56) Light on Ramayana

Hi Friends, I hope all of you are doing great! I am occupied in some academic constraints which render me very less time for the other side of life. But I somehow found this short moment to write some interesting points on one of the most famous scriptures in India –  The Rāmāyaṇa.

Other Author(s):

The original scripture was written by saint Vālmīki. Later on, plethora of adaptations have descended into the rich library of our literature. But, Vālmīki’s exposition stands out as a masterpiece. Not because it was original, but, because it was written as a key to the Vēda which in turn is a key to our own soul-realization. Among the many other adaptations and translations, I give utmost credit to one of the contemporary pieces – “Rāmāyaṇa Kalpavṛkṣamu“, (for which he was awarded Jnanpith award – highest literary award in India) written by Sri Viswanatha Satyanarayana It is a grand poetic piece written in present century. It took him 30 years to shape it into final structure. So, unlike the many cheap versions of rāmāyaṇa, that we see today on roadside and online, (cheap not because of price or presentation, but the dedicated poetic effort put into the work) this piece can be said as a resonant literary sibling of original Rāmāyaṇa. When one carefully observes, every line of this grand work oozes the intended sweetness and mesmerizes its readers by the splendid imagery. There are other venerable poets too, like Molla, Tulsidas, etc., but personally, I like this poet’s work on Rāmāyaṇa. 

The Intro:

The story of Vālmīki writing the scripture, as given in the scripture itself, goes as follows: One fine morning, Vālmīki goes on a  walk to offer his obligations to sun god. On his way, he sees a hunter shooting a couple of pigeons, which were in an ecstatic romance. Seeing its partner fall off the tree, the second pigeon sounds in pain and hovers around the dead partner. Seeing this, Vālmīki’s heart is spontaneously kindled into the sense of empathy. This feeling stirs an unconditional curse from his vocals onto the hunter. But, he suddenly realizes that this curse has a numbered-structure in its utterance. This structure could make the uttered sentence, a song as well. This is the first birth of POETIC sense in Indian literature. As soon as he realizes this, the voice in the SKY (the ethereal space)  says to Vālmīki, “You have awakened into that light of Saraswathi which is a grand arrangement of syllables. You shall write the story of Rāma, the would-be incarnate of the LORD in this style.”

Later, he searches for guidance on the character RĀMA and sage Nārada initiates him into the wisdom of Rāma. This initiation is called “Bāla Rāmāyaṇa” or the summary of Rāmāyaṇa. And later, he expands it through his yōgic vision into the magnum opus of the epic Rāmāyaṇa.

Important Points:

Given the vastness of the subject, it is only best if I choose to write some of  worth noting points as bullets.

Ho does Rāmāyaṇa start? It starts with the episode of Rāmā’s sons singing the story of Rāma in his kingdom. It is this story, told in front of Rāma, that forms the main text of Rāmāyaṇa.

Is the scripture originally named Rāmāyaṇa? No! In the scripture, Vālmīki suggests few names but never finalizes them. Some names are: Rāmāyaṇa, Sītāyaṇa and Poulastya Vadha.

Is this scripture symbolic or a reality? It is a legend. A legend is something that happened and keeps happening in and around us. We can leave the “happened” aspect to historians and we can concentrate on how it is happening in and around us. If not for this “present tense” of the scripture, no scripture will stand the test of time. What use of history? What use of yesterday? which we have no control over? Unless it links the present and future, we have nothing to do with them. This is why, a scripture always is written in mystic language, to suit all times and all generations. The symbols in Rāmāyaṇa suggest this very strongly. So, as a history, it is a sweet piece and as a mystery, it is an alluring piece.

