sanskrit
language. The Dharmasastra and Arthasastra occupy a prominent place in Sanskrit literature.
Different branches of the state administration, including the duties of a monarch, defence and
diplomacy, civil and criminal laws as well as the art of warfare and other topics, fall within the
domain of Arthasastra, an epithet for the science of polity in Indian context. It is known
traditionally that Indra, the son of Bahudanti, authored the first book on Arthashastra. But the
enumeration made by the celebrated poet Vyasadeva, in the Rajadharma section of the
Santiparban of the Mahabharata, holds that Prajapati Brahma is the pioneer amongst the ancient
'Raj Sastra pranetarah' [xxviii]. He is the first composer of a comprehensive jurisprudence, which
comprises one lakh chapters in it. He is regarded as the first exposure of Trivarga i.e. Dharma,
Artha, Kama and caturvaraga, i.e., the said three of Trivarga and Moksa as well as four-fold
expedients, i.e., Sama, Dana, Bheda and Danda, six-fold policies, viz. Sandhi, Vigraha, Yana,
Asana, Dvaidhabhava and Samsara.

Visalaksa (Siva) learns the Dandanitisastra of Brahma and abridges the same for the first time.
The christening of this abridged scripture as Vaisalaksa is imputed on the name of its author. This
work is said to have been divided into ten thousand chapters. Indra, for the first time, reads this
Vaisalaksa Dandaniti and composes a work with ten thousand chapters in it; this work is famous
by the name 'Vahudandaka'. Brhaspati, again condenses this Nitisastra of Indra into three
thousands chapters, known as 'Barhaspatya Niti', which is again compressed by the highly
glorious scholar Sukracarya into one thousand chapters, which is known as 'Sukraniti'. The
Mahabharata puts on record some names of ancient scholars of the science of polity, who are
described as the ancient authors of Arthasastra. They are –– Visalaksa, Sukracarya, Indra, Manu
(the son of Praceta), Bharadvaja, the sage Gaurasira, Kamandaka and others. The name of the
'Barhaspatya Arthashastra is mentioned in the Kamasutra of Vatsyayana. The name of Brhaspati
also occurs in the Aitareya Brahmana.[xxix]We also know the name of Brhaspati as an author of
Arthashastra from the Santiparvana of the Mahabharata, the Yajnavalkya Smrti, the
Kamandakiya Nitisara and the Kautiliya Arthasastra. The 'Brihaspati Sutra' has been edited and
published by Dr. F. W. Thomas (Lahore, 1921). References to the thoughts of Asanas or Sukra on
Rajyashastra are found in the Santiparvan of the Mahabharata, the Kumarasambhava of
Kalidasa,xxx the matsyapuri a51 etc. The Arthasastra of Usanas is called 'Dandanitisara' in the
Mudrarakshasa[xxxi] of Visakhadatta. Some scholars opine that the 'Sukranitisara' is based on
the 'Dandanitisara' or the 'Arthasastra' of Usanas which is now lost. The Arthasastra of Pisuna,
otherwise known as Narada, is known as 'Naradi Arthasastra'. Many quotations from 'Naradi
Arthasastra'. are found in the Valmiki Ramayana and the Mahabharata, the two great epics.
Bharadvaja, the son of Brhaspati is also versed in the science of polity or Arthasastra. The
Arthasastras are thought to have originated after the age of Kalpasutra (700 BC), particularly
after the period of 'Baudhayanadharmasutra' (500 BC) The Arthasastras are regarded by the
scholars as the principal source of the science of polity. These have been regarded as authentic
sources of knowledge on the science of polity from time immemorial.

