07:32, 6 பெப்ரவரி 2010 இல் கடைசித் திருத்தம்

Out of love…

‘Let my hands not be smeared with the blood of puny creatures. It is out of my love for Janaki that I am adopting this course…’

‘What more is there for me to add, what more is there to offer you by way of advice, Ravana, my king! I am taken aback by your desire to cheat. It does not befit a valiant king like you. If at all you desire to have her, meet Rama in the battlefield, win him in combat and take her away as your prize. ‘puraththu ini uraippadhu ennE?’ What more remains for me to say? ‘puravalan dhEvi thannai thirathuzhi andri,’ It is only by your exhibition of your valour that you should establish your case (and take her) ‘vanjiththu eydhudhal sirumaiththu aagum’ instead, if you attempt to achieve your purpose by perfidious and deceptive ways, that would only serve to slight your gallantry. ‘araththu uLadhu okkum andrE.’ And this is an accepted way. The scriptures accept this. ‘amarththali vendru koNdu un maRath thuRai vaLarththi.’ Face Rama in battle and achieve whatever you want.

This needs closer examination. Even Sita mentions this in her reproaches to Ravana when he carries her away and again in her answers to Ravana in the Asoka Vana. ‘If you were really valiant you should have met my husband or at least Lakshmana in war. Instead you decided to carry me away in their absence.’ We find references to this point by several persons in several places in the epic. We find Hanuman, for instance, accusing Ravana of ‘holding Sita against her will.’ There are instances in the epic that lead us to believe that the sin that Ravana committed was not carrying off Sita; but against her will.

This observation of Right Hon’ble Srinivasa Sastriyar needs to be seen here. “He makes a proposal direct to her. We must remember that in those days there was no rule against polygamy. What he offered to Sita was, according to the notions of the time, fair and honourable marriage.” A scholar of the stature of Sastriyar, speaking in the midst of giants of his time gathered in the Sanskrit College, Chennai, could not be wrong after all!

But the answer to that question strengthens the case of Sita; her qualities; her virtue and her love for her Rama. And how she came out shining like a beacon from the hardships, hurdles, pain of separation, isolation and temptations of the extreme kind! However it is too early to go into this question now.

Coming back to Ravana. ‘aanavan uraikka,’ Hearing Marïcä uttering such words, ‘nakka arrakkar kOn,’ Ravana laughed like thunder. ‘avarai vellath thaanayum vENdumO?’ Do I need an army to kill them? ‘en thadakkai vaaL thakkadhu andrO?’ Is not my sword that I hold in one hand sufficient to wipe them clean? What did you think of me! I am Ravana! I would kill them in a trice. But if I do so, think for a while, what would happen? ‘Enayar irakkin,’ if those two die, ‘thaanum thamiyaLaai irakkum andrE’ this woman would be left alone! She would not be able to bear the pain of their death! And she would commit suicide! ‘maanavan aagil,’ because he is a mere human being, ‘maayaiyaal valiththum,’ I am using sorcery on him.

‘Let my hands, which have won the celestials and won the three worlds, not be smeared with the blood of puny creatures. It is out of my love for Janaki that I am adopting this course, not because I am a coward! Listen to me now. Or be prepared to meet your death at my hands!’

Remember. This was the Marïcä who remained by the side of Ravana all those thousand years when he was shrieking out of pain under Mount Kailash and was one among those who suggested to him to praise the Lord to secure his freedom. A beautiful scene that brings out these two characters and their qualities indeed.

Let us now take up the first meeting between Ravana and Janaki. Mythili who was alone at her cottage. Sita who was anxious about the safety of her husband. Vaidehi who was waiting for Lakshmana to return with Rama and had hopes of seeing them with a smile. And who is this visitor!

Ravana sanyasi

The Poets prepare us for the most dreadful event in the epic. This IS the middle most point of the epic, towards which the entire drama rolled thus far…

There are two ‘sanyasis’ in our epics who come to the mind so readily whenever one wants to refer to someone who is wearing a holy exterior but acts in a different manner. One is Arjuna sanyasi and the other is Ravana sanyasi. These two come in handy to those who chuckle, wink and smile with tongue-in-cheek. Arjuna went to the gynaecium of Subadhra, Krishna’s younger sister, to win her heart. And Ravana came to Sita masqueraded as a wandering monk. But the Arjuna sanyasi and the Ravana sanyasi can of course not be compared. The motive of one completely differs from the other, though the purpose is somewhat similar.

The Poets prepare us for the most dreadful event in the epic. This IS the middle most point of the epic, towards which the entire drama rolled thus far and from which the story picks up speed and races towards its ultimate goal. The atmosphere is peaceful. The Godavari, on whose banks Rama’s hermitage is situated, gushes forth in majestic exuberance. It is another quiet day in the jungle. Only Sita is a little worried about the safety of her husband and is awaiting his arrival along with Lakshmana. For the very first time she is alone. She remains unprotected. This kind of loneliness was quite new for her. Never once in her life has she been left in the company of her own self. And the irony is this was the first day of her long, long isolation that was to come.

The very nature trembled at the arrival of Ravana. “Perceiving that ogre of sinful deeds, the trees existing in Janasthana did not wave nor did the wind blow freely. Seeing the red-eyed monster (looking intently on the river) the river Godavari too, which had a swift current, began to course a slowly for fear (of him),” sings Valmiki. (Aranya Kanda, Canto XLVI)

‘nadungina malaigaLum maranum,’ Kamban’s brush moves. The hills and the trees trembled. ‘naa avindhu adangina paravayum.’ Birds stopped chirping. A sudden and heavy silence fell on the surrounding, shrouding it completely. ‘padam kuraindhu odhungina paambum.’ The cobras put their raised hoods down (for fear of Ravana) and slithered away from the scene.

