The ‘not to be’ – Part I

Therefore, as far as Valmiki’s version is concerned, she is browbeaten, worn out – of heart, soul and body – frightened, confused about Sri Rama…

It is a sudden impulse that leads her to the decision of committing suicide, in Valmiki Ramayana. It is a sudden impulse and a strong sense of reasoning, which leads to that conclusion in Kamban. ‘He has forgotten me; he has given up on me,’ is the only theme around which her mind revolves in Valmiki, strengthening that feeling with various possibilities and probabilities and weakening her soul at the same time.

Valmiki paints the picture of Sita who is frightened, confused, helpless and dejected. She goes to the extent of thinking that the two might have given up practising archery, altogether, or might have even been killed. “Or those two brothers (Sri Rama and Lakshmana), the foremost of men, roaming as they do in the forest as dwellers in the forest and living on roots and fruits (alone) have actually given up their arms (and taken a vow of non-violence). Or the two gallant brothers, Sri Rama and Lakshmana, have been caused to be killed through some trick by the evil-minded Ravana, the lord of ogres.” (Valmiki Ramayana, Sundara Kanda, Canto XXVI, Sloka 44 and 45)

She therefore finds no reason for living any more. ‘The sages have overcome all pains and pleasures. They do not know sorrow, for they have not been abducted after all! I am not so!’ she thinks and concludes, “Situated as I am, I, who have been forsaken by my beloved Sri Rama himself, a knower of the Self, and have fallen into the clutches of the sinful Ravana, shall give up the ghost.” (Ibid, Sloka 49)

‘Let me die because Rama is not coming to my rescue for some mysterious reason and Ravana continues to torment me.’ This, in short, is the thought that drives her to that painful decision. A decision that one would not – repeat would NOT – expect this soul of iron will, who has gone through suffering indescribable for such a long time, to take. She sounded so valiant and so confident just moments back when Ravana was speaking to her.

She challenged him; answered him word for word; met every one of his threat with a counter threat and was undaunted. ‘raakshasendra maha sarpaan sa rama garudo mahan,’ she had told him. ‘All the ogres are like serpents. Millions of them. Innumerable serpents, of course, headed by you. Rama is like Garuda. As serpents would slither off to safety the very moment the shadow of Garuda falls on them, you would all scatter away when he arrives. Whoever stays there in the battlefield would be wiped out, even as Garuda (though single he be) kills millions of serpents in one go.’ This sudden transition from that position, within a very short time, takes us by surprise, especially so, when the basis for arriving at this conclusion is not explicit. One can say that it is absent.

Therefore, as far as Valmiki’s version is concerned, she is browbeaten, worn out – of heart, soul and body – frightened, confused about Sri Rama, dejected, unable to bear this any more when she takes the decision to commit suicide.

Kamban adds his own touch of class. He improves on the version of Valmiki with a stronger reason that Janaki has for taking that frightful decision. Sieve as hard as you may through the verses that have rolled out as her soliloquy, either in the kaatchip padalam, where we see her for the first time after her abduction, or in the uru-kaattu padalam, where Hanuman appears before her when she attempts to commit suicide. You will not be able to find a single line from her mouth that suspects, questions, debates, or thinks otherwise of Sri Rama’s stance. There is not a single line in her long soliloquy that tells us of her thought that Rama might have been killed or he might have forgotten her, or given up on her.

Therefore, as far as Kamban’s version is concerned, she is browbeaten, worn out – of heart, soul and body – frightened, dejected, unable to bear this any more when she takes the decision to commit suicide. As one would observe it, something is missing here, as compared to the version of Valmiki. She is not confused about Rama. She is very clear about him.

In fact, she takes that decision only because she is so very clear about what would happen. But just be patient and do not come to any conclusion for now, until we continue in our next post.

The ‘not to be’ – Part II

Kamban arms her repartees with sting, fang, nail and teeth. Black humour bubbles forth from her undaunted spirit.

Janaki’s twits and taunts of Ravana in Kamban match and even excel what she utters in Valmiki, in every manner. Be it the sense of humour bubbling through her seething anger, or be it logical application of mind and meeting every argument with a counter argument and refusing to budge from her decisive position, or be it any other aspect, Kamban’s Sita stands a step higher. Kamban arms her repartees with sting, fang, nail and teeth. Black humour bubbles forth from her undaunted spirit.

‘You make the most ideal target,’ she mocks at him. ‘paththu uLa thalaiyum, thOLum pala pala.’ You have ten heads and many, many shoulders. ‘pagazhi thUvi viththaga villinaarakuth thiruviLayaadaRkku Etra chiththira ilakkam aagum.’ That makes it so very easy and even ideal target for Sri Rama, the archer par excellence, to sport with. He is an excellent archer and his arrows are unfailing. But in your case, he need even take an aim. Wherever he hits, even without taking an aim, one of your heads or shoulders would be there to receive his arrows. Such a wide, broad and tall target that even a novice cannot miss! ‘alladhu seruvil Erkkum sathiyai pOlum?’ Or are you capable of defying his death dealing arrows? ‘mEl naaL sadayuvinaal tharayil vIzhndhaai.’ Did I not see you falling on the ground when the aged and withered Jatayu hit you? You were unable to stand even his attack for a long time. Do you dream of remaining alive, when faced with Rama in the battlefield?

‘You are speaking so much about your powerful shoulders that lifted Mount Kailash. I know what happened to you after that. My husband broke the bow of Maheswara, who kept you under his toe, beneath the mountain, that my husband broke to marry me. That massive bow broke into two when he attempted to string it.

‘malai eduththu eN thisai kaakkum maakkaLai nilai keduththEn enum maatram nErum nI,’ You who brag so loudly about your lifting the Mount Kailash and winning the cardinal elephants eight that guard the directions. ‘silai eduththu ilakkuvan nirkkach chErndhilai.’ But you were not to be found anywhere in the vicinity (of our hermitage) until Lakshmana stood there, guarding me, holding his bow in hand. You are a coward. You did not dare fighting with Lakshmana leave alone my endeared Rama. Such being so, as if the ignominy that you have earned thus far is not sufficient, ‘thalai eduththu, innum magalirth thaazhdhiyO?’ are you touching the feet of a (helpless) woman with your heads?

She undergoes the same turmoil as in Valmiki at the hands of the ogresses that guard her. And they are silenced by Trijata. Sita gets some respite and she goes back to the state of loneliness and brooding over the past and yearning for Rama. Here occurs the turn that pushes her hard towards that decision. The transition from the position of strength to that of ending her life takes place very smoothly. Kamban lets her display her deep understanding of Rama’s heart and the situation in which he would be placed, though loving her at heart.