Some Dharmasastras such as the Visnu Dharmasastra, the Apastamba Dharmasutra, the
Baudhayana Dharmasutra, the Visnu smrti, the Manusmriti, the Narada Smriti, the Yajnavalkya
Smriti, the Brihaspati Smriti etc. abound with different delicate aspects of the science of polity,
which are considered conducive to the attainment of success in the sphere of politics. Amongst
these, the Manusmrti, having a plentiful information in it, stands on an exalted position. But, it is
a universally admitted fact that the Arthasastra of Kautilya is considered as one of the best
among the ancient books on polity since it contains relevant knowledge of inestimable value. It
affords us the most important information on the science of polity including the ways of
maintaining law and order and social codes While discussing the excellences of the Arthasastra
of Kautilya in meticulously presenting the methods of good governance and effective
administration of a state, N. C. Bandyopadhyaya observes –– "It is needless to multiply
references, but one fact appears clear viz. that Kautilya was universally looked upon as one of
the greatest authorities on the science of polity. Many later authorities regarded him as a great
teacher and utilised materials drawn from his work." [xxxii]

The authorship as well as the antiquity of the Arthasastra of Kautilya, otherwise known as
Canakya (the son of Canaka) or Vishnu Gupta, is always considered a matter of dispute among
the scholars of succeeding periods. But, Dandin's 'Dasakumaracarita' Kamandakiya Nitisara and
above all, Kautilya's Arthasastra itself evidently adduce some facts in favour of Kautilya, who
installs Candragupta, the son of Mura, on the throne of Magadha and lays the foundation of
Maurya dynasty, after exterminating the Nanda dynasty. Kautilya puts in his book Kautilya
Arthasastra, the names of fourteen Acaryas out of eighteen, who are his harbingers in the
discipline called Arthasastra. They are Visalaksa, Indra (the son of Bahudanti). Brhaspati,
Sukracarya, Bharadvaja, Pisuna, Manu, Gaurasiras, Kaunapadanta, Parasara, Ghotamukha,
Charayana, Vatavyadhi and Katyayana. All these Acaryas, like Kautilya, presented detailed
views on administrative policies in their respective works on the science of polity.

1.2.5 Seven limbs of a state and their Enumeration in the Ramayana:

The principal elements, which constitute the political system of a state as mentioned by the
political thinkers of ancient India, are seven in number.

These seven limbs are known as sapta prakriti or saptanga of a state. These are,

(1) svamin (king),

(2) amatya (minister),

(3) janapada or rastra (territory and the people),

(4) durga (fort) or pura (capital city or fortified capital city),

(5) Kosa (treasury),

(6) danda or bala (army) and

(7) mitra (allies).

These seven elements are considered concurrently of great consequence, inevitable and
complementary to each other. This saptanga theory of the state is postulated in the two great
epics, Arthasastras, Dharmasastras, Nitisastro, puranas and also in Amarakosa – a lexicon. These
works enumerate the seven elements in the same manner, of course, with minor changes in one
or two names.

A human body has seven very indispensable parts or limbs, which cannot be estranged from the
body if one desires to keep it fully active, thus, the saptamana rajya, having its seven limbs, is
considered as a fully expanded state. None of these seven limbs existing independently of or
remaining unattached to other limbs of the state, can carry out respective functions. The
all-around prosperity of a state depends upon the joint efforts of these seven limbs.

The Arthasastra manifests the idea thus – excluding the enemy these seven limbs have been
enumerated with each one's excellences, but while operating these become subservient to the
surpassing qualities of the king.

Manu, the famous smrtikara maintains that among these seven limbs, no limb is superior to
others as these are mutually beneficial. Missing any one of these elements may result in
imbalancement in the body politic. The constituent element, which is supposed to accomplish its
specific function is regarded as the best for the particular assignment. While emphasising the
interdependence of the saptanga the Kamandakiyanitisara echoes the opinion expressed by the
Agni Purana, as mentioned above. Thus the importance of these seven limbs is well accepted by
the ancient scholars.

These seven limbs, as expressed by Sukra, the author of the Sukranitisara, can be compared with
the seven organs of the human body. Thus he compares the king with the head of the human
body, the ministers with eyes, the allies with ears, the kosa with mouth, the army as mind, the
fort or fortified cities as hand, and the rastra as legs of the human body.63 So, the formation of
the state is completely based on these seven constituent elements of the state. These organs have
an equal role in the state formation. The Mahabharata gives more stress on the king, population
and state by saying So, it is clear that, in ancient India, the state is considered as an organic
whole. Among these seven organs, the king and the ministers are always taken into account as
the two principal elements of the body politics of ancient India.

