The Beautiful Book

[Guest guest]

Srimate SrivanSatakopa Sri Vedanta Desika

Yatindra Mahadesikaya nama:

The Beautiful Book

 

Countless books have been authored since creation, by countless

worthies, dealing with practically every subject under the Sun. And

to each of these books, its author, with parental pride, has given a

name, which he or she thought suited it best. To each author, his

creation, however insignificant it may appear to others, is indeed a

magnum opus deserving of appreciation and acclaim. However, none has

considered his or her book fit enough to be called “The

Beautiful Book”. You must have read any number of

books—have you come across one titled simply “The

Beautiful Book”? There is indeed one, for which the venerated

author couldn’t think of any other name than the beautiful one

mentioned above. Looked at from any angle, it appeared so fine and

striking to him, that try as he might, he couldn’t come up with

any other title, which suited the work to a “T”.

Irrespective of what impressive names we might give our children, it

is their character, conduct and comportment that ultimately give

their names popular acceptance—if a dunce carries the name

“VivEkAnandan”, in course of time, people would coin for

him nickname which indicates his true colours, rather than call him

by the given name. So too is the case of any name. That the

author-given name of “The Beautiful Book” (for the work

we talked about) has gained popular acceptance too, is indicative of

the book’s enchanting and enticing contents.

 

The “Sundara KANdam” of Srimad Ramayanam carries an

extremely apt name. Sri Valmiki himself was so impressed by its

contents that he could think of no other name for it than the

aforesaid. While other KANdAs of the epic have been named after the

places where the events are enacted (AyOdhyA KANdam, AraNya KAndam,

KishkindhA KANdam) or after the nature of happenings (BAla KANdam,

Yuddha KANdam), this particular portion of the saga is simply named

“Sundara KANdam”.

 

Does this mean that the other parts of the epic are not beautiful? Why

should this particular KANdam be celebrated as the Sundara KANdam?

Why does this specific KANdam command much greater popularity among

Rama bhaktAs than the other parts of the great saga? And if the

recital of this particular KANdam is traditionally held to be capable

of fulfilling all of one’s wishes, what could be the special

content that it has, which puts it head and shoulders above the other

portions of the epic?

 

While there are several reasons for this part of Valmiki’s

magnum opus getting this “beautiful” sobriquet, the

principal ones are the following:-

 

1. This part of the Epic really contains enthralling descriptions

of several beautiful objects, places and people. Be it the portrayal

of Lanka, of the exalted Pushpaka vimAnam, the AshOka vanikA, the

Madhu vanam or of natural phenomena like the Moonrise, Sri Valmiki

excels himself in painting gripping pen-portraits, with elaborate and

enthralling accounts of flora, fauna, the majesty of nature at its

best, the lure and lustre of Lanka etc. Being a past master at apt

similes, the Maharshi’s portrayals often appear to be more

glorious than the objects of their adoration, if such a thing were

possible. Here is a simple sample from the 5th Sarga of this KANda,

devoted mainly to the description of the rising Moon over the city of

Lanka. Observe the lilting metre, the thrilling portrayal, the

extremely apt similes and the cumulative effect of unparalleled

prettiness and picturesqueness the entire scenario presents—

 

“Tata: sa madhyam gatam amsumantam

JyOtsnA vitAnam mahat udvamantam

Dadarsa dheemAn divi BhAnumantam

GoshttE vrisham mattham iva bhramantam”

 

The huge Silver Orb in the sky, surrounded by a halo of pleasing

luminance, occupying the centre spot among an admiring audience of

countless stars exhibiting their adulation through constant

twinkling, looked like a virile Bull pacing majestically among

admiring cows, says Sri Valmiki.

 

Here is a slew of more similes from the facile pen of the Adikavi,

comparing the resplendent Moon glowing in the bewitching night sky,

to a graceful Swan in a silver cage, to a majestic lion inhabiting a

broad cave in the Mandara mountain and to a victorious centurion

ensconced on an imposing elephant—

 

“HamsO yathA rAjata panjarasttha: simhO yathA Mandara kandarasttha:

VeerO yathA garvita kunjarasttha: ChandrOpi babhrAja tathA ambarasttha:”

 

What beautiful metre, what incomparable similes, what inimitable

portrayals! Is it any wonder that this forms part of the

“Sundara KANdam”? Though it is extremely tempting to

quote one lilting verse after another, which competes for our

attention and adulation, I leave readers to feast themselves on these

gems at their leisure.

 

However, is it merely due to the gloriously graphic descriptions that

this KANdam is known as the Sundara Kandam, for, equally facile

portrayals are to be found in other parts of the epic too, especially

the accounts of Spring, Autumn and the Monsoon seasons and innumerable

other pen-portraits, of which only Sri Valmiki is capable?

