RAVAN SITA SAMVAD: PART II
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
Unlike other languages, understanding Samskrutam (Sanskrit)
sounds, words and verses needs a multi pronged approach for traversing
beyond the literal and figurative meanings.
Freedom enjoyed by the creators of the Sruti traditions or ‘listening’
format, gave infinite freedom to
incorporate a multitude of factors through a single expression. Samskrutam (Sans-krit)
was originally developed as the transcriptional format for the expression of the
resonance system of Vedas with it numerical system of Sankhyam and graphic representations
of multi dimensional Yantras. Upavedas, Vedangas and all works ancillary to the
Vedas were carried out in Sanskrit by Sages of varying degrees. Valmiki brought
in a deviation from the conventions, by
creating a dramatic sequence of an epoch thus laying the foundation of religio-lingusistics which was later adopted
Vyasa to scribe, Mahabharat and
Bhagavatha Purana which led to
‘age of devotion’ or Bhakti kaal in the later periods.
Ramayana, the
composition by the pioneer of the Valmiki School who himself attained sage
hood. Valmiki schools had made elaborations of Ganita or arithmetic known as
Valmiki Ganita. Metallurgical studies were elaborate with stratigraphy,
identification of light metals and process. Articles used by a poet are those whose
properties are best known beyond any doubt and are well reflected in the
conversation between Ravan and Sita.
Verses of Ramayana carry expressions and actions, together
with the inherent subject contained. Certain
words and phrases are used to create conflicts in the mind of the characters involved
by rendering scope for philological and
philosophical inferences. Ramayana is
the culmination of a visualisation of continuous sequences in real time.
Valmiki did a daring experiment within the limited space set
in the schematics of the visual drama, thus creating a virtual world through
visual effects lyricism. Transitions in the body language are well expressed
through the changes in the colour of the eyes and furious outlooks, timely use
of hands. Setting a tempo using the change of costume in the same scene from
saffron to red in the case of Ravan is perhaps the finest innovation of visual
effects. In the next sequence, Valmiki uses acoustic effect for change over to
mark the entry of Pushpak.
Micro level treatment
of finer details immersed in complexion and effect is loud in portraying sex
appeal of Sita and urge for her brewing in Ravan. Background for the scene is set with Sita
introducing her age through the sequence of events in her life. Eighteen year
old beauty well brought up and well nourished by two royal families, find its exploding features
through the camera eyes of Ravan. The purpose for which the wife of the great
Sage Matanga gave the ornaments in an earlier scene finds its worthiness beyond
ascetic beauty here. The effect of
interlacing gold chain between the ivory coloured jostling breasts of Sita is
an unexpected shock transcending through the eyes of a sage at the pinnacle of
seductive mavericks.
On a broad platform well accounted life of interlinked
lineages that covers origin and diversification races and kingdoms, Valmiki
enjoyed the privilege of the back ground set for his work. Sita Ravan Saved brings together the
discontent of decision making process between dynastic rule of Ikshvakus and
democratically elected kingdom of Mithila. The first ever account of the King
chosen by the people find its reference in Ramayana. More over Valmiki’s
knowledge of geo-political configuration of the region is evident from the directions
given to Sugriva Sena, in the forth coming segments. Reference Muchiri Patnam,
the Kingdom of Chera dynasty. This reference indicates that Valmiki was well
aware of the system of governance of Chera Dynasty,a succession of 12 year period
for a ruler. After the period the rule ‘Perumal’ had to abandon the place and leave the premises, so that the
successor is not influenced or do not have the fear of revolts. There is no evidence of Ravan entering into
conflict with the Chera Dynasty, or Ram entering into any treaty with
them.
Sita, in this conversation exposes the prejudices and vested
interests, nepotism and hypocrisy that prevailed in the coterie dictated by women around the King
Dasarath.
Every character is
provided with a profile of lineages and linkages with place, ambience with
sound knowledge base yet, is well disposed off as interspersed in a crowd with
identifiable face and features. Creating such characteristics is with a well
defined objectivity to render his central character and associates eternity. Ram,
Sita and hanuman are immortalised through the sense of devotion and through the
theory of incarnation established by the poet through convincing sequences. As such the theory of immortalising through
incarnation, inculcating divine attributes alone can influence the elite peers
of the society including the ruling classes and the Brahminical Society. Both
are equally important in the process of learning and debating on characters and
themes which was a salient feature of the intelligentsia of the period. The
processes eventually will lead to Royal patronages and adaptations and
commentaries by other scholars of from different language groups. Valmiki
Schools thus attained wide acceptance for the work through the ages. The theory
of eternity of characters through incarnation and divinity was proven by
Valmiki, which was carried on by Vyasa in Mahabharata and Bhagavata Puran.