And the reader is so very naturally tensed, though he knows the story as clearly as the lines of his palm. The eerie feeling fills out his heart at this point of the story when the Evil is going to register its triumph over the Virtue – even if it is limited to a short span of time. Making nature partake in the emotions of the reader is a favourite technique adopted by most of the poets. For instance, take the ninth book of Paradise Lost where Milton makes Nature feel responsible for the misfortune that was about to befall the human race through the act of Eve. Says Milton –

“So saying, her rash hand in evil hour
Forth reaching to the fruit, she plucked, she ate!
Earth felt the wound and Nature from her seat
Sighing through all her works gave signs of woe
That all was lost…”

Sita’s first reaction to Ravana sanyasi even at a time when she was alone at home, the way she received the guest, brought him water to wash his feet and offered him a seat speak volumes of the Indian womanhood and the way it holds service to the guest so high up in its mind.

Only the Ravana of Valmiki is a little out-of-place. He lets his mind loose through his mind a bit too early. Janaki does not seem to bother at his initial verbal advances and is in complete oblivion of them, as she is under the impression that this was a ‘holy and wandering monk.’

Guest at the gate

Hospitality is in the core of our womanhood. When a guest arrives, they very readily put their personal pains and difficulties away…

Ravana appeared in the doorsteps of the hermitage and a mere glimpse of the beauty that was seated inside took his mind by storm. ‘dhevarum avuNarum dhEvimaarodum kUval sey thozhilinar kudimai dhida,’ Let all the Devas and Rakshasas with their consorts wait on her for her for her orders and let them be her subjects. ‘mU ulagum ivar murayin aaLa,’ let her rule over all the three worlds ‘yaan Eval seydhu uyguvan ini,’ let it be my salvation for me to spend my days in serving her. Observe the respectful reference to Sita. Ravana thinks of her as ‘ivar’ and not ‘ivaL’. This is something that he maintains until the very last.

Sita saw this sanyasi from the hermitage. ‘There is a guest at the gate,’ she thought. She silenced all her fears, anxiety and worry that were running wild in her mind. ‘kaandalum,’ the moment she saw him, ‘kannin nIr thudaiththa kaRppinaaL,’ she wiped her tears so that the guest may not see them. ‘INdu ezhundhu aruLum endru iniya kUrinaaL.’ She quickly wore a smile. She spoke in softer tones, pleasingly. ‘Please do come in sire and bless (us) by accepting my welcome.’

Hospitality is in the core of our womanhood. When a guest arrives, they very readily put their personal pains and difficulties away and quickly do whatever they can and more at the mere sight of a guest. In fact, we are going to see later in Sundara Kanda when Sita thinks of Rama tenderly and weeps, one of her worries for him is ‘arundhum mel adagu aar ida arundhum ena azhungum.’ ‘Who would take care of Rama? Who would serve food to him? How would he eat without me serving him?’ ‘virundhu kaNda pOdhu en uRumO endru vimmum.’ What would he – indeed what could he – do when a guest arrives at the doorstep.

Valmiki shows this fellow unable to hide his true colours, though garbed in the robes of a hermit. His very opening remarks are shocking. Though one cannot measure the sloka with today’s scale, the words uttered by a monk – or at least one who appears in that ‘makeup’ – to a lady who is alone at home are normally expected to be restrained and within limits. “(How) even, smooth and white are your teeth with their surface resembling jasmine buds and (how) large and fair are your eyes red at the end with dark pupils. Broad and fleshy are your hips and thighs resembling the trunk of an elephant; and these breasts of yours are fully developed, round, joined together and prominent……” (Valmiki Ramayana, Aranya Kanda, Canto XLVI, Sloka 18-19)

But Sita – in Valmiki – does not pay attention to these words. She simply ignores them. Her mind must have been pulled in opposite directions – with the thought of Rama and Lakshmana and this fellow who has stepped into their dwelling and is not ashamed of praising her beauty limb by limb. Or how else could one explain her silence? It must have been quite a delicate situation for her.

‘She did not protest for that is the way women are made of,’ concludes Sastriyar. “What did Sita think when all these fine compliments are paid to her? Was she pleased, as women ordinarily are now when their charms are duly appreciated? It is difficult to say. But there is nothing to show that she was displeased,” he says.

It is shocking beyond words that even Sastriyar should have come to this conclusion. Sita was in a very strange situation. She was alone for the very first time in her life. She has received a guest with whom she is very much impressed by his lean and emaciated appearance. This fellow has just walked in and is indulging in a verbal prurience that would offend the modesty of any woman. Sita must have been shocked beyond words though the Poet does not talk anything about it. Kamban skips this portion and moves to the next scene.

Cow in tiger’s skin

If a cow wears the tiger’s skin and grazes, the farmer who beholds the scene from a distance would not attempt to shoo it away…

Ravana in Kamban is a finely honed rogue, at least as far as this particular scene is concerned. He does not even by slip of his tongue let his inner-self flow through his careless and amorous expressions spoil the initial atmosphere that is needed to work his way cleverly through. It is needless to mention that it would not and did not work with Sita. But then, the Poet so structures the character of Ravana that he does not appear to be the picture of a ruffian with an unstable mind who utters that which is not relevant to his outward appearance, as painted by Valmiki.

Ravana is calm, polite and sounds very genuine initially. ‘yaavadhu iv irukkai? Ingu urai arum thavan yaavan?’ he asks. Whose hermitage is this? Who is the sage that lives here? ‘neer yarai?’ And (may I ask) who your (respectful) self is? Once again notice the respectful address ‘neer’ instead of ‘nee’ in the speech of Ravana. ‘It is the son of Dasaratha, who at the behest of his mother is residing here with his brother. ‘annavan peyarinaith thrigudhir perumayeer endraaL’ It is sufficient if I mention these details. I need not tell you his name. Being a sage and filled with all virtues you would know his name yourself.

This enquiry by Ravana and narration by Sita take place in Valmiki Ramayana as well, but only after the lecherous and lewd observations – euphemistically called ‘compliments’ - are made by Ravana. Valmiki builds the drama placing the emphasis on the innocence of Sita, and providing us sufficient scope to guess that Sita in her embarrassment did not react. Here is how Sita reacts.

