Ramayana tradition in Tamil - Before and after Kamban
நன்மையுஞ் செல்வமும் நாளும் நல்குமே
தின்மையும் பாவமுஞ் சிதைந்து * தேயுமே
சென்மமு மரணமு மின்றித் தீருமே
இம்மையே ராமவென் றிரண்டெ ழுத்தினால்.
நாடிய பொருள்கை கூடும் ஞானமும் புகழு முண்டாம்
வீடியல் வழிய தாக்கும் வேரியங்
கமலை நோக்கும்
நீடிய வரக்கர் சேனை நீறுபட் டழிய
வாகை
சூடிய சிலையி ராமன் றோள்வலி கூறு வோர்க்கே.
This is an unexpected opportunity for me, to present a glimpse of Ramayana tradition in Tamil. When the original
topic of versions of Ramayana came about, I could not help think about the
Tamil literary tradition – Kamba Ramayanam as the first major retelling of
Valmiki Ramayana, it has a great standing not just the most outstanding Tamil
epic, but also as an important milestone in the Ramayana tradition. But the
tradition of Ramayana, the knowledge had existed before him, and continues to
be so in this land. I thought of sharing glimpses of the work of two authors
today, one from pre-Kamban times, Kulasekhara Alvar and another post-Kamban,
Arunachala Kavirayar.
A brief intro to both the authors: Kulasekhara Alvar, one among the 12 Alvars, saints from the Sri Vaishanva order is credited with two works, one Perumal Tirumozhi, subject of today’s discussion and Mukunda Mala, a Sanskrit work. We know details about Alvar from traditional account to be, a Chera king, from Thiruvanjikalam, close to present day Kochi, a devotee who wanted nothing but Perumal’s darshan at Srirangam, and to live among the Bhagavatas there. His period is generally accepted to be around 8th century CE. Perumal Tirumozhi is part of the collection of Alvar verses, Nalayira Divya Prabandham. The mini-Ramayana we would see is part of that prabandham.
Sirkazhi Arunachala Kavirayarrayar (1711-1779) was born at a place called Thillayadi, studied under the Tamil Saiva Matha of Dharmapura Adheenam. He was asked to become a matadipathi which he declined as he wanted to pursue the path of grihastashrama. But later he was patronized by the Matha, and he lived for most part at Sirkazhi after his marriage at the age of 30. Rama Nataka Kirtanaigal credited with many works apart from Rama Nataka Kirtanaigal, notable among that Sirkazhi Sthala Puranam and Hanuman Pillai Tamizh. He was proficient in Tamil, Sanskrit and Telugu.
The background to discussing these two works is, if I can in the style of “Aryan problem” call it the problem of “Many Ramayanas.” After the publication of A.K. Ramanujan’s famous Three Hundred Ramayanas in 1987, came the publication of ‘Many Ramayanas: The Diversity of a Narrative Tradition in South Asia’ Edited by Paula Richman in 1991. Written and publishes in American Universities for long they remained part of the academic circles. The controversy over Three Hundred Ramayanas perhaps has been a reason why both the works have become widely read and discussed. I place before you a few statements or sentences from Richman’s essay in her collection on ‘E. V. Ramasami's Reading of the Ramayana’.
2. Despite the widespread belief that Rama acts as the embodiment of righteous action, certain deeds that he performs have troubled various authors of Ramayana texts over the centuries.[20] Because the textual treatment of these morally ambiguous deeds often involves dealing with them in creative ways, the study of such incidents can reveal some of the sources of diversity within the Ramayana tradition.
3. Even E.V.R.'s view of the Ramayana as an account of Aryan domination of Dravidian culture has roots in earlier discourse. Irschick has carefully traced how the ideas of P. Sundaram Pillai, a Tamil Vellala (1855-1897), began to focus attention on the meaning of the Ramayana in the context of discussions about Dravidian and Aryan culture.[47] Sundaram Pillai published some of his views on the self-sufficiency and grandeur of Dravidian civilization during his lifetime, but his theories about the Ramayana were disseminated after his death by his friends. T. Ponemballem Pillai wrote an article for the Malabar Review in which he summarized Sundaram Pillai's view of the Ramayana as written to "proclaim the prowess of the Aryans and to represent their rivals and enemies the Dravidians, who had attained a high degree of civilization in that period, in the worst possible colour."[48] A somewhat later writer, M. S. Purnalingam Pillai, ended his Ravana the Great: King of Lanka by describing Ravana as "a mighty hero and monarch, a conqueror of worlds, and a fearless resister of the Aryan aggressions in South India."[49] With these writers began a controversy about the political meaning of the Ramayana , to which E.V.R. soon added his own strident reading of the text.
Richman titles her essay as “Tellings as commentary and programs for action” clearly laying before us the use of Ramayana by E.V. Ramasamy Naicker (E.V.R) for his political and divisive agenda of Aryan-Dravidian, North-South. It is unambiguous. What is unsettling is the fact that the atheistic political pamphlet is followed by a theistic narrative bunching them up all as “Many Ramayanas”. This makes it difficult for the readers, followers of Ramayana actually as to whether one is reading about a “retelling”, a “telling based on either the plot or the characters”, a literary criticism, a political essay, or a socio-religious exploration. I will take this up later when we go to the Tamil literary tradition part – before that I would like to share just one paragraph from the essay for comment.
“Not a man to stop at mere words, E.V.R. encouraged the enactment of his interpretation of the Ramayana in dramatic performance as well. The DK drama inspired by E.V.R.'s exegesis and known by the mocking name of “Keemayana" (keema is a nonsense sound) toured throughout Tamil Nadu. The play's portrayal of Rama as a drunkard and Sita as a wanton woman earned it the comment "hoodlums stage filth in Trichy" in one review.[53] The high (or low, depending on the viewer's perspective) point in the performance occurred when participants beat images of Rama with their (polluting) leather sandals. Similarly, E.V.R.'s scheduled burning of images of Rama in 1956 testifies to his desire to dramatize his exegetical attack. By reversing tile North Indian ritual of Ravana-burning, he not only enacts his verbal attack on Rama but reminds Tamilians of the urgent need for them to embrace his political interpretation of the Ramayana.”
“In addition, E.V.R. cites various prominent Tamilian scholars. He quotes J. M. Nallaswami Pillai, an important figure in the Saiva Siddhanta movement and editor of its journal, Deepika , as well as Maraimalai Atigal, an eminent Tamil literary savant whose ideas form the ideological foundation of the Pure Tamil movement.[33] Along with such non-Brahmin literary and religious figures, E.V.R. also quotes respected Brahmin scholars such as S. Krishnaswami Aiyangar, a historian of religious and philosophical texts, and K. A. Nilakanta Sastri, a prominent historian of South India. E.V.R. thus willingly cites the opinions of Brahmins, non-Brahmins, and Western "foreigners" to prove his thesis that Brahmins were aliens in South India who oppressed non-Brahmins.”