The creativity of Poet Valmiki is synergised through a
process reformation from a Savage to Sage.
The basic tenet that holds this reformative movement of the psyche is
drawn to the question of accountability and collective responsibility of acts
and actions. Acts refer to the ethical domains, self regulation within the
predetermined societal norms and conventions poised to one’s own action. Here,
the question of these in relation to the primary unit of the society, i.e., the
family is the foreground of assessment. Here,
acts and actions of the individual are accounted irrespective of the positions he
assumes, as father, uncle or grandfather a ‘persona de facto’ or an ‘actor as a
mere individual’. Collective responsibility
is ruled out for assortment of actions that leads to the shedding of the Valmika,
the materialistic sheath to be Valmiki. He realises the depth and values of
every aspect of human life at a miniscule level and his treatment of subjects
can accrue as many dimensions it can.
The profile of the poet itself depicts delinking from
materialism and the concept of materialism of the poet is seen here as highly
volatile. Poet applies the same
yardstick to all the characters. Ram, despite his convictions of being an
incarnate of Lord Vishnu, born in human form, is destined in the hands of the
poet to undergo torments of his birth in the present form. So is the case of
every character at his disposal, whose destiny is drawn through an array of
satires. The same is reflected in the second phase of the story , as it sets into
motion the agonies of ‘deprivation’ of Sita with all its logical basis drawn with instincts of reasoning, defined by cause and effect principle that
reaches as climax as Sita utters, this what Kaikeyi wanted by sending us to the
jungles.
Sita recreates the shocking moment. When Ram reaches his father
for the coronation, his second wife of the King, Kaikeyi abruptly intervenes
and conveys the decision of the King. Here, the King is reduced to weak and
subjective person, with no control over the situation, caught in the conflict
of emotions and lost in mental distress.
Sita denounces the stature of Lakshman as the son of Ram’s
step mother. Further, her discontent over the incidents and the ill fate of
being sent in exile becomes loud when she says that she enjoyed the richness of
Ikshvaku dynasty for 13 long years. Here Sita is brought down from the elite
stature to assume true shape of a commoner’s woman, exploding with grudges
against the in laws. The situation created here is with a stranger, who is
presumed to be unknown to her in laws. Introduction of Ravan as a Brahmin is
done with the highest order of precision with a careful design, without any undue
gestures to render Sita with the ambient energies to open up her mind. Dialogues of Ravan is so intricately worked
out by the Sage
Sita could have answered Ravan within her limits, either as
wife of Ram and hails from the Ayodhya. However, the poet seemingly took the
course from her origin.
A frustrated and deprived mind is flared through a mild
provocation. Ravan wanted to create a moment to change the phase of their
conversation, to take Sita along with a positive note. Sita over emphasised her husband’s nature of
being truthful and as a man of words. Yet, the end result of the so called good
virtues of Ram is that, she is now left to live the life of a forest dweller.
It cannot be a pleasant note. Second quality of Ram, mastery in warfare is well
focussed to hit the target, to give a word of caution to the visitor.
Other than this, she gives no hint on their love and passion
for each other. The expectations of an 18 year old girl, living with a man of
25 years, whose priorities are not oriented towards the family life is sounded to
Ravan. This is a defining moment on the extent of deprivations. She is deprived
of luxuries of Royal life and family life.
The beauty, complexion and the features that Ravan found in her are
meaningless to her and are of any good.
And Sita offers him a share of the hunt that her husband is
to bring, a moment that Ravan was awaiting.
A question mark is
often raised on this verse. Whether Ram, who is considered as God were meat
eaters and could meat be shared with a Brahmin?
Treta Yug is significant for several transformations in the
society and in re organising the administrative structure of the Kingdoms. The
Monarch himself administered the people, revenue and defence. Conquests were a part of the kings own
dictated policy to expand the empire. Here, the period after Dasarath, Bharat
takes over civil administration and his brother Satrughna takes charge of Home
Affairs. The need of strategic powers to control civilian population and to
have the reach of administration to the far- flung areas is a new area of
administration that develops during the last phase of Treta Yug. Later,
stages monitoring of airspace and air combat also is noticeable in the Ramayana.
Mission of Raman is well described by Sumitra to Lakshman before they move out
on exile.
