Srimathi Krishnamachari"s questions

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Srimathi KrishnamaAchari's two questions were about

posisble inconsistencies in the different versions of

RamAyaNA and the role of Vaishnavite women

in Spiritual pursuits , if I remember right .

 

1 . Srimadh RamAyaNam & its different versions

 

On the illustrious epic RamAyaNam , there are about 300 versions

in India . The oldest one is recognized as that of Sage Valmiki in

Sanskrit . Ananndha RAmayaNam , AdhyAtma RamayaNam , Kambha

RamAyaNam , AruNAchala Kavi"s Rama nAtakam , Bhavabhuthi's

MahAveera Charitham ( 700-740 AD ) , Swami Desikan's

( 1268-1369 AD ) Raghu Veera Gadhyam ,

Tulasi DasA's epic work in Hindi completed in 1584 AD are some of

the 300 existing today. There is even one version called Thakkai RamAyaNam

which is sung to the accompaniment of a small drum called

Takkai , which is usually associated with Lord NatarAjA's

sandhyA Thaandavam . Takkai RamAyaNam is almost like a

commentary on Kambha RamAyaNam .

 

The Story of RamA spread overseas to Burma , IndochinA and

Indonesia and even ChinA . The Thai version is known as Ramakien.

In central Java , RamAyaNA is performed as dances against

an Islamic backdrop. Old javanese RamAyaNam has many

interpolations.TheRamAyaNA reliefs in Prambanan temple

in central java are art historians and archeologist's delight .

The story of RamA has accumulated important features of

local culture as seen in Hikayat Sri Rama , the malay version of

RamAyANam . One can safely say that the cultural milieu of

the region and the nation as well as the poet's own anubhavam

of the immortal story had significant impacts on the blossoming

of many versions of RamAyaNA that we encounter today . Swami

Desikan has created a masterly Kavyam known as Hamsa

Sandesam , which is modeleld after the Megha Sandesam

of KaLi DAsA about RamA sending a message to Sita in

captivity at LankhA . There is no reference to any such incident

in Sage Valmiki 's epic. However , this kavyam of Sawmi Desikan

is a testament ot his genius as a poet and geographer of the Indian

subcontinet . There is even a version called PatALa RamAyaNam ,

with a parallel plot and significant deviation in details in MalyALam

and TamiL . The varieties are astounding indeed !

 

Even in one source like Sage valmiki's Srimadh RamAyaNam ,

there are recensions and subrecensions . There is a Northern

rescension and a southern rescension .The transmission

of the story of RamA , the performing traditions by PAURanIKaS,

the region , the choice of language and the POET'S ANUBHAVAM

OF THE STORY have all made quite an impact over time.

 

Taking Kambha RamAyaNam as an example , He followed closely

the Sanskrit Version of sage Valmiki and yet he differeed from the

original through introduction of fresh themes and descriptions to meet

the requirements of his age (9th century AD ) marked by the glorious

rules of imperial dynasties. Episodic deviations from reconstruction

of the original text of Sage Valmiki have been analyzed by Scholars of

RamAyaNam in academia. Inconsistencies ahve been pointed out by

academicians like Professor Henk Bodewitz of Leiden Univeristy.

 

It has been pointed out that Sufi poets like Jayasi have adopted episodes

from RamAyaNa and Tualsidas was influenced to some extent by his

contemproaries like Jayasi in the conception of his RamacharithamAnasA .

The social aspects of RamacharithamAnasA and its impact on the early

17th and 18th century India has been well documented. There seems to be

the influence of one generation of "story tellers " on the others and

particularly

in the commentaries of scholars on the original works dealing with the story

of RamA .

 

The essential message for Sri VishNavAs is that Srimadh RamAyaNam

is a SaraNAgathi Saasthram and that RamA is the embodiment of

DharmaA ( DharmO vigrahavAn ). Swami Desikan 's work in Tamil

revered as Abhaya PradhAna Saaram is the essence of the SaraNAgathi

doctrine that is central to Sri Vaishnavite Theology and Philosophy .

 

2 . The role of Women in Sri VaishNavite Society

 

Srimathi VasudhA narAyaNan , SrimAns Mani and Vijay Srinivasan

has commented already on this subject. Sthri Dharmam in

a Vaishnavite home has been and should be a topic of significant

interest to all of us . The issues of gender , religion and ehtics

are tightly interwoven. professor bvasudhA NarAyaNan referred to

the examples of AnDAL , wife of Kuresa and Koneri Daasyai as

exemplary women , whose life has deep meanings to us . Another

Sri vaishNavite women , a contemproary of Sri RamAnujA and a dear

disciple of this Great Acharya by the name of Kongu Piraatti . She removed

the doubts and banished the fears of the Brahmavidhs , who were

deeply worried about the life in post-RamAnuja period. I will write about

her contributions in a later posting.

 

I will conclude this posting with a listing of some source literature

on Sri Vaishnavite women and Sthri Dharmam . I have in mind the

following two scholarly articles that appeared in the Fall 1995 issue

of the Journal of Vaishnava studies ( Volume 3 , No. 4) :

 

1. Katherine K . Young , " Theology does help Women's Liberation:

Sri Vaishnavism, A Hindu Case study " pp173-232

 

2. Kim Knott , The debate about Women in Hare Krishna movement,

pp 85-110 .

 

3. Nancy Ann Nayar , The Other AnDAL , portrait of a 12th century

Sri VishnavA woman , pp 149-171 ( This article is about KuresA's

pious and devout wife referred to By Professor NarAyaNan ) .

 

Professor Young Of McGill University , Canada has excellent points

on the views of Sri VaishNavAs on women in the form of a historical survey.

She wonders why there is a difference between conservative Brahminism

and Sri VaishNavism and attempts to answer these sensitive questions

in a historical context . She touches upon the situation of contemproary

Sri VaishNavite women and ends her article on an upbeat note that the

modern day Sri Vaishnavite women can use their rich heritage as a spring board

for successful integration of their domestic and spiritual life.

 

V.Sadagopan