She says “It is heard that he read Ramayana with commentaries, but doesn’t quote any specific verses.” But he quotes many authors in his pamphlet including Brahmins, which is sort of a justification. See this partial table reproduced from the essay, to understand what E.V. R’s reading of Ramayana has been, and which of the Ramayanas were his source.
Now let us look some of the sources that supported E.V. R’s Aryan-Dravidian theory, and how he thought the book was an allegory of north attacking, capturing and subduing south, though he didn’t believe in Ramayana. Quoting here some passages from The Tamilian Antiquary, Ed: Pandit D. Savariroyan first published in 1910, an essay by T. Ponnambalam Pillai ‘The Morality of the Ramayana’. He says post the death of Professor Sundaram Pillai, he is publishing the thoughts Sundaram Pillai couldn’t publish in his lifetime.
And he dismisses abduction of Sita as nothing unusual, and all part of war. In the same volume a rebuttal to Pillai’s essay has been published and let us see what that has to say.
Aiyer’s rebuttal gets a long reply from Pillai, again
published in the same volume.
It is not just these sources which E.V.R relied on, but we come across similar theory coming from noted historian R.C. Majumdar. I was surprised to find this theory of Ramayana being a north Indian suppression of south-Indian Dravidians (btw there is also a differentiation they make of non-Aryan north Indians like Valmiki, Vishwamitra) in noted historian R.C. Majumdar’s ‘Ancient India’. I am not sure of his writings on the subject beyond that book, but remember this as we had it as a suggesting reading for the Ancient India Culture course.
In the last several decades we have come down from Aryan Invasion Theory to Aryan Problem, and not sure how long before it is abandoned. Till then, these are the sources E.V.R and his followers would use to substantiate their rewriting of Ramayana.
The issue is not really about E.V.R writing it. Here we quote the same subject being dealt with in a political analysis. ‘The politics of Cultural Nationalism in South India’ by Marguerite Ross Barnett mentions the enactment of EVR’s Ramayana by Dravida Kazhagam, the “rationalist” performances. “As early as 1922, while still a member of Congress, E. V.Ramasami advocated burning the Manu Dharma Shastras and the Ramayana. While a saddhu, before his political activities, he advocated abandoning Hindu mythology because it represented a corrupting influence.” It further states how he continued to give the performances of the Ramayana “in which Ravana was the hero and Rama and Sita were “despicable characters” after the split in the Dravida Kazhagam and DMK was born as the political party. For a work that was called “Keemayana” just a blabber of a word to mock Ramayana, what seriousness does Richman expect to be treated to, but for her appreciation of it as a coherent work. If there was a recognized genre of “fan fiction” at that time perhaps E.V.R’s would fit the bill, actually the opposite of what one can call a “fan”.
It is in this context, and the issue of “versions” of Ramayana I take up two works from the Tamil literary tradition. What would account as a “version”, a “derivative”, a “spoof”, “criticism” or anything that becomes part of a “tradition”? In his 300 Ramayanas A.K. Ramanujan does not approve of “versions” and says the 300 Ramayanas he dealt with are different “tellings”. “I have come to prefer the word tellings to the usual terms versions or variants because the latter terms can and typically do imply that there is an invariant, an original or Ur-text – usually Valmiki’s Sanskrit Ramayana, the earliest and the most prestigious of them all. But as we shall see, it is not always Valmiki’s narrative that is carried from one language to another.
I take refuge under the Tamil traditions in calling Kulasekhara’s mini-Ramayana and Arunachala Kavirayar’s Rama Nataka Keertanai as versions. Vai.Mu. Gopalakrishnamachar the great Kamba Ramayana editor in his publication with commentary quotes in the introduction, a sutra from the Tamil grammar text Nannol.
How can Kamban write a Ramayana based on Valmiki, and yet make changes in them, either to suit the times or geography, culture? Vai.Mu.Ko reconciles that by quoting Nanool which mentions three types of texts, Mudhal, Vazhi and Saarbu – the first, and then the one that is following in the original’s footsteps.
முன்னோர் நூலின் முடிபு ஒருங்கு ஒத்துப்
பின்னோன் வேண்டும் விகற்பம் கூறி
அழியா மரபினது வழிநூல் ஆகும்
Without going against the core or contradicting the intent of the original text, tastefully retelling with changes made to reflect the times it is being written, with clearly mentioning the basis for retelling the original is called the vazhi nool, the one that has come from or follows the original. Actually the original here are texts given by Gods, that is how the commentators interpert the term “mudhal nool”. The Tamil literary tradition accepted the flow of Ramayana as a text from Brahma to Narada, Narada to Valmiki as the same is acknowledged by Kamban and Arunachala Kavirayar.
Kulasekhara, Kamban and Arunachala all of them without doubt are devotees who sang Bhagawan’s story, making their works very much a Bhakti literature. Incidentally the lifestories of all the three are linked to Srirangam, and the staging or release of Kamba Ramayanam and Rama Nataka Kirtanai happened at Srirangam. Since Kamban and his work as one that first “deified” Rama unlike Valmiki who portrayed him as a human has been much discussed and hence I skip Kamban to talk about two poets, one who wrote before him and one a centuries after him.
While Kulasekhara’s in not a detailed Ramayana, we have taken it up to show the tradition, and also for it being the first full telling of Ramayana we have in Tamil. Though mention of Rama and Ramayana have been found in Tamil literature from Sangam period, it was the Alvars who first sang in detail about Ramavatara, and Kulasekhara did capture all the kandas, including Uttara Kanda. Out of 10 dasakas, decades he wrote collected under the title of Perumal Tirumoli in the collection of Alvar verses in the Nalayira Divya Prabandham, he devots 3 decades for Ramayana. In the first of the three he sings a lullaby to Sri Rama, a thalattu. The first of its kind. In the lullaby he just recollects Rama’s deeds bursting out in the first verse itself to talk about him as the one who vanquished Ravana.
தென்னிலங்கை கோண்முடிகள் சிந்துவித்தாய் செம்பொன்சேர்
கன்னிநன்மா மதில்புடைசூழ் கணபுரத்தென் கருமணியே
என்னுடைய இன்னமுதே ராகவனே தாலேலோ
In the next verse he mentions Tadaka vadam, and in the following, that he is the son of Dasaratha, son in law of great Janaka, the beloved spouse of Sita. The lines get more beautiful when he talks about Rama relinquishing the rule in favour of Bharata, going to the forest, the willing sacrifice.