“Eulogized as above by the high-minded Ravana and actually seeing the aforesaid Ravana come in the garb of a Brahmana, Sita, the princess of Mithila, abore him with all honours due to an unexpected guest. Having offered him seat first and tended upon him with water to wash his feet with, she then said to Ravana of gentle aspect only this. ‘Cooked food is ready.’ Perceiving him arrived without previous notice in the garb of a Brahmana, carrying a water-pot (made of marine coconut-shell) and clad in saffron-coloured robes and unworthy of neglect because of her having perceived the marks of a Brahmana on his person, Sita invited him on the following words to dinner as a Brahmana since he had come dressed as such.” (Valmiki Ramayana, Aranya Kanda, Canto XLVII, Sloka 29-35)

When Sita completes the narration of how they happened to live in the forest, Valmiki makes Ravana behave in a very rude manner. He starts his speech in a blunt manner and announces his identity all of a sudden. “While Sita, the consort of Sri Rama, was speaking as aforesaid, Ravana, the suzerain lord of ogres, who was possessed of great might, made the following sharp reply: - ‘I am the celebrated ruler of the hordes of ogres, Ravana by name, by whom (all) people, including gods, demons and human beings have been struck with terror, O Sita!” (Ibid, Sloka 25 and 26)

The drama in Kamban is a little more elaborate; a little more sophisticated and is cut with a little more finesse. Ravana waits patiently till Sita finishes their story. He is the real cow in the tiger’s skin that Valluvar speaks of.

‘vali il nilaimayaan val uruvam petram
puliyin thOl pOrththu mEyndhu atru.’

Behold the person who has not mastered his senses and does not eschew treading wanton ways. He is like the cow that wears a tiger’s skin, gets into the field and grazes unknown and unnoticed.’

If a cow wears the tiger’s skin and grazes, the farmer who beholds the scene from a distance would not attempt to shoo it away. He would wait for it to go away by itself. Number one, he would not get close to it for fear. Number two, he would be under the impression that his paddy field is safe, for it is after all a tiger (!) and that it would not cause harm to his paddy. That is the way with almost all the sanyasis today and perhaps this Ravana Sanyasi was their forerunner!

Cow in tiger’s skin II

‘Lady, you know something? The most beautiful damsels of all the worlds, pine away their lives with the yearning to get the ‘favour’ of love from him…’

Kamban’s Ravana works his way differently. Though even this other way did not yield the desired result, this at least shows Ravana as a clever, cool and calculative rogue. He waits till Sita completes her narrative and he knew that at the end of it he Sita would desire to seek information on the ‘sanyasi’ that he was. ‘Sir, you seem to come from far off lands. You wear a very tired and emaciated look. ‘ev vazhi nindru ingu eydhineer endraaL.’ From where did your holy person come here?

The ‘sanyasi’ uses the opportunity to slip glorious information on Ravana. ‘indhiraRku indhiran,’ (There is a king who is the) Indra of Indra. King of the king of celestials ‘ezhudhal aagaa sundharan,’ whose handsomeness cannot be captured by any (artist’s) brush. ‘andharaththOdu ev ulagum aaLgiraan’ He rules over the celestials and all the other worlds. ‘mandhiraththu aru marai vaigum naavinaan.’ He is well-versed in the Vedas (!) and never fails to chant them. Well, I lived with him for a long time. I could not take leave of him. My mind always resides with him.

‘Lady, you know something? ‘anaiththu ulaginum azhagu amaindha nangayar,’ the most beautiful damsels of all the worlds, ‘enaip palar avan thanadhu aruLin urugavum,’ pine away their lives with the yearning to get the ‘favour’ of love from him. ‘udhava nErgilan.’ But he doesn’t care. He would not even look at them. ‘manadhukku iniya oru maadhai naaduvaan,’ he is on the look out for a woman of his liking, being a very tasteful and choosy personality. The reader would not but laugh at these words. He knows the nature and the tone of the drama that is taking place.

The ‘sage’ then moves on to paint a very rich picture of Lanka and the way in which its king is served by celestials and all the elements even. He adds how the great Ravana performed gory penance and obtained boons that have given him power immeasurable and how Lord Shiva gifted his own sword to him et al in a very detailed manner, in the hope that Sita would be impressed and that she would fall in love with this scoundrel.

As V V S Aiyar says, “The reader will notice the art with which the conversation is pushed on and the dexterous manner in which Ravana is made to lay siege to Sita’s heart. No expression escapes the lips of Ravana, which is indelicate, rough, or rude. Ravana works only by suggestion and very remote suggestion at that. The suggestion is so remote that Sita does not notice it at all at this stage.”

Sita in her innocence is taken aback at these words of the ‘sage.’ ‘I am surprised that you lived in the palace of Ravana, who is an ogre who does not hesitate to pursue to all kinds of wanton ways, who eats human flesh! I am not able to believe that a sage sought to live in the luxury of the palace instead of seeking the self in the silence of the jungle! O great sire, I am unable to believe my ears when you say that sages consider ogres a better lot as compared to Devas. ‘theeyavar sErdhal seydhaar, thUyavar allar.’ One who lives with evil-doers can no longer be considered to be pure of soul. Ravana continues the dialogue deftly but fails to impress Sita in any manner.

‘My husband, the most valiant person, has vowed to protect the sages Sir, and to wipe off all evil from the face of the earth,’ Sita told the ‘sanyasi’ sincerely believing that this is a wandering monk that is sitting before her. When the sanyasi chuckled and mocked at her words, she said, ‘You wait for sometime sir. You will see for yourself when my husband returns. ‘naaLayE kaaNdir andrE.’ You will see proof of what I said in the actions of my husband, tomorrow. ‘navai ileer uNargileero?’ You who are untouched by sin, don’t you realise ‘meeLa arum dharumam thannai vellumO paavam?’ Can ever Dharma be overpowered by sin?

That slighted the pride of Ravana. He could not listen to those words that put humans a mark above him. ‘Who do you think Ravana is?’ he roared.