The scholars of ancient Sutra Literature enumerate the following, i.e., (1) the king, (2)
government, (3) territory and (4) population as the four indispensable constituent elements of the
state. The aforesaid statement resembles the definition of a state as given by the political science
of the modern period. As per this modern view, the territory, population, government and
sovereignty are the four indispensable constituent elements of the state. It deserves to be noted
that the ancient Indian political thinkers consider the state as an organic whole of seven limbs,
which have equal importance in so far as smooth execution of state affairs is concerned. These
organs perform functions in their respective spheres of activities and are interdependent and
complementary to each other. While dexterously performing their respective roles, these organs
contribute to the governance, stability, security and prosperity of the state.

The ideas of seven constituents of the state have been amply illustrated in various cantos of
almost all the books of the Valmiki Ramayana. The poet of the epic uses at random the terms like
bala, kosa, mitra, rastra, durga, jana, rajan, mantri, amatya etc. in the epic. The Ramayana
occasionally mentions the necessity as well as importance of sapta prakriti distinctly here and
there, considering their role in the state administration. The term ‘sapta varga’ also is used in the
epic to mean the seven limbs of the state.

1.2.6 Objectives of the Study:

There is a general belief amongst the people that the epic Ramayana is a product of poetic
imagination. The supernaturality and spirituality of Rama-katha enchant the minds of the readers
and listeners. The fanciful descriptions of events, the doctrine of incarnation etc. fascinate the
imaginative mind of the reader to such an extent that for the time being he thinks himself a
traveller of a dreamland, full of exquisite charms and splendour. But, behind this fascinating
narration, the poet beautifully delineates the real picture of ancient Indian society, religion,
state-craft etc.in the epic.Thus in spite of being a superb specimen of colourful poetic
composition, the epic is regarded as a storehouse of evidences of minute knowledge of statecraft
in those days of yore. A superficial knowledge of the epic does not enable the readers or listeners
to explore the facts that lie hidden in the texts of the superb creation of the poet. A minute
perusal of the texts helps the reader to comprehend the facts that lie hidden. In the course of our
research endeavour, we propose to throw light on the mundane aspects (related to statecraft) of
the epic. The wise poet illuminates the ideas of states and statecraft as prevalent in ancient India;
these ideas are amply reflected in many verses of the epic and lay scattered in various chapters.
The delineation of these ideas of state and statesmanship are not at all the fabrication of the
poet’s ingenuity, rather these ideas existed even before the poem was composed. The narrations
of state-administration, duty of a monarch, defence, diplomacy, expedition, war and other topics
as reflected in the Ramayana conforms with the ideas as found in the Arthasastra, an epithet for
the science of polity in Indian context.

There are many Arthasastras authored by prominent scholars like Vrhaspati, Yajnavalkya, Manu,
Sukra, Vyasa, Kautilya, Kamandaka and so on; and the elements of statecraft, found in the
Ramayana, reflect various aspects related to the smooth running of state administration as well as
ensuring the security and prosperity of the state. We find a great resemblance of ideas regarding
state and statecraft between the Ramayana and ancient works on the science of polity.
Dhanurveda, the Upaveda of Yajurveda contains the science of archery in it, the extensive
application of which is found all through the epic. The employment of various fatal weapons,
having a tremendous devastating impact on the hostile forces, indicates the practice of and
proficiency in advanced methods of offence and defence on the part of some celebrated warriors.
A strong defence system ensures the protection of the kingdom and the subjects and this is
highlighted by the events portrayed in the Ramayana. Likewise, other aspects of statecraft have
been nicely illustrated by the epic texts and events. A careful study of the narration of events,
occurring during the expedition of Rama's army towards Lanka, throws light on the strategics
and logistics, ought to be executed by a vijigishu (a king, willing to conquer). Appointment of
capable envoys, endeavours for the subjugation or annihilation of the enemies or enemy's friends
as also for winning new allies are parts of diplomacy, followed during the days of the first epic
and this is evidenced in the epic text.

