The Realisation

Guha saw Bharata from a distance. All his rage was quenched in a moment. He was frozen by what he saw and stood there with a dropped jaw…

‘He is Guha who owns a number of boats. He has won the love of Rama. ‘kal naaNum thiNmayaan.’ His strength would put even a stone to shame. ‘karai kaaNaak kaadhalaan.’ His love (for Rama) knows no limits. ‘aRkku aaNi kaNdanaya azhagu amaindha mEniyan.’ His dark complexion – resembling the very core of darkness – makes him more handsome. ‘mal naaNum thiru nedum thOL mazhai naaNum maNi nirathaai!’ O Bharata, whose shoulders would put even a wrestler to shame and who is as dark complexioned as a pregnant cloud! ‘niR kaaNum uLLaththaan neRi edhir nindraaan.’ He has come here and standing over there with a desire to meet you.

Kamban speaks through Sumantra. He captures our attention by describing the same attributes of both Guha and Bharata. Strong shoulders and dark complexion. He draws our minds to the commonness of the physical features of both and points to the love and devotion throbbing in both these hearts.

‘He is the good friend of Rama.’ That is sufficient for Bharata. There is another prospect that holds a promise. This fellow Guha knows the deep jungles very well and that would enable him (Bharata) to reach his brother soon. But more than that, Bharata‘s respect for Guha grows instantaneously as he comes to know of the relationship between Guha and his brother. He forgets the fact that he is from the royal family of Ayodhya and the person on the other bank is a mere chieftain. We have discussed his love and respect for his brother when we studied his character. If this hunter enjoys the love of his brother, then he deserves to be respected, thought he.

‘mann munnE thazeek koNda manakku iniya thuNaivanEl,’ If he has already won the love and affection of my king (Rama) ‘en munnE avaR kaaNbEn yaanE sendru ena ezhundhaan’ I will go and see him myself before he comes to see me here. So saying Bharata got up.

It is befitting to honour a friend of Rama. I will go there myself before he can come here. He should be respected because he is one of those who delight the heart of my lord, Rama. And when Bharata stood up, Guha saw him from the other side of the river. He had not seen him before. This would be their first meeting. When Guha saw him from a distance, it was as if the whole river of Ganga ran over him, extinguishing the fire that was revolting in his heart. All his rage was quenched in a moment. He was frozen by what he saw and stood there with a dropped jaw, unable to believe what he saw before him. He carefully studied what he saw.

varkalayin udayaanai’ He (saw Bharata who) was clad in tree-bark. ‘maasadainda meyyaanai’ His body was dirty and not washed. ‘nar kalai il madhi enna nagai izhanda mugaththaanai’ His countenance was without a smile like the lustreless moon. ‘kal kaniyak kanigindra thuyaraanaik kaNNutraan’ on perceiving whose anguished looks even stones would melt. And, the banded bow slipped off from his hands (‘vil kaiyin nindru idai veeza.’) He trembled and sobbed (‘vimmtru nindru ozindhaan’).

Here lies the difference. Even sage Bharadwaja did not desist from passing a sarcastic remark at Bharata. Here, the illiterate Bharata tries to gain an insight into Bharata’s heart through the outwardly signs.

Inference and verification

‘He looks very much like my Lord. He is wearing the same attire, as does my Lord. That gives me a clue,’ thought Guha…

Though an illiterate and a rustic, Guha exhibits a matchless eye for details and a strong intuition that enables him to study the situation clearly and getting a glimpse of the other man’s heart just by his appearance. He reads keenly from a distance the appearance of Bharata and comes to conclusions.

‘nambiyum en naayaganai okkindraan.’ He looks very much like my Lord. He is wearing the same attire – maravuri or tree-bark – as does my Lord. ‘ayal nindraan thambiyayum okkindraan.’ The one who stands close (Satrughna) resembles Lakshmana in all respects. ‘thava vEdam thalai nindraan.’ He looks like sages, wearing the clothing of a hermit. His hair is matted. He is not clad in royal attire. That gives me a clue. ‘thunbam oru mudivu illan.’ It seems that there is no end to the agony that his heart suffers. There is something more to it. ‘thisai nOkkith thozhugindraan.’ His hands are raised above his head, joined in respectful obeisance in the supposed direction where Rama resides. That confirms his intentions. He is pure at heart. His intentions are unmistakably clear. His character, I am very sure, is untainted.

