Different Versions of Ramayana

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Dear Members of the List,

 

It is true that there are several versions of the Ramayana due to the

work of several poets. Mani correctly observed that each poet dwelt

upon his personal favorite aspect of Lord Rama and poured out his

feelings in the ensuing Kavyam.

 

In this post, I would like to focus on some aspects of the different versions.

The striking similarity between Valmiki and Kamban is their thought process

in describing Hanuman's words to Rama, Lakshmana and Sugriva upon his arrival

in Kishkinda after locating Sita. Both poets are cognisant of Lord Rama's

anxiety to hear about Sita Piratti and thus carefully chose to put the

words "Seen have I the Godess of Chastity" through the mouth of Hanuman.

(Kandain Seetai and DhrushtvA Seeta). The glory of Hanuman is brilliantly

described in the Hanuman Chalisa of Tulsidas' version of the Ramayana.

 

Thyagaraja has rewritten the Ramayanam through his musical compositions.

This is another endless ocean in itself and I shall focus on a couple of

important Krithis. Pancharatna Krithis deserve a special mention since

they represent the most important contributions of Thyagaraja. The Krithi

Jagadananda Karaka has 108 names of Lord Rama and can be used to perform

Pushparchana. The Ragam of this composition is Natai which denotes

auspiciousness or Shubam. In Gowlai, Thyagaraja confesses to his short

comings and pleads to Lord Rama for succour. The Arabhi krithi SAdinchane is

devoted to the Anubhavam of both Ramavataram and Krishnavataram with the

emphasis being on "Hare Ramachandra Raghukulesha...." which describes the

majesty of Lord Rama. The Varali Krithi, Kanakana Ruchira,

reflects considerable sadness on the part of Thyagaraja while the Sriragam

Krithi Endaro Mahanubavulu concludes the Pancharatnam composition on a

happy note.

 

It is interesting to note the oscillatory behavior of the

"Rishaba" swaram in the Pancharatna Krithis. Rishabam occupies its natural

position in the Natai Krithi and reaches its nadir in Gowlai and oscillates

between a crest and trough in Arabhi and Varali, respectively before

attaining "steady state" in Sri Ragam. The Mohanam Krithi Mohana Rama

is devoted again to the glory and majesty of Lord Rama. Nannu Palimpa in the

same ragam was composed on the occassion of his daughter's marriage. The

line "NA PrANa Natha" is indicative of this event. In the Arabhi Krithi

Namoralanuvini, Thyagaraja asks of Lord Rama "What is it that I have done

for you to stay away from me. Have I used deadly weapons like Tomara?

What bribe did the elephant king (Gajendra) give you for you to rush to his

rescue? What property did Draupadi give you for you to come to her succour

when she was being disrobed in the Sabha?" The line "Raga SArayutha Prema

Bhakta Jana Rakshaka Thyagarajarchita" is indicative of Sadguru Thyagaraja's

Mahavishvasam in Lord Rama. In the Mayamalava Gowlai krithi Meru Samana,

Thyagaraja emphatically declares that there is no one equal to you. Another

Krithi in the same Ragam, Tulasi Dalamulache Santoshamuga was composed on

the occassion when a Tulasi Mala (which used to be offered everyday

for Lord Rama during Aradhana) could not be offered to Lord Rama during the

Nitya Aradhana. Tulasi is also referred in the Kedara Gowlai Krithi

Tulasi Bilva.

 

In the Maruva Dhanyasi Krithi MrudubhashaNa, Thyagaraja dwells on

the gentle nature and softspoken attributes of Lord Rama. In the Dhanyasi

Krithi Sangita Jnanamu Bhakti Vina, Sadguru Thyagaraja dwells on the important

truth "Of what use is musical knowledge bereft of Bhakti?". Thyagaraja then

declares in this Krithi "I know that the six enemies (Kama, Krodha, Lobha,

Moha, Mada and Matsarya) born from the body (Kayaja) can be conquered through

the path of music". The beauty of the Sapthaswarams is described in the

Jaganmohini Krithi "Shobillu Sapthaswara" (How beautiful the seven swaras

are?). The line "Nabhi Hruth Kanta Rasana..." refers to the role of the

Nabhi, heart, throat and tongue in producing the musical sounds. In the

Shuddha Bangala krithi Rama Bhakti Samrajya, Thyagaraja emphasizes and

offers eulogy to Rama Bhakti. In the Punnagavarali Krithi Tava Dasoham,

Thyagaraja declares that "I am your servant" and dwells on the Dasyam

aspect of Nava Vidha Bhakti.

 

As a young boy, my mother used to take me to the Ramayana Katha Kalakshepams

of Sri Thoopul Lakshmi Narasimhan, who used to relate the Raghuveera Gadyam

to passages from Valmiki Ramayanam. Sri Sadagopan performed a great service

in translating for our benefit the RG, which helps me appreciate and enjoy

Swami Desikan's Mahavira Vaibhavam all the more. An important reference to

Sri Rama Padhuka is contained in the line "Padhukagriyabisheka Nirvartita

Sarvaloka Yogakshema". Swami Desikan very succinctly describes the Mahima

of Sri Ranganatha Divya Mani Padhuka through this salutation.

 

Sita Lakshmana Hanumaht Sametha Sri Ramachandra ParabrahmaNe Namaha,

 

Muralidhar Rangaswamy