In addition to the above-said aspects relating to defence, expedition and diplomacy, Valmiki, the
sagacious poet also throws light on other aspects of statecraft, which may be explained as the
principles of good governance. The multifarious functions of a state include appointment of
capable ministers and other officials, establishment of fortified cities, making provisions for a
well-managed treasury, collection of taxes, initiating welfare measures for the benefit of the
people, appointment of dexterous secret agents with a view to collecting information regarding
the internal affairs of the state as well as the intentions and movements of the allies and enemies
and other related activities.

A thorough study of the epic events enlightens us to properly comprehend the elements of an
efficient state administration as prevalent in ancient India. In the course of our study, we propose
to analyse the information in the light of other celebrated works on Arthasastra, composed by
learned authors, who command a mastery on the subject. The elements of statecraft are available
in the Ramayana and other Arthasastra works including the Mahabharata –– another important
great epic of India –– which is also regarded as a superb specimen of Arthashastra class of
literature.
2) Effect of Ramayan on art:

The Ramayana has also greatly molded the art and architectural works of India throughout these
centuries. Even in modern art work, it has been depicted in many forms of art work. One notably
popular painting is the one by the Malaysian artist Syed Thajudeen in 1972. The painting
showcased Ramayana tales, Sita’s Abduction, Hanuman’s visit to Sita, and Hanuman burning
Lanka, in 16×178 inches. The Pahari Ramayana paintings in the Seth Kasturbhai Lalbhai
collection are also well renowned artworks based on stories of Ramayana.

Many temples in South India are associated with Rama, like the popular Seetha Ramachandra
Swamy temple in Bhadrachalam, Andhra Pradesh. Other popular temples include the Rama
temples in Madurantakam and Ponpadirkudam near Chengalpet, Tamil Nadu, the Hazar Rama
temple in Hampi, Karnataka. The narratives of Ramayana can be seen in Virupaksha temple in
Pattadakal. The Ramayana has always been a very popular theme amongst temple sculptors in
India. The Thanjavur district located in Tamil Nadu also has many popular temples and
inscriptions dedicated to Lord Rama. Some of them are the Sarangapani temple, Nageshvara
Temple, Airavatesvara temple, Ramaswamy temple, the Adi Kumbeswarar temple, and the
Navagraha temple. There is an image of Rama made of bronze which has ‘Dharba Sayana Rama’
inscribed on its crown and ‘Tirupalli Setu Rama’ inscribed on its base. These bronze images are
present in the Rama temples Ponpadirkudam near Chengalpet.

Another area where the Ramayan’s works of art are visible is in the Pillars of Vishnu temple,
which consists of the forms of Hanuman and Hanuman’s ever faithful devotion to Lord Rama.

The Ramayana has affected the Musical and poetic compositions of Indian history. The original
work of Ramayana itself was taught in verses to Lava and Kusha by Valmiki. They spread the
Ramayana in songs as they were good musicians. The Ramayana is set to musical notes, and thus
have strongly influenced the musical composers who sang in praise of Lord Rama and his fellow
companions. Some songs have lyrics which have narrate the entire story of Ramayana, like Rama
ashtapadi of Rama kavi of Tiruvisainallur, Namo namo raghukula of Annamacarya, Suddha
brahma paratpara ram, Ramachandraya of Muthusvami Diksitar, Bhavayami of Svati Tirunal,
Ramacharitra geetam of Papanasam Sivan,etc.

Thus we see that Ramayana has influenced through the cross section of Indian art and
architecture. Every field of art and culture has footprints of Lord Rama and his great tales.

The great Hindu epic, Ramayana teaches Indians the idealistic way and manners of living life,
for a peaceful and eternal existence. It contains the magnanimous knowledge of philosophy,
customs and religions, polity, social life, religion, ethics, code of conduct, etc.