‘emperumaan pin pirandhaar izhaipparO pizhaippu?’ After all, he is the younger brother of my Lord. How can somebody who is born after my Lord swerve? How can they think of doing something wrong? How can they move away from the path of rectitude? I should have known that. I should have realised that. Turning to his soldiers, he said:

Now, I will go there to the other side of the river to receive him. He appears to have no malicious intents. ‘kurippu ellam kaNdu uNarndhu peyargindrEn.’ I will come back after speaking to him, knowing and understanding what he really feels and why he has come here. ‘kaamingaL.’ Stay here on guard, protecting the boats and this bank. ‘thaN thurai oru naavaayil oru thaniyE thaan vandhaan.’ So saying, he got into a boat, rowing it all alone by himself, went to the other bank with none accompanying him.

Now, Bharata is moving towards Guha and Guha is moving towards Bharata. Let’s get back to the verse that we saw yesterday, (See: The realisation) by which Kamban referred to the common physical features of both Bharata and Guha and what we were discussing about them. One comes with the purity of heart, though belonging to a great royal house, towards a simpleton with all reverence. The other, equally pure at heart but still curious, is moving towards him in awe. Guha has come to his conclusions; but still needs more proof to verify that his theory is right. We will see the scene of their coming together and meeting each other. A really moving account of it. We will see how they met and without uttering a single harsh word, Guha brought the deep-seated agony in the heart of Bharata pouring forth.

In sharp contrast, let us also see the conversation that took place between Bharata and sage Bharadwaja, who though could understand the purpose that impelled Bharata to come to the jungle prefers to phrase his question in not so kind words to make Bharata speak out what he has in heart. That is a scene that takes place after Bharata reaches the other bank of the river, on his way to Citrakuta. The Poet wants us to understand the evolution of Guha, the unsophisticated illiterate, into a great soul. This is not to belittle the greatness of sage Bharadwaja, though.

“The most unkindest cut”

I hope, you do not intend to do (any bodily) harm in this forest to Lakshmana (his younger brother) and the highly illustrious prince Sri Rama…

We will come back to Guha in a short while. Let’s fast forward and move a few scenes ahead and witness the meeting of sage Bharadwäja and Bharata. This meeting takes place, as we mentioned earlier, after Bharata is ferried across the Ganges and reaches Dandaka-aranya. Sage Bharadwaja had his hermitage there, in the vicinity of the confluence of Ganga and Yamuna. It was on his advice that Sri Rama set for Citrakuta, a jungle that was 60 miles deeper from Dandaka. Experts differ on this. The author of the commentary known as ‘Ramayana Siromani’ says that the distance of Citrakuta from Prayaga is reckoned as 26 Kosas or 56 miles and the distance has been approximated to interpret it as 60 miles in the following Sloka –

“Sixty miles from this place, O dear son, lies a sacred mountain, on which you will take up your abode, which is inhabited by great Rsis and is charming to look at has a number of offshoots.” (Valmiki Ramayana, Ayodhya Kanda, Canto LIV, Sloka 28)

The point is, Citrakuta was a deeper and denser jungle, after crossing Dandaka-aranya. Bharata reached there, stationed his army and people some two miles away from the hermitage of Bharadwaja, along with Vasistha, Satrughna, Kausalya, Sumitra, Kaikeyi and a few others. It was the sage, and only he, knew where Rama could be seen. Bharata depended on him for information on Rama.

The sage, with his wisdom and the inner eye, knew the purpose of the arrival of Bharata, without the latter having to mention about it. In fact, when Rama arrived, the sage who was living in such a dense forest tells him, “In fact I have since long been expecting your arrival, O scion of Kakutstha! And your gratuitous exile has also been heard of by me.” (Ibid, Sloka 21) They had their own ways of getting information and a better informant, their razor sharp sixth sense.