‘porai irundhu aatri, en uyirum pOtrinEn.’ I have been patient all this long and bore the burden of my soul in this body, did not shed it. ‘arai irum kazhalavar kaaNum aasayaal.’ That was because of the desire of seeing him – of the warrior’s anklets – again. I lived this long, just to see him again. I have no other desire. But now I sense something. My brain has been dulled by my desire this long. It is not going to be easy for him to accept me. ‘niRai irum pal pagal nirudhar nIL nagar sirai irundhEnai,’ I have been here in the country of the demons for many, many days imprisoned by Ravana. ‘ap punidhan thINdumO?’ Would that unblemished soul (of Rama) be able to even touch me?

This thought is followed by a series of logical deductions through which she envisions the drama that lies in store for her. Let us see how she visualises that.

The ‘not to be’ – Part III

But let me think of the time after that. He might even accept me and take me back with him to Ayodhya. Would the people of Ayodhya be silent?

This thought did not occur to her until now. Even in the first scene in which the screen goes up on Sita for the first time after a long time, Kamban shows her fondly recollecting past events and incidents involving Rama. She thinks of Kakasura, – Jayantha son of Indra, who assumed the form of a crow – who pecked at her breasts repeatedly and how Sri Rama turned a blade of grass into a missile to punish hi. She thinks of Trijata, the Brahmin who used all the strength left in him to throw a stick to the farthest distance, in order to receive a gift of herds of cow. She recollects to mind the calm, collected and composed countenance of Sri Rama, when he was asked to accept the throne and also when he was sent on exile. She thinks of Parasurama and how his very appearance struck terror everywhere and how calmly Rama accepted and won his challenge. These are just a few of the thoughts that ripple in her mind, when we see her in the ‘kaatchip padalam.’ As we mentioned earlier, this is the scene in which Hanuman spots her.

We are able to understand that this has been her regular way of spending her time, setting her mind only on Rama and living with the hope that he would be there any moment, to rescue her and take her back with him. What the Poet draws is a quick sketch, a sample from regular routine. At this time, there is no question in her mind about the possible development after the rescue. But the taunts and torments of the ogresses – done with an extra zeal, with the incitement of Ravana that day – and the depression that followed leads her to think of the possibilities that stand her way, after she is rescued from the prison of Ravana.

‘I should have died by this time,’ she tells herself. ‘I should have given my life up the moment I came to know that I was thought of lustily by another person. ‘unninar pirar ena uNarndhum, uyndhu avar sonnana sonnana seviyil thUngavum,’ I have been thought of by another man! I have heard him speak to me lustily! His words remain in my ears permanently, burning my soul. I have been bearing this burden of my soul this long. I should have died by this time.’

These are words of depression and are not to be taken to mean what they seem to mean. We know that she was in no way responsible for what has happened and we also know that this is no sin that needs to be atoned with her life. She is depressed and the possible reality – in fact that turned out to be true later – threatened her very much. ‘Has he lost his love for me? Probably he might have forsaken me because I have been abducted and kept in isolation. He might probably be under the impression I am blemished. I don’t have a way of proving my purity alas!’

‘The only reason why I am living to this day is that, he would have no cause to fight for and would not be impelled to vanquish this demon, if I commit suicide. But let that be so now. I have no doubt that he would reach this place in search of me. He would kill Ravana. I don’t have an iota of doubt about that. But let me think of the time after that. He might even accept me and take me back with him to Ayodhya. Would the people of Ayodhya be silent? The best of women, pure of body, mind and soul, might mock at me!

‘varundhal il maanam maa anaya maatchiyar,’ (They are) Women of unparalleled modesty ‘perum thavam madandhayar’ and women of the penance of purity (in Ayodhya). ‘munbu pEdhayEn,’ Would I, the hapless fool, stand before them? ‘karum thani mugilinaip pirindhu kaLvar Ur irundhavaL ivaL ena Esa nirpanO?’ Would I be scoffed at by them? Would they not say that, ‘this was the one who was abducted and lived in the house of another man?

Would it stop with that? ‘Endless are the woes that await me!’

The ‘not to be’ – Part IV

That would be a peculiar situation when even Rama, her protector, would not be able to help her. That would be a painful moment…

‘I foresee a moment when I would be questioned in public. I foresee a moment when I would be questioned by the public too. Who is going to support me at that time? Who can, after all, stand witness to my plight here and testify to what has taken place in this unknown prison, unseen by a kind heart that can vouch for me, a person whose testimony is acceptable to all! Someone should see her, understand her and should be able to tell the world and of course, Sri Rama, that she remain there, pure of body, mind and soul. There is none around her who could undertake this responsibility and do it properly too!

She concludes at that moment. ‘anbu azhi sindhayar aaya aadavar van pazhi sumakkinum sumakka.’ Let it be so, if those men (Rama and Lakshmana) whose mind has become void of affection for me, may be denied of an opportunity of saving me from the hands that wrenched me away. Let it be that they would have to bear the brunt of blame that would emerge from the decision I am going to take. ‘vaan uyar thunbu azhi kulaththuL thOndrinEn.’ I was born in the house of Janaka and was brought up by those unblemished and righteous hands. ‘en pazhi thudaippavar, ennin yaavarE?’ The burden of proof lies on me! Who else, excepting my own self, can speak for me when I am questioned!

I clearly see what is going to happen. ‘arpudhan arakkar tham varukkam aasu ara vil paNi koNdu arum sirai mItta naaL,’ On the day when Rama destroys the race of Rakshasas and when I am taken out of this prison, ‘il pugath thakkalai ennin,’ if he says that I am not worthy of acceptance any more, ‘yaanudaik karpinai ep parisu izhaiththuk kaatuvEn?’ what do I tell him? What can I do at that moment? What can I do at all, that would establish my purity? What would keep my stature above board?

She foresees that that would be a no go situation. That would be a peculiar situation when even Rama, her protector, would not be able to help her. That would be a painful moment when he would have to perform the act of repudiation, himself. He may like it, or may not like it. He would be left with no choice but to question her. He may not suspect her purity. He might even believe in her faultless quality. But then, he is a king. He is a person who would be assuming the responsibility of the head of the state. He would not like to set a wrong example to his subjects. ‘I am left with no choice now,’ she concludes, ‘but to shed my life.’