பாராளும் படர்செல்வம் பரதநம்பிக் கேயருளி
ஆராவன் பிளையவனோ டருங்கான மடைந்தவனே
Relinquished the power to rule to the earth in favour of Bharata
Reached the dense forests with Lakshama, with immeasurable love
Mountain like chest, ruled by piraatti (Sita), king of Thirukannapuram
My Dasarathi, long hair, reigning by the crown, talelo
Reached Dandakaranyam followed by the kith and kin
Lord of Ayodhya, balm to the beloved
The dark gem of Kannapuram, residence of the learned
Went to the forest, abiding by the words of step mother, talelo O
Rama!
வாலியைகொன்
றரசிளைய வானரத்துக் களித்தவனே, மலையதனா லணைகட்டி மதிளிலங்கை யழித்தவனே … Narrates
killing of Valli and giving the kingdom to Sugriva, building the bridge across
to go and destroy Lanka. These weaving together of all the episodes into the
lullaby clearly shows the extent to which Ramayana was known, absorbed and
appreciate by Kulasekhara.
After the lullaby the next decade is an interesting one too, a father pining for his son, Dasaratha crying over the injustice to Rama, the pathos in seeing a prince suffer a life in the forests, and the unbearable separation from his dear son.
Next, and in the final set of verses in the Perumal Tirumozhi comes the condensed version of Ramayana. There are episodes that differ from Valmiki, and scholar Suganya Anandakichenin explores what could have been his other sources to find out where the difference comes from. She looks at the sculptural sources, literary sources prior to Kulasekhara like Narasimha Purana and the Jain Paumacharya. Though Kulasekhara in the format in which he sang the verses has no scope unlike the kavyas to explain the sources and acknowledgements, Valmiki was his main source. To quote from Periyavachan Pillai commentary, the translation of which I have taken from Suganya, “In this tirumoḻi, so that all the losses produced previously would end, in the sacred town of Tiruccitrakūṭam, where the emperor’s divine Son lives permanently, he [Kulacēkaraṉ] enjoys [Rāma] as if [he] were contemporaneous [to Him] by the distinctness of his knowledge, like the divine lord Vālmīki experienced [Him] by speaking of the story of [Rāma’s] avatāra beginning with [His] sacred birth.”
Alvars didn’t show prejudice towards Sanskrit even though they chose to write in Tamil, or even pure Tamil. If Kulasekhara is accepted as the author of Mukundamala then he becomes one Alvar who sang in both the languages. There is a line Kulasekhara uses to describe Bhagawan
“Andha Tamil inba pavinai, av Vadamozhiyai”
He is Tamil, as well as Sanskrit, and the commentators would also interpret the Vadamozhi here to mean the great itihasa of Valmiki. Alvar was so deep in Rama bhakti, it should not be an inappropriate interpretation of the Vadamozhi. The traditional accounts say how Kulasekhara used to listen to Ramayana Katha regularly and at one instance he asked his army to get ready to go and defend Rama, forgetting that he was only listening to the account of his fighting rakshasas. Kamban wrote around 11,000 verses, Kulasekhara wrote just 11, and that too compressing Ramayana to just 10 verses in that, 11th being the phalashruti. Even in that 10, the verses are structured in a way, that first half talks about the Vibhava avatara, and next half the Archa avatara. He sings the Ramayana, addressing Rama who resided at Thillai Chitrakutam. He sees the deity there as Rama, the Rama of that northern Chitrakutam.
அங்கணெடு
மதிள்புடைசூ ழயோத்தி யென்னும்
அணிநகரத் துலகனைத்தும் விளக்கும் சோதி
வெங்கதிரோன் குலத்துக்கோர் விளக்காய்த் தோன்றி
விண்முழுது முயக்கொண்ட வீரன் றன்னை,
செங்கணெடுங் கருமுகிலை யிராமன் றன்னைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
எங்கள்தனி முதல்வனையெம் பெருமான் றன்னை
என்றுகொலோ கண்குளிரக் காணு நாளே
The first verse talks about the city of Ayodhya, the undefeatable great city with tall ramparts, and the avatara of Rama in the Surya Vamsa to protect the celestials. Description of Rama as red eyed, tall and dark hued.
ulaku aṉaittum viḷakkum cōti – ‘the Flame that brightens all the worlds’ It is a great light to all the worlds because of its lustre, as it is said ‘Nārāyaṇa is the ultimate Light’ [Mahānārāyaṇopaniṣad 13.4769].
வருகுருதி பொழிதரவன் கணையொன் றேவி
மந்திரங்கொள் மறைமுனிவன் வேள்வி காத்து
வல்லரக்க ருயிருண்ட மைந்தன் காண்மின்
செந்தளிர்வாய் மலர்நகைசேர் செழுந்தண் சோலைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
அந்தணர்க ளொருமூவா யிரவ ரேத்த
அணிமணியா சனத்திருந்த வம்மான் றானே
Tadaka Vadam and Vishwamitra Yaga Samrakshanam are narrated next. The Lord is seated in the gem studded simhasana at Tillai where the 3000 Vedic seers chant his praise. He adds the details of the Chidambaram sthala purana where the Thillai moovayiravar as they are called, descended on the kshetra with Nataraja. The Govindaraja shrine at the Chidambaram temple is the Chitrakutam that Alvar is singing here, worshipping him as Rama.
சினவிடையோன் சிலையிறுத்து மழுவா ளேந்தி
வெவ்வரிநற் சிலைவாங்கி வென்றி கொண்டு
வேல்வேந்தர் பகைதடிந்த வீரன் றன்னை
தெவ்வரஞ்ச நெடும்புரிசை யுயர்ந்த பாங்கர்த்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
எவ்வரிவெஞ் சிலைத்தடக்கை யிராமன் றன்னை
இறைஞ்சுவா ரிணையடியே யிறைஞ்சி னேனே
Lifting the Shiva dhanus for the sake of Sita, and she is described as having a red-streak in her eyes. And that is interpreted as having been caused by the exchange of glances between Sita and Rama, before Rama lifted the Shiva Dhanus. He had seen Sita first before seeing the bow. Her beautiful eyes, with a red tinge. This episode is taken by Kamban later in a such great detail producing some of his beautiful and memorable verses. Victoriously taking the bow from Parasurama, is how the Sita Swayamwaram is narrated next.
