RAVAN
SITA SAMVAD
Ramayan is a period of
societal transformation that brought in conceptual changes in the political and
administrative process of the human race.
Conversation to
dialogue is the essential implication of the interaction between Ravan and Sita
and is one of the most rare sequences where
only two characters, Ravan and Sita alone are involved. If not from Sage narad,
the composer Sage Vamiki had ideally enough time to gather details Ramayan is a
period of societal transformation that brought in conceptual changes in the
political and administrative process of the human race. from Sita herself, during her stay in his
hermitage after she was denounced by Ram.
Perhaps freeze frame technique
of visualisation in poetic expression takes its origin in this context while
narrating the depth of the evil character of Ravan. Trees stood still and even
the gushing Godaveri river opted to be quiet sensing the presence of Ravan
disguised as a Brhamin. Yet, even with
the best attempt some where the insight about Ravan accrues a different plane
as he asks Sita as the graceful one-
whether she is the custodian of all prosperities-
The ambience set in the
calmness around the serene Goadvari banks is further rendered with stillness
marked by the presence of Ravan.
Against this back drop,
Ravan recites Vedic Chants as he was approaching Sita, Ravan a renowned Vedic scholar, who had
recited Sam Veda through the strings of Veena, and received favours from Lord Siva. Ravan, with his attires of a Brahmin and further through his rendering of
Vedic chants raises no doubt in Sita.
Thus creating a mesmerising effect Ravan takes entry in to cottage
of Sita.
Ravan finds Sita as
emerging in with Golden radiance of an
ascending beauty. He raises a poser as
to whether she is Goddess Lakshmi
herself or a cosmic danseuse of the heavens or a benefactor or the astounding beauty Rati , the consort of
Kama Dev. All the characters in contrast have their own gradation in the
ethical context.
Lakshmi, born from the churning of the milky sea has an
iherrent tenderness and grace, like the smear of butter with unbelievable fairness
of whitish complexion and proportionality of features. The range of beauty coupled
with qualities is well noted from Lakshmi to Rati. Rati was born from the sweat of Prajapati.
She is also known as Sandhya, the daughter
of Brahma resuscitated and renamed by Lord Vishnu. Rati symbolises the
unfathomable heights of sensual elements embodied in a woman. Choice of Rati is
much more meaningful in the context, as Sita is alone and Rati is devoid of her
husband ‘Kama’ who is formless. Kama , the embodiment of lust and desires who had the instinct and
spell of the mystic charm of all seasons, was turned to ashes by lord Siva who
later revived him without body. So Rati such a mesmerising sensual extreme
observing abstinence, if falls for someone, it will be more than a volcanic
eruption of love and love making. In a
woman alone, such a comparison can evoke
a wave of sensual desires subjectively.
Sita is given the option
of identifying herself between these
two extremes of Lakshmi and Rati. Such contrasts of extremes can be figured out when Sita erupts her fury on Ravan, For any woman, it is a question that will create a few
moments lost in the depth of silence, to
see for herself and assess. It can lead to a rage of anger as the qualities
degrade from Lakshmi to Rati, while
encompassing the nymphomaniac characters.
Ravan was sensible in the ordering of striking
contrasts of extremes, as he desired to assess the quality of the woman, though
he knows the fact that Sita is the wife
of Ram and is seen as an incarnation of Laksmi herself. Yet, he ordered the
characteristics in a degrading order to create complexity of waves in Sita and visibly a smile erupts her.In that spell Ravan
continues-
समाः शिखरिणः
स्निग्धाः
पाण्डुरा
दशनाः
तव
|
विशाले विमले नेत्रे रक्तान्ते कृष्ण तारके || ३-४६-१८
विशाले विमले नेत्रे रक्तान्ते कृष्ण तारके || ३-४६-१८
Ravan takes off with
yet another a brilliant note. With such a marvellous beauty, from where to
begin praising her will be a big question. Every part of a woman is sensuous
and she may not like to hear any unknown man detailing and praising her
endowments. Ravan began his conversation from where Sita had reciprocated with
a smile.