Dog desiring the divine

The wonderful thing about Sita is, she is not at all afraid of this horrific, terror-striking and absolutely frightening form that appeared before her in a trice…

Hearing the words of Sita that ridicule, twit and taunt the race of rakshasas, Ravana, who is unable to take it any more shows his true colours out, despite himself. ‘What is not possible for Ravana? Do you want me to wait till tomorrow to see the might that bedbug of a human? ‘thErudhi naaLayE.’ You just wait for a day more. ‘irubadhu thiN thOL vaadai veeriya pozhudhu pooLai vee ena veevan,’ He would be slapped down to the ground by the cyclone that would be created by the mere movements of those twenty strong hands. The marketing man that the sage was metamorphoses into his original person, though his outward appearance has not yet changed. ‘mEruvaip parikka vENdin,’ (If you desire) to pluck Meru out, ‘viNNinai idikka vEndin,’ or want to demolish the skies, ‘neerinaik kalakka vEndin,’ or to cause turbulence in the sea, ‘neruppinai avikka vEndin,’ or to blow the primordial fire that resides under the sea, off, ‘paarinai edukka vEndin,’ or (if you want) to shift this globe from its firmament, ‘paal nigar semsol Ezhaai!’ you poor little thing, whose words are like milk (and honey to me) ‘yaar enak karudhich chonnaai?’ who did you think Ravana is? ‘iraavaNarkku aridhu en?’ What is difficult for Ravana that he cannot do?

As he was uttering these words, Ravana’s illusory appearance as a sage disappeared and the real Ravana stood there with twenty eyes burning like pieces of coal; his ten heads touching the limits of sky; his hands clapping and imitating thunder; teeth grinding out of anger; and striking terror by his enraged appearance.

The wonderful thing about Sita is, she is not at all afraid of this horrific, terror-striking and absolutely frightening form that appeared before her in a trice. The travel-weary, thin and emaciated hermit suddenly transforming into an ogre of unbelievably terrible appearance does not at all change her mind the least; does not influence her; does not even strike terror in her. ‘Be mine O damsel. Leave this condition of poverty. Come to my palace. Be my queen. The foremost of them. You will be worshipped by celestial maidens and be served upon by them.

‘kulaivural annam!’ Do not be afraid, O Swan! ‘munnam yaarayum kumbidaa en thalai misai magudam enna,’ I have not bowed my head before anyone till this day. Let your feet be the crowns on my head. ‘thanith thani inidhu thaangi,’ and they (your feet) would be held by ‘alagu il pUn arambaimaar,’ numberless celestial maidens, ‘adi murai Eval seyya,’ and they will serve on you at your feet. ‘ulagam eer Ezhum aaLum selvaththuL uraidhi.’ Come. Reside in the luxury of ruling over all the fourteen worlds. This condition of poverty, this life in the jungle in a mere hut of grass does not befit you.

Sita put her hands on her ears. This was so rude and shocking for her. This was not something that she had heard in her entire lifetime. She could not even imagine that a person would set his eyes on the wife of another man. All her life, she has been in the closest presence of her brother-in-law, whom she endearingly refers to as her own son, who had not even raised his head up to see her face. Men in her world were respectful; had never even cast their eyes on her with desires obnoxious. And this sage suddenly metamorphoses and speaks the language of the lewd and the lusty. ‘What do you desire, Ogre? Whom do you think that you desire?’ she boils. ‘puviyidai ozhukkam nOkkai!’ You don’t seem to observe or respect the rules of good conduct. ‘pongu eri punidhar eeyum aviyai naai vEttadhu enna’ You desire me, like a dog desiring the sacrificial offering meant for the Lord!

Glory to the feet of my mother! Salutations to her! Glory to her who did not buckle under pressure! Glory to her who was not afraid even at the most terror-striking form and the most threatening of words!

Special distinction!

Favour me with your love and have the special distinction of being the only woman whom Ravana begged for love…

Janaki blazes like the fire that she is. She stands out as a shining example of the fearlessness that is inborn and innate in every woman and is unfortunately suppressed in some due to bad examples and wrong perceptions. This is a scene that repeats itself to this day in various ways and assumes different forms. Mythili, the great mother, mother mine and mother of all of us, teaches all of us how to face the brute. How to shed timidity. How to break the barriers or timorousness and have the temerity and to face the brute, in however imposing and terrifying form he might appear.

Emotions change very quickly from one to the other in the heart of Ravana in the following scene. He threatens, he tempts, he paints a glorious picture of himself; he chides and ridicules Rama; he speaks of his riches; his boons; his strength; emphasises the fact that the five elements serve him in his palace; he boasts; exhibits all his skills of erudition; cunningness and flowery speech. And finally he falls at her feet. Literally.

‘aNanginukku aNangaaLe!’ O damsel of all damsels! ‘aasai nOi agaththup ponga,’ With the disease of desire overflowing my heart ‘uNangiya udambinEnukku uyirinai udhavi,’ I have withered and dried down. Please restore my life ‘umbar kaNam kuzhai magaLirkku illaap perum padham kaikoL’ and thus attain the most unique status that even the damsels of the heaven could not attain. ‘enna’ so saying, ‘vaNanginan ulagam thaangum malayinum valiya thOLaan,’ he, whose shoulders are stronger than the mountain that supports the earth, fell at her feet.

I am the great Ravana. I have never been placed in such a situation of having to beg for the love of a woman. Even celestial nymphs pine for me. They yearn for my touch and I don’t simply care. But, I am here at your doors, begging for your love. The great and valiant Ravana is begging for your love. The desire for you floods my heart. It overflows and overwhelms me. Look at my frame! I am growing thin and am becoming bone-dry. Favour me with your love and have the special distinction of being the only woman whom Ravana begged for love and one who saved his life by her love. My heads that have not hitherto touched the ground before anyone for anything are, look here, touching it right before your tender feet! Accept me!’

Rich poetry. A highly romantic state. The feelings are extremely tender, there is no dispute. What Ravana proclaims is true. We have seen earlier that even Hanuman acknowledged the fact that all the women in his gynaecium were contended and happy and have accepted the life in his harem very happily and willingly. And read in this context, the desire of Ravana for Sita as Right Hon’ble Srinivasa Sastriyar puts it had changed his way of life after being cursed by Nalakubara, the son of Kubera, for having spoilt his wife Rambha and the curse of Brahma.

