FROM CONVERSATION TO DIALOGUE.

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

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

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

‘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.