தொத்தலர்பூஞ் சுரிகுழல்கை கேசி சொல்லால்
தென்னகரந் துரந்துதுறைக் கங்கை தன்னை
பத்தியுடைக் குகன்கடத்த வனம்போய்ப் புக்குப்
பரதனுக்கு பாதுகமு மரசு மீந்து
சித்திரகூ டத்திருந்தான் றன்னை யின்று
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
எத்தனையும் கண்குளிரக் காணப் பெற்ற
இருநிலத்தார்க் கிமையவர்நே ரொவ்வார் தாமே
Ayodhya Kandam follows quickly, and it is Kaikesi’s words that make Rama leave for the forest. Kamban follows on these lines with the famous verse “aazhi soozh ulagamellaam Bharata ne aala”, her instructions to Rama to give up the kingdom to Bharata, and retire to forest for 14 years. Crossing the Ganges, ferried in his boat by the devout Guhan, entering the forests, giving the Padhuka and the country to Bharata and settling in at Chitrakuta. Those who worship that Rama who lived in that Chitrakutam, here in this Thillai Chitrakutam, even the celestials who eternally can see him do not match.
வலிவணக்கு வரைநெடுந்தோள் விராதைக் கொன்று
வண்டமிழ்மா முனிகொடுத்த வரிவில் வாங்கி
கலைவணக்கு நோக்கரக்கி மூக்கை நீக்கிக்
கரனோடு தூடணன்ற னுயிரை வாங்கி
சிலைவணக்கி மான்மரிய வெய்தான் றன்னைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
தலைவணக்கிக் கைகூப்பி யேத்த வல்லார்
திரிதலால் தவமுடைத்தித் தரணி தானே
Aranya Kandam continues, slaying of the strong-armed monster Viradha, accepting the bow from “Thamizh mamuni” Agastya, chopping off the nose of Surpanakha, slaying Kara, Dhushana, shooting Maricha with a bow, killing him. Those who bow their heads down, with folded hands worship at Chitrakutam, their wandering make the earth blessed, fortunate. The brevity of the verses are amazing, and he packs enough adjectives to describe the characters and the devotion in worshipping that avatara in the archa form at Thillai Chitrakutam.
Next verse combines the Kishkinda and Sundara Kandas.
தனமருவு வைதேகி பிரிய லுற்றுத்
தளர்வெய்திச் சடாயுவைவை குந்தத் தேற்றி
வனமருவு கவியரசன் காதல் கொண்டு
வாலியைகொன் றிலங்கைநக ரரக்கர் கோமான்
சினமடங்க மாருதியால் சுடுவித் தானைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
இனிதமர்ந்த அம்மானை இராமன் றன்னை
ஏத்துவா ரிணையடியே யேத்தி னெனெ.
Affected by the separation from Vaidedhi, in whom the prosperity resides, sending Jatayu to Vaikunta, made friends with the Vanara King, killed Vali, subdued the anger of Rakshasa king of Lanka by sending Maruti who burnt the city, those who praise that Rama at Thillai Chitrakutam, I praise their feet.
குரைகடலை யடலம்பால் மறுக வெய்து
குலைகட்டி மறுகரையை யதனா லேரி
எரிநெடுவே லரக்கரொடு மிலங்கை வேந்தன்
இன்னுயிர்கொண் டவன்தம்பிக் கரசு மீந்து
திருமகளோ டினிதமர்ந்த செல்வன் றன்னைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
அரசமர்ந்தா னடிசூடு மரசை யல்லால்
அரசாக வெண்ணேன்மற் றரசு தானே
Shot the arrow at the roaring sea, built bridge, crossed over to the other side, killed the rakshasas, took the sweet life of Lanka’s King, gave the kingdom to his brother, united with the sweet Thirumagal (Lakshmi), - He addresses Rama as Selvan after he unites with Thirumagal, earlier he hinted that she was his prosperity in Dhanamaruvu. I won’t consider any other kingdom except for the one that wears the sacred feet of Him who ruled the kingdom at Thillai Chitrakutam.
அம்பொனெடு மணிமாட அயோத்தி யெய்தி
அரசெய்தி அகத்தியன்வாய்த் தான்முன் கொன்றான்
றன்பெருந்தொல் கதைக்கேட்டு மிதிலைச் செல்வி
உலகுய்யத் திருவயிறு வாய்த்த மக்கள்
செம்பவளத் திரள்வாய்த்தன் சரிதை கேட்டான்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
எம்பெருமான் றஞ்சரிதை செவியால் கண்ணால்
பருகுவோ மின்னமுதை மதியோ மின்றே
Rama’s return and the listening to Ramayana from Lava and Kusa is mentioned in this verse. Children born to Mithila’s daughter for the redemption of the world. He also listened to the old story, about the one he had killed previously from Sage Agastya. We who do not value the sweet nectar. amrut, shall cherish, drink with our eyes and ears the life story of the Lord won’t we, at Tiruchitrakutam.
செறிதவச்சம் புகன்றன்னைச் சென்று கொன்று
செழுமறையோ னுயிர்மீட்டுத் தவத்தோ னீந்த
நிறைமணிப்பூ ணணியுங்கொண் டிலவணன் றன்னைத்
தம்பியால் வானேற்றி முனிவன் வேண்ட
திறல்விளங்கு மிலக்குமனைப் பிரிந்தான் றன்னைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
உறைவானை மறவாத வுள்ளந் தன்னை
உடையோம்மற் றுறுதுயர மடையோ மின்றே
Shambuka and Lavanasura vadams are mentioned here and also losing Lakshmana to the wrath of Durvasa. We always remember him in our hearts, the one who resides at Tillai Thiruchitrakutam, and won’t face any harm, won’t we.
அன்றுசரா சரங்களைவை குந்தத் தேற்றி
அடலரவப் பகையேறி யசுரர் தம்மை
வென்று,இலங்கு மணிநெடுந்தோள் நான்கும் தோன்ற
விண்முழுது மெதிர்வரத்தன் தாமம் மேவி
சென்றினிது வீற்றிருந்த வம்மான் றன்னைத்
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
என்றும்நின்றா னவனிவனென் றேத்தி நாளும்
இன்றைஞ்சுமினோ வெப்பொழுதும் தொண்டீர் நீரே
When Rama left Ayodhya he lifted all the animate and inanimate beings to Vaikunta with him. He defeated the asuras, took on the Chaturbhuja form, and mounted on Garuda, reached Vaikuntam. He resides forever at Tillai Thiruchitrakutam, devotees, bow down, praise and pray everyday.