The all-knowing sage, however, chose to play the part of an innocent and curious layman. “What motive could you have in coming (all the way) to this place, busy as you must have been ruling the kingdom (of Ayodhya)? (Please) tell me all this; for my mind is not getting cleared of doubts (about your intentions towards Sri Rama). Seeking to enjoy the kingdom (rightfully) belonging to Sri Rama without any thorn (in your side), I hope, you do not intend to do (any bodily) harm in this forest to Lakshmana (his younger brother) and the highly illustrious prince Sri Rama (Himself) the destroyer of enemies and the promoter of joy in this world………” (Ibid, Canto XC 9-13{part})

Imagine the force with which these words would have hit poor Bharata! Here is a prince who refrained from killing his own mother – Kaikeyi – because of the double offence of having sent Rama to the jungle and causing the death of his father, just because he was afraid of Rama’s censure and there sits the sage who flicks such a question loaded with the sharpest of phrases, as if he knew nothing of the motives behind the visit of Bharata.

The words of the sage, though not so harsh, are forceful yet, in Kamban as well.

What brings you here?

Bharadwaja, as we saw above, did know the real feelings that were surging in the heart of Bharata. Yet he chose to tease Bharata…

‘What are you doing here?’ asks sage Bharadwaja in Kamban. ‘You should have been ruling the country that fell in your laps by itself!’

‘eduththa maamudi soodi,’ Wearing the most glorious and the largest of crowns, ‘ninpaal iyaindhu aduththa pEr arasu aaNdilai aiya nee!’ you are not ruling the vast kingdom that came to you without any effort. ‘mudiththa vaar sadaik katrayai mUsu thUsu uduththu,’ (Instead) you appear with matted and cusped hair and you are wearing the dress fit for hermits. ‘naNNudharkku utru uLadhu yaadhu?’ What is the reason for your coming here?

The phrase ‘utru uLadhu’ appears a bit innocuous at the surface but it can hit a person very hard with the right intonation and the right play of features on the face. Just contract the corner of eyelids in mock-curiousness and add a chuckle when you utter the phrase, ‘What brings you here? You should have been enjoying the immense power, wealth and comfort that slipped into your lap!’ It can carry an explosive that blows up deep in the heart. It must have been uttered that way, for we see Bharata flaring up in the next verse. ‘sinak kodum thiral seetra ven theeyinaan,’ Like the fire that is impelled (by another fire, that is) anger ‘manak kaduppinaan’ Bharata’s mind was enraged, says the Poet. There could be no reason for Bharata getting agitated otherwise.

‘enakku aduththadhu iyambilai.’ ‘You did not say things that are fit for me! ‘unakku aduppadhu andraal.’ Nor did you utter the words that befit your stature. And then the scene develops to show the sage pacifying Bharata, happy to know his purpose.

“I am ruined if Your Holiness too (who is omniscient) reckons me as such. I cannot (even) think of any harm having proceeded from me (to Sri Rama). Therefore (please) do not speak in this strain to me,’ pleads Bharata in Valmiki. (Valmiki Ramayana, Ayodhya Kanda, Canto XC, Sloka 15)

‘I know that,’ says Bharadwaja. Here, listen to him. “Service to your elders as also self-control and walking in the foot-steps of the virtuous – this is worthy of you, descended (as you are) in the line of Raghu, O tiger among men! I (already) knew (by my yogic power) that which existed in your mind. 9All the same) I questioned you (as though I knew nothing) in order that your resolution may be strengthened and in order further to enchance your renown beyond measure.” (Ibid, Sloka 20, 21)

Let us now get back to Guha. Bharadwaja, as we saw above, did know the real feelings that were surging in the heart of Bharata. He could infer the latter’s heart from his appearance and distil it with his wisdom. Yet he chose to tease Bharata. It had its own purpose, as he explains in the Slokas cited above. Guha was actually seething with rage. He had already misjudged and concluded the purpose of Bharata’s visit. He had readied his army to fight and stop Bharata from getting beyond the Ganga. But he inferred that ‘this one’ was really pure and did not have any malice at heart. He needed proof to make sure that his present conclusion was right. He has reached the other bank of the Ganges now and is walking towards Bharata. Bharata is already moving towards Guha – even before he got into his boat to reach the other bank.

With the background of the meeting of Bharadwaja and Bharata in mind, let’s see how Guha received Bharata.

Who touched whose feet?