Sastriyar says: “Being under this curse he changed his ways and now became an accomplished lover showing to these women the gentle and attractive side of himself, so that when he was killed in battle, the wail set up by his Rakshasa wives was sincere.” It was not only Rakshasa wives, even the others wailed sincerely.

But please remember. We are looking at the story from the angle of Ravana at this point. This is not to in any way soften, smoothen or belittle the trauma that Janaki went through. That has to be studied separately.

The abduction

But when Kamban undertook the job of retelling the epic, thousands of years have marched past and Rama was more an avatar than a king in his time…

When nothing did the trick and when all his attempts only resulted in stouter resistance from Sita, Ravana quickly decided. It was his experience that women who resisted initially would yield by and by under isolation and enormous pressure. He lunged forwards.

“Having spoken as aforesaid to Sita (the princess of Mithila) who spoken kindly (to all) and deserved kind words (from all), and approaching her, the ogre Ravana, who was extremely vile of disposition and was infatuated with passion, caught hold of Sita (who was like a mother to him) as Budha (the deity presiding over the planet Mercury) and son of the moon-god) would seize Rohini (the principal consort of the moon-god and the deity presiding over a constellation of that name.) With his left hand he caught hold of the lotus-eyed Sita by her locks, while with his right hand he clasped her by her thighs.” (Valmiki Ramayana, Aranya Kanda, Canto XLIX, Sloka 13-17)

Valmiki had no difficulty in painting this picture as Rama and Sita were living at that time. Valmiki himself has a part to play in the Uttara Kanda. Rama was more a king than an avatar at that time. But when Kamban undertook the job of retelling the epic, thousands of years have marched past and Rama was more an avatar than a king in his time. He could not bear the thought of Ravana touching Sita in any manner.

‘aaNdu aayidai theeyavan aayizhayaith theeNdaan.’ Ravana did not even touch Sita. ‘ayan mun urai sindhai seyaa.’ Because the thought of the curse of Brahma stopped him from doing so. ‘thUndhaan enal aam uyar thOL valiyaal,’ With his pillar-like hands that were powerful, ‘keeNdaan nilam yOsanai keezhp pudayE,’ he dug the land around the hermitage. For a person who could shake the Mount Kailash from its roots, with the Lord seated on it, this hut made of bamboo and had leaves for its roof was a mere speck of dust to carry.

Before the Pushpaka Vimana could even cross the precincts of the jungle, Jatayu tried his best to stop him. Jatayu is another wonderful character. He was the friend of Dasaratha. Jatayu had helped Dasaratha to a very great extent when the latter engaged Sambarasura in war. Dasaratha was pleased with the help and embracing Jatayu, told him, ‘I am the body and you are my soul.’ ‘What an irony,’ Jatayu laments when he heard of the death of Dasaratha from Rama. ‘Yama is merciless indeed. The Soul (Jatayu) is still remaining here on earth while he took the body (Dasaratha) to heavens. He should have taken me first!’ Rama saw his own father in Jatayu.

Jatayu made a very valiant attempt to stop Ravana. But Ravana finally used the sword of Shiva on him. This is not the place for a study of this beautiful character. We will go into a detailed study of Jatayu when we study Rama.

Valmiki takes us through another phase in the story, which is not to be found in Kamban. On reaching Lanka, Ravana takes Sita around the great land and shows all the riches of the place. He takes her to his gynaecium and shows her all the best of beauties that are living there in his custody, as his wives.

Poor Ravana! He didn’t know the simple logic.

The first day in Lanka

Even a cursory glance at the difficulties and impossibilities that stood in the way of Rama finding out Sita would weary the most stubborn of hearts.

“Having duly entered that palace, Ravana, the suzerain lord of ogres, for his part saw Sita given over to woe in the mind of ogresses, her face bathed in tears, distressed as she was, (nay) weighed down by the load of grief (she carried in her bosom) and resembling a bark buffeted by blasts of wind and foundering in the ocean or a female deer strayed from the herd of deer and beset by hounds. Approaching the aforesaid Sita, who sat with her face bent down (through humiliation and shame) afflicted as she was through grief, the night-stalker, Ravana, the ruler of ogres, for his part, forcibly showed her, even though she was unwilling to see it, his palace resembling an abode of gods. (Valmiki Ramayana, Aranya Kanda, Canto LV, Sloka 3-6)

Though well versed in the holy books, though valiant, though established his victory over all the three worlds, Ravana did not know one simple fact. You can heat the iron red hot, beat it and bend it to the desired shape. Not a blade of grass. It would rather willingly break into two or laugh mockingly at the attempt to burn in the fire, rather than being bent for the pleasure of someone. Nor does the human mind. Not Sita, anyway.

Even a cursory glance at the difficulties and impossibilities that stood in the way of Rama finding out Sita would weary the most stubborn of hearts. Lanka was, by all means, a far away land. Sita was not sure whether Jatayu was alive to narrate to Rama that it was Ravana who carried her away. As far as she was concerned, there was no way for Rama to know her whereabouts. Added to that, Sita had spoken the most unpleasant of words to Lakshmana. If Rama comes to know of the way in which she treated Lakshmana, he would for certain, discard her and might not even venture on a search for her. This, Sita knew for certain. All the odds were against her.

But there was only one redeeming factor. Rama’s self- respect, his personal pride for his lineage, his sense of responsibility would not permit him to remain inactive. Sita was convinced beyond doubt that Rama would track her and would come to secure her release at least for the sake of the reputation of his family, if not compelled by reasons of love. Of course, there was nothing to question his love for Sita. But even if that factor is ruled out, there was still hope and it was the only hope that sustained Sita in that extremely painful situation. Right on the first day Ravana warns her that she cannot hope to reach Rama in the entire remaining part of her life. Listen to these words of Ravana on the very first day. Putting ourselves in the position of Sita, what would our hearts be filled with?

“Do not harbour (even) the thought of beholding (again in this life) Rama (a scion of Raghu) O lady of charming countenance! What power has he to reach this place even in thought, O Sita! A very powerful wind cannot be bound with ropes in the sky nor can the smokeless flames of a blazing fire be seized.” (Valmiki Ramayana, Aranya Kanda, Canto LV, Sloka 23 and 24)

Sita had to go through this kind of repeated, constant and unceasing harassment not for one day, not for two, for ten months! Ten months. Ten long, long months. I mentioned about Sita because characters overlap here. Let’s move ahead with Ravana.