தில்லைநகர்த் திருச்சித்ர கூடந் தன்னுள்
திறல்விளங்கு மாருதியோ டமர்ந்தான் றன்னை
எல்லையில்சீர்த் தயரதன்றன் மகனாய்த் தோன்றிற்
றதுமுதலாத் தன்னுலகம் புக்க தீறா
கொல்லியலும் படைத்தானைக் கொற்ற வொள்வாள்
கோழியர்கோன் குடைக்குலசே கரஞ்சொற் செய்த
நல்லியலின் தமிழ்மாலை பத்தும் வல்லார்
நலந்திகழ்நா ரணனடிக்கீழ் நண்ணு வாரே
Since Hanuman didn’t go along to Vaikuntam, Alvwar says Rama resides here in Thiruchitrakutam, along with Maruti in the archa form. This story of Rama, beginning with his avatara as Dasarata’s son, those who master it, will attain the blessed feet of Narayana. The songs are tuned in such a way to be chanted by Kulasekhara, the one wielding a sword, with an army, and a parasol as the King of Kolli (the Uraiyur of the Cholas).
Karpar Ramapiranai allal matrum karparo
So asks Nammalvar in Tiruvaimozhi.
Celebration of Ramavatara,
there is no other feeling but celebration of his Avatara and devotion.
Kulasekhara outlines the story in full, other Alvars mention Rama and his deeds
– that makes it clear how the Rama katha was already well known. Kulasekhara’s
Ramayana is akin to the panels we see in temples. From the oldest of temples in
Karnataka, Pattadakkal and Badami, the Chola temples, Nageswara temple at
Kumbakonam and Pullamangai in Tamil Nadu Ramayana stories have been etched in
stone. But you need to know the story to read the sculptures. Kulasekhara’s
Ramayana too tells the story like the panels and celebrates the avatara, and
the avatara in the archa form at Thiruchitrakutam.
Not even the verses that mention Rama or Ramayana before Alvars say anything that shows the tension of north-south, aryan-dravidian, conquest of Dravidian south by stealth and by force by Aryan north. Silappadhikaram, authored by Ilango considered a Jaina has a beautiful verse popularized by M.S.Subbulakshmi that sings many avataras of Vishnu, and the lines on Ramavatara are equally beautiful. In the song “Vadavarayai mathaakki Vasukiyai naanaakki kadal vannan pandoru naal” … “moovulagum eeradiyaan murai nirambaa vagaimudiyath thaaviya sevadi seppath thambiyodum kaanpondhu soraranum pormadiyath thollilangai kattazhiththa sevakan seer kelatha sevi enna seviye thirumaal seer kelaatha sevi enna seviye” … the one who strode three worlds incomplete, strode the forests with his brother, destroyed Lanka. What use if the ears don’t listen to the greatness of the servant, greatness of Thirumal.
Verse 38 in Kalithogai, a Sangam work, author Kapilar doesn’t speak in any glorious terms about Ravana’s act of lifting Kailasa. He compares Ravana’s attempt in trying to lift Kailasa to a mad elephant misjudging a Vengai tree for a tiger, banging the tree with vengeance and failing to dislodge it, how Ravana’s hand got caught, and he agonized. The Saiva Nayanmars who have sung about Ramayana episodes too may show partisanship to Shiva, and use the story of Vishnu to talk about the greatness of Shiva, but they do not praise Ravana as a righteous king, and accept Rama as an avatara of Vishnu. (quote Bala Sivakadadcham – Glimpses of the Ramayana in the Hymns of Saiva Saints of Tamil Nadu). “The Saiva saints let us know Ravana, though an ardent devotee of Lord Siva, had to be punished for his heinous crime of kidnapping Sita and for his arrogance towards the Devas.”
Much later, in the 19th century Saiva Siddha saint Ramalinga Swamigal in his Thiruvarutapa sings of Rama as personification of Dharma in a beautiful song aram pazhukkum tharuve en guruve says he he has no other work but to look for Rama’s grace, the one who crossed the seas to kill the sinner Ravana.
அறம்பழுக்கும் தருவேஎன் குருவே என்றன்
ஆருயிருக் கொருதுணையே அரசே பூவை
நிறம்பழுக்க அழகொழுகும் வடிவக் குன்றே
நெடுங்கடலுக் கணையளித்த நிலையே வெய்ய
மறம்பழுக்கும் இலங்கைஇரா வணனைப் பண்டோர்
வாளினாற் பணிகொண்ட மணியே வாய்மைத்
திறம்பழுக்கும் ஸ்ரீராம வள்ள லேநின்
திருவருளே அன்றிமற்றோர் செயலி லேனே
It is this message of dharma that takes Sirkali Arunachala Kavirayarrayar also close to Sri Rama. It is said Arunachala Kavirayar was drawn to both Thirukkural, the celebrated work of Saint Thiruvalluvar, a moral, ethical code written as couplets numbering 1330, as well as Ramayanam. Kavirayar considered Thirukkural the grammer of dharma and Ramayanam the literature (Ilakkanam and Ilakkiyam) and hence to sing Ramayanam as it would instruct devotees on dharma interspersed in the stories, more appealing than a pure grammer of it.
Kavirayar followed Kamban centuries later (Kamban is dated to 12th century). Arunachala Kavirayar’s work though very well known, and has been sung through the centuries, and continues to be so in today’s Carnatic concerts, we only have small biographic detail printed as an introduction to the Rama Nataka Kirtanaigal. There is a Saraswati Mahal Publications available online, and there is a 1945 edition of Annamalai University, book consisting of 50 songs with notations, songs tuned include famous Ariyakudi Ramanuja Aiyangar who sang the compositions widely in all his concerts.
Arunachala Kavirayar like Kamban in wrote only six kandas, Bala Kandam to Yuddha Kandam. Like Kamban his Yuddha Kandam is also long, putting in his best in terms of chandas used, rhytms equalling the tensions of the war. There are total of 258 songs that include thodayams, the invocations sung in the beginning of the dance, Dipadas (probably the couplets, dwipadas) and Dharus, the compositions that were written for dance. Arunachala Kavirayar’s is a pioneering work we can say in the genre of Tamil dance drama, as we do not get any works of that nature before him. He used simple, but words that are apt for dramatic situations, but clearly a language that would be accessible to all, in a stage performance.