He paid his obeisance to he who came before him and fell at his feet. He who is worshipped even by He who is seated on the Lotus fell at his feet…

As we were discussing, Guha reached the other bank of the river and walked towards Bharata with folded hands and at the same time Bharata was doing the same. He was walking towards Guha with folded hands. It is not possible to judge whose respect for the other is greater, though an iota of doubt and curiosity still remained in the mind of Guha. You may recall here that he instructed his men to ‘stay in guard’ before he started. ‘kurippu ellam kaNdu uNarndhu peyargindrEn.’ Let me go there, speak to him, find out what really lies in his heart and come back. ‘kaamingaL.’ Stand guard until then. You do not take it for granted. Stay alert.

Therefore, there is still a speck of doubt in the mind of Guha, triggering a sense of precaution. Even though he had concluded that Bharata’s intentions were pure and clear, his hunter’s sense puts him on the watch and needs verification before accepting what he had theorised. After all, he had much to do with wild animals and their behaviour and such persons do not accept theories – even if it is their own – so easily, when it comes to personal safety and security. What is involved here is the safety and security of his Lord and he could not afford to compromise on that here. When therefore Guha walks towards Bharata, his mind is still working on the possibilities. Then, Bharata, the prince from the Ayodhya family, the person who had the crown of Ayodhya at his disposal, the son of king of kings who was far, far superior to this hunter and boatman did a thing that testifies to his matchless humility and the respect that he had for the persons who had earned the love and affection of Sri Rama.

As we had discussed earlier while we were speaking about Bharata, this verse has been variedly interpreted and some scholars fiercely argue about the way it should be interpreted. (See: Touching the feet of Guha). Even the play on the words that Kamban employed in this verse does not come in the way of a clear and unambiguous understanding. Let us examine the verse in full now. Let us see the direct translation of the verse first.

‘vandhu edhirE thozhudhaanai vaNanginan.’ He paid his obeisance to he who came before him and he fell at his feet. ‘malar irundha andhaNanum thanai vaNangum avanum avan adi veezhndhaan.’ He who is worshipped even by He who is seated on the Lotus (Brahma) fell at his feet.

These are the first two lines of the verse. It simply states that Bharata went before Guha with folded hands. Guha fell at his feet. And Bharata, who is worshipped even by Brahma himself, fell at the feet of Guha. Several scholars are not able to digest the fact that Bharata could fall at the feet of Guha. ‘Bharata is like Rama and is manifestation of the Lord himself. How can it be accepted that He could fall at the feet of this lowly hunter? It is nothing less than slander against God to think that He could fall at the feet of Guha.’ And then they get into all kinds of rolling forwards and backwards and employ all their pundit’s skills to say that Guha fell at the feet of Bharata and Bharata stood with folded arms before him.

No scholar or no amount of scholastic interpretation can be greater than the Poet and the vision that he had. If the Poet envisions such a scene and presents it to us, we should look for the message behind it rather than arguing on nitty-gritty. And look for evidence to support the conclusion that we arrive at, if not from this verse, from the verse that follows. This verse cannot be studied in isolation, for it is a part of a larger design.

Who touched whose feet? II

The argument is that Guha doesn’t have that kind of glory and this third line should be interpreted to mean ‘Guha fell at the feet of Bharata…

Guha, with the simplicity of the hunter that he was fell at the feet of Bharata, as a mark of respect to the royal personality. Undoubtedly, Guha was the elder of the two. It was not unusual for a king on tour to be greeted this way by his subjects and others – excepting scholars, sages and others holding positions of very high authority, irrespective of the age.

If Guha was that humble, Bharata was even more humble. As we have been discussing, Bharata valued and respected this person for he was Rama’s ‘friend’ as Sumantra introduced him and as such he represented nothing less than Rama to him.

Let’s see the first two lines again. ‘vandhu edhirE thozhudhaanai vaNanginan.’ He paid his obeisance to he who came before him and he fell at his feet. ‘malar irundha andhaNanum thanai vaNangum avanum avan adi veezhndhaan.’ He who is worshipped even by He who is seated on the Lotus (Brahma) fell at his feet.