Each character of Ramayana teaches us different moral values and ethics required for the smooth
functioning of human beings. Each character stands as symbols of love, compassion, piety,
patriotism, sibling love, respect for parents, selflessness, etc. The characters of Urmila and Sita
stand for ideal womanhood while Rama and Lakshmana teach us the meaning of true
brotherhood, and sacrifice. The character of Ravana teaches us how arrogance can ruin a man,
even after acquiring all the knowledge of the world. His evil intentions and impure ambitions led
to his destruction by Lord Rama. The festival Dussehra is celebrated in India as a symbol of the
victory of good over evil.
3) Effect on Indian Values

The Ramayana is an epic about the life of a man named Rama who was destined for greatness
and had to overcome trials to deserve his glory (Lal 2). Though apart of one story portraying the
adventures of Rama, the Ramayama was separated into seven books: Bala-kanda,
Ayodhya-kanda, Aranya-kanda, Kishkindhya-kanda, Sundara-kanda, Yuddha-kanda, and
Uttara-kanda. Each of these books tells a tale about a segment of Rama’s life from childhood to
adulthood in order to allow readers to feel a connection with Rama. This connection felt by
readers helped shape the morals of individuals as well as nations because they feel like Rama and
his relationship with others are ideal and should be modeled after (Religion Facts 11). The life of
Rama, in the book Ramayana, is a book of many tales that helped shape Indian culture into what
it is today.

The style in which Valmiki wrote the Ramayana and the way in which it was looked at made it a
major book in Indian culture regardless of its years. Though the date is not precisely known,
ideologues have sought to date the original Ramayana script back at least 6,000 years (Lal 1).
However, it was the way in which the Ramayana was written that made it so influential.
“Ramayana belongs to a class of literature known in Sanskrit as kavya (poetry)” (Lal 1). Kavya
is a classical Sanskrit poetry that uses metaphors and similes as literary tools to create a specific
emotional effect in readers causing them to feel linked to the story through lessons and relatable
tales (Encyclopedia Britannica 1). Because of the connection people had to Valmiki’s story they
began to share it with others around India until it spread to all of its regions (Lal 3). This vast
spread, however, caused the original text to be translated into different languages causing
different words, phrases, and interpretations to be mixed into the story (Lal 3). Though the
stories changed based on geographic location and mistranslation, the main points of the story
remained, therefore uniting the Indian culture under a common book guiding them morally.

The characters of the Ramayana played a significant role in how the Hindu people viewed
morality and how humans should be. For example, Rama, the main character of the story, was a
man who was born with the essence of Vishnu within him (Molloy 96). Now, Vishnu was
considered, “the preserver and protector of the universe” so Rama’s actions were considered
similar to how Vishnu would act (Wangu 56). Therefore, Rama was portrayed as a character with
a strong sense of unity with others, protection for his wife Sita, and epic strength. Sita, Rama’s
wife, was considered the incarnation of the goddess Lakshmi as well, who was the wife and
active energy of Vishnu (Knapp 211). With their relationship being seen as a divine match, Sita
could be seen throughout the epic standing by Rama’s side, supporting him, and staying true to
him regardless of the situation she was put into making that into the ideal actions of a Hindu
woman (Knapp 211). Ravana on the other hand, portrays much of what a Hindu does not want to
be. He is a ten-headed king of the demons who abducts Sita and is eventually defeated at the
hands of Rama (Wilkins 322-323). The sheer fact that he is king of the demons and that he is the
antagonist to the incarnate of the god Vishnu shows that he is someone not to be admired in the
Hindu culture but someone to fight against becoming. There are also characters in the Ramayana
story that are portrayed in a positive light for helping Rama. For example, Lakshmana, Rama’s
brother, was by Rama’s side through every step of the adventure portraying the importance of
loyalty in the Hindu culture. Also, Hanuman, a monkey ally of Rama’s, showed immense
strength when trying to save Sita but was unable to get the job done (Marjonlien 9-10). This
situation was a way of teaching Hindu readers that one must stick to their own fate and that
Hanuman should have allowed Rama to rescue Sita in the first place. Though only seen as
characters of an epic to most, the characters in Ramayana play a major role in teaching lessons
about morality in the Hindu culture.

