Rama - Part 2 - திருத்த வரலாறு

05:56, 16 பெப்ரவரி 2010 இல் Hariki

2010-02-16T05:56:44Z

மாற்றங்களைக் காட்டு

17:12, 15 பெப்ரவரி 2010 இல் Dev

2010-02-15T17:12:19Z

Dev: "Rama - Part 2" காக்கப்பட்டது ([edit=sysop] (indefinite) [move=sysop] (indefinite))

2010-02-15T16:48:56Z

"Rama - Part 2" காக்கப்பட்டது ([edit=sysop] (indefinite) [move=sysop] (indefinite))

16:48, 15 பெப்ரவரி 2010 இல் Dev

2010-02-15T16:48:05Z

16:46, 15 பெப்ரவரி 2010 இல் Dev

2010-02-15T16:46:45Z

16:45, 15 பெப்ரவரி 2010 இல் Dev

2010-02-15T16:45:16Z

16:42, 15 பெப்ரவரி 2010 இல் Dev

2010-02-15T16:42:29Z

மாற்றங்களைக் காட்டு

Dev: புதிய பக்கம்: === Breathes here the man… === It was the story of a man that Valmiki asked for; a man who is almost perfect. I say ‘almost’ because the Lord had, may be, …

2010-02-15T16:38:53Z

புதிய பக்கம்: === Breathes here the man… === It was the story of a man that Valmiki asked for; a man who is almost perfect. I say ‘almost’ because the Lord had, may be, …

மாற்றங்களைக் காட்டு

@@ வரிசை 63: / வரிசை 63: @@
 That was the niche which paved the way for his destruction. If the Lord could see a way through the well-knit, fail-proof design of the boon that Hiranyakashipu obtained, it was child’s play for Him to enter through the deliberate and nonchalant hole that a bloated ego left unplugged. The boon of Ravana contains the seed of the avatar and that of the epic.
-Poetry is born
+=== Poetry is born  ===
 <blockquote>She dwells with Beauty - Beauty that must die; <br> And Joy, whose hand is ever at his lips <br>Bidding adieu; and aching Pleasure nigh, <br> Turning to poison while the bee-mouth sips: <br>Ay, in the very temple of Delight <br> Veil’d Melancholy has her sovran shrine </blockquote>
 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; --John Keats, Ode on Melancholy
@@ வரிசை 71: / வரிசை 71: @@
 After the departure of Narada, from whom Valmiki sought to know the story of a man ‘of the present times’ a living example of one who treads the path of truth, stands for the protection of righteousness, who has controlled his senses and anger, and who is dreaded by even the gods in battle, Valmiki goes to the banks of the river Tamasä , to have his bath along with his pupil, Bharadwäja, asks him to stay at the bank, holding the tree bark, for him to wear after his bath.
-At that time, a Nishaada, hunter, was looking for his prey and found a pair of Kraunca birds – cranes – moving about the place where Valmiki was about to take a dip. Now, the Kraunca birds are known to remain paired for life. Unlike most of the other birds they do not part after mating and remaining together until the fledglings grow. They remain in love, paired for life. The hunter aimed his arrow at the male bird and struck it. “Seeing it mortally wounded and tossing about on the ground with its limbs smeared all over with blood, the female bird, that was endowed with a coppery crest, was inflamed with passion, (nay) sexually united with her and (as such) had distended its wings.” (Valmiki Ramayana, Bala Kanda, Canto 2, Sloka 11 and 12)
+At that time, a Nishaada, hunter, was looking for his prey and found a pair of Kraunca birds – cranes – moving about the place where Valmiki was about to take a dip. Now, the Kraunca birds are known to remain paired for life. Unlike most of the other birds they do not part after mating and remaining together until the fledglings grow. They remain in love, paired for life. The hunter aimed his arrow at the male bird and struck it.
 Valmiki had just heard the story of Rama from the lips of Narada. The story as narrated to him does not speak about what is to come in the life of the inseparable and most loving pair divine, Rama and Sita. It gives an account of Rama’s story until he ascended the throne and just predicts that ‘people would live happily for a long time under the rule of Rama,’ and no more. (See: A legend that lived then) Therefore, Valmiki could probably have not intended this at that moment. Or, he might have, endowed as he was with clairvoyance. We do not know.
@@ வரிசை 87: / வரிசை 91: @@
 That which was born of soka (melancholy) became sloka (verse).
-And it was thus the first of poetry was born. Brahma appeared before Valmiki as he reached his hermitage back, still charmed and wondering at the birth of poetry. Valmiki expressed his sorrow for having cursed the hunter. Brahma laughed. “Brahma then laughingly said to Valmiki (the chief of hermits) ‘Let this metrical composition be conducive to your glory alone. You need not brood over this (any more). Through my will alone has this speech flowed from your lips, O Brahmana sage! Describe, O jewel among seers, the whole life on this earth of Lord Sri Rama, whose mind is (ever) given to piety and who is full of wisdom.” (Ibid, Sloka 32)
+And it was thus the first of poetry was born. Brahma appeared before Valmiki as he reached his hermitage back, still charmed and wondering at the birth of poetry. Valmiki expressed his sorrow for having cursed the hunter. Brahma laughed. “Brahma then laughingly said to Valmiki (the chief of hermits) ‘Let this metrical composition be conducive to your glory alone. You need not brood over this (any more). Through my will alone has this speech flowed from your lips, O Brahmana sage! Describe, O jewel among seers, the whole life on this earth of Lord Sri Rama, whose mind is (ever) given to piety and who is full of wisdom.' (Ibid, Sloka 32)
 A moving scene, a spontaneous and rhythmic stream of words and a joyful story. In melancholy does the best of poetry gush forth in its effusion. And it did, in the case of the first of all poetry.<br>