Though nothing can justify that decision, let us just say that she was left with no choice. That moment was so dark that even her strong will failed. This moment should not be taken as an example for any of us, whatever be the circumstance. She is not setting an example now. She is dejected and depressed. She needs to be understood properly. It was not out of cowardice she came to that conclusion. She thought that that was inevitable. Once again, this is not to justify that decision.

‘At last there is respite!’ she thought. ‘It is my good fortune that the guards are sleeping now. I would not be able to put my thought into action, when they are awake. This is a rare opportunity. Let me end my life now.’ But, how to enact what she desires now! “I would shortly part with my life through poison or even by means of a sharpened weapon. In the abode of Ravana an ogre, however, there is none to give me poison or a weapon.” (Valmiki Ramayana, Sundara Kanda Canto XXVIII, Sloka 16)

Who is there that would make poison or a weapon available to her! She then took off the string that was used to tie her braid. “Reflecting on various lines and (then) seizing the string that tied her hair, Sita, who was tormented with grief, now thought (within herself):- ‘Tying my neck with the fillet that ties my braid, I shall proceed to the presence of Yama.” (Ibid, Sloka 7)

She stood under the Simsupa tree, with the string in hand. Hanuman is watching her from above, perched on the same branch of that tree. He has a difficulty. He – a male and a stranger – would not be able to jump before her, hold her – who is frightened already – by her hands to stop her from taking the next step.

Dawn follows darkness

The story of Ramayana – and that of Mahabharata – has been built around human nature, emphasising human nature…

The saying is ‘darkness resides at the foot of every lamp that dispels light.’ Every lamp has a strip of darkness in the form of its own shadow and every eye has a blind spot. It is no wonder that darkness enshrouded this light of lights, too. As a matter of abundant precaution and at the risk of repetition, I would once again like to stress that Janaki is to be seen as a human being, made of flesh and blood, like everyone of us. This moment is not to be extended to the Supreme Force behind the avatar.

As we are going to see when we take up the study of Sri Rama, he was no exception too. He went through life, through all its pleasures and pains like every one of us. And he rose above those moments, so high, not like many of us and thereby indicating that every ordinary soul can evolve too. Every ordinary man or woman can endeavour and reach greater and still greater levels.

The story of Ramayana – and that of Mahabharata – has been built around human nature, emphasising human nature, depicting every single shade of it and at the same time holding the beacon aloft and letting the light fall on the soul and leading and guiding it to grow and evolve, beyond barriers – both external as well as those that remain within. This is no time, however, to elaborate on this point and go into its intricacies. It will be taken up later at an appropriate time.

The Epics are to be studied, keeping the human nature in focus. It is the human nature, which is to be seen in the drama that unfolds itself with the turn of every other page. As Right Hon’ble Srinivasa Sastriyar points out, “It appears to me, furthermore, that it is no act of impiety to study the Ramayana as an epic poem concerning human beings. It is an act, on the other hand, which gives to Valmiki his own due, establishes him as a man who held in his mind – assuming that he was the one that wrote the story – a clear, fully-formed, full-blooded conception of men and women of superior ability and superior value to us, of superior moral stature. I would exhort you all to read the poem from this point of view.”

If it was a moment of darkness, it was not without the seed of light in it. If it is true that every light has a shade, it is also true that every stygian-darkness has the seed of light in it. The seed was there in the moment, waiting for the right moment to appear.

Janaki reached the Simsupa tree, stood under its branches, with the string that was used to tie her braid in hand, with the idea of strangulating herself with that string. But she stopped. Strange feelings overtook her. Again, this is not unlike what happens to every one of us, who experiences depression, who goes through patches – or even long periods – of tough times. What remains to be added is that only the strong of heart respond to such feelings and recover. When a person is oscillating between moments of dejection and moments of hope, he or she still has a choice to be appealed by light, to be reassured by that ray of hope, however small it is. Dawn follows darkness so very naturally. However, to move from the position of dejection to that of determination a person needs strength. Strength of character and strength of faith.

Monkey in a dream

She got the impression that she was dreaming. Instead of being delighted at the message, she was worried very much.

Communication was the greatest challenge before Hanuman that day. He quickly assessed the situation and understood what Janaki intended to do. While Janaki was pondering on the question of her existence, he has been debating about the mode of communication and the way he should speak to her thus far. ‘If I speak to her in language of the elite, chances are that she may get the impression that Ravana has come to her once again, assuming the form of a monkey. And therefore, I should speak to her in the language of the common man. “The human language alone (as spoken about Ayodhya), which will convey my meaning (to her) needs must be used (by me). This irreproachable lady cannot otherwise be restored to confidence.” (Valmiki Ramayana, Sundara Kanda, Canto XXX, Sloka 18)

It was not only the language that he had to decide about. He had to think of the possible developments because of the strange combination that he was. “Beholding my (monkey) form and hearing my (human) speech however, this celebrated daughter of Janaka, already terrorised by the ogres, will give way to fear all the more.” (Ibid, Sloka 20)

Even if he speaks to her as a commoner of Ayodhya would, a monkey speaking like a human being would certainly instil fear in her, especially in the present state of her mind. That, instead of restoring her confidence, might worsen the situation. She might be so terrified and raise an alarm. The guards might wake up. That would worsen matters and make things difficult. That would spoil the super-human efforts that he had to make to reach Lanka, sieve the entire country within a very short space of time and spotting her. The job would not be complete until he conveys to her that Rama is making efforts to spot her, reach her and take her back.

But the sudden move that Sita made did not leave him much time to think. He had to act fast and very fast indeed. Once again, constraints stood between him and his way. If at all he has to stop her from her attempt, he has to jump down from the bough on which he was perched and hold her by the hand at least. He would then set the forest fire on, in his attempt to put out the flames on the roof! But then, it was no time to debate and decide. He should act fast.

The moment demanded his quick decision. He knew that only the utterance of the name of her husband would instil confidence in her. He chanted ‘Rama nama’, within the earshot of Sita. He sang his praise. He drew a quick sketch on the birth, brought up, marriage, exile, abduction of Sita, the killing of Vali and the friendship between Sugriva and Rama. Sita heard that soliloquy of Hanuman. It was actually no soliloquy. It was intended for her ears. The utterance of the name of Rama and the narration went into her being as elixir. This was the manna that she was waiting for all along! That made her forget her surrounding, her being and stopped her from taking a further step in the direction that she had decided.