Kavirayarrayar had his education under the institution of Dharmapuram Adheenam, Tamil Saiva Matha, and he was also patronised by them, when they helped him settle at Sirkazhi where he wrote most of his works. It is mentioned that Kavirayarrayar’s father had converted from Jainism to Saivism and they belonged to Vellala Bhuvaishya community. He had among his students musically trained Venkatrama Iyer and Kothandarama Iyer, who worked with Kavirayarrayar in tuning and singing the songs he composed. Look at the project that involves a Saiva, a Saiva Matha, patronage recommended by Maratta King Tulaja of Thanjavur, Ananda Rangam Pillai a Dubash in French govt at Pondichery, Manali Muthu Krishna Mudaliar a patron of Carnatic music, Brahmin students and the work itself was inspired by Kamban who is said to have come from a community called Uvacha, supposed to priests of the Kali, grama devata temples.
He followed Kamban in taking his work to be staged at Srirangam temple. He composes a prayer to Sri Ranganatha, an extremely popular and beautiful song:
En palli kondeerayya? Shri Ranganathare neer
Ambal pootha shaya paruvata maduvile avadaritha irandatru naduvilE
Koshikan sol kurittadarkko? arakki kulaiyil ambu terittadarkko?
Ishan villai murittadarkko? parashuramanuram parittadarkko?
mashillada mithilesan pennuudane vazhi nadanda ilaippo?
doosilada guhan odaathile gangai turai kadanda ilaippo?
mishuramam citrakutac cikarak kalmishai kidanda ilaippo?
kashinimel maricanodiya gati todarnda ilaippo?
odik kalaitto deviyai tedi ilaitto? Marangal ezhunm thulaitto?
kadalai katti valaitto? lankai ennum kaval managarai iditta
varuttamo?
ravanadigaLai muditta varuttamo?
The first charanam is Ramayana … he asks Ranganatha why is he reclining at Srirangam in the middle of the two rivers and poses questions based on Ramayana. He asks if is it out of tiredness following Kaushika, shooting arrows at rakshasas, bending Shiva Dhanusu, or robbing Parasurama of his arrogance. Are you tired of walking with the blemish less Mathiesen’s daughter, crossing Gangas in pure Guhan’s boat? Is it from chasing Mareechi, or searching for Sita, shooting through seven trees, building bridge across the sea, destroying the fortress that was Lanka, that you finished Ravana and his people?
Actually, before the opera commences, we have a few of these mini-Ramayanas. They by themselves are sweet and succinct.
Prayers to the lotus feet of Kothandam wielding one, who took avatara at Ayodhya to remove the sorrow of the people, one who built bridge across the ocean to kill Ravana.
This is followed by a song in 9-stanzas, a mini-Ramayana. The text gives the raga and tala followed for all the songs. I am not mentioning here the ragas the text gives as there are differences in the ragas in which they are sung today. Both Kulasekhara and Kavirayarrayar are sung, recited, the texts have been current. Kavirayarayar’s songs form a very important part of the Tamil songs repertoire in Carnatic music.
Yenakku un iru padam ninaikka varam arulvai -Sri Ramachandra
Yenakku un iru padam ninaikka varam arulvai
Please give me boon to think about your two feet, Oh Ramachandra,
Please give me boon to think about your two
feet.
Charanam
Yenakku un iru padam ninaikka varam arul,
Initha DAsarathan thanakku makan
yenum ,
Manathinudan avatharithu munivaran,
Makathil arakkiyai vadaitha
arase
Please give me a boon to think in my mind on your two feet,
Oh King who took incarnation as the sweet son of
Dasaratha,
And who killed the Rakshasi in the
home of the sage
Nadakkayile akalikai kirupai cheithu ,
Nadathi Janakan vil odithu , janakiyai,
Pidithu , Parasuramanukku mamathayai ,
Pirithu nagaril vandhirukkum ayyane,
Oh Lord who showed mercy to Ahalya while walking,
Went further broke the bow of Janaka, married Janaki,
Took away the pride of
sage Parasurama,
And who came back to his own town.
Tharikkum mudi bharathanukku
udhavi , nadhi,
Thatathil Guhanudan aduthu ,
Chithira kooda ,
Varaikkul Janakiyodirukka, thunaivan
nal,
Vanakkam cheya magizh guna
kunjarame
After giving the crown that you were to wear, to
Bharatha ,
Making friends with Guha, on the banks of the river,
And when he was living in Chithrakoota forest with
Janaki,
With great joy when she saluted him, Oh elephant of
good qualities.
Thuditha Bharathanum odukkamudan vara ,
Thodutha mithiyadi koduthu arasu cheya,
Vadakkil avanayum viduthu naduvile ,
Vanathil varum viradhanai kondravane.
When the shocked Bharatha came with humility,
You gave him the slippers that you wore and when,
He was ruling and then when you moved away from the north,
Leaving him there, Oh Lord you killed Viradha in the middle
of forest
Vidukkariya jadayuvukku uravu choli ,
Viduthu kondu Panchavadikku chendravudan,
Adutha chhorpanakhi kodutha karathee-
Shana thirusirar mudi
thunitha Raghava
Oh, Raghava after you introduced yourself to Jadayu,
Took leave and when you went to Panchavati,
You cut off the heads of Khara, Dhooshana,
And Trisiras which were given to you
by her.
Thanithu varu marchanai kondru oru kavandhanukku,
Aruli, anumanai kandoru-sukree,
Vanukku Vali thanai poruthi, vaa-
Nara padayai aadarithu urayae
You then killed Mareecha who was coming alone,
Blessed Kabandha, saw Hanuman, helped,
Sugreeva and asked him to fight with Vali,
And praised the army of monkeys.
Irukkum Anuman vandhu uraikka, nisicharar,
Irukkai arintha pin, yeritha kadalile,
Perukka anai cheithu varukkam varukkamaa,
Pelatha arakkarai tholaitha
deivame.
When Hanuman who was with you returned,
And told about the place of living of the Rakshasas,
You constructed a big Dam in the ocean
which you burnt,
And destroyed The Rakshasas who came in hoard after
hoards.
Kodiya inthirachithan pirakasthan mudlaaka
Kollum Mola bala vella arakkar tham,
Mudiyum , Kumbakarnan mudiyum
Ravanan,
Mudiyum podiyaga vidu pungavanr
You cut off the heads of cruel Indrajit,
Prahastha , the moola bala army ,
The head of Kumbhakarna and Ravana,
And made them in to powder, oh great one.
Ninaitha padi Vibheeshanarkku arasu pera,
Niruthi oru pushpa radathil yeri vanthu ,
THanathil uyar tharum Ayothiyile Sima-,
THanathirukkum Raghu kula
Kumarane
When Vibheeshana became the king as expected,
You came back in the
chariot made of flower,
Reached Ayodhya which was
greatly wealthy,
And you sat in the throne, Oh Lad of the Raghu clan.