@@ வரிசை 295: / வரிசை 295: @@
 Now, let’s turn our attention to Kausalya, whose name suggests that she was the daughter of the king of Kosala. If Dasaratha – and his ancestors – were the rulers of Kosala, with Ayodhya as their capital, how was it that Kausalya was the daughter of the king of Kosala, and how come these two got married! Neither Valmiki nor Kamban has an answer. Or even the remotest of suggestions, at least as far as I have come across. Once again, we are left to seek the answer from other ‘closer’ sources.
-=== A race destined to fight demons – II ===
+=== A race destined to fight demons – II  ===
 The origin of the race of Ikshwäkus is not complete and Vaivaswata Manu was not the first of the race. For the sake of record let me add here that the race is traditionally believed to have started from Vishnu, Brahma, Märïca, Kasyapa and Surya. Vaivaswata Manu was the son of Surya. And that explains why the race is known as Surya Vamsa, or Solar Dynasty. Included in this race are many immaculate kings like Ambarisha, Harischandra etc. Let me emphasise once again that the list is not complete.
@@ வரிசை 307: / வரிசை 307: @@
 Though Kausalya was the first among the queens, Sumitra was the endeared queen, it was in the company of Kaikeyi that the emperor was to be found more often than otherwise. Kaikeyi, the most beautiful of all, had earned all his love and affection. That is one of the reasons why, Rama, the father’s child, sought the palace of Kaikeyi always, for it was there where his father was to be found. And that’s how the most endeared child and the most endeared wife came together.
 If at all she exercised her charms over Dasaratha and enjoyed the power of his special love, one is not able to subscribe that easily to the popular view among scholars that the three queens lived in perfect amity. Kaikeyi was not at peace with the other two queens. As the stalwart, Rt. Hon’ble Srinivasa Sastriyar observes, “How she treated her sisters-in-law is the first idea to which I am going to refer. It was well-known, it was notorious, the way she abused her power with her husband and reduced these people to a very low status indeed.” And then Sastriyar cites to what Mantharä tells her.
-<blockquote>
+<blockquote>“It is improbable that your co-wife, Kausalya (mother of Rama) who has been slighted by you in the past out of pride born of your being loved by your husband, will not repay her grudge to you.” &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Valmiki Ramayana, Ayodhya Kanda, Canto 8, Sloka 37) </blockquote>
-“It is improbable that your co-wife, Kausalya (mother of Rama) who has been slighted by you in the past out of pride born of your being loved by your husband, will not repay her grudge to you.”
+That line speaks volumes of the reason why while Kausalya and Sumitra were to be found always in the company of each other, Kaikeyi was left alone, only to remain alone either in the company of Dasaratha whenever his kingly duties afforded him the time; and that of the father’s child, Rama. ‘Rama loves me more than he loves Kausalya,’ she asserts Mantharä. “Precisely as Bharata is worthy of esteem (to me) Rama (a scion of Raghu) is even more so. Nay, the latter does greater service to me than to Kausalya.” (Ibid, Sloka 18)
-&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Valmiki Ramayana, Ayodhya Kanda, Canto 8, Sloka 37)
+We have gone into the character of Kaikeyi and have studied Rama’s supreme love for Kaikeyi, which is intensified in the version of Kamban. It was the father’s special love for this mother that stemmed the love of this father’s child; and vice versa. What could have been the reason behind this ‘father’s special love’ for the third queen, Kaikeyi? Only her charms?
-</blockquote>
-That line speaks volumes of the reason why while Kausalya and Sumitra were to be found always in the company of each other, Kaikeyi was left alone, only to remain alone either in the company of Dasaratha whenever his kingly duties afforded him the time; and that of the father’s child, Rama. ‘Rama loves me more than he loves Kausalya,’ she asserts Mantharä. “Precisely as Bharata is worthy of esteem (to me) Rama (a scion of Raghu) is even more so. Nay, the latter does greater service to me than to Kausalya.” (Ibid, Sloka 18)
-−
 We have gone into the character of Kaikeyi and have studied Rama’s supreme love for Kaikeyi, which is intensified in the version of Kamban. It was the father’s special love for this mother that stemmed the love of this father’s child; and vice versa. What could have been the reason behind this ‘father’s special love’ for the third queen, Kaikeyi? Only her charms?
 === A race destined to fight demons – III  ===