‘But she had a reason to worry about,’ Valmiki jokes as the crisis seems to budge a little. She opened her eyes and looked all around for the source of this nectar that is finding its way to her heart through her ears. She found a monkey sitting on the branch of the tree, above her. She got the impression that she was dreaming. Instead of being delighted at the message, she was worried very much. Her mind runs wild. ‘Perceiving a monkey in a dream is a bad omen! What has happened to my Rama!’

“This hideous dream has been seen by me today. The vision of a monkey has been condemned by the scriptures. May good luck attend on Sri Rama with Lakshmana as well as on my father, King Janaka.” (Ibid, Canto XXXII, Sloka 9)

But she realises in the next moment that it could not be a dream, for she had not slept a wink right from the day she was brought to Lanka.

This particular scene in the Ramayana contains interesting lessons for those interested in communication and human relations.

The Natural and the Supernatural

Think of the wonderful thought and grand design. The Rakshasas and the Vanaras were superhuman, while the Supreme that trod this earth…

Speaking of the supernatural elements in Ramayana, Sri VVS Aiyar observes that these fall under two major classes, namely, Rakshasas and Vanaras. Elsewhere we classed the demons into two major divisions, namely, those who were demons because they were born in that race and those who became a demon to a curse and waited for liberation from that form.

Well, of the major divisions that Sri V V S Aiyar mentions, the Rakshasas are endowed with an extraordinary ability of what is known as ‘morphing’ in computer parlance. They could change their shape, appearance, or form at will. Almost all of them had this ability, excepting the very ordinary and those that belong to the lower rungs known as ‘kimkaras’. As suggested by the very name, they performed nothing more than the role of errand-boys – or we should more appropriately call them thugs who performed ‘minor’ errands. Minor by the Rakshasa standards, to be precise!

The Vanaras, as we know, were no ordinary monkeys. Most of them were learned and were well versed in the Scriptures. They spoke like humans. Most of them equalled the human being in most respects, with the sole exception of their physical appearance. They were massive and well built. They matched the prowess of Rakshasas, the difference of course lying in the fact that one constituted all that goes in the name of evil and the other stood by the side of good and were born of divine ordain, to play their part in vanquishing the evil.

Though endowed with almost all the powers that the Rakshasas enjoyed, the Vanaras did not have the ability of ‘morphing’. Hanuman is the sole exception in the whole army of Vanaras who could change his form. He could assume a physique that matched the tallest of mountains or the tiniest of insects, at will. The memory of this ability was lost to him for a long time until he was reminded by the stalwart, Jambavan. ‘meru girikkum mIdhura nirkkum peru meyeer,’ he tells Hanuman before he ventured on his long jump across the ocean. ‘You can – at your will – grow as large as the Everest. ‘maari thuLikkum thaarai idukkum vara valleer.’ Or you can be so tiny that you can – during the heaviest downpour – fly through any two raindrops without getting wet.

But even in the case of Hanuman, he could either grow or reduce in size. He could not – or at least he did not – change his form. The only time that we see him assuming the resemblance of a human being is during the first meeting he had with Sri Rama. He is shown in his monkey form throughout the epic, but for this single instance.

Think of the wonderful thought and grand design that has gone into the narration of the story. The Rakshasas and the Vanaras were superhuman, while the Supreme that trod this earth in the form of this loving couple, were nothing more than mere humans. Sri V V S Aiyar says, “Although Rama and his brothers are divine incarnations, Kamban, like Valmiki, treats their actions as those of mere human heroes, only endowed with some extraordinary powers. For instance, Kamban does not gift Rama with the pervasive power or enormous size and strength of Hanuman, though everywhere he reminds us that he is the Supreme One who is immanent in everything and who transcends even the Three Persons of the Trinity.” Rama and Sita are portrayed as ordinary human beings undergoing every single shade of emotion and the likeness of situations that we undergo in our mundane existence. Rama, of course, has access to divine weapons, which is the only difference that sets him apart as far as ability is concerned, his penchant for Dharma notwithstanding. We will elaborate on this later, in our study of Rama.

Let us reflect on the scene at hand a little more.

irakkamE vadivaai vandhu…

He came here as the very epitome of mercy. And he chanted the name of my Lord!

The Divine walked this earth and lived a life like any of us. ‘anantha sakthikkuk kattupaduvadhilE varuthamillai,’ said Subramania Bharati. The Omnipotent is willing to be bound and be shackled. The Omniscient so readily plays the role of the one who has lost his head. The Omnipresent with a smile restricts itself to the rules of Time and Space. Just to tell the very ordinary soul that no difficulty is insurmountable; no problem is insoluble; and no situation in life could be as bad as to lose all hopes. We are not for now, however, going into the philosophical and metaphysical aspects that are implied. Our focus is on the message that Ramayana gives for our everyday existence.

If that was not the idea, would the Poets have depicted this enthralling scene of Mahalakshmi – who is the Goddess of Courage, Dhairyalakshmi as She is known, being restored to confidence, and that too through Hanuman, a devotee! Though Hanuman considers himself a servant, a devotee and nothing more than that, Sita does not look at him that way. She surprises us in a later scene, when she tells Hanuman, ‘You are fit to be even worshipped by me.’ If Hanuman sheds tears of joy and melts in devotion, she is so moved by the great deeds performed Hanuman. We will speak of this at an appropriate time, later.

As we mentioned earlier, the monkey form was the major constraint that stood between Hanuman and the performance of his duty at this moment. He had to appear natural, sound natural and behave in the most natural way in order to convince the terrified, perplexed mind of Sita, who had lost all hopes and bring her back to her natural self.

Hanuman stood like a very ordinary monkey, in size and form that day, when he made his first appearance before Janaki. Was she shocked, surprised, delighted, or was she perplexed in disbelief! It is difficult to judge and isolate the emotion that ruled her mind at that moment. We can just say one thing for sure. She was thrilled. Valmiki indicates the inexplicable joy that comes over her and the good omens that she perceive, a few seconds before Hanuman starts chanting ‘Rama nama,’ even as she stands there under the Simsupa tree in order to shed her life. She experienced strong palpitations of her left eye, left hand and the left leg. That was something very strange. She had not experienced this joy in the recent past.

That, combined with the melodious rendition of the name that ruled her heart did play the much-needed magic. The question as to whether this was a demon or a monkey, and whether he has appeared here for good or not, still troubled her. Kamban shows her coming to a quick decision, in a snap. ‘Whatever it is. I simply am not bothered,’ she tells herself.