Ramam Dasaratham Vidhdhi, Mam Vidhi Janakaatmajam
Ayodhyaam Ataveem Viddhi, Gacha Tata Yadtha Sukham
This verse is intimately linked to Vararuchi, believed to be
one of the nine gems of King Vikramaditya.
To the question, which is the most important lines of Ramayana,
Vararuchi could not answer. He wandered analysing every verse of Ramayana, and
eventually became tired and rested under a tree. Vararuchi woke up hearing the
conversation of the guardians of the forests.
One of them said, the man lying below claims to be one of the nine gems
of the court of Vikramaditya, yet he could not understand the most relevant
lines of Ramayana. Another Guardian tells her, even she do not know, whether
anyone know those lines. One of them recite these verses and say it is the most
relevant line.
Indeed the relevance of the line underlies in the stability
of the family structure, status in the hierarchy, the change in the concepts
and foundations with which the relations are not breached. Ram and Lakshman are
25 years and Sita is hardly 18 years. Lakshman, the younger one who leaves his wife
Urmila behind, is bound to observe abstinence. Control
over urges and desires are introduced through a conceptual change through
Sumitra and Lakshman. “ Ma Vidhdhi
janakaatmajaam” . Beyond doubt it cannot be a transcription or transliteration of
a conversation as addressing Sita as
‘janakatmaja’ is intentional to show the different lineage and as a word of
caution from other kingdom, and also to remind Lakshman of his wife. Urmila is
also ‘Janakatmaja’.
Lakshman considers his elder brother Ram with equal reverence
as his father. This inseparable relation
which makes Lakshman to be so determined to accompany Ram to the forest. As Sita is accompanying Ram, it is pertinent
to raise a question on his wife Urmila who is also ‘janakatmaja’. ‘Ma Vidhi’ in
the hands of religio- linguists, in this context became ‘consider as mother’,
and everywhere else, it is meant as ‘no’.
A deliberate attempt to whisk away all adorations to Sita and ignore all
other three women into anonymity with no roles other than mere wives is a
ghastly crime meted out to their existence as human beings. In such a context,
a mother is bound to ask her son, what about your wife? Don’t you have any
consideration for her? A probable
question of Sumitra to Lakshman is carved out of the situation to add another
level of mystic charm to Sita.
“Ayodhyaam Ataveem” – to treat Forest as Ayodhya, is the
first ever advise to create and order and administrative structuring of the forests.
Forest is inclusive of the people and resources. It is a word of caution as
well, not to exploit and treat with care and affection. Not to do anything that
he does not do in Ayodhya.
In forest life adaptation is the key to survival. Sita expresses
her inability to the Brahmin that despite being the daughter of the King Janak,
and married to the Ikshvaku dynasty, she can offers only that her husband
brings home after the hunt. Valmiki introduces “Godhaan”. When read together with “Suvesham Mrugaya
Gatam Patim” and “Vanyam Aadaya Pushkalam”, Valmiki establishes the adaptation
of the brothers Ram and Lakshman in the forest and their way of life by means
of gathering forest produces and hunting.
‘Godhaan’ here is the staple food. ‘Go’ refers to animals that are ideal
for food, and relishing, which includes stags and wild boar.
How the name ‘Go’ was extended to include the cow is still
not clear. The conflict of time scale
needs to be explained here. The origins of societal order in the Indian Subcontinent
had set in ages before the Paleolithic
age in the European and American systems.
Age of the earth is calculated to be 4.54 billion years, which in the
Indian Scheme dates back to 150 billion years. Organised societal order of
human settlement set into motion with the Prajapati or the ‘ruler of the People
is calculated to 125 billion years. 50 billion years is the gestation period
between the birth of earth and planetary system and Anthropogenesis. Humanisation or transformation of a certain
primitive Humanoids to human beings sets into motion the age of Rishism. Rishi
or Sage is the one who establishes a settlement, with principle of social order.
“Ra” “ishi”, one who posses or wields
a Ra or settlement is Rishi. Such
settlements were brought under the ruler or Prajapati. Vedic Systems takes its origin here. It is
during the tertiary period, that compilation in the form of Hayagriva Veda took
its origin. Each period thus has its own codification and Rishism. It is in the
second phase that the system of economic base of social order and wealth and possessions
became defined. “ Godhaan” as the basis of prosperity of Sage Vasishta lead to war between him and the
King Kaushika. The whole episode
revolves around the possession of the celestial cow ‘Kamadhenu’. Kamadhenu is found with Sage Jamadagni and
Dilipa period of Ikshvaku Dynasty.