“As expected Vibeeshana became the king” is to be noted. There is no delay or no other thought that occurs to Rama or Lakshmana when Sugriva and Vibeeshana are given the kingdoms that their brothers ruled. This is clear from the lines we see in Kulasekhara in Kavirayar. There is nothing here to substantiate the theory of Rama’s mission being territorial expansion.
Author asks for pardon, ‘apasarakshamai’ for any mistakes as may be in the work – Kavirayar says Valmiki rendered the work as shlokas, Kamban wrote it as poetry, and he set out to write it because of his love for the work, and what effect would it have if there are mistakes in it? “It will be similar to what happened to the hunter who was mistakenly saying “maramaramara” instead of the mantra Rama Rama and attained mukti.” I cannot but mention this, for it shows how he looks at the original, the Tamil rendering and the inspiration.
Then he writes about the greatness of Ramayana, the benefits it bestows, that it is capable of giving boons, removing distress. Like Bhadrachala Ramadasu’s Rama Jogi Mandu Konare, Arunachala Kavirayar says Ramayana is the medicine to remove illness, death and birth. Then he sings Mangalam and concludes the introduction before starting with Bala Kandam.
Devas go and make a complaint before Maha Vishnu, on the atrocities committed by Ravana, Kumbakarna and the rakshasas. He uses simple expressions to convey the troubles they faced: “We are getting crushed in the hands of the rakshasas like sesame in the oil mill” is one and when they seek asylum the Devas say we are squeezed out like the sugarcane in factories. You have to show grace, otherwise no escape for us from that Ravanan “paavi”, this “paavi” sinner is an expression often used an epithet for Ravana.
In the virutham that follows, Bhagawan assures them that he will be born as Dasaratha’s son, and the song succeeding it details the parivaras who would take birth along for the purpose of his Avatara to finish Ravana, who cannot be handled by human beings or vanaras.
Birth of Rama, the avataram is sung ragam Gowli Pantu,
Parabrahma himself has taken birth on this earth as Sri Rama, fulfilling
Dasaratha’s life, result of the yaga conducted by Rishyashringa, in the month
of Chaitra, Navami tithi, Kataka Rasi, Punarpoosa nakshatra. Prof. Manavalan
makes an interesting observation from the comparison of Valmiki manuscripts
that it must have been from Kamban that southern rescensions of Valmiki has the
birth chart of Rama as they are not available in the northern manuscripts. Kavirayar
includes the full horoscope here in the Rama jananam song. Ravana and Lanka
witness bad omens on the birth of Rama.
“Thadagain paavi
Thavirthaal en velvi
Peedai varaamal kaathaal pizhaikkum en aavi”
Thadagai is obstructing my yagna, I will be saved if the
yagna is protected”
Rudra in anger, Guru Vishwamitra, There is danger, Therefore
we need your son.
Tadaga vadam is dealt with not in any gender terms, but in every line the expression kodiyaval, the cruel one showed how she was torturing everyone and was killed by Rama. “She fell like King Ravana’s victory flag fell,” Kodiya Tadagai paavi vizhundhaal, pollaak kodiya Tadagai paavi vizhundhal.
Ahalya’s curse is also dealt with in a similar fashion to Kamban, a stone that she was cursed to become and the redemption from the dust of Rama’s feet. The next step, into Mithila is also like Kamban’s where the eyes of Rama and Sita meet and their mutual attraction instantly.
Rama saw her as the Lakshmi who came out of the ocean, and felt the viraha, the separation. kadalvaai varu senthiruvenave kandaan viraham kondane virutham introduces the situation and the song that follows once again, popular and beautiful, exudes romance.
Kaushika introduces Rama to Janaka, says do not under estimate him, he is capable of wonders, a valorous man.
Detailed description of the Sita Swayamvaram, wedding is done over many songs, the panigrahanam, saptapati scenes are followed by the sprightly song of celebration - “shobanam” sung in Madhyamavati “shobanam, shobanam Ramasamikkum Seethaikkum”. Kavirayar seeks benediction to all, Valmiki, Kamban, and those who read Arunachala Kavirayars natakam.
In the Ayodhya Kandam also there are many unforgettable songs – notable among them is the song where Kaikeyi expresses her happiness over Rama’s coronation.
“Ramanukku mannan mudi tarithaale nanmayundoru kale, en kanmani” – “he was the one who shattered the ego of Parasurama, who saved us all, the eldest of the four, and my dear one, he deserves it Kooni”. She shouts at Mantra in a mundane way “vettipoduven unnai”, though ultimately she gets swayed by her statements.
Rama’s exit to forest. Sita speaks her mind, and in pretty strong terms. “eppadi manam thunindhadho saami vanam poi varugiren enraal idhai erkumo bhumi”, “how did you dare to leave me behind, break the promise, that you would not leave me in all the many lives, how can you leave the poor me in lurch. Is this your valour?” Again, a very mundane expression, you are breaking this news to me as if breaking a sugarcane, is your heart made of iron?
Guhan requests Rama to stay behind, saying “we won’t feel hunger looking at your moon like face, we will get mukti moksham.” The affection Rama gets is very clear when many of these characters speak in the voice of Arunachala Kavirayarrayar.
The moral values, most of which Thiruvalluvar sings about get reflected in a song of Bharathan in his conversation where he laments to Kosala. About what a sinner he had become. In that list of sinful deeds some are, not letting the calf have its mother’s milk, coveting another’s wealth, “parasthree anubhogi”, coveting another one’s wife, drinking alcohol.
This point is to be noted. It clearly establishes that the culture does not absolve one of taking another man’s wife. We will in later chapter see the concept of Tamil culture embedded in Kamban that is followed by Arunachala Kavirayar. If the Tamil culture and Thiruvallur condemn taking another man’s wife, it is mocking at Tamils as E.V.R always did, making Ravana a hero. Thiruvalluvar dedicates one whole chapter to the subject in Thirukkural titled “Piranil Vizhayamai”.
அறன்கடை நின்றாருள் எல்லாம் பிறன்கடை
நின்றாரின்
பேதையார் இல்
பிறன் மனைவியை அடைவதற்குத் துணிந்தவர்கள் அறவழியை விடுத்துத் தீயவழியில் செல்லும் கடைநிலை மனிதர்களைக் காட்டிலும் கீழானவர்கள்
—மு. கருணாநிதி
Those who go after another man’s wife is the lowest of low who abandon dharma, this explanation to the Kural is from Mu.Karunanidhi
தேரான்
பிறனில் புகல்.