‘arakkanE aaga.’ Is he a demon? Well, let that be so. ‘vEru Or amaranE aaga.’ Or does he belong to the celestial lot? That doesn’t matter. ‘andri,’ Or else, ‘kurakku inaththu oruvanE aaguga,’ let him be the simple and plain monkey that he is. ‘kodumai aaga.’ If he represents something evil, let that be so. I don’t care any more. ‘irakkamE vadivaai vandhu,’ He came here as the very epitome of mercy. ‘embiraan naamam solli,’ And he chanted the name of my Lord! ‘urukkinaan uNarvai.’ He melted my heart with that Name of my Lord! Is that sufficient for me! ‘thandhaan uyirai.’ He brought my failing soul to life! He suspired hope in me and restored my faith! ‘idhin udhavi uNdO?’ Can there be a help greater than this!

Think of the situation once again. It is the Mother, the Goddess of Courage, who is uttering these words! My salutations!

He sweeps into action

Kamban’s Hanuman is the quick, easy and full-spirited self that he is, especially at such critical times.

Appearing before Janaki in the shape of a normal monkey, Hanuman saluted her with joined palms over his head. Even though he has come to the right judgement and concluded that this is the woman for whom millions of monkeys are looking for, he double-checks whom he supposes her to be. He sounds very formal and commences his enquiries about her as a complete stranger like him, who is not very certain about her identity, would. ‘Who are you irreproachable lady and what is the reason for these tears? Are you from the Gandharvas, Yakshas or are you God? Since you are in distress and are pronouncing the name of a king, I do not think that you belong to any of these.’

His speech is quite descriptive about her pathetic appearance. At the end of his eleven-Sloka long address, he seeks for the information and lets her know whom he believes her to be. “If you are Sita stolen away forcibly by Ravana from Janasthana (kindly) reveal it to me, who am inquisitive (about it). May prosperity attend you! Indeed the sad plight, the ethereal beauty and the garb marked with asceticism, the like of which are seen in you, lead me to conclude that you are undoubtedly the consort of Sri Rama.” (Valmiki Ramayana, Sundara Kanda, Canto XXXIII, Sloka 12 and 13)

The development of the idea and the enquiry about her identity is a little long, considering the urgency of the situation. Kamban’s Hanuman does not display an iota of doubt. He is not in doubt in Valmiki too; he simply double-checks. Kamban’s Hanuman is the quick, easy and full-spirited self that he is, especially at such critical times. Just as his announcement of the good news to Rama bubbles with enthusiasm and conveys the essence in the very first word of his report to him, ‘kaNdanan karpinukku aNiyaik kaNgaLaal,’ ‘Saw I the jewel of purity with my own eyes’, his message to Sita starts with enthusiasm, delight and is full of confidence.

‘adaindhanan adiyenEn iraaman aaNayaal,’ Reached I here, your servant, at the behest of Rama. Just four words. Power packed and full of passion, devotion and confidence. That says it all. ‘Do not worry any more! I have come. I am the servant of Rama and therefore naturally your servant too. Rama ordered me to find you out.’ That says that Rama is well and is anxious about her. That says that Rama has initiated action to find her out. That says that Rama is assisted by Vanaras, who are devoted to him and the word, ‘aaNayaal’ emphasises the fact that Rama commands their respect and they carry out his words, most willingly and most obediently.

‘Numberless are the monkeys like me who are looking for you right at this moment,’ he assures. ‘kudaindhu, ulagu anaiththayum naadum kotpinaal midaindhavar ulappu ilar,’ Myriads are the monkeys that sieve every nook and corner. ‘thavathi mEvalaal madandhai! nin sEvadi vandhu nOkinEn.’ It is my good fortune and the result of my penance that I am blessed to pay my obeisance at your feet.

Though this quickness is in consonance with the demands of the situation, it might sound a little rash. He is a total stranger and she is a frightened woman. She does not have such emotional bonds with this unknown monkey, that she could take every single word of his for granted. She is already afraid that this may be another illusory feat of Rakshasa maya. Hanuman beautifully balances the situation in the third verse of his message.

The ice is broken

That is the poetry of Kamban. He would beat his luminous wings in the void and materialise the vision that that enthralled him in hundreds of lines. And at the right place, he would…

Hanuman keeps his fingers on her pulse. He senses every single thought that might be running in her mind. Being a person who is well versed – among other things – in body language and its interpretations, it was not at all difficult for him to read her thoughts from her eyes, facial expressions and her gestures. He reassures her quickly. ‘ayyural!’ Do not be in doubt.

‘unadhu adayaaLam aariyan mey ura uNarththiya urayum vEru uLa.’ Sri Rama, my Lord, has painted a vivid verbal-picture of you and I have seen you already in my mind through his words. It is not only that. I carry indubitable evidence with me to establish beyond doubt that I am a messenger from Rama. ‘kai uru nelli am kaniyin kaaNdiyaal.’ I would show the evidence to you presently. You may see for yourself and be convinced.

He adds as his final supplication. ‘nei uru viLakku anaai’ O mother mine who shines bright like a lamp! ‘ninayal vEru.’ ‘Do not think otherwise.’ Those last two words are wonderfully packed to the brim, and they convey so many things. Do not suspect me. Do not think that I am a demon in the guise of a monkey. I am your servant and am sent by Rama. I have evidence to that effect. Therefore, ‘ninayal vEru.’ Do not think otherwise, letting your mind go behind such questions as to how was it possible for this monkey to cross the ocean et al. I will answer all your questions.

There is more to it. Those two words plead for acceptance and at the same time convey a supplication. ‘ninayal vEru.’ Do not think of the other course that you have proposed now. Drop that thought. There is no need for ending your life O light of lights! You have a strong reason to continue to shine bright and clear.

That is the poetry of Kamban. He would beat his luminous wings in the void and materialise the vision that enthralled him in hundreds of lines. And at the right place, he would use the minimum number of words to convey the vital information, loaded with series of messages that can be understood very clearly and with ease, leaving no room for doubt of any kind. And that too, when these words roll out of the learned mouth of Maruti, they gain extra flavour and fragrance and extra significance.

Janaki melted. She felt much lighter now. The initial suspicion that popped up in her mind about this monkey seemed to vanish. She solidified and moved towards her original self again. ‘There is nothing to lose for me now. Let him be the demon or celestial or just a monkey. I believe him because he chants the name of Rama.’ (See: irakkamE vadivaai vandhu… for a detailed narration of the verse.)