@@ வரிசை 317: / வரிசை 317: @@
 We have gone into the character of Kaikeyi and have studied Rama’s supreme love for Kaikeyi, which is intensified in the version of Kamban. It was the father’s special love for this mother that stemmed the love of this father’s child; and vice versa. What could have been the reason behind this ‘father’s special love’ for the third queen, Kaikeyi? Only her charms?
-=== A race destined to fight demons – III ===
+=== A race destined to fight demons – III  ===
 ‘She was well-versed in statecraft,’ says Valmiki, referring to Kaikeyi. We are unable to find a description that comes closer to this, when he speaks of either Kausalya or Sumitra. ‘ ததா ஸுமந்த்ரம் மந்த்ரஜ்ஞா கைகேயீ ப்ரத்யுவாச ஹ’ he says, when a perplexed Sumantra waits for the orders of Dasaratha, who was unconscious at that time. (See: The game plan) The phrase ‘ மந்த்ரஜ்ஞா கைகேயீ ’ is generally translated to mean, ‘well-versed in statecraft.’ I must also add that Griffith’s translation of this phrase reads as “Kaikeyi, skilled in plot and plan.’
@@ வரிசை 323: / வரிசை 323: @@
 Either way. She was talented in statecraft; and in plotting as well. “She had abilities, talents of a kind, but she abused them for self-aggrandisement,” observes Srinivasa Sastriyar and adds, “She was by temperament disposed to domineer over people; she loved power and whoever came under her shadow regretted it.”
 The fact remains that the emperor was deep in love with her, until of course, the day on which she demanded her boons and persisted ruthlessly, at the cost of the life of her husband, what she was doctored to ask for. She was the most loved of the queens, to which fact Mantharä draws her attention –
-<blockquote>
+<blockquote>தயிதா த்வம் ஸதா பர்து: அத்ர மே நாஸ்தி ஸம்சய: |<br>த்வத்க்ருதே ச மஹாராஜ: விசேத் அபி ஹுதாசநம் || <br>ந த்வாம் க்ரோதயிதும் சக்த: ந க்ருத்தாம் ப்ரத்யுதீக்ஷிதும் |<br>தவ ப்ரியார்த்தம் ராஜா ஹி ப்ராணாந் அபி பரித்யஜேத் || </blockquote><blockquote>
-தயிதா த்வம் ஸதா பர்து: அத்ர மே நாஸ்தி ஸம்சய: |<br>த்வத்க்ருதே ச மஹாராஜ: விசேத் அபி ஹுதாசநம் || <br>ந த்வாம் க்ரோதயிதும் சக்த: ந க்ருத்தாம் ப்ரத்யுதீக்ஷிதும் |<br>தவ ப்ரியார்த்தம் ராஜா ஹி ப்ராணாந் அபி பரித்யஜேத் ||
+“You are ever beloved of your spouse. I have no doubt about it. Nay, for your sake, the emperor can even enter fire. The king dare not provoke you nor can he bear to see you angry. For your pleasure, the king can literally lay down his very life.” <br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Valmiki Ramayana, Ayodhya Kanda, Canto 9, Sloka 24 and 25)
-</blockquote><blockquote>
+</blockquote>
-“You are ever beloved of your spouse. I have no doubt about it. Nay, for your sake, the emperor can even enter fire. The king dare not provoke you nor can he bear to see you angry. For your pleasure, the king can literally lay down his very life.” <br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Valmiki Ramayana, Ayodhya Kanda, Canto 9, Sloka 24 and 25)