However, here we get
the first reference on the prevalence
“Pandura” the progenitor of Tanbooru or Tanpura , Ravan being a musician
himself would see a the evenly lined row of teeth of Sita like jasmine buds,
might have attributed to her voice emerging through those dentures as clear and
melodious as the pandura.
Ravan then shifts his
focus to her spotless white eyes with red ends and her black pupil.
विशालम् जघनम्
पीनम्
ऊरू
करि
कर
उपमौ
|
एतौ उपचितौ वृत्तौ संहतौ संप्रगल्भितौ || ३-४६-१९
पीन उन्नत मुखौ कान्तौ स्निग्ध ताल फल उपमौ |
मणि प्रवेक आभरणौ रुचिरौ ते पयो धरौ || ३-४६-२०
एतौ उपचितौ वृत्तौ संहतौ संप्रगल्भितौ || ३-४६-१९
पीन उन्नत मुखौ कान्तौ स्निग्ध ताल फल उपमौ |
मणि प्रवेक आभरणौ रुचिरौ ते पयो धरौ || ३-४६-२०
It raises a question
whether a modest woman can enjoy and tolerate the narration of her endowments
by a stranger, that too by a scholarly Brahmin. Presumably Ravan had scanned
Sita while she received him and washed his feet. Round hips, thighs white and
flowing like elephant tusks, braced by fine ornaments are her breasts clinging
together and rising with its face upward, shaped like palm fruits make one long
for them. Her smile is seductive, so is her teeth, so is her hairs, so is her
breasts. She is portrayed as conquering his mind as a river smears and froths
over the shores. He has never seen such features in any goddess or in the women
of the cosmic races of Yakhsa, Kinnara or Gandharva or of any women on earth.
Ravan surrenders before her beauty beyond words.
He then draws her to
his final objective and raises a poser. He could not even imagine why such
marvellous adorable beauty is dwelling in a dense forest. He cautions her that
many demons may develop urge for her and may approach in disguise. Ravan
suggests Sita to return to safety.
Ravan who himself is in
disguise as a Brahmin, when he cautions Sita on the demons that may take
different forms for quenching their lust for her enviable beauty, through this depiction made a
deliberate attempt to see the confidence in Sita on her husband. The most
insecure element for a woman is lusty men getting lured by beauty and
harassment out of it. Ravan also desired to see how confident is Sita about his
own appearance as to whether she has any doubt on his form as a Brahmin.
Visibly Sita might had
no reactions and she took his words as a mere statement, rather than an advise
or a matter to be feared. Also, with this Ravan became confident that Sita is
purely a human creation, with no trace of supernatural element in her, as she
could not use her inner vision to recognise him. Any lonely woman will have an
aberration in her mind under such a
situation. The very objective of Ravan is to be understood to kindle the fire
of frustrations in her mind on her fate to wander in the forests, instead of
being the queen of a mighty empire.
As Sita stood convinced
that he is a Brahmin and she is secure with her husband and his brother, Ravan
changes the course of his conversation.
Ravan then tells her
that a pretty and bountiful lady should get everything like the best costumes,
cosmetics and should have capable husband who is a provider.
Having already appreciated her attires and ornaments, he tries to make Sita
convinced that whatever she has, is not the best. He ponders whether she is a
beauty with the mindset of an ordinary woman or is a contented woman with
whatever she has. If she is a woman with an ordinary mindset, she will express
her discontent with her husband and his family.
Now having made a
landing note provoking her to open up
her mind, Ravan asks her to which sect of Gods she belong to? With her blissful
smile, she appears to him as a Goddess as the dwelling ground of the demons is
inaccessible to races of Yaksha, Kinnara
and Gandhrva. He is astonished to find
her unfazed even by the wild elephants
around. Even the worst seductive and erotic description of her beauty, raised
no suspicion in Sita on the authenticity of the scholarly Brahmin.
Are these narrations really uttered by Ravan.