Nothing succeeds like success

He was a great person, of which there is no doubt. In prowess he was the equivalent of Sri Rama himself.

We have so far seen the development of the character of Ravana right from his birth, his stubborn and unflinching determination in whatever he undertook, his enthusiasm in working towards the goal till it is attained, however difficult or impossible it may sound, his phenomenal physical strength even for an ogre that enabled him to lift the mount Kailash, his boons that protected him from the most difficult of situations – for example the battle with Yama – and the readiness with which the divine force – Brahma – rushed to his aid to salvage the situation whenever he was in trouble.

We have seen that twice Brahma rushed to his aid – once during the battle with Yama and the second time when he was overpowered and imprisoned by Karthaviryarjuna. And it is really amazing that though Ravana tasted defeat twice at the hands of Karthaviryarjuna and at the hands of Vali, he did not lose his kingdom to them. He entered into treaties of friendship with them, instead. This kind of tact is a part of his core of being.

Ravana knew that it was only successes that could keep him on his throne. Nothing succeeds like success. Though the story does not reveal much about his administration, one would be unfair if Ravana is shown as a mere and stout fool who ruled by brute strength. Right Hon’ble Srinivasa Sastriyar says:

“It is difficult to believe that a kingdom could have been brought to such a high pitch of prosperity without Ravana introducing a system of ordered administration. He must have been not only great and powerful, but he must have had conspicuous merits as a ruler. The description that the Poet gives of the city, the way it was ordered, how it was a city famous for its learning as well as for its splendour, the way in which Ravana was followed and obeyed implicitly, how he held his war councils and so on, all these were not merely brute strength, but a great deal of what we must call rajyatantra, skill in managing great kingdoms, men and their resources.”

I am in complete agreement with the great scholar excepting perhaps on one point, namely, “how he held his war councils”. The way he organises his war council, the elaborate and careful preparation show his superiority as a king, as one who knows his job completely and thoroughly. But the way he conducts the Council does not. He was a good administrator no doubt. But he administered through fear. He ruled through instilling fear and it was fear that he was dependent on for his survival. There is abundant evidence for this, which shall be taken up when we study the war scenes.

He was a great person, of which there is no doubt. In prowess he was the equivalent of Sri Rama himself. Even the ‘unparalleled’ Lakshmana fell down twice under his attack. Even Rama had to be taught ‘Aditya Hrdaya’ by sage Agasthya to establish a clear victory over Ravana. (The reciting of Aditya Hrdaya by Rama is described only in Valmiki Ramayana and not in Kamban.)

His mastery over the game of war, his excellence in archery and the way he had trained his army and the way he administered his country – remember, he had his outpost in the mainland, in Janasthana, over which Kara and Dusana ruled – were immaculate and could not be disputed at all.

Yet there was another side of Ravana that did not match with the picture of valour, prowess and chivalry that has emerged from our studies so far.

Pure milk in impure container

Ravana excelled in everything. He wielded immense power, even over the elements. But he lacked conviction. He was not at ease with himself…

If a person is convinced of his own strength it is only natural that his actions would testify to his conviction. In fact that is the test of true strength. Unless that is established beyond doubt, it is not possible to conclude that the person’s inner strength was as strong as – if not stronger than – that which he possesses externally. Only such a person whose inner strength, which is exhibited and is evidenced by his actions, matches that which fortifies him from derived sources (which may mean and include all physical, material, emotional and others) can be seen as one who was strong in the real sense of the word. In fact, there have been examples in our long history that show us that this inner strength need not and in actuality is not dependent on such external sources.

Ravana excelled in everything. He wielded immense power, even over the elements. His physical stature, his boons and his lineage stood by him in all his endeavours. But he lacked conviction. He was not at ease with himself. He could not be classed as someone who was comfortable with himself. When such persons are invested with power and wealth, the situation deteriorates so very naturally. Says Valluvar –

paNbilaan petra perum selvam nan paal
Kalam theemayaal thirindhu atru (Kural 1000)

“The great wealth obtained by one who has no goodness, will perish like pure milk spoilt by the impurity of the vessel.” (Translated by Rev. Drew and John Lazarus) Of what avail if the milk is pure? It gets spoilt and cannot be consumed if the container is not pure! It becomes totally useless! Ravana was an example to this bad container spoiling ‘pure milk’. Such great strength, great power, great treasure, a city whose very forts were built – as Kamban would put it – ‘sembu ittu seydha injith thiru nagar’ – with copper and whose roofs were made of gold. And yet, the structure came down like a pack of cards just because the person, who built it by the strength that he gained through external sources and of course, with the strength of his own penance, was very brittle from within.

Going back on the events thus far, it is immensely obvious that his honesty was questionable. Conviction is something that emanates from honesty. There is a certain amount of a natural taste for scheming and cunningness that existed in the core of his being. Right Hon’ble Srinivasa Sastriyar observes:

“His greatness was divorced from goodness. He was still capable of great meanness. He could do cruel things, could plot, tell grand lies, construct long yarns and deceive people. … … It is most disgraceful and utterly discreditable to him. We are sorry indeed when we see in human or in Rakshasa nature great gifts prostituted to ignoble purposes by reason of the absence of good nature. Ravana had it not in any measure. He was a cunning man. Though he was brave and could meet anybody in battle, had often brought Indra down his knees, would often accomplish his purposes by adopting cunning, instead of having a straight fight. Ravana had so much contempt for Rama at first. Why then did he not stand up to him instead of going in the guise of a sanyasi? So strong is the attraction of a little craft or cunning to some natures that Ravana fell a victim to that nature.”

If this one action leads us to this conclusion, the series of his actions that follow do not speak in his favour. He displays consistently that his heavy superstructure did not have a matching inner structure. A strong sense of righteousness that alone could provide that sense of security, that feeling of being comfortable with oneself.