 

2. This Kandam is almost exclusively about the exploits of an

extremely beautiful person (“Sundara:”)—none other

than Sri Hanuman. It is beyond dispute that Sri AnjanEya is extremely

handsome, virile and strikingly attractive. “KAnchanAdri

kamanIya vigraham” says the PArAyaNa slOka, telling us that the

VAnara veera possessed glorious good looks and shone like a veritable

Golden Mountain, with his gigantic physique and commanding

personality. When we go through Sundara KANdam, we find it to be one

long and continuous saga of Sri Hanuman’s adventures and

exploits, in the service of His Lord and Master, Sri Rama. The KANda

begins with a vivid account of Hanuman’s launch into the long,

difficult and hurdle-filled flight across the ocean to Lanka, a feat

none else would even contemplate, leave alone attempt. What follow

are enthralling accounts of the MahAkapi’s rigorous search for

Sri Sita, his timely arrival on the scene to prevent Sri Mythily from

taking Her life and to extend assurances of imminent rescue by Sri

Raghava, his vanquishing the minions, ministers and sons of Ravana in

a patently unequal battle, his challenge to the demoniac king and

departure to Kishkindha to convey the good news to the Prince of

Ayodhya, leaving Lanka engulfed in flames.

 

Thus, from commencement to conclusion, this KANda is verily

monopolised by the “Sundara”, Sri Hanuman, who is on

centre stage, throughout.

 

3. What could be more beautiful than tales of the Lord and

accounts of His handsomeness, valour, majesty, generosity and

boundless compassion? Anything incorporating such a narrative

definitely deserves the name “Beautiful Book”. The

Sundara Kanda contains several such descriptions of Sri

Raghava’s glorious physical and psychological traits. The 31st

Sarga contains a detailed account of the IkshvAku Vamsam and Sri

Rama’s glorious guNAs, the 35th a mouth-watering description of

His matchless physical beauty, the 51st again a narrative of the

Prince’s valour, prowess and compassion. With the recurring

theme of Bhagavat divya mangaLa vigaraha varNanam and Bhagavat guNa

anubhavam, there is little wonder that this portion of the epic is

known as the Sundara Kanda.

 

4. Whether it be in physique or in character, could anyone hope

to equal Sri Mythily, the epitome of womanly virtue and seemliness?

She is thus a real “Sundari”, beautiful beyond imagination

and looking as if She was put together by the Divine Architect, using

up all the stock of beauty on hand—“DEva mAyEva

nirmitA”. It was a divine beauty, such as only the Divine

Consort could possess. If we come to think of it, this Kandam devotes

a major portion of its content to this “Sundari”, Her

travails amidst the rAkshasIs of AshOka vanikA, Her encounters with

the dastardly Ravana, Her compassionate advice even to Her abductor

to perform Sharanagati at the Lord’s lotus feet, Her

oscillation between hope and despair, Her meeting with Maruti and the

consequent reassurance gained about imminent rescue by Her beloved and

Her prayers for the safe return of Sri Hanuman to KishkindhA. Though

the entire Srimad Ramayana is but a saga of Sita

(“SItAyA’s charitam mahat”), yet the Sundara Kanda

brings out the depth of Piratti’s character in all its glory,

the glory of gold, which glitters all the more, when

Passed through fire.

 

To conclude, we can’t do better than to enjoy a verse of one of

the erudite commentators on Srimad Ramayana, viz., Tilaka, who,

instead of enumerating the beautiful things in this Kandam, queries

us as to what is there in the Sundara Kanda, which is not Sundaram

(beautiful). Everything about this Kanda is indeed beautiful—

1)the city of Lanka, which forms the picturesque backdrop for the momentous events of this Kanda,

2)the magnificent story narrated in the Kanda, with its numerous

twists and turns, affording full scope for display of the nava rasAs,

3) the incredible beauty of Sri Janaki Devi, who forms the focal point

of the narrative—

indeed everything about the Sundara Kandam is beautiful beyond

depiction. Here is the beautiful verse from the

“Tilakam”, a commentary on the great epic—

 

“SundarE sundarI LankA, sundarE SundarI kathA

SundarE sundarI SitA sundarE kim na sundaram?

 

SundarE SundarIm SitAm akshatAm MarutE: mukhAt

ShrutvA hrishta: tathaivAstu sa Rama: satatam hridi”.

 

Srimate Sri LakshmINrismha divya paduka sevaka SrivanSatakopa Sri

Narayana Yatindra Mahadesikaya nama:

dasan, sadagopan