+‘He would walk into fire at your behest. He would lay his life down, to make you pleased.’ That was the kind of power that Kaikeyi enjoyed over the king; but did not do much more than to fritter it on those other than the emperor and Rama, for she loved them dearly, and sincerely. Until her mind was turned otherwise. And she paid for it dearly too. Disowned by the emperor forever. He did not forgive her, until the nobility of Rama had the strength to seek his pardon for ‘his mother’ when Dasaratha appears in his ethereal form in the last scene. She was disowned not only by Dasaratha; but by Bharata too. We have seen how she stood slighted by Bharata in the presence of the hunter-boatman Guha. (See: The mother of woes and nurse of infamy)
 </blockquote>
 ‘He would walk into fire at your behest. He would lay his life down, to make you pleased.’ That was the kind of power that Kaikeyi enjoyed over the king; but did not do much more than to fritter it on those other than the emperor and Rama, for she loved them dearly, and sincerely. Until her mind was turned otherwise. And she paid for it dearly too. Disowned by the emperor forever. He did not forgive her, until the nobility of Rama had the strength to seek his pardon for ‘his mother’ when Dasaratha appears in his ethereal form in the last scene. She was disowned not only by Dasaratha; but by Bharata too. We have seen how she stood slighted by Bharata in the presence of the hunter-boatman Guha. (See: The mother of woes and nurse of infamy)
 But, until that day, she was the most endeared person in the world to the emperor. With the exception of Rama. We hear the emperor himself saying this, in his desperation to know the mind of Kaikeyi, moments before the plot thickened. “O proud lady, don’t you know that no man other than Rama, a (veritable) tiger among men, is dearer to me than yourself? I swear to you by the said Rama (a scion of Raghu), who is invincible and high-souled, the foremost among men and more valuable than my own life; speak out what is sought by your mind.” (Ibid, Canto 11, Sloka 5 and 6) ‘vaLLal iraaman un maindhan aaNai,’ echoes Kamban’s Dasaratha. ‘I swear in the name of your son, Rama.’ ‘iraamaavO, unaip payandha kaikEsi than sol kEttu,’ goes the lament of Dasaratha, in the words of Kulasekara Azwar. ‘Rama, I sent you away, listening to the words of Kaikeyi, who bore you (your mother)’.
@@ வரிசை 337: / வரிசை 335: @@
 This love perhaps stemmed from the bravery that Kaikeyi displayed when Dasaratha was enlisted by Indra in his fight against the demon Timidhwaja – who is more known by his other name Sambara – and whom Dasaratha fought, with Kaikeyi as the charioteer. That’s an instance in the life of Dasaratha which underlines his prowess and the manner in which he was respected by the celestials, and the way in which he responded to the call, true to the line of Ikshwäkus that he came from. As it happens most of the times, the popular notion and the text do not agree.
 <br>Hari Krishnan
 <br>