The first book of the Ramayana, the Bala Kanda, was written to narrate the birth and young life
of Rama while displaying his destiny for glory implicitly (Marjolein 1-2). Though much
happened in his adult life, the details of his birth are just as important. Rama was born as a result
of a fire sacrifice from his father Dasharatha and along with the unnaturalness of his birth, an
essence of Vishnu was placed inside of him and his brothers as well (Marjolein 2). From there, at
the age of 16 a sage came into Rama’s father’s court and requested that Rama and his brother
Lakshmana venture to destroy demons who were disturbing sacrificial rites (Marjolein 2). With
supernatural weapons and the essence of Vishnu protecting him, Rama and his brother defeated
the demons with ease, showing that Rama was destined for greatness and would achieve great
things (Marjolein 2). A short period after defeating the demons, Rama enters a contest that
requires him to wield an extremely heavy bow given to a king by the god Shiva with the reward
of earning a most beautiful woman, Sita’s, hand in marriage (Marjolein 3). So, being the epic
man that he was, Rama strings and breaks the bow therefore earning the right to wed Sita
(Marjolein 3). As one can tell, the book respected Rama as a demigod-like character that could
achieve even the most impossible feats.

The second book titled, Ayodhya Kanda, is a story emphasizing loyalty as Rama follows his
father’s orders relentlessly regardless of the corruption behind them. This section of the story
takes place after Rama and Sita have been married for 12 years and the king, Dasharatha,
expresses his desire to crown Rama as king (Marjolein 4). However, on the eve of his crowning,
a woman named Kaikeyi demands that Rama is exiled and that her son Bharata is crowned king
(Marjolein 4). These demands stemmed from two “boons” that the king had owed her from long
ago showing that the king is an honorable man who is able to keep a promise (Marjolein 4).
Rama, being respectful as well, honors his father’s request and leaves the city heading toward the
forest with his wife, Sita, and brother, Lakshmana (Marjolein 4). During Rama’s stay in the
forest, the king dies and Bharata, who will soon be crowned king, refuses to stand by and prosper
from his mother’s wicked schemes (Marjolein 4). Bharata goes to the forest after Rama to ask if
he can return but Rama refuses, as he wants to honor his father’s original request and not return
until his exile period has ended (Marjolein 4). In respect for Rama, who he is as a person, and the
honorable decision he made, Bharata takes Rama’s sandals and places them on the throne as he
rules in Rama’s place (Marjolein 4). Rama’s willingness to follow his father’s orders truly
emphasized that loyalty was a priority in the second book.

In the third book, the Aranya Kanda, Rama encounters his first dose of trouble as his strength is
tested through tempting trials. At the start of the book, Rama and his brother Lakshmana resist
temptation from a seductive woman as they set up their new lives in the Panchavati Forest
(Marjolein 5). After the woman is denied what she wants from the men, she immediately goes to
kill Sita but is foiled as Lakshmana cuts off her nose and ears (Marjolein 5). Hearing of this
incident, the woman’s demon brother organizes an attack against Rama but, being the epic hero
that he is, Rama annihilates the demon attack (Marjolein 5). Him destroying the demon army
showed his last bit of epic strength, emphasizing again that he is a heroic man capable of
destroying even armies. As news travels about Rama’s defeat of the demon, the demon king,
Ravana, plans a detailed attack on Rama (Marjolein 6). He plans on doing so by having a golden
deer lure Rama and Lakshmana away from their home and then kidnapping Sita at the expense of
Rama (Marjolein 6). The way this plan was executed showed how mortal Rama truly was as he
was convinced by his wife to chase after the deer regardless of the fact that he knew it was a
distraction sent by a demon. This was placed in the story to show readers that even the greatest
of heroes have weaknesses. Jatayu, a vulture, tries to rescue Sita from Ravana’s clutches and
after being wounded in the process, tells Rama and his brother of the horrible news (Marjolein
7). Rama’s willingness to do anything for Sita showed his love for her but became a weakness, as
his strength could no longer help him in the situation he was in.