Lineage of Rāma: Rāma was born in the lineage of Ikṣvāku, who was a descendant in Solar dynasty. Solar dynasty means, the ones who come from SUN. What comes from SUN? Rays! So, Sūrya Vamśa or Solar dynasty are the Rays of SUN that descend on Earth. In the episode of Prācīna Barhi (46) Myth or a Symbol? – Story of Puranjana – Part-2.) I told you that the rays of SUN are the many souls that embody on Earth. So, Rāma’s incarnation is a symbolic story of the descent of souls into bodies and the story of soul while it lives in a body.

Some symbols worth noting:

• Number of verses: 24000 = 24 x 1000 (24 relates gayatri mantra and for 1000/sahasra, see: Mystic Passages – 3: Purusha Suktam (An Introduction and stanza-1)
• It has 6 Cantos. Taking first syllable of first stanza of each canto, we get Gāyatri Mantra or Sāvitri Mantra (21) Gayatri & The Mantra) – having 24 syllables. In the article of gayatri mantra, we have seen, how the mantra relates to the SOLAR deity and our consciousness. So, to suggest that the whole scripture of Rāmāyaṇa is a mystery drama of LIGHT of LIFE of Consciousness (and hence the symbol of sūrya vamśa), this gimmick had been played by Vālmīki.
• Abode: His abode is Ayōdhya having 7 walls, 9 gates – Symbolic to Human body with 7 tissues or dhātūs and 9 doors. 10th door being the secret door (of female). The sanctum sanctorum is the HEART center, which can not be stolen by enemies = A+Yōdhya, the capital of Rāma’s kingdom.
• Ruler of the abode: If Rāma’s abode is human body and his permanent place is heart center, who is the ruler? He is Daśaratha – Lord of 10 chariots. 5 senses organs + 5 motor organs form the 10 chariots that drive our body. The progenitor for all these  is MIND. SO, Daśaratha is the MIND. That is why, his best and closest friend and minister is called “Sumantra = One with pure mind”. If minister is pure mind, the ruler is the totality of mind, by default logic!
• etc.

Is Rāma really the incarnate of Vishnu? Well, according to scripture, nothing as such is explicitly mentioned. But implicitly many incidents suggest it. A good example is the episode of Parashurāma. When Rāma touches the weapon of Parashurāma, all his anger and wrath cools down and he says that he knows who Rāma is. This episode establishes Rāma as a purposeful soul taken birth than a random soul taken birth due to karma. This is by definition, nature of AVATAR or Incarnation.

How old is Sīta, when she was married? Unlike the movies’ depictions, sīta is not even at the age of present day marriage rules. In the “Uttara Rāma Charitha – Later Life of Rāma”, he describes that Sīta was just at that age when her two front teeth dropped off and new ones were sprouting. When Viswāmitra took Rāma and Lakṣhmaṇa, his brother, for training, in the name of some help, Daśaratha states that his son is not even completed 16. So, he must have been around 15-16. So, neither of the, were capable of lusty love. The sweet love that they experienced, then, was that of “Vātsalya – tender fondness”. So, when we read the scripture, this is very crucial.

Nature of Rāma: Rāma, as an incarnate, has a very unique nature. Every incarnation has a characteristic nature as such. For example, Krishna’s incarnation has a No-Nature as the nature i.e., he was like a mirror. He has no nature of his own  at all – more on a different article. But Rāma is different. He is the idealized human existence. Take any episode from the source scripture, this fact reverberates. He was kind, no anger, no wrath, unlimited love, very principled, upholds LAW to highest extent, etc. He loved Sīta more than what we normally grasp. The pain he experienced when Sīta was missed or banished, or when she was apparently tested in fire, was in such a way that it is akin to the cut of tender strings of inner heart by a sharp blade. So, from this lens, we need to understand the actions of Rāma than to critique with limited knowledge of scripture. He never intended any thing. He flew with situations, following side of LAW/Dharma. He never proposed to do anything on his own. He behaved at request/necessity of others.