Why did he adopt such an idirect method, as he could have forcibly taken her
away? Would such a scheme be befitting to the character of Ravan as he is
portrayed even at the beginning of this conversation. Such a ferocious demon,
could he afford to waste time with conversations? Was it a calculated move to
avoid a confrontation with Ram and Lakshman? Was he sure about the timing of
their return that he can play a well paced drama with Sita?Or on the contrary,
was Ravan a demon with a difference?
He was there to avenge the insult meted out by
Ram and Lakshman and to get them back to
a wedlock with his sister Soorpa Nakha. Even under such a situation, was it a
deliberate attempt to convince Sita and take her along? Was he against using
force against woman as he could have retaliated by inflicting same injuries on
Sita in the same coin as his sister had? Even defacing Sita would have provoked
Ram and would have him drawn him to the courtyard of Ravan for a fight to
finish to avenge the insult?
If so, Ravan can be
seen as a strong character with a sensible approach at war and peace. The
dialogues between Ravan and Sita may draw many instances of concealed
philosophy and a relook into their conversation or Samvad become more relevant.
Ravan had applied the treatment
of generic psyche over the mindset as with any ordinary woman to draw out the
undercurrents and frustrations if any in Sita, to take her out of the domain of
Rama to his capital. The will of the woman is paramount, yet, here Sita is to
be seen an instrument of a political rationale. The policy of the King Ravan is
to be modest, even to humble and then create a psychic conflict in the opponent.
A demoralised warrior, however good he be, abduction and confinement of his
wife can create a emotional outbreak. In such a situation, an immature mind can
always land up in committing an array of mistakes that will give Ravan a
cutting edge. This is a well conceived philosophy of creating a rage coupled with
depression in the opponent. The two men, may fail to fight alone. It needs a
coalition of forces which is ruled out as Ravan is confident that all the Kings
and rulers have faced defeat in his hands. His kingdom is an island and enjoys
strategic depth. The sea and the terrains will exhaust the advancing forces. An exhausted force is
easy to be cracked.
Beside all these, after hearing the story of war with Khara
Dooshana and depositions of Mareecha, Ravan had a fair idea of the strike
capabilities of Ram and Laxman. So, there was a need to create an element of
depression and deprivation in Ram, rather than creating a rage by inflicting
humiliating scars on Sita.
The conversation between Ravan and Sita
accrues the form a dialogue. Dialogue is an exchange of conflicting designs
expressed through such means that other side may get convinced. Ravan needed a
change in attitude of Sita by creating a momentous mutiny in her mind against her
husband. If such a weak moment created, he can very well take Sita without any
force along with him. The last few statements of Ravan is with this objective to change a conversation into a dialogue to
meet his political motives.
A philosophy of the
poet is tested through the extraneous attributes ascribed to Ravan, to
ascertain whether Sita is really a an incarnate of Goddess Laxmi or a totally
transformed human being. He realises that she enjoyed and is in the spell of
his seductive erotic commentary of her endowments.
Here, the poet shows
his presence of to depict the mindset of Sita. Ravan unmistakably has understood
something went wrong behind the curtains, and he used the best instincts to
provoke her to flush out her suppressed
expressions.
Sita let the Brahmin
in, washed his feet and offered him water and food. Ravan became convinced that
she has not even a trace of any element of suspicion on him.
Ravan got ideal time to
study Sita, as she kept gazing far into the meadows to have a glimpse of her
husband and his brother returning. Suddenly she realises the situation that she
has left the questions of the Brahmin unanswered.
She introduces herself to the Brahmin.
She , the daughter of Janak is married to Ram who belong to the creed of Ikshvaku
dynasty, had been enjoying their prosperities
for twelve years. On the thirteenth year of their marriage, the King after
consultations with the lords decided for the investiture of Ram as the his
successor.
As the coronation was to take place, her mother in law
Kaikeyi Sought a boon from her ‘husband’ and took a wow not to eat any food or
water if Rm is ordained as the King. Her ‘father in law’ , ‘the King’ made an
attempt to appease his wife with all his richness, but she was
adamant and did not compromise and she continues-
Her husband was twenty five years and she was eighteen at that time. Her husband is truthful and a man of qualities,
with outreaching arms, involved in the welfare of all beings.