One comes with folded hands and the other receives him and falls at his feet. The second line makes it clear. ‘malar irundha andhaNanum thanai vaNangum avanum avan adi veezhndhaan.’ The legend is, Brahma the Creator emerged from the lotus that blossomed forth from the navel of Lord Vishnu and therefore, it can be inferred that ‘the one who is worshipped by Brahma himself’ is none other than Bharata – that is as far as this scene is concerned. The verse says avanum avan adi veezhndhaan.’ It can be seen beyond doubt that it is Bharata who is referred to in this line.

And in the third line the Poet says, ‘thandhayinum kaLi koorath thazhuvinaan thagavu udayOr sindhayinum senniyinum veetru irukkum seerththiyaan.’ He, whose glory is fit to be celebrated by highly venerable persons, took him up in his hands and embraced him as happily as does a father, his son. He took him up and embraced him (as he fell at his feet) like a happy father embracing his son.

And it is once again the long attribute that is found in the third line that is misread. These scholars are not ready to give Guha the highly renowned position. ‘Whose glory is fit to be celebrated by venerable persons.’ The argument is that Guha doesn’t have that kind of glory. It is Bharata who enjoys such glory and therefore, this third line should be interpreted to mean ‘Guha fell at the feet of Bharata and Bharata took him up in his arms, embracing him (Guha) as a happy father would embrace his son.

It sounds quite possible and even plausible. But though Kamban has chosen to play on the pronouns, ‘he, his and him,’ he has very clearly indicated which ‘he’ stands for whom. If it is Bharata who is referred to as ‘one who is worshipped by Brahma,’ in the second line, then naturally the person indicated in the third line is none other than Guha. Let’s think of the appropriateness of the attribute or otherwise later. Or if the second line stands for Guha, one has to accept a still greater attribute ‘of being worshipped by the Creator,’ to Guha.

But the trouble with all the scholars is that they stop with this particular verse. ‘The trouble with the realist,’ said Jawaharlal Nehru once, ‘is that he is not able to see beyond the tip of his nose!’ It should be remembered that the Poet is just describing an event, which would spill over to the next verse and that he would have given the right clue in the verses that follow!

Kamban refers to one by ‘the one worshipped even by Brahma,’ and the other by ‘the one whose glory resides in the minds of even the venerable.’ In the third line of the verse the Poet says ‘he embraced him like a father would embrace his son, lovingly.’ If there is any dispute in the interpretation of this line, it is the job of the critic to look for evidence, which, if not available in this verse would be obtainable from the verses that follow. Now, let us see the verse that follows where the Poet unmistakably states whom he refers to in the third line.

‘thazuvina puLinjar vendhan,’ The hunter chief who thus embraced, ‘thaamarai sengaNaanai,’ (looked at) the one with lotus-like eyes (Bharata) (and asked) ‘ezhuvinum uyarndha thOLaai, eidhiyadhu ennai?’ What is the purpose of your visit, O strong shouldered one?

The word ‘puLinjar’ stands for hunter. The Poet states here it was Guha who embraced Bharata. And if it was Guha who embraced Bharata ‘as lovingly as a father,’ the argument that Bharata did not touch the feet of Guha would not hold water. It is what the Poet conveys and wants us to see. As we mentioned earlier, no critic or no scholar can be greater than the Poet whose verse they are interpreting.

And so it is. The verse that we have been discussing gives out an important quality in Bharata – humility and the immense regard he has for Rama and the regard he has for Guha as Rama’s closest friend. Second. It shows Guha has attained the kind of glory that is fit to be remembered and celebrated by one and all. ‘Even by venerable persons,’ is what Kamban says. Obviously, that would include the ordinary people as well!

And when Bharata answers Guha, we see that he does so in a very polite and calm manner – unlike with anger that seethed in him when answering sage Bharadwäja. (See: What brings you here?). Says Bharata:

‘muzhudhu ulagu aLiththa thandhai,’ My father, who had been protecting this whole world ‘mundhayOr murayinindrum vazhuvinaan,’ swerved from the path of our ancestors. My father did a mistake. He broke the tradition. Instead of making the eldest in the family the king, he made me assume authority. ‘adhanai neekka mannanaik koNarvaan endraan.’ I have come here to correct it. I have come to take the king back to Ayodhya.