Fire-Jump of Sīta episode: Being his better half, she is exact replica of her husband. One thing I must clarify here. Most people think Rāma asked her to jump into the fire after rescuing her, as he doubted her. But the actual story is different. After the rescue, Rāma says that “I am KING first and then your husband. My obligation to kingdom is lies before my duties as husband. I have to answer our people when we go back there. I personally do not for a second doubt you, but you will face the accusations life long. So, I suggest we separate our ways here. Let us go on our own paths and never meet again.” He says this in a painful tone.She then asks why he had rescued her at all? He says, that he did not want any harm to come upon her by the Rāvaṇa, the kidnapper. SHE then says that fire-death is the only alternate to her. So, she requests for an arrangement and rāma agrees silently. AFter her return from fire, they all were happy that the society will agree of their relation now. See how answerable a KING and Queen are to the society? COmpare this with present rulers. Whether the doubt on sīta is right or wrong, Rāma and sīta considered the society’s opinion as higher than their own personal life. Rāma could have skipped being a king and lived with Sīta or Sīta would have just left and went. No other alternate was depicted. This is the perennial psychology in Rāmāyaṇa that one needs to understand! — Every role and every character is shaped to symbolize an ideal society with inherent flaws as well (without which, there is no human).

Debate on Rāvaṇa: Many argue that Rāvaṇa was one of the very good guys. Actually, not so. The author is not that stupid to portray a hero killing a good guy for personal gains. To show how LUST destroys human character, Rāvaṇa is depicted in that way. He had great abilities and supernatural powers. But in front of LUST, all those rendered futile. 

Lanka-Rāvaṇa’s abode:Where is Lanka of Rāvaṇa? Is it the present Sri Lanka? Not at all. Lanka in Sanskrit means Equator – refer any ancient texts on astronomy/astrology. Also, in describing Lanka, author states that days and nights are of equal length. So, Lanka is an island on Equator. There are no evidences for sri lanka to have drifted from Equator. Also, the journey did not start from south-west, but the then southern tip of India as per the story. So,  a careful study is required in this direction than the notions presently in vogue due to mere ignorance and lack of patience.

Army of special Apes – Vānarās: The race of ape-humans – Vānaras, are different from Nara/Humans. They aided Rāma in search of Sīta when she was kidnapped. But what of the reality of this? In Secret Doctrine, Madam Blavatsky give sus many hints as to the racial evolution of humanity and suggests how to link this evolution to the story of vānara and nara. We can keep this discussion in other article, but for now, know that the vānara are second branch of evolution of humans, un-intended by nature,  a result of mistake from the previous races/rounds of evolution. But that does not make them any less. They are in fact, spiritual in essence and more valorous. They actually did not have a physical body. This is known by understanding them as “Divya Dēhās – Bodys of LIGHT” as occurs in the scripture. Also, HANUMAN is son of WIND/Vāyu, etc., suggests these kind of inner revelations. So, Rāma was helped by spiritual forces than physical forces. 

Mystique Passages: There are, as part of Rāmāyaṇa, some inbuilt mystic passages, which directly follow the sublime current of Vēdic lore. They give nectar of soul-wisdom. Some of them are as follows:

• Āditya Hṛdayaṃ: The Heart of SUN – This is taught by sage Agastya to Rāma, when he apparently fell dull in the fight. Does Rāma require a teaching? As a human, yes. But as the lord incarnate, he “APPROVED” of what sage Agastya uttered, to be learnt by the world, as “authentic teaching”. The audience/reader, Agastya and Rāma forms the BASIC TRIANGLE of wisdom and the teaching of this triangle is the central point – Āditya Hṛdaya, the core SOUL or Super-Soul of all the solar or star systems i.e., from whence everything sprung forth (Bindu or point). 
• Yōga Vāśiṣṭham: The teachings of sage Vaśiṣṭha to rāma. These teachings surpass the length of rāmāyaṇa itself. So, in a way, this forms a separate text, having its reference in Rāmāyaṇa. The teachings in these passages are pure wisdom in its vivid expressions. ANyone who reads it can affirm that it directly relates the ancient spiritual wisdom in a different tone than we are used to in regular vēdāntic scriptures.
• Śiva Tāṇḍava Stōtram: Whether this belongs to main script or was appended in later eral, the song itself is a lyrical marvel, which praises lord Śiva and said to be composed by King Rāvaṇa. Hear the following, it will mesmerise even if we do not know the meaning. If we know, it elevates our state of mind. It is one of my favourite pieces of music/lyricals.