‘ena ninaithu,’ she thought thus. ‘eydha nOkki,’ and looked at him intently. ‘irangum en uLLam,’ she thought. ‘His looks and words move my heart.’ ‘kaLLam manna agathth udayar aaya vanjagar maatram alla.’ These words cannot come from a heart that harbours ill will, malice and bad intentions. And therefore, I have reason to believe him. If he is not speaking the truth, my heart would not have been appealed by his words. She reasoned with herself and seemed to be convinced. She was not convinced completely. And then she looked at his visage. ‘ninaivudaich chorkkaL,’ These words are from his heart. ‘kaNNIr nilam puga pulambaa nindraan.’ He is moved to tears at my plight. It is not possible for a person to be moved to tears unless he speaks his heart. These tears are the sign of a heart that weeps for me. She was not ready to accept him unquestioningly, even now. Her experience has been that bad. Ravana sanyasi wore this innocent appearance the other day. She thought that she had reason to believe in him. ‘vinavudharkku uriyan,’ she decided. ‘I should enquire him. He deserves to be spoken to. He should be enquired. May be he is true. May be he is from Rama. Let me ascertain from him. ‘vIra nee yaavan endraaL.’ ‘Who are you, O chivalrous person,’ she asked.

Stopping her from her intention needed a very tactful move. Hanuman succeeded in making her listen to him and speak to him too. The ‘enquiry of a stranger’ that Hanuman made in Valmiki is more appropriately shifted to Sita. She enquires him, instead of Hanuman enquiring her.

An errand boy I am…

‘So, this is only an errand boy! He says there are numberless commanders-in-chief who excel him! What could stop my Rama…’

Kamban moves away from the footsteps of his forerunner, completely and adopts his own style in the treatment of this scene. The way Hanuman approaches Maithili, the way he opens the subject, the methodology he adopts, the characterisation – more especially that of Hanuman – differ more than considerably, while the central theme of the scene is preserved as it was portrayed in the original. The structure – finding her, ascertaining her identity, winning her confidence, conveying the message – remains the same. But the method of construction differs completely.

Focussing on the development of characterisation, we would be able to see the main difference in the responses of Maruti. If he says, ‘I am the son of Kesari, a very powerful monkey. I equal Vayu, to whom I was born, in force. I am known all over the world for my exploits,’ he does so to instil confidence in her. One has to speak of his or her achievements, at least as such critical times and at times when the situation so demands. We hear even Sri Rama making such self-confident assertions.

Taking the situation into account and the need to reassure her, one cannot say that Hanuman’s references to himself in the long narrative he draws on the Vanara army, to be boastful. He extols the qualities of Rama, he tells her how friendship grew between Sugriva and Rama, he gives her the information how Vali – who put Ravana to shame with his tail – was felled by a single arrow of Rama, speaks of the mighty army of monkeys, who resembles mountains et al.

However, there are certain Slokas in the speech of Maruti that seem to border on boastfulness, to the critical ears. Let us see the following piece, for instance.

“Feeling happy and strong, resolved as they were to discover you, all the monkeys headed by Angada (then) arrived near the seashore. The monkeys, however, who were very keen to find you, fell a prey to a terrible anxiety (at the sight of the sea). Dispelling the acute fear of the monkey army, which was sinking into despondency on beholding the sea, I forthwith leapt across a distance of one hundred Yojanas (or eight hundred miles). Nay, Lanka too, which is crowded with ogres, was duly penetrated into by me at night.” (Valmiki Ramayana, Sundara Kanda, Canto XXXV, Sloka 70 to 72)

Hanuman is speaking the truth. Who can deny that? That’s how it happened and he is making a report of it. ‘The monkeys resemble the mountains. They are very strong and powerful and nothing is impossible for them. Headed by Angada, the team – that includes me – reached the seashore. We were informed by Sampati, the brother of Jatayu, that you could be found here in Lanka. The question of crossing the ocean arose and the ‘great’ monkeys felt despondent. They fell a prey to ‘terrible anxiety’ and I came forward to dispel that fear and jumped across the ocean. Lanka is a place which is full of fierce ogres guarding its portals. But I entered the city undauntedly during the night, unseen by any of those terrible watch keepers.’

That’s how it happened and Hanuman is recounting all his exploits. But he speaks of despondency that came over the army of Vanaras; he tells her that he dispelled their despondency since he is the only one who could cross the ocean.

Kamban’s Hanuman gives this very same information. He extols Rama; speaks of the friendship of Sugriva and Sri Rama; the killing of Vali et al. He does not speak highly of his exploits. He sounds very modest. Not a single word is uttered about his personal exploits. He says that he crossed the ocean, of course. But he adds, ‘Do not be enamoured by what I did, O mother mine! I am just nothing before the others in the Vanara army.’

He would tell her that he is a mere errand boy in the army, assuming the form in which he originally appeared before Maithili, after showing her his viswa-rupa. Reducing his size he says, ‘eNNaRkku ariya padaith thalaivar, iraamarkku adiyaar.’ Myriads are the commanders-in-chief (and if so, think of the size of the army!) who are devoted and dedicated to Rama and serve him. ‘yaan avardham,’ Of them, I ‘paNNaikku oruvan enap pOndhEn,’ came here just as a mere specimen – a not so good specimen at that – of a sea of an army that consists of warriors who excel me in every respect. ‘Eval kUval paNi seyvEn.’ Mother, I am nothing more than an errand boy in that army!

‘So, this is only an errand boy! He says there are numberless commanders-in-chief who excel him! What could stop my Rama in reaching this island, assisted by such powerful monkeys, better than this one whose ability is impressive and who grows so tall as to touch the sky, with the stars shining like diamonds in his crown, and shrinks back in a trice!

He sounds modest and delivers more than what is demanded. Let’s now get into the architectural details of the scene, as constructed by the two Poets.

What a wrong step might mean

It is only natural that excitement takes over anyone who is faced with as formidable a task as Maruti was. We saw the constraints that stood…

Valmiki focuses more on the psychological aspects of the personalities involved in the scene, namely Sita and Maruti. The way he develops the drama emphasises the fact that the ‘counsellor’, whose endeavour it is to pull the ‘counselled’ out of the morass must first of all not yield to excitement of any kind and remain focussed on what he or she is supposed to do, until the job is completed in all respects. Excitement may lead the person to put the wrong foot in the wrong direction. And the wrong step, however small it is, might create unexpected setbacks and might make the task in hand even more difficult.

It is only natural that excitement takes over anyone who is faced with as formidable a task as Maruti was. We saw the constraints that stood in the way of Hanuman in his attempts to stop Janaki from taking another step towards her decision of shedding her life. We have also seen how elaborately he foresees the difficulties that lie in the way of his communication. His being a male, his monkey form, the language that he must use for his communication – not definitely in Sanskrit, since that might cause her to think that it was Ravana who has come in the form of a monkey and be terrified even more – the strange phenomenon of a monkey speaking like humans etc., made the task almost impossible.