These two lines are examples of how much can be conveyed with a few words. When referring to Dasaratha, he uses the word ‘thandhai’ – my father. When referring to Rama, he uses the word ‘mannan’ - King. Though they seem to be uttered in a regular manner, they are laden with deeper connotation. We have already discussed them when we were studying Bharata. (See: ‘The King’ and ‘my brother’ – ‘mannan ’ and ‘annan’)

And that’s how Guha’s evolution from a mere hunter to someone whose glory is to be thought of and celebrated takes shape.

The glory of a thousand Ramas…

‘If you follow the path of rectitude so meticulously that you throw away the throne that fell on your laps, your glory is extremely great,’ Guha said…

‘Shocked out of senses’ would be an under-statement to describe Guha’s state of mind. He could not believe his ears. Though he came to meet Bharata convinced about his harmless intentions he was not completely clear in his mind about the possible purpose of Bharata’s visit. He certainly did not expect this answer from Bharata. ‘I have come here to correct the mistake that my father did. I intend to take Rama back to Ayodhya, give the throne back to him and make him our king,’ is what he should have said. He says instead, ‘adhanai neekka mannanaik koNarvaan endraan.’ I have come here to correct it. I have come to take the king back to Ayodhya.

‘It is not that I am going to make him the king again. He is already our king. I have come here just to take him back and hand the throne back to him.’ Bharata stands there as the very edifice of sincerity, honesty and love. His words are saturated with genuineness of purpose and Guha is unable to believe his ears. ‘kEttanan kiraadhar vEndhan.’ The hunter king heard this. ‘kiLarndhu ezhum uyirppan aagi,’ A long sigh emanated from deep within him. ‘meetum maN adhanil veezhndhan.’ He fell at the feet of Bharata again – the first time being when they met, before Bharata fell at his feet).

He was happy indeed in having been proved wrong in his reading of the mind of Bharata. Could such a thing happen at all! Would anyone do such a thing! ‘thaai urai koNdu, thaadhai udhaviya tharaNi thannai,’ The throne that was given to you by your father, forced by the words of your mother, ‘theevinai enna neethu,’ (if it can be) rescinded as if it were the result of misdeeds, (and) ‘sinthanai mugathil thEkkip pOyinai endra pOdhu,’ if you come here with a face clouded with sorrow, thinking deeply about the import of the deed, ‘pugazhinOi,’ O glorious one, ‘thanmai kaNdaal,’ if it is seen in perspective, ‘aayiram raamar nin kEzh aavarO theriyin amma!’ even a thousand Ramas would not match you.

‘If you follow the path of rectitude so meticulously that you throw away the throne that fell on your laps, without your having to make any effort for it, with the pressure that was applied on your father by your mother, your glory is extremely great. Even a thousand Ramas cannot match your glory.’ Look at the transformation. Look at the magic of the situation. This was the same Guha who prepared for a war with Bharata and readied his army before crossing the Ganga.

This is a beautiful scene where both Bharata and Guha sparkle. I think we should call it ‘glow’ instead of ‘sparkle,’ in consonance with the modesty that exudes from both of them. One getting to know the other, understanding the other, recognising the greatness of the other, respecting the other and making it difficult for the reader to weigh and understand who excels. Of course, it is neither fair nor wise to try to estimate whose ‘modesty’ is great. That would amount to presenting these great characters such as to ‘flaunt their modesty!’

Kamban gives a few more strokes to underline the innocence of Guha, while at the same time enabling the reader to get a glimpse of what lies in the heart of Bharata.

The seed and the plant

Crossing the river is a very vivid scene in Kamban – a virtual verbal painting. He takes the basic material from Valmiki and works upon it…

Guha then takes Bharata to all the places where Sri Rama and Sita spent the night and where Lakshmana stood guard with bow in hand, as Bharata continues to weep seeing the grass and rocks over which his brother and Sita slept. Bharata and the army are ferried across the river. Crossing the river is a very vivid scene in Kamban – a virtual verbal painting. He takes the basic material from Valmiki and works upon it to create an extremely clear and elaborate image so that the reader is able to see the picture and also hear the sounds of animals moving, clamour of the army and people, and the way the boats move on the river – close up and long-shot as well.