Animals as the basis of economic structure seemingly is the underlying
principle of ‘Dhenu’ that satisfies all the ‘Urges’ or Kama.
Identity of Sita is revealed in this dialogue as the daughter
of Janak, the King of Maithili and married to the Ikshvaku dynasty are the parallelisms drawn by the Poet. Mithila dynasty relied on agriculture as the
mainstay of economy, where as Ikshvaku derive their name from the sugar cane
based economy. Reference of ‘Godhaan’ is
the reversal of the situations of the members of the two dynasties back to the
‘sustenance on animals’. Therefore, the Brahmin guest will have to be contented
with the share of the hunt-‘vanyam aadaya’ – seizures of the forest as the
offering. Here, Valmiki sketches the extreme aversion of Sita and her
discomfort and helplessness, an exposure that is more than needed with a
stranger.
Valmiki had created varied aspects of frustration of a wife
over the situations arising out of the determination of her husband to live by
the assurance given to his father and the traumatic situation of leading the
harsh life, the agony of deprivation, ill fate of her father in law who was
entrapped lust of love, step motherly treatment to her husband, and being with
the a step brother in law as well as economic crisis. Ravan is armed with enough subjects and
insights to make a way ahead with conversation.
Although Sita asks Ravan who is the Brahmin before her to take rest, the
poet has spilled too many contradictions before him to think and assimilate.
Request of Sita to him to take rest is only a paradox, after listening so long,
taking rest is an impossible proposition.
Here, Ravan as a character
of conflict and confrontation enters the last phase of portrayal outside his
territory of Lanka. The most crucial turning
point of his life is shaped and defined in his own hands, yet standing tall to
have written his own destiny. Here,
absolute submission of the Poet Valmiki
to Ram, the central character of his creation becomes visible. Valmiki did not give any space to the three
characters of Ram, Lakshman or Sita to have a rethinking on their act of
defacing and mutilating the womanliness Surpanakha, Sister of Ravan. Belonging to the race of Demons, the poet
moves ahead with the foregone conclusion that ‘evil deserves no justice’ and
Ram stands justified for his acts. The turn of event takes Ram to an array of
confrontations and opportunity to prove the might of his arm with Khara
–Dushana. Whatever, it be Ravan, unmistakably ever victorious conqueror,
ardent devotee of lord Siva and Goddess Lakshmi, with all the strength of
blessings from all Gods had all the
strength to declare Ram as his enemy. He could have confronted Ram in a straight
battle, instead, as a strategy made a plot to demoralise Ram.
The stage is all set by Valmiki to expose Ravan and his last
act outside his territory. Ravan, in the attire of the Brahmin admit that
he himself is Ravan, brother of Kuber. He fought with his brother, who is
respected for the management of finances. Kuber escaped to mount Kailash for
safety, and seized his aircraft Pushpak. Ravan openly invites Sita to be his
wife, with all comforts, security and safety.
He interprets words of Sita to
denounce Ram, who had no strength to
challenge the decisions of the King, and opted to quietly wander in the
forests. Sita is given all temptations what a woman expects in this world, to
accept the offer.
Sita Challenges Ravan, makes every attempt to ward off the
misconceptions of Ravan. Her weapons are the qualities of her husband, and the
his capabilities as a warrior. She deposes her confidence in the strength of Ram
and his brother. There Ravan also confronts Sita with his potential powers and
capabilities of destruction. He shows his might as the ten headed Ravan, the
frightening terror for all the worlds.
He makes every attempt to convince Sita and to erode her confidence in
her husband.
The drift in the pace of conversation reach new heights, as
Sita uses all her energies to counter the might of Ravan and the process of
dialogue begins. The misconception created through the frustrations of Sita in the
introductory part creates a wave of notions in Ravan, to test the probability
of creating detachment in Sita by treating Ram as a common subject of
discontentment to a common enemy. The moderate language used by Valmiki for
Ravan in the first part was a test to this probability. The failure of Ravan in
invoking the right emotional drive in Sita is produced as a failure of Ravan.
The ground for a peaceful conversation for settlement and negotiated settlement
fails as Sita rejects all the amenities, facilities and concessions that Ravan
offers her in lieu of deserting the Ram and his dynasty. Equations of power of
the two dynasties are dealt here extensively. Sita uses all arsenals of ethics,
qualities and strength of combat on one side where as Ravan uses all his extra
human capabilities, his ferocity, wealth and domination to delink fro negotiation to threat
perceptions. A unique state of affairs where a king fails miserably to convince through conversation, dialogue,
negotiation and threat is used here by Valmiki to interlink the principles of ethics and loyalty with self determination.