The chink in the armour

A person whose personal qualities are impeccable would in the first instance not even attempt to impress…

The second trait that is most noticeable in a person who walks tall, yet with a feeling of insecurity filling the caverns of his heart, corroded by the absence of honesty, conviction and goodness, is his inconsistent behaviour. He or she always likes to walk into the scene with a bang. Try to be showy, in an attempt to impress. And when they try to impress, they do not do so with their personal qualities. A person whose personal qualities are impeccable would in the first instance not even attempt to impress for he or she would be convinced about what they are capable and when to look for their desserts.

On the contrary, persons who feel inadequate in their hearts would always be found to be talking about what they own, possess or what they have acquired recently. It may be as trivial as a shoe, a shirt or may be a wristwatch. They would make it a point to speak about it with gusto with every friend that passes that way. They would cling to their objects as it is from them they derive all their power. That gives a kind of mock solace to their troubled hearts. ‘I have the power to acquire this; and hence I am powerful,’ they fancy and exhibit their material worth unabashedly and such flashing alone pacifies their heart and make them feel ‘powerful.’ We have seen them only the other day, haven’t we!

Our Poets have wonderfully captured these traits and have so very intuitively and grandly woven them into the character of Ravana. See this picture that Kamban paints in the Sundara Kanda when Ravana – who was less than an hour back, found sleeping in his chamber by Hanuman – marches into the Asoka Vana at dead of night. A person who lacks character has of necessity to lean on his possessions and feels that he or she is going high up in the eye of the other person for they are obsessed with one sole anxiety of impressing the other person. That is the only way, they perceive, to earn the respect and perhaps love of that other person.

But such persons are quite understandably inconsistent in their behaviour, for they keep moving from one position to the other inwardly and try to assume several postures in one go, reading ‘failure’ from the situation a bit too soon. If such a person happens to be the boss, in charge of the situation, he ends up with a threat. If he or she happens to be the subordinate, well they very quickly wear their ‘other mask’ for they have no choice but to please – as they look at it.

Take a look at this situation. Ravana was fast asleep and suddenly he thought of Sita who was spending her days and nights in the Asoka grove. Nothing that Ravana had to show had any impact on her. He had coaxed her, cajoled her and had even quoted from the Vedas that it was quite proper for him to marry her. “The tie of love which is going to be established with you (by me) O queen is permitted by the seers of Vedic Mantras (who allow marriage by force, giving it the name of Rakshasa Vivaha.” (Valmiki Ramayana, Aranya Kanda, Canto LV, Sloka 34-35) But Sita was very clear in her mind. She knew, after all, what Ravana was misinterpreting was prescribed in the case of virgins and not for a married woman. And her love for her Rama was very strong. Finding her unyielding to his varying tactics, Ravana had laid down a period of one year for her mend her ways, she would be sent to the kitchen.

But Ravana lacked that kind of strength that would enable him to remain calm during the period of one year he had prescribed. He made it a habit to visit Sita in the grove as and when he desired to do so. And here we see Ravana entering the Asoka Vana in mid-night. And how! See the display of vanity.

The exhibitionist

What an extraordinary and extravagant exhibition! And for whose eyes! Is the message not straight and clear?

Taking even a cursory glance at the coterie that follows Ravana – who is entering Asoka Vana – would render anyone breathless. This mighty king, this mighty ogre, this terror of the universe, this person on whose account even the Lord had to assume human form and undergo sufferings like humans do, is surrounded by the best of damsels, beauty of beauties. And see what he has employed them for.

‘uruppasi udai vaaL EndhinaL thodara,’ Oorvasi followed him, carrying his sword. What an assignment for the celestial danseuse! The sword of Sankara that has tasted the blood of even Indra in dainty hands! ‘menakai veLLadi udhava,’ Menaka was neatly folding the betal leaves and nuts for him to chew. ‘seruppinaith thaanigith thilOththamai sella,’ Thilothama was carrying his sandals. An extra pair, may be for the sake of an emergency, or may be because there was nothing else for the angel to carry and she was given this errand just to keep her occupied.

What an extraordinary and extravagant exhibition! And for whose eyes! Is the message not straight and clear? Ravana is trying to send the message to the heart of Sita. ‘Look at this,’ he seems to say. ‘I have the best of maidens who wait for my orders. See for yourself what they are doing! One is carrying my sword and the other is serving me with an ordinary job meant for the lack-lustre maid and a third… see what she is doing… she is carrying my chappals. I have the best of women in my harem and I care a damn… They are in my harem to do poor and lowly errands. I don’t find any better use for them.

And if such a king, who wields such power over the celestial damsels, come and beg you for your love, imagine the kind of love he has for you! It is not because I lack in wealth I stand begging before you. I have plenty. Abundance. I would even say super-abundance. But I stand a-begging before you. Because Ravana’s love for you cannot be measured in ordinary terms. And you are turning your face away from me at my very sight!

These lines would read romantic and even sensual, if they were uttered to a maiden, a woman who loves him. But this rascal, this ruffian, this hard-headed person who cannot be pardoned even if he ‘knows not what he does,’ is trying to send this message to Sita who,– leave alone the fact that she is the reincarnation of Mahalakshmi and the Consort of the Lord – is the wife of another man.

‘aran kadai nindraaruL ellaam piran kadai
nindraarin pEdhayar il' (Kural 142)

says Valluvar. “Among all those who stand on the outside of virtue, there are no greater fools than those who stand outside their neighbour’s door.” (Translated by Rev. Drew and John Lazarus) If you make a list of all the persons who have moved away from the portals of Virtue, of all pickpockets, casehardened criminals, murderers et al, the person who stands at the farthest end away from Virtue would be the one who pines for another man’s wife.

My mind goes out again and again to mother Sita, Janaki, Mythili who took everything, withstood all the hardships and threats and temptations, even when there was not a single ray of hope worth it to hold on to. There cannot be a single soul who would not be moved to tears at her, being addressed lustily again and again, harassed, tempted by someone who is so powerful and clinging hysterically. But the fact remains that she stood like a rock, solid and not budging an inch from her position.

We will come to that later. Now confining ourselves to Ravana.