பிழை புரிகிறோம் என்பதைத் தினையளவுகூடச் சிந்தித்துப் பாராமல், பிறன் மனைவியிடம் விருப்பம் கொள்வது, எத்துணைப் பெருமையுடையவரையும் மதிப்பிழக்கச் செய்துவிடும்
—மு. கருணாநிதி
Even the mightiest would fall from grace if they thoughtlessly pursue another man’s wife. I restrict quoting only two out of ten couplets for want of time. The point is limited to showing how in terms of grammar as well as morals, the works of Kamban or Kulasekhara stick to the rule. Show no leniency to Ravana or belittle Rama.
In the Aranya Kandam, there are two particular songs that are a treat to the ears of any rasika and both very interesting. There is a song where Surpanaka describes Sita’s beauty to Ravana “Kaana vendum laksham kangal”- Surpanakha tells Ravana, that his twenty eyes aren’t enough to see Sita’s beauty, that he needs a lakh eyes. and the song where Lakshma tells Sita, “aar enru raghavanai ennineero”, extolling the bravery of Sri Rama when he went on the chase of Maricha. There is also a song where Maricha advises Ravana not to covet Sita, not be drowned in lust, warning him with instances of the curse that befell Chandra, and how Indra was punished for touching Ahalya.
But, before there was also a song from Viradha, when he was
hit by Rama.
Kavandha sings Rama’s praises too after being hit. He recognizes him as Paramatma and asks why is he in the robes of a sanyasi, it is others who have to do penance to reach him. “What is this form, what is that you want to achieve through penance? You have removed my curse, now go and meet Sabari,” he instructs.
I will just add a few episodes and songs here from the Kishkinda and Sundara Kandam. One is about the Vaali vadham. There is a detailed exchange between Vaali and Sri Rama. Vaali questions him about the stealthy blow, and after Rama’s replies advises Sugriva to follow Rama, serve him well. He tells Sugriva “know that Adi Devan is Sriraman, the one the Vedas and shastras describe as one to attain”.
When Tara laments over Vaali’s death, she says, “you would have given him the nectar churned from the oceans, if Rama had debated with you instead of shooting arrows from behind,” questioning Rama’s stealth act.
There are many dramatic scenes and conversations that are recorded over several songs, but would just a few lines from Sita giving Choodamani to Hanuman and explaining her condition imprisoned in Lanka. A song when sung brings out pathos at her condition.
Hanuman introducing himself to Ravana is another hit song, a
classic drama style.
Kamban puts in his best when it comes to Yuddha Kandam. The songs with rhythm matching military march past. To give us the feel of the war Arunachala Kavirayar too makes a long and dramatic Yuddha Kandam.
“Ramanai kannara kandaane Vibishanan kai mamudimel vaithu kondaane” Vibishana saranagati and Rama granting him asylum. Immediately Rama says in this drama “Indha Vibishana Lankapuri rajyam” … vedamullalavum, veda gitamullalavum, parijatamullalavum pancha bhootam ullalavum, eternally yours, chinranjeevi neeye, sonnen, sonnen, Rama says. These have been very popular concert songs for long, with masters like Madurai Mani Iyer and D.K. Jayaraman making it their own in their inimitable styles.
Malyavan advises Ravana only to be rebuked. Then Angada gets a mouthful from Ravana when he goes as an envoy, as he taunts him for becoming an envoy of a man who killed his father. Angry Angada gives a call to war:
It is said that this was the song that was first written to test the waters, and it became such a hit and Arunachala Kavirayar decided to go ahead with composing Rama Nataka Kirtanai.
Kumbakarna advises Vibhishana to stay put with Rama, saying atleast one of the family would be spared by Rama’s arrow to offer shraddha to those who would be slain in the war from the family. After he falls, he also asks Rama to protect Vibishana. Ravana is well portrayed in terms of his powers, his kingdom, but even Mandodari cries dwelling over his obsession with Sita, and Surpanakha as a cause of the whole thing, and how was that the great Ravana was not able to overcome that obsession. A line that Srinivasa Sastri uses comes to mind. Ravana can have all the greatness without goodness. That is how Ravana comes across in Arunachala Kavirayar’s portrayal too.
In the agni pariksha episode Kavirayar writes touching lines and it is Agni Deva who speaks to Rama on as to why it should have been undertaken by Sita: “Why did you do this Rama, what mistake did I do, that you made me stung by the heat of the virtuous Sita … it is my nature to burn anything that I touch, but even I was burnt by this fire of pativrata.”
On their return from Lanka, Rama shows Sethu to Sita and the song is a full-fledged moral lesson he gives in general. Wonder why in such a situation a list of deeds that are sinful is pointed out.
It is very touching when Rama makes his return and Bharata awaits him “Rama appeared before Bharata, it was like how it was when Devas got their Amruta, and how people on earth feel when they get their lost things back”. He then ends with a grand coronation song “Magudabishekam kondane, Sri Ramachandran magudabishekam kondane”.
This small survey of the two retellings of Ramayana is made to show how they are part of the long tradition of Rama devotion in Tamil Nadu. Rama worship has been part of the Tamil bhakti tradition, and the state has some of the oldest Rama temples in the country, inscriptions, Ramayana panels in the temples, references in ancient Sangam literature. The issue is not about what a particular author wants to do – none can stop creativity of a writer, his imagination, his freedom to publish. It would only be fit that what labels we have, how are they categorized – if it is a fan fiction, it can only be a fan fiction. Can Harry Potter fan fiction become a version of Harry Potter? The extent to which this fan fiction and copying a source book have become a menace, authors are resorting to copyrighting characters.
We call Valmiki an open source, or even better making him a “mythical” author and therefore no restrictions on what one can do with Ramayana. The Dravidian project of rewriting Ramayana to make Ravana the hero might excite readers today, movie makers to launch and mainstream the idea. To legitimize that diversity and put them in text books doesn’t do justice to Ramayana tradition. Arunachala Kavi time and again emphasizes how Sita was never touched by Ravana, she was lifted from the earth, carried away with the parnashala. Kamban is praised by Tamils for showing the culture in making that shift from Valmiki and showing Ravana did grab her by hand. If the Tamil culture and the morals stood by karpu, chastity of women, and also the chastity of men so to say in not coveting another man’s wife, turning the story on its head, and calling it a version is a nothing but total distortion. From Thiruputkuzhi to Darbhasayanam, Tamil land is blessed with Ramayana connection, and Kulasekhara continues to be recited, and Arunachala Kavirayarrayar sung till day and Kamban read and debated and celebrated.
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