The Great King,
the father Dasarath himself is ‘kaamaart’
and Kaikeyis urges were heard by the lusty ruler who deferred the Coronation of Ram.
When her husband reached his father for the
coronation, ‘Kaikeyi’ abruptly said-
‘ listen to the orders of your father Raghav, the kingdom will be offered to Bharatha without any enemies or
difficulties’.
‘ In a period of nine and 5 years (14 years) you clear
off the forests and let the king be free
from his indebtedness’
Sita continued
to say- ‘ my husband fearless of any situation, and committed to his vows,
agreed to Kaikeyi’
‘ Oh Brahman my husband is the one who stands for the
truth and he kept his words’
‘ Lakshman brother of Ram, born to his stepmother, a
frowning tiger, is the terminator of enemies’
Laksman , a staunch follower of Dharma or Customs,
practices, traditions and the laws, accompanied us with his bow and arrows’
The unfazed Ram entered the Dandakaranya like a Tapassa or one devoted to
penance’
Was Sita appreciative of the developments that led to
the exile to the forests? The response to the questions of Ravan, exposes her
displeasure. It also explains why she opted to come out of Ayodhya accompanying
Ravan. She refuses to take the name of her father in law Dasarath with a
positive note. She coins her husband not as the son of Dasarath, but linked to
the lineage of Ikshvaku dynasty. Only time she takes the name of Dasarath is
when she describes his characteristic attribute of a lusty love sick King,
which indeed is derogatory remark on her father in law.
Lakshman, the brother of Ram, to her is born to the
stepmother of Ram.
Sita holds the
adamant nature of Kaikeyi and the love sick nature of the king as the reason
for her plight to the forests. Kaikeyi and is vocal about the queens adamant at
Sita has no hesitation in telling that Kaikeyi treated ram to be a thorn in the
way of her son ascending to the throne.
Twelve years of her married life was submerged in the
prosperity of Ikshvaku dynasty.
To the adulations of Ravan on her beauty and endowments,
she accounts it for her age, as she is
only eighteen, and her husband was pretty young too at twenty five.
The deposition
of Sita renders a scope for misinterpretation
and misunderstanding to a stranger who went far beyond in appreciating her appealing
beauty and the erotic elements.
He says, Ram stands for truth and is a commendable in
his warfare tactics or abilities.
Does she mean to say that he is more concerned with
his duties and commitments than caring her though she is still in her teens? She
expresses an array of discontent, especially when she talks about Lakshman as a
frowning Tiger. It speaks of their behaviour and nature that has no space or
meaning for beauty and sensual elements in her.
Finally Sita admits that-
‘Oh great
Brahmin, We are in this impeccable
forests mending our ways as we have been expelled by Kaikeyi’
It was indeed a out pour of her exploding mind and she says,
it is a moment of relief Samaswaassa muhoortam.
Sita continues -
समाश्वस मुहूर्तम् तु शक्यम् वस्तुम् इह त्वया || ३-४७-२२
आगमिष्यति मे भर्ता वन्यम् आदाय पुष्कलम् |
रुरून् गोधान् वराहान् च हत्वा आदाय अमिषान् बहु || ३-४७-२३
आगमिष्यति मे भर्ता वन्यम् आदाय पुष्कलम् |
रुरून् गोधान् वराहान् च हत्वा आदाय अमिषान् बहु || ३-४७-२३
‘Oh Brahman, be relaxed, my husband is on the way with
abundant forest produces with and meat of kills like wild boar, stag and civet.’
The offer of Sita to wait for her husband who is on
the way with the best meat from the kill of animals, is a record of the fact
that Brahmins were meat eaters and so was Ram and Sita.
Ravan Sita dialogue enters the second phase as Sita
asks the Brahmin for his identity and the purpose of wandering in the forest.
However, Ravan is a character, despite knowing the
facts about his future, do not intend to
concede to his fate. He do not get nervous or rethink on his plans despite the
averments made by Sita . He takes the dialogue to a new plane of confrontation
and creating a background.