The fourth book, Kishkindha Kanda, revolves around Rama’s search for Sita and the allies he
finds along the way. At the start of the book, Rama is found in the monkey citadel Kishkindha
where he meets a future ally and brother to the king, Sugriva (Marjolein 8). However, before
their alliance may be set in stone, Sugriva requires that Rama helps him kill his older brother in
order to take over his throne (Marjolein 8). Though Sugriva does betray his family, Rama is
doing what Krishna would approve of and doing what he must in order to survive. Sugriva then
ignores his promise to Rama until the monkey Queen convinces him to abide by the promise that
he had made (Marjolein 8). From there, Sugriva sends search parties out to the corners of the
earth in search for Sita and the southern party, led by a great monkey Hanuman, hears from a
vulture that she was taken to Lanka (Marjolein 8). Rama’s dedicated search for Sita showed his
true love for her and his willingness to make allies for her sake in the fourth book.

The fifth book, Sundara Kanda, depicts the detailed and vivid accounts of Hanuman’s
adventures. Hearing news of Sita being held in Lanka, Hanuman takes a leap across the ocean
and explores the city, spying on Ravana in the process (Marjolein 9). He then finds Sita in
Ashoka Grove as she is threatened by Ravana to marry her, so Hanuman gives Sita Rama’s
signet ring as a sign of good faith and offers to carry her back to Rama (Marjolein 9). Sita
responds and says that she wanted Rama to rescue her himself and avenge the insult of her
abduction (Marjolein 9). In frustration, Hanuman destroys the town of Lanka, gets captured and
enemies set his tail set on fire, and then escapes from his bondage in order to relay the news of
Sita’s safety back to Rama (Marjolein 10). Hanuman is a valiant warrior but the Sundara Kanda
truly shows how without a leader, the actions of a single man can be of less worth.

The sixth book, the Yuddha Kanda, portrays an epic battle between Rama and Ravana. Upon
receiving the news that Sita was safe, Rama heads to the coast with his monkey allies and
Vibhishana, Ravana’s renegade brother (Marjolein 12). Several monkeys stretch their bodies
across the ocean to create a floating bridge leading to Lanka and as they reach the shore, a
lengthy battle ensues (Marjolein 12). After defeating Ravana and ending the battle, Rama finds
Sita and has her undergo a test of fire in order to detect whether or not she had remained pure
during her time spent in Ravana’s citadel (Marjolein 13). After discovering her purity, Rama,
Sita and Lakshmana head back to their home in Ayodhya where Rama had a coronation
ceremony and the celebration of Diwali began (Marjolein 14). Rama and Ravana’s battle was the
main aspect of the sixth book but Sita’s loyalty to Rama influenced the Hindu culture
significantly as well.

The seventh book, the Uttara Kanda, is regarded as a later addition from Valmiki where Rama’s
incarnation comes to a conclusion. Rama, feeling suspicious of Sita’s purity to him, banishes her
and his two unborn sons to the forest where she meets Valkimi (Marjolein 15). Valkimi
composed the Ramayana and taught the boys to sing it so that one-day they could sing it to their
father (Marjolein 16). On this day, Rama feels remorse for sending his sons away and his
incarnation ends, sending him to his celestial abode (Marjolein 16). Valkimi fabricated the
ending the Rama’s life well in the seventh and final book of the Ramayana.

One of the most influential epics in the Hindu culture, the Ramayana, had many lessons that
molded the morals of the Hindu culture. The way in which the story was written made it relatable
and more influential in the Hindu culture as it was easily spread across all of India. Characters in
the epic represented different aspects of life such as different gods, demons, or traits all
emphasizing morals important to the Hindu religion. All of the books within the Ramayana tell
different parts of the same tale, each emphasizing the traits of loyalty, respect and staying true to
one’s path in life. Overall, the Ramayana had a significant impact on the Hindu culture through
lessons seen through the adventures of Rama.
4) Four Life Lessons you learn from Ramayana