Predictably Unpredictable I

And Ravana makes his moves changing his position from one to the other quickly. He pleads, boasts, begs, admires, chuckles, frets and fumes…

Though he comes out with such elaborate preparation, Ravana knows how to use the situation and what is to be done. As soon as the procession of celestial damsels headed by him reaches the spot where Sita is kept in isolation, he dismisses them and they move away to such a distance that they neither cannot listen to the conversation nor cannot witness what is happening there. ‘aayidai arakkan arambayar kuzhuvum allavum vEru agala, mEyinan…’ Ravana reached there while the maidens and other withdrew… Ravana displays this kind of a precautious approach in several such instances. We will deal with this when we discuss the war council of Ravana.

All the efforts that went in to summon the members of the team that surrounded him, dressing and touching up – it was past midnight then – and the elaborate display were meant just to last for a few minutes and not more than that. His purpose was to impress Sita. He knew what would follow and he did not want these maidens and others to stand witness to what he was going to do! And once again he displays what he does not intend to display. His mind. His mean and cunning nature. And his weakness.

The scene is exceedingly gripping. The play of emotions is varied and crafted masterfully. We have two players in the forestage – Ravana and Sita, displaying exactly opposing emotions and in the backstage and in silence, we have Hanuman who is silently watching the scene. Hanuman is seeing Sita for the first time and is comparing the detailed description that he heard from Rama with the woman who is sitting under the tree. Valmiki shows him recalling the shape of the ornaments that Sita had dropped and comparing them with the tan marks on her body, for she has been wearing them for years together. He compares the colour and texture of the saree that she is wearing with that piece of cloth which she used to bundle the ornaments with and dropped close to them, as it was the very same saree that Sita was wearing all those days that she was in the custody of Ravana.

While his intellect is exceedingly active in drawing inferences and waiting for a confirmation of what he is inferring, his emotions are varied, quick changing and intense. He is overjoyed this moment on the arrival of Ravana for that confirms that this lady IS Sita. He is angered the next moment at the lecherous and lewd remarks that are spoken to her. He is unable to control his joy of having found her at last this moment. And is once again unable to control himself when he sees Ravana threatening her. He weighs the situation accurately and remains calm.

On the one hand, we have the tussle between the mind and the intellect. On the other, we have a Mythili who shudders like a timorous bird this second and takes the very form of temerity the very next and faces the brute and lashes out at him word for word and phrase for phrase. And Ravana makes his moves – tactful, was he? – changing his position from one to the other quickly. He pleads, boasts, begs, admires, chuckles, frets and fumes, exceedingly affectionate one moment and entirely audacious the very next.

Kamban captures the whole situation in a verse of four lines.

Predictably Unpredictable II

Ravana is never ashamed of telling white lies. We will see more of them…

As we mentioned yesterday, Kamban captures the minds of all the three in the scene in a single verse of four lines. ‘kUsi aavi kulaivuruaaLayum,’ (On the one hand) Sita was disgusted. Her soul was tattered. ‘aasayaal uyir aasu azhivanayum,’ (and on the other) Ravana’s spirit was flailing, by his own desire (consuming him) ‘kaasu il kaN iNai saandru enak kaNdanan’ Hanuman saw both of them with his own eyes testifying (to the events) ‘Usal aadi uLayum uLathinaan,’ and his own mind turned into a swing that moved forwards and backwards unendingly.

At first Sita turns pale at the very sight of Ravana and is frightened to the core ‘like a deer approached by a tiger,’ to use the phraseology of Kamban. She is repulsed and regurgitated by this fellow. Ravana hopes to succeed by alluring, by intimidation and by resorting to begging her. His stiff exterior and jelly like interior are unable to coexist and his spirit was flailing. Hanuman –as we saw earlier – was moving from one emotion to the other and his mind was swinging backwards and forth as to what he is supposed to do in the situation. But his stout and sturdy wisdom governed his emotions soon and he could remain a mere witness without reacting.

Ravana implores. ‘indru irandhana,’ dead are my todays ‘naaLai irandhana,’ and dead will be my tomorrows ‘en thiram tharum thanmai idhaal.’ And this is my condition today. (And if you continue to ignore me and my love for you), ‘enaik kondru ozhindha pin kUdudhiyO?’ What do you propose to do? Would you be satisfied at least when my desire for you kills me and would love me when I am dead?

He boasts. ‘I stand defeated in only one war. That is the war declared on me by cupid. That too, for your sake.’ And then tries to reason out with his kind of logic. ‘What is there left for you in the life with Rama? Let us agree that he might live to complete the period of his exile. And also, let us agree that you would return to Ayodhya. What would you get? After all the dull and vapid life of a human being!’ He begs poetically. ‘Has mercy and its offshoot, generosity, died a natural death in the house of Janaka?’

He is not ashamed of telling barefaced lie. ‘vIttum kaalaththu alariya meykkural kEttum kaaNdarkku iruththi kol?’ You have, with your own ears, heard the pitiable voice of your husband, who called your name and that of Lakshmana, at the time of his death. Knowing full well that he is dead and gone, do you still hope to see him? ‘kiLLai nI!’ You are as innocent as a parakeet. ‘naatum kaal,’ If you look at the facts as they are and if you recognise them as firmly as they are, ‘nedu nal araththin payan,’ that I desire you is the result of your piety. It is your good fortune that I love you. ‘igazhvadhu urum kolO?’ Does it befit you to hate your good fortune?

What kind of a lie! He knows for certain and in fact it was he who arranged with Marïcä to mimic the voice of Rama as if he was in death throes and call the names of Sita and Lakshmana. And he says now, ‘What is the use of your hope that your husband would come one day to take you away from me? You know that he is already dead! You had heard his voice yourself when he gave up the ghost!’

Ravana is never ashamed of telling white lies. We will see more of them. Imagine the kind of suffering and agony that these words would have caused Sita. This dainty woman, who had thus far lived a protected life, turns into flower of steel and hits back. She protects herself with her words.

And we see more of the misery of Ravana. His mind keeps flitting from one position to the other. And he does the most unexpected thing.

Hari Krishnan