As we saw earlier, he appeared before her uttering the name of Sri Rama and announcing that he is an envoy from him. That stopped her. She heaved a sigh of relief. “Ah! The popular adage that ‘yeti jiivantamanando nararm varasha shathaadati’ ‘joy comes to a surviving man, even though (it be) at the end of a hundred years’ appears to be true to me,” she muttered to herself. (Valmiki Ramayana, Sundara Kanda, Canto XXXIV, Sloka 6).

She was delighted at the opening statement of Hanuman. The utterance of the name of Rama and the message that an envoy of Rama has arrived silenced her mind and she did not trouble herself with the logical aspects, as he feared. ‘I now understand the validity of the statement,’ she told herself, ‘that happiness comes to a person who lives, if not now, after a hundred years and therefore the desire to live must persist. A person should never allow himself to be hounded by the thought of suicide, however tough the situation might be. Because, happiness awaits the person who lives and the person who decides otherwise, denies happiness an opportunity.’

Maruti must have been excited about the ease with which he could start his message and the readiness with which she responded and also at the indication of delight that is evident from her person. More over, what she told herself just now made it more than clear that the thought of giving her life up has vanished from her mind for good. This easy first step – and a very big one at that – in the right direction obviously excited Maruti. He forgot the situation for a moment. He forgot what he is doing, to whom he is speaking and in what state of mind she is. The natural happiness that filled him as a result of their minds coming closer made it evident through his body language. He moved a step closer to her. Quite unwary of the consequences. It is un-Maruti-like in every respect. But that initial excitement overtook him as well.

That single step, that one wrong step, pushed the situation back to square one. “The nearer did the celebrated Hanuman draw (to her) the more did that Sita suspect him to be Ravana.” (Ibid, Sloka 9)

‘Oh no! It is that fellow again in another form now! He appeared as a modest mendicant that day and deceived me! And now this is another illusory trick he is playing on me!’ She withdrew. The situation changed to the negative side as dramatically as it moved seconds back in the positive direction. “(She said to herself) ‘Oh, shame! What a pity that I held (all) this converse with him. Indeed he is the same Ravana who has come here assuming another guise.’ Letting go that branch of Asoka tree, Sita, for her part, of faultless limbs, sank down on that very ground (on which she stood), exhausted as she was through grief. Thereupon Hanuman (of mighty arms) saluted the aforesaid daughter of Janaka. Sore stricken as she was with fear, Sita, however, no longer raised her eyes to him.” (Ibid, Sloka 10 – 12)

Even though he saluted her, she was not ready to look at him. He could not draw her attention to him in any other manner. Just one-step in the wrong direction and the situation turned formidable once again!

An error of omission too

If that was an error of commission, Hanuman of Valmiki perplexes us with an error of omission too.

That made things extremely difficult for Hanuman. ‘He is not an envoy of Rama as he claims to be,’ decided Sita. “Surely you are the same Ravana who, having assumed the guise of a vagrant recluse abandoning your native form, were seen by me in Janasthana. It is not right, O ranger of the night, able to change form at will, that you should once more torment me, emaciated through fasting and miserable as I am.” (Valmiki Ramayana, Sundara Kanda, Canto XXXIV, Sloka 14 – 16)

Her mind would fight against accepting him as the emissary of Rama this moment; it would ache for the manna of her life – the message from her husband – in the next. ‘Perhaps he might be speaking the truth. It is possible that he has the reason for my survival, the message from Rama, with him. I should give him a chance and should listen to him,’ she would think now. ‘But it is not possible for monkeys to leap across the ocean! Don’t I know the vastness of the ocean that separates the island and the mainland! No. It is not possible for anyone to jump across the ocean. I know. It is Ravana or one of his agents who has assumed the form of a monkey and has come to me with some ulterior motive,’ she would conclude again.

It takes a long time for her vacillating mind to pacify itself and decide to seek for proof. “Where did you contact Sri Rama come about (and) how do you know Lakshmana? And how did a meeting take place between monkeys and human beings? Describe in detail once more those distinctive marks, which exist on the person of Sri Rama as well as on that of Lakshmana, O monkey, so that grief may not take possession of me. Tell me what the shape and form of Sri Rama as well as Lakshmana are like. What are their thighs and arms like?” (Ibid, Canto XXXV, Sloka 2 – 4)

That gave Hanuman the reason for heaving a sigh of relief at last and he drew a quick sketch of Vali and Sugriva and of the friendship between the latter and Sri Rama. The poet exploits this opportunity to thrill the heart of not only Janaki but also the reader, with a limb-by-limb portraiture of Sri Rama. Both the Poets do so, though Kamban has skipped the incidental faux pas of Hanuman and made it easy for him to communicate.

If that was an error of commission, Hanuman of Valmiki perplexes us with an error of omission too. Hanuman cajoles and coaxes her for a long time, pleading with her to believe his words. Quite some time is spent on this exercise. “Relying on my own prowess, I have come to see you. I am not what you suppose me to be. O godlike lady! Let this misgiving be shaken off and (pray) believe my words as I speak.” (Ibid, Canto XXXIV, Sloka 40)

His narration of Rama and the past incidents involving Vali and Sugriva runs the length of a whole canto – about ninety Slokas. At the end of this long, long peroration, Hanuman produces the signet ring of Sri Rama to authenticate his identity. We are unable to resist a smile and are tempted to think ‘He must have done that right in the beginning!’

He is in possession of that indubitable evidence; but he does not even refer to it all this while! He could have produced it at least when the situation became difficult for him! That only leads us to conclude that while excitement made Maruti to take a wrong step, the sudden turn of events perplexed a person of his stature too. He must have really forgotten this vital piece of evidence that could have saved the situation right at the beginning.

Valmiki develops the scene in the natural psychological order. He lets the minds play all the possible games. Games people play. His brush moves ahead, drawing curious and intriguing but definite lines.

Let us now turn to Kamban who has his own way of story telling.

The Relations Manager

Do you remember? You bundled your jewels and threw it down amidst several monkeys that were found on a hill? I am one of those monkeys.

Kamban gives a different dimension to the characters – especially that of Hanuman – in the parallel scene. He smoothens many a wrinkle in one go by slightly changing the narration. He skips that portion on Hanuman putting the wrong foot forward. (See: What a wrong step might mean) That avoids a lot of complications. Not only that. Kamban’s Hanuman is the embodiment of wisdom that he always is, as he is depicted in Valmiki – with the exception of a few minor errors that we have discussed in our last post and the one preceding that.