A very interesting concept on Avatar-Rāma: T. Subba Row, one of the short lived wisdom dynamites of recent past, in his seminal work “Philosophy of Bhagawad Gita” explains a peculiar concept related to AVATAR or Incarnation. He says that, GOD or super-soul, links itself with a ripest soul in an era, to manifest on Earth as an Avatar. That means, Lord Rāma and the God-incarnate are different according to him. But, being in such a state of evolution (refined over past lives), Rāma/Krishna ( as in monad or unit souls with that name, if we may identify so) attained eligibility to form this link. Is this a fantasy or hypothesis? Well, he supports his assertion with following logic. It seems that, at end of Mahābhārata, when all pandavas die on physical plane and reach heaven, they see Indra’s assembly having decorated with Lord Rāma, along with many other celebrities. Even Krishna was seen there. But, the same scripture, elsewhere suggests that the lord reached his own abode after the death of physical body – “Śvēta Dwīpa – The WHITE Island (Plane of Universal Consciousness)”. That means, the link that formed between Krishna/Rāma unmanifested from its manifest state and the unit souls – Rāma and Krishna were left to enjoy their pious “after-life” and await for further plan of creation. This is a very interesting aspect and dimension to consider. I find it very intriguing.

Greatness of Vālmīki: Usha Sree, one of the legendary radio staff who for major part of recent past entertained and educated masses of Telugu speaking people, on Rāmāyaṇa, with his glorious voice modulations, does a great job in showing us the greatness of Vālmīki. He says that, Vālmīki knew exactly how long a character should be and how to portray it. For example, “Śūrpaṇakha”, devil sister of Rāvaṇa, exists only in 5 lines or so, among 24000 stanzas of whole Rāmāyaṇa. But, the mark she lays on the reader is so huge!! We all know about her! Consider “Manthara“. She too exists only in less than two stanzas in whole rāmāyana. But SHE was the main cause for the whole Rāmāyaṇa to occur!! SHE ignites the jealousy in Kaikēyi and compels her to force Daśaratha to send Rāma to forest. Thus starts all chaos! But, with such minor role, she has pivotal spot in the epic. Same goes with other characters. Hanuma does not even come until 3rd canto. So, he exists in less than half the scripture. But we all know his valour! Thus, one will have to agree the ability of Valmiki in his writing style and characterization!! 

Essence or What to take finally from Rāmāyaṇa? Excluding the inner depths and esoteric secrets, in its plain mode of presentation, Rāmāyaṇa does offer the teaching of high level of endurance of pain in human life. Every element of this epic is filled with LOVE and PAIN that we face every day. If we can really resonate with the lead roles’ choices, we will learn to see why they made their choices and how it helps us, though seemingly painful at first, on a long run and as a whole. We will stop thinking selfishly and start to think universally. The sense of friendship beyond human race, service to all, refining human relations, protecting nature and Earth, what dharma is actually and upholding it, the way of portraying characters in a literary piece without flaws, etc., form some of the aspects to learn by us from this epic. 

Conclusion:

I guess I have given enough details to ponder upon. I hope you all have enjoyed this piece of writing. I hope to comeback with some more articles soon, but I am sure I will take more time than I am anticipating, due to work pressure. Anyways, I hope Rāma and Sīta shower their blessings on all of you and all of humanity.

(pc for cover pic: https://in.pinterest.com/pin/556827941407817223/?lp=true)