Rama - The man and the avatar
In the eyes of the poets
At this moment of attempting to look at a picture of Rama, let’s remind ourselves that we are doing so through the eyes of two different poets. Two different minds functioning at two different ages, two different approaches, two different ways of narration, cast and construction. Yet, one personality. When Valmiki composed his poetry, he had the advantage of being the first poet to record something which is a chronicle in part and an epic in essence. What people saw, perceived and understood of this personality was through his eyes. The deification of Rama, though ingrained in the epic, is limited to a few passages in Valmiki’s version. Nonetheless, in the portrayal of Valmiki, there are places where Rama shows common human feelings, his excellent qualities remaining unparalleled as they are.
As Sri V V S Aiyar observes, “In three or four places Valmiki has deified Rama. Even these passages, however, modern critics regard as interpolations. But, howsoever this may be, everywhere else in Valmiki, Rama is only the valorous prince, perfect in virtue, but nothing more than a simple mortal man.” And, therefore, Valmiki’s Rama could speak as naturally as anyone, act as normally as anyone else, feel elated when Dasaratha proposes his coronation; could announce this decision with a touch of joy to Kausalya, and could even tell Lakshmana, ‘share this kingdom with me.’ In fact, he goes to break the happy news to Sita, first, Valmiki says,
“Instructed thus in connection with his installation, which was going to take place the (very) next day, and permitted to leave In the words ‘Depart now’, and greeting his father, Sri Rama withdrew to his palace. Entering his own palace in order to break the news of installation announced by the emperor (to Sita), but coming out instantly (on not finding her in her apartments) he moved to his mother’s apartments (in the gynaecium). There he saw in the temple his aforesaid mother clad in silken robes, exclusively devoted to the worship of her chosen deity and silently praying for royal fortune (in favour of Sri Rama.” (Valmiki Ramayana, Ayodhya Kanda, Canto 4, Sloka 28 – 30)
With joy in his heart, he went to the chamber of Sita, but not finding her there, he moved to the apartments of his mother to break the news. A perfectly normal picture of any person who is about to be crowned. There can be no two opinions on that. When he tells Kausalya about what has been decided in the court, Sumitra – unlike Kaikeyi – who is always found in the company of Kausalya, is also elated. Kausalya tells him, “Child Rama, may you live long! Let those inimically disposed to you be wiped off. Invested with royal glory may you bring joy to my relations as well as to those of Sumitra.” (Ibid, Sloka 39) A careful reader would not miss the point that the name of Kaikeyi is not mentioned either here or in the rest of the passage of Kausalya’s reply. That gives us an insight into the relations among the three queens. Kausalya and Sumitra remaining together, Kaikeyi remaining apart. Though she has earned the love and respect of Rama, though she loves Rama as her own child, at least until that moment.
Once again, we find a delighted Rama telling Lakshmana, “Rule you beneficently over this earth with me, O Lakshmana! This royal fortune has come to you, who are my second life. Enjoy you, O Lakshmana, (son of Sumitra) the pleasures coveted by you as well as the rewards of sovereignty (religious merit and fame, etc.). I desire to live and even to rule but for you.” (Ibid, Sloka 43 and 44) Once again, the careful reader would observe the absence of the mention of the name of
Bharata, here.
Equally naturally, he could express grief when the crown moves away from his hands, Rama (in Valmiki) exhibits the existence of disappointment when he speaks to Sita. A strong exterior gives way in the presence of a loved one. We have discussed this scene earlier. (See:
The Power of love – Part I and
Part
II).
In another instance does such a feeling find its expression. Reaching the jungle, alone in the company of Sita and Lakshmana, about to start his exile, Rama speaks to them about Bharata. “Ah, Kaikeyi’s son, Bharata (alone) is happy and the spouse of a lucky woman in that he is going to rule over the prosperous kingdom of Kosala like an overlord, his claim being disputed by none! For, he will enjoy the undivided blessings of the entire kingdom, now that father is superannuated and I have retired to the forest.” (Ibid, Canto 53, Sloka 11 and 12)
Right Hon’ble Srinivasa Sastriyar points to Sloka 26 of Canto 53 and interprets, “I could have anointed myself putting aside Dasaratha and everybody else. Why didn’t I? I have a fear of wrong-doing. I don’t want to do that which is ignoble or improper just for gain.”
May be shocking. But perfectly natural feelings. This, however, is not to give out any conclusion or even the faintest of suggestions – implied or otherwise – on the qualities of Rama. We are just beginning. We are just witnessing a particular scene that the first poet depicted and what changes his ever-devoted successor brought about, and why. If Valmiki depicted his Rama in a particular way, what impelled the poet who retold the very same story, to bring about subtle and sometimes so imperceptible a change that sometimes what is portrayed by Kamban is taken to be the word of Valmiki, especially in the Tamil speaking world! That would be a part of our endeavours, apart from others.
Once again. Let me repeat this. I have my respect and admiration for both the poets alike. Both the poets, and their words, have their own logic, reason and relevance in their own places. What I have given above would give an idea of what Kamban had to work on, and how he drew the finer lines that moulded his Rama on yet another plane,
higher than the already exalted plane that he had earned in the hearts of the people.
Does it then mean that Kamban’s Rama was void of all human feelings? Let’s move into that now.
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