Kamban’s Hanuman seizes the opportunity quickly and starts his elaborate answer the moment she enquires about him. (See: The ice is broken) He starts with a quick introductory sketch that neatly rolls everything in place. He says that he is son of Vayu and the minister of Sugriva, whose brother Vali – so powerful that the celestials sought his help in churning the Ocean of Milk and so valiant as to put Ravana to shame – was killed with a single arrow of Rama. That gives all the necessary information, without her having to seek for any of it. It gives his identity, how he relates to Sugriva, functionally, and also explains how Sugriva and Rama came closer together. More important. It says that Rama killed Vali – the vanquisher of Ravana – quite effortlessly, with a single arrow. The information is ‘slipped’ beautifully. It informs her and at the same time emphasises and assures her.

He refers to the Vanara army in the next verse. ‘ezhubadhu veLLam koNda eNNana.’ ‘Seventy Vahini strong is the army. ‘ulagam ellaam thazhuvi nindru eduppa.’ If they put their shoulders together, they would move this earth away from its position. ‘vElai thanith thani kadakkum thaaLa.’ Every single one of them is capable of crossing the ocean. Look at the emphasis. They are a team. Nothing is impossible for this team. Even if you want this team to move the earth away from its path, they would swing into action as a single entity. Individually speaking, every single one of them is capable of jumping across the ocean.

‘All my Vanara friends were worried when we realised that you are imprisoned in an island, far away, separated by the sea. I assured them and jumped across the ocean,’ is what Valmiki’s Hanuman says. (See: An errand boy I am) ‘Every single monkey can jump across the ocean,’ is what he says here. We have discussed sufficiently about the effects of this change and I leave it to the sharp intellect of the reader to infer and deduce.

Once the much-needed introductory piece is properly rendered, Hanuman turns his attention to reassure her about Rama’s love for her. Has he not observed just now what she was about to do? Has he not inferred what drove her to that step? Is he not aware of the possible injury that a soul worn out and weather beaten would have sustained by worry, anxiety and an endless period of waiting, the reasons for her survival deluding her and leading her to conclude otherwise about Sri Rama?

‘Seventy-Vahini-strong army is sieving this world, for information on you, right now,’ he tells her and the next moment slips another information. ‘Of all the lot, Rama took me aside and gave a vivid description of you.’ That is, he lets her know that he is the most trusted servant of Sri Rama. Just a line before that information, he builds and establishes her personal relations with her.

‘pun thozhil arakkan koNdu pOndha naaL,’ On that day when Ravana carried you away ‘podhindhu thoosil kundrin em marungin itta aNigalak kuriyinaalE,’ Rama took me aside and has given me a detailed description of you O mother mine. If he did so, there is a reason for that. Do you remember? You bundled your jewels and threw it down amidst several monkeys that were found on a hill? I am one of those monkeys. I was the one who picked up the bundle and it was in my safekeeping till the arrival of Sri Rama.

That is to say, ‘You know me already! You have seen me, you have entrusted me with a sacred responsibility and I have carried out what you desired, without having to be told about it. We are known to each other. I am trustworthy. Now listen to me.’

The drama is so skilfully presented and developed very beautifully, though it moves away from the original. The change is pleasant, convincing and keeps the focus on building trust.

Rama’s Love is Undiminished

Hanuman moves with all the skills required to solve a jigsaw puzzle. Placing the right piece at the right place and at the right time. He knows that the choice of rearranging the pieces would be time-consuming and would even be risky. He first lets her know of the basic pieces of information that a stranger has to give in order to gain her trust. To think of it, he is not only a stranger but also a strange stranger, with the form of a monkey and the voice of a human, which is considered as a major hurdle in building trust in Valmiki.

The speed with which Kamban’s Hanuman reels out the most vital pieces of information silences her suspicions at least for a while. And before she could let her mind wander away again, he strikes the right chord. ‘We know each other already. You saw me the other day on the hill with my friends and I picked up your jewels. They were in my safekeeping.’ With the personal relations established in a flash, he moves on to let her know what happened to Sri Rama when the jewels were shown to him. That’s a very moving scene with Rama wearing them on his own person, pressing them against his bosom and falling on the ground, unconscious. It needs to be elaborated later, in our study of Sri Rama.
And now another responsibility remains for him to discharge. He has to let her know that Rama is full of love for her. She knows that. Not that she doesn’t know. But this is a fragile moment that calls for a gentle and at the same time a very strong and reassuring reminder of that love. Hanuman adopts a very unconventional way of putting that idea across. A shocking, surprising and at the same time a very pleasant way, indeed. ‘Mother, do you know what overtook him when we showed him your jewels? I am incapable of describing it. Let me say only this much. ‘itrai naaL aLavum annaai! andru nI izhiththu nIththa matrai nal aNigaL kaaN un mangalam kaaththa.’ It is because of those jewels you discarded that day, your mangala-sutra is safe to this day.
He refers to the custom of women discarding all the jewels in that situation when the mangala-sutra is removed. ‘You know that women remove all ornaments at such a time. Thanks to the jewels you removed the other day, the main ornament is safe. He is alive. The love that he has for you is so strong that he would not have lived a moment long, were we not able to evidence our claim that we saw you being taken away, with your jewels. Those jewels gave him all the strength he needed and that’s how he is alive. He loves you so much and you know that. But be assured that that love remains undiminished.
Kamban glides through the transition effortlessly. She is thrilled to hear what Hanuman says. It has all the elements of credibility, trust, sincerity and love and respect and is filled to the brim with all these qualities and more. ‘eydhina uraiththalOdum,’ As he narrated the developments, ‘ezhundhu pEr uvagai Era,’ she was overjoyed. ‘uydhal vandhu utradhO endru aruvi nIr ozhugum kaNNaaL.’ Tears of joy rolled down her cheeks and she muttered to herself, ‘Has the day of liberation come to me at last!’
But then, the Poet needs that opportunity to draw the enthralling portraiture of Sri Rama through the mouth of Hanuman. ‘ayya! sol anayan mEni eppadiththu?’ she asks him. To put it literally, ‘How does his body look like O Sir!’ When she asks that question, she does not sound like seeking proof of authentication. She is making an anxious enquiry about her lord. It is the enquiry of a loving soul, which is hearing about her dear one after a very long time.

Hari Krishnan