If Valmiki says that chariots were transported by boats, Kamban goes one step further to portray how they were transported. For instance, look at this Sloka from Valmiki. “Ferrying the men seated (in them) those swift-going boats, which were adorned with flags and controlled by the fishermen then sailed automatically (as it were). Some boats were full of women, while others were loaded with horses; while some more of them ferried costly chariots and animals of draughts.” (Valmiki Ramayana, Ayodhya Kanda, Canto LXXXIX, Sloka 16, 17)

Each and every phrase takes the shape of a minimum of 3 to 4 verses in Kamban, to depict a grander picture. The art of Kamban sometimes uses the microscope and sometimes the telescope on what has been presented by Valmiki! He gets into the heart of the Aadhi Kavi and visualises the picture himself and comes out with in-depth analysis as well as a detailed picture. Let’s compare just only one of them.

There is this little phrase “while some more of them ferried costly chariots” occurring in the Sloka cited above. Boats carrying chariots is not that easy a picture to register in the mind. Some critics even brush it aside as ‘poetic exaggeration.’ Some find the poetic mind to work wonders that eludes all reason and logic. And some others find an esoteric excuse for such pictures that are so simple, yet so unusual that the human mind, that too at this distance of time, cannot perceive.

Let’s go over to Kamban’s elaboration of the very same scene encrypted in a simple and single phrase by Valmiki. ‘kodinjodu thattum achum, aazhiyum kOththa mottum, nedum suvar kodiyum yaavum neri varu murayin neekki,’ They dismantled the chariot piece by piece. If we probe a little more we come to know that the chariots consisted of seven separate pieces. All the seven pieces are detailed here. ‘kodinji’ – a decorative piece found in the front portion of the chariot. ‘thattu’ – the base plate over which the charioteer would be seated and also that over which the elevated seat for the occupant is fixed. ‘achu’ – axle. ‘aazhi’ – wheel. ‘kOththa mottu’ – the decorative upper piece that resembles a bud. ‘nedum suvar’ the plank that serves as a wall, behind the occupant. ‘kodi’ – distinctive flag that makes the identity of the person who occupies the chariot, known from long distances.

Now the picture is clear and convincing. They could ferry the boats because they dismantled them piece-by-piece. Not only that. We are able to get to know the names of the different pieces that made up a chariot. Researchers can work on this verse and on information available in such other verses to get a glimpse into the state of the science of vehicle construction of those days. Kamba Ramayana is replete with such finer details. Valmiki was the seed and Kamban was the giant banyan tree that grew out of that seed.

The seed and the plant II

‘Kamban has very carefully followed Valmiki, using his own wealth of imagination, making the drama exceedingly beautiful’, says Rajaji.

Kamban has delved very deep in the creation of Valmiki and when recreating it in Tamil, he has used his own ingenuity to beautify and strengthen the structure. Chakravarthi C. Rajagopalachariar (Rajaji), who was himself an authority on Valmiki and whose knowledge of Kamban was enriched by his association with doyens like Rasikamani TKC, writes on this aspect – more particularly on the scene that we are about to discuss – thus. Here is a rough translation of what he says.

‘Valmiki shows Bharadwaja in suspicion of Bharata’s intentions – in the same manner that Guha suspects, setting his eyes on the large army that follows Bharata. But this scene is not portrayed in this manner in Tulasi Ramayana. Tulasi Ramayana moves more around devotion. (Since he keeps devotion as the main theme, he might have thought that) there is nothing that the Rishis do not know and when this being so, how could Bharadwaja suspect the intentions of Bharata? (He would have read his mind with the aid of his inner eye.) But Kamban has followed the footsteps of Valmiki. It is not confined to this particular scene. This can be seen in many other sequences. Kamban has very carefully followed Valmiki, using his own wealth of imagination, making the drama exceedingly beautiful. In many places, he has ingeniously worked up the drama and steered clear of complexities, without making any change in the original. He has changed the original in a very few places.’ (‘Ramayana’ by Rajaji in Tamil, Chapter 37 under the caption Bharadwaja Ashram.)

What we are going to discuss is one such scene. The scene is about the introduction of the three queens, Kausalya, Sumitra and Kaikeyi. In Valmiki Ramayana, Bharata introduces the three at the request of sage Bharadwaja. While he pours out praises and is indeed lavish when he introduces Kausalya and Sumitra, he is very unkind when he talks about his own mother, Kaikeyi. The scene has been looked at from different angles and discussed variedly by scholars. Scholars like Rt. Hon’ble Srinivasa Sastriyar consider this as a bloat in the character of Bharata. He calls Bharata ‘unfilial.’ Let’s hear what Sastriyar has to say on this.