@@ வரிசை 159: / வரிசை 159: @@
 Take for instance he handles the way in which Rama accepts his exile and the arguments in extenso that take place between the father and the son, Dasaratha and Rama.
-=== Did he mean it? ===
+=== Did he mean it?  ===
 We mentioned the words of Rama a couple of posts back, (See: In the eyes of the poets) that he would have wrenched the kingdom from the hands of Dasaratha; but did not do so because of moral considerations. Read in isolation, they sure would sound shocking and would make gall and wormwood of the words of the person who quotes it. And the expressions on Bharata that we had quoted are diametrically opposite of what he has been telling all along, and would tell an enraged Lakshmana when he mistakes Bharata who comes to the jungle to request Rama to come back. The perfect picture of Rama that Valmiki paints seems to go a bit here and there when we hear such words from his mouth. Sastriyar quotes this Sloka – which we have seen – on Rama’s remarks on Bharata.
-<blockquote>
+<blockquote>ஸுகீ &nbsp; &nbsp; &nbsp; &nbsp; பத&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ஸபார்யஸ்ச&nbsp;&nbsp; பரத: &nbsp; &nbsp; கேகயீஸுத: |<br>முதிதாந் கோஸலாந் ஏகோ யோ போக்ஷ்யதி அதிராஜவத் || &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote><blockquote>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp; ( Valmiki Ramayana, Ayodhya Kanda, Canto 53, Sloka 12) </blockquote>
 ஸுகீ &nbsp; &nbsp; &nbsp; &nbsp; பத&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ஸபார்யஸ்ச&nbsp;&nbsp; பரத: &nbsp; &nbsp; கேகயீஸுத: |<br>முதிதாந் கோஸலாந் ஏகோ யோ போக்ஷ்யதி அதிராஜவத் ||
-−
 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ( Valmiki Ramayana, Ayodhya Kanda, Canto 53, Sloka 12)
 </blockquote>
 The silver-tongued orator observes thus: “Now he thinks of Bharata. He contrasts himself with Bharata. ‘I have lost everything. I have come away to the forest with my wife and with my dear brother. He, Bharata, is enthroned, is going to rule over the Kosalas and he is going to do it with his wife. He is going to have his queen by his side.’ Notice this please. This is the one place in which the wife of any of the brothers is alluded to, not by name but merely as bharya. In no other place does the Poet allude to the other persons.”
@@ வரிசை 175: / வரிசை 171: @@
 There is a piece of a line found in the notes of Right Hon’ble Srinivasa Sastriyar that he used for his lectures. The eminent scholar has noted thus, in his notes for his 5th lecture: “Was Rama the ideal always and every moment, in big matters and in small, to the great ones and the little ones? If so, he was a bloodless robot, an impossible prig, mounted on stilts and hardly visible in perspective.” Precisely. When we call him ‘ideal’, in our attempts to try to get a glimpse of his picture in toto, it should not be forgotten that this person was made of flesh and blood to, like any of us. Else, we would miss the wholesome picture. Else, we would misread him; misunderstand his purpose and tend to be misguided on his purposes, unable to balance between the opposing ideas that find an expression through him.
 Coming back to what Rama says when he is alone in the company of Lakshmana and Sita, about to begin his life in exile. We saw what he said
-<blockquote>
+<blockquote>அதர்மபய &nbsp; &nbsp; பீத: &nbsp; &nbsp; ச &nbsp; &nbsp;&nbsp; பரலோகஸ்ய &nbsp; &nbsp; ச&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; அநக |<br>தேந லக்ஷ்மண நாத்யாஹம் ஆத்மாநம் அபிஷேசயே || </blockquote>
-அதர்மபய &nbsp; &nbsp; பீத: &nbsp; &nbsp; ச &nbsp; &nbsp;&nbsp; பரலோகஸ்ய &nbsp; &nbsp; ச&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; அநக |<br>தேந லக்ஷ்மண நாத்யாஹம் ஆத்மாநம் அபிஷேசயே ||
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Ibid, Sloka 26)
 </blockquote>
 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Ibid, Sloka 26)
 which the lecturer interprets as, “I could have anointed myself, putting aside Dasaratha and everybody else. Why didn’t I? I have fear of wrong-doing. I don’t want to do that which is ignoble or improper just for gain.”
@@ வரிசை 185: / வரிசை 179: @@
 But if he said that, it was not out of mere impulse. This is just an effect of a cause and not otherwise. Dasaratha himself had requested him to do so, when the three were called to his presence, before going on exile. “Fixing his gaze on Sri Rama (a scion of Raghu) who was coolly awaiting His Majesty’s permission to dwell in the forest, the king said: ‘I have been deprived of my senses by Kaikeyi through a boon (granted by me in her favour) O scion of Raghu! Taking me captive, (therefore) be you the king of Ayodhya today.” (Ibid, Canto 34, Sloka 26)
 If we miss these words of Dasaratha (which unfortunately even the eminent Sastriyar does not refer to at this point), we will not be able to see the words of Rama in perspective. We will not be able to understand that Rama – though fuming – was just reflecting on the suggestion of Dasaratha. Just as anyone who has not read Psalm 22 of the Bible, which starts with the line, “My God, my God, why hast thou forsaken me?” unable to understand the reason behind one of those last words from the cross, ‘Eli, Eli, lama sa-bach thani?’, and unable to perceive it in perspective.
 Every word – be it of the epic or that of the scripture – has its design; its place; logic and reason. We, however, are not going into a detailed discussion right now. Just wait for a moment longer. The stage is getting set-up. The screen is yet to rise up. We are just peeping through.
 What we were about to explain was how Kamban has handled this delicate scene. And its total absence.
 === This is the detour ===