The scene of departure from Ayodhya differs to a very great extent in Kamba Ramayana from its original. Kamban avoids several scenes, one of which we have seen is the way the decision to go on exile, accompanied by Sita, is taken. To put it very short, Valmiki's Sita asks for permission from her husband, persists in her requests and finally wins her way. Let us also remember here that Rama was not forced into doing this. He did so with delight, and applauded her for having done the right thing that adds to the pride of both families.
We have also seen how Kamban handles this scene. She did not wait for him to say 'yes'. She asserted her right by moving to her chamber, change to the hermit's weeds herself and came back to him with a 'Come on, let's go.' That takes the sting away from the scene, though it was no sting at all. The words of Sita in Valmiki cause pain only to those who fail to see Sita playing her role and also the way in which Rama takes those words. Kamban has smoothened the 'supposed rough edge' when he recreated the drama.
He makes a detour here and takes us quickly away from several scenes. The decision to go on exile with Sita and Lakshmana is followed by the
'yatra dhana', giving away gifts to the poor and needy, and an interview with Dasaratha and Rama taking leave of him. We see Dasaratha giving elaborate instructions to Sumantra to take Rama out of their territory. "Fitting with the best of horses a chariot used for pleasure-drives, return you (soon) and take this highly blessed son is being exiled to the forest by his (very) father and mother, such I believe is declared (by the scriptures) to be the reward of virtues and virtuous," he tells Sumantra. (Valmiki Ramayana, Ayodhya Kanda, Canto XXXIX, Sloka 10 and 11)
'I cannot let him walk his way to the forest. Take him in the best of chariots, used for pleasure trips, drawn by the best of horses. Take them up to the border, leave them there and you return soon.' Dasaratha adds one more thing. 'This is the way, I believe a virtuous son is to be sent away.' The words may sound strange. But Dasaratha says this because the question of Asamanja, a prodigal son, a predecessor of Rama and a scum on the Raghuvamsa was raised and reference was made to the way in which he was exiled. 'That won't apply here,' is what Dasaratha seems to imply.
But these are administrative matters. Kamban lays emphasis on affection rather than administration. Rama goes on exile without even seeing the face of his unconscious father, without taking leave of him in the traditional manner. Kamban has a very strong reason for circumventing this scene. Let us elaborate this when we study
Rama.
The highly emotional drama, the controversial points that it contains, the objections to a this and to a that, are all softened by the way they are bypassed. But unfortunately, a very beautiful scene, bringing out the innocence of Sita could not be portrayed because of this reordering. That no doubt is our loss. The
'kavi chakravarti' - emperor among Poets - would have presented the scene wonderfully well had he not, out of sheer necessity of the emphasis that he places on a father's affection and the way in which his dutiful and affectionate son handles the situation, not wanting to cause pain to his father, putting him in dilemma, sending him to the very same jungle with his own words that he hesitated to do so when Viswamitra asked for him, et al. The change of approach did not leave Kamban with any scope to portray this beautiful scene in Valmiki. Valmiki delights the heart of his readers with the innocence of Sita.
The scene of departure from Ayodhya differs to a very great extent in Kamba Ramayana from its original. Kamban avoids several scenes, one of which we have seen is the way the decision to go on exile, accompanied by Sita, is taken. To put it very short, Valmiki's Sita asks for permission from her husband, persists in her requests and finally wins her way. Let us also remember here that Rama was not forced into doing this. He did so with delight, and applauded her for having done the right thing that adds to the pride of both families. 
'I cannot let him walk his way to the forest. Take him in the best of chariots, used for pleasure trips, drawn by the best of horses. Take them up to the border, leave them there and you return soon.' Dasaratha adds one more thing. 'This is the way, I believe a virtuous son is to be sent away.' The words may sound strange. But Dasaratha says this because the question of Asamanja, a prodigal son, a predecessor of Rama and a scum on the Raghuvamsa was raised and reference was made to the way in which he was exiled. 'That won't apply here,' is what Dasaratha seems to imply.