a) Unity Can Overcome any Difficulty in Life - You should always stand by your family
because when together a family can win over any difficulty. The fruits of togetherness
give the power to sail the ship when the tide seems higher than the sky.When Lord Rama
was banished into exile, his brother Laxman chose to give up the luxuries of life as a
prince and stand by his brother. Similarly, Bharat stayed back but did not accept the
position of king, choosing to rule in Lord Ram's stead as he waited for his brother to
come home. The people that surround you are your biggest strength. This life was not
meant to be lived alone. Seek help when you need it, and value the people in your life.
The untimely death by suicide of actor Sushant Singh Rajput is a critique of the flailing
mental health conditions in India. Seek help when you need it. Like Lord Rama, you are
not alone.
b) Treat everyone equally- Lord Rama treated everyone equally and that’s how he earned
the love and respect among everyone. No matter if a person was younger or older, poor or
rich, he was the same person for everyone. Even when Sabri (the sage’s daughter) offered
him the already tasted berry fruits he ate them without giving a second thought. He was
always kind and humble to people. He never discriminated against anyone based on their
caste. He always treated everyone equally.

c) It is not your position but your spirit of service that matters - Whether he was required to
serve his people as a king or give his position up and venture into the forest, Lord Rama
unequivocally stepped up to serve his people, his family, and what he believed in. Instead
of getting stuck on positions or fame, the Ramayana teaches that the spirit of service is
what sets you apart - do your bit where you are and with whatever resources you have.

d) The truth always prevails - It is understandable to be disappointed in how people and

governments all over the world are functioning today. Even faced with insurmountable
odds and a strong opponent like Ravana, Lord Rama stood by what is right and defeated
 the odds. Perhaps, the most important life lesson to learn from the Ramayana is that truth
always prevails and the victory of good over evil is inevitable - do not lose hope.

e) Plant seed of faith- Ramayana teaches that a devotee has access to God wherever he/she
is.Visiting places of worship is not practical or desirable during the pandemic. However,
like Shabari whose devotion brings Lord Rama right to her doorstep, you do not need a
temple to worship- all you need is a clear heart and faith. Improving on a 93-year-old
tradition, Mumbai's LalbaugchaRaja Ganeshotsav Mandal has decided to hold a blood
and plasma donation camp to help COVID-19 patients instead of raising the traditional
pandal for a grand Ganesh idol. With Mumbai's increasing number of coronavirus cases
in mind, this is a move that says that the way to pleaseGod is to extend help to your
fellow man.
5) References

● i Blucke, Fr. C. ‘The Ramayana Tradition in Asia’, London1980. P. 648.

(as quoted in 'The Ramayana War : Norms and Strategy', Silchar, 2004,
P-1)
● ii Cultural Heritage of India, Vol II. P.-23
● iii Nehru, Jawaharlal. 'The Discovery of India’. PP.- 99, 100.
● iv Spear, Percival (ed). ‘The Oxford History of India’ third edition, p.55.
● v Valmiki Ramayana - 1.1.99 ; 1.5.3
● vi Raghavan, V. (ed.), ‘The Ramayana in greater India’, p. 163.
● vii Sri Aurobindo, ‘The Foundation of India Culture’, Sri Aurobindo
Ashram. P-290-291.
● viii Ibid - 5.28.6
● ix ValmikiRamayana - 2.100. 9,11,13 ; 7.15.21
● x Ibid - 6.127.3
● xi Ibid - 2.15.20
● xii Ibid - 6.111.61-62
● xiii Ibid - 4.18.13-14
● xiv Ibid - 4.18.19
● xv Ibid - 6.111.68
● xvi Ibid - 6.123.50
● xvii Ibid - 2.50.33
● xviii Ibid - 1.13.9
● xix Ibid - 6.22.60
● xx Ibid - 7.15.42
● xxi Ibid - 6.22.55-73
● xxii Ibid - 6.61.33
● xxiii V.R. - 5.19.19
● xxiv Ibid - 6.22.74
● xxv Raghu. - 13.2
● xxvi V.R. - 1.37.31
● xxvii Dey, Sitanath, A Reflection to our Cultural Heritage through
Sanskrit Studies, P. 81.
● xxviii Mbh. (S.P.) - 58.29
● xxix Kam.Su.- 1.17
● xxx Kum. Sam. - 3.6
● xxxi Mudrarakshasa - 1.7.
● xxxii Bandyopadhyaya, N. C. Kautilya or An Exposition of his Social
Ideal and Political Theory, P-5