“Then Bharadwaja says to Bharata, ‘Will you kindly tell me who is who amongst these ladies?’ And then Bharata describes Kausalya; then he describes Sumitra, both of them in highly flattering language. But when he comes to his mother, should he use language like this? ‘She on whose account, by whose misconduct Rama and Lakshmana have come very near to death, father has been deprived of his son and unable to bear the grief, he perished – she on whose account these tragedies have happened, this is my mother. My misery is not going to end, all on her account.”

We will go into this question of why Bharata used such unpleasant language when speaking about Kaikeyi, separately. It brings out the agony in his heart. Though it may be unpleasant, the drama is gripping and presents a strong case in favour of Bharata, in the circumstances.

Kamban has retained this drama. But he makes a small change in the dramatis personae. The question is shifted to Guha, instead of Bharadwaja. We will see the scene from Kamban, with necessary parallels from Valmiki and see how it comes out.

The introduction of the queens

He notices Kausalya first, who being the senior of the three, comes first. Her very appearance makes Guha to feel ever so reverent about her…

On reaching the other bank of the Ganga, when the moods have calmed down a little and when Bharata is now looking forward to a meeting with Rama soon, Guha’s mind is waking up to the people around Bharata. Some time ago his mind was set only on Bharata and finding out his true intentions and at that time he could not see others surrounding him. What he did see was the army that followed him, and not the individuals and dignitaries who were in the coterie that followed Bharata. In fact, it is more appropriate to say that he was not interested in any of them other than Bharata. It was his first business to know why he came there and on knowing it he melted faster than wax placed on hotplate.

It was only when they reached the other bank and when the party started to land one after the other, Guha noticed the queens – the three mothers Kausalya, Sumitra and Kaikeyi. He notices Kausalya first, who being the senior of the three, comes first. Her very appearance makes Guha to feel ever so reverent about her. He bows to her in reverence. Now, let’s see the verse.

‘sutraththaar dhEvarodum thozha nindra kOsalayaith thozhudhu nOkki,’ Guha saw Kausalya around whom kith and kin gathered with folded hands and whose countenance would make even the celestials to stand in reverence before her. ‘kotraththaar kurisil ivar aar endru gugan vinava,’ Guha turned to Bharata and asked, ‘O lion among kings, who is this?’

Simple and plain enquiry, unlike what the erudite would have put the question! ‘Who is this?’ Guha enquiries about the first among the queens to Bharata. Though it sounds a little impolite, Bharata is not serious about that. He knows what this simpleton means. ‘kOkkaL vaigum muttraththan mudhal dhEvi.’ ‘She is the first of the three queens of the one whose great hall is thronged by kings,’ he said. ‘Wife of the king of kings.’ Not only that.

‘moondru ulagum iindraanai mun iindraanai petraththaal perum selvam,’ She bore in her womb the One who gave birth to the very Creator. (It was Lord Vishnu from whose navel Brahma was born.) ‘yaan pirandhadhal thurandha periyaaL.’ She is the one who lost such an incomparable treasure (Rama) when I was born.

She lost her life, she lost her husband and she lost the most important light of her life – One who was the Creator of the Creator, Rama – when I was born. She is the one who is undergoing all these troubles, travails and tribulations the moment I was born in this earth.

The verse portrays, once again, Rama in his divine as well as human nature. None including Rama – excepting sages like Vasistha, Viswamitra and others – know the divinity of Rama, including Rama himself, at this stage. Therefore when Bharata, who is also an incarnation of Lord Vishnu, utters these words they sound like a rich encomium paid to Rama and Kausalya out of respect, love, devotion and with the utmost sincerity. It is only the reader who is able to read through, understand and enjoy the real import of these lines.

Guha fell at the feet of Kausalya. Listen to what this gem among women tells Guha, underlining the old saying ‘thaayaip pOla piLLai, noolaip pOla sElai.’ The quality of the son cannot be different from that of his mother for the quality of the saree cannot be different from that of the thread that made it.



Hari Krishnan