Both the characters exhibit their incredible logics over
their preconceived notions of power. Here, Ravan is equipped with more proven
materials than what Sita has in her store for Ram. Ravan is not habitual of listening
‘no’ from any one for any reason as a sign of assertion of power. Yet, he,
listens to the volleys of Sita, and do not enter into a state of fury to show
the power of weapon as, what Ram and Lakshman did to Sita, instead he balances
himself to achieve his target.
Valmiki here uses all conventional materials at his disposal
to articulate the qualities of the two men central to the dialogue.
Ravan describes his ferocity, terror and power to the extent
that he incites fear of death from
Gandharvas of celestial origin to evil spirits, from birds in the skies to
snakes in the burrows .
Sita compares Ram to a sturdy mountain, Lord
Indra and like deep Ocean. To Ravan, all Gods including Indra cannot face him
and will vanish on seeing him. Ravan could
not create any sense of fear or insecurity in Sita, who in turn addresses him
as a fox. For Ravan, even the sun becomes as cool like moon in his presence,
but for Sita, Ram is like a banyan tree truthful, who uses both hands in warfare,
ferocious like a lion and a supreme human. In turn, Ravan flouts the claims of
Sita and to him Ram is spineless, devoid of Kingdom, unlike him who has all the
powers as a king. Ram who lost his kingdom and is left out in the forest is in
a pitiable condition, and he can do nothing than practising abstention. He
raises a question on what more can Ram do? Sita reciprocates saying must be
seeing many Golden Trees with the hope to be in the heaven. Valmiki here
introduces an element of mysticism.
Lion and Fox, crow and eagle, swan and falcon,
water fowl and peacock, stream and ocean, led and gold, sandalwood and sewage are
few of the two ends of comparisons for Ram and Ravan perpetuated through Sita.
To the utterances of Ravan that he can destroy
earth and finish of the waters of the oceans. In return Sita raises the
question how he can steal the Mandthara Mountains, without consuming the lethal
poison. The extreme degree of phraseology narrates the fury of both characters.
‘Giving death to death in war’ expresses the undaunted psyche of Ravan to
establish his ultimate power of being unconquerable.
To create the height of conflict and create a
situation that forces Ravan to abduct Sita, Valmiki uses the dialogue of the
extremes with the reference to Sachi, the most beautiful woman, the wife of
Indra. Sita makes a mockery of the powers of Ravan, when she utters that he may
be able to survive even after abducting Sachi, but he cannot escape death, if
he dares to abduct her.
The question here is why Ravan had to enter into
a conversation and dialogue of negotiations with offers beyond the expectations
of a woman for convincing Sita? The
character of Ravan as the cruelest devil of the Rashes race could have walked
in and taken Sita by force. Sita is represented as nothing more than a wife who
is overconfident about the powers of her husband. Right to justify even the act
of an evil is a consideration that Valmiki had extensively explored here. Sita
is well aware of the dynasty of Ravan, as she takes the name of Vibhishan,
brother of Ravan.
Valmiki uses another symbolism here of Pururuvas
and Urvasi. Pururuvas awaited Urvasi in the Gandhamadana, the garden with
flowers of hallucinating fragrances. Ravan reminds her of the incident when Urvasi
escaped into the territory of Karitkeya, where she was imprisoned. The same will be the fate of Sita. Poet
creates the spell of the most celebrated romance of Pururuvas in the Gandhamadana,
to inspire Sita. Ravan himself imagined of such a celestial love affair with
Sita in a garden identical to Gandhamadana, the Ashok Vatika of Lanka. Despite
all victorious conquests, name, fame, ferocity and all achievements including
his pious and committed wife Mandodari and a host of other wives, Ravan had the
dream of finding a love as that of Urvasi and Pururuvas.
The history of lengthy dialogues by characters
and the scope for movements of the other characters throughout this time, is an
anatomical structuring of theatrics that
Valmiki has introduced in Ramayana. Also, it kept alive the tradition of
‘not to interrupt a conversation till it ends’ is noteworthy. Equally with the devotional content, Ramayana
is the oldest form of poetic Dramascope with technical precision and
perfection. Dimension of ethics, logics, political philosophies, strategic
depth and threat perceptions, diversification of governance to Home Affairs,
internal security, air defence and External defence, societal transformations
are well included in every unit structure
Ramayana.
