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Throughout Indian history, many authors and performers have produced, and many patrons have supported, diverse tellings of the story of the exiled prince Rama, who rescues his abducted wife by battling the demon king who has imprisoned her. The contributors to this volume focus on these "many" Ramayanas. While most scholars continue to rely on Valmiki's Sanskrit Ramayana as the authoritative version of the tale, the contributors to this volume do not. Their essays demonstrate the multivocal nature of the Ramayana by highlighting its variations according to historical period, political context, regional literary tradition, religious affiliation, intended audience, and genre. Socially marginal groups in Indian society—Telugu women, for example, or Untouchables from Madhya Pradesh—have recast the Rama story to reflect their own views of the world, while in other hands the epic has become the basis for teachings about spiritual liberation or the demand for political separatism. Historians of religion, scholars of South Asia, folklorists, cultural anthropologists—all will find here refreshing perspectives on this tale.
A wide-ranging examination of the many different versions of India's greatest epic, the Ramayana, focusing on versions that subvert the dominant readings of the work.
One of India’s greatest epics, the Ramayana pervades the country’s moral and cultural consciousness. For generations it has served as a bedtime story for Indian children, while at the same time engaging the interest of philosophers and theologians. Believed to have been composed by Valmiki sometime between the eighth and sixth centuries BCE, the Ramayana tells the tragic and magical story of Rama, the prince of Ayodhya, an incarnation of Lord Visnu, born to rid the earth of the terrible demon Ravana. An idealized heroic tale ending with the inevitable triumph of good over evil, the Ramayana is also an intensely personal story of family relationships, love and loss, duty and honor, of harem intrigue, petty jealousies, and destructive ambitions. All this played out in a universe populated by larger-than-life humans, gods and celestial beings, wondrous animals and terrifying demons. With her magnificent translation and superb introduction, Arshia Sattar has successfully bridged both time and space to bring this ancient classic to modern English readers.
Attributed to Valmiki, thought to be India's first poet, the Ramayana's origins date back thousands of years when it was first committed to Sanskrit. Since then, generations of children the world over have grown up with its story of Rama's quest to recover his wife Sita from her abduction by Raavana, the Lord of the Underworld. The tale has been celebrated in many languages and has spread to many other countries including Nepal, Tibet, Thailand, Burma, Laos, Cambodia, Malaysia and Indonesia. It is used as a Hindu, Jain, Buddhist, Islamic, Sikh as well as a secular text, and lives in in many art forms too: in drama and dance, in sculpture and painting, in prose and in poetry. Daljit Nagra was captivated by the versions his grandparents regaled him with as a child. Now an award-winning poet of dazzling gifts, he has chosen to bring the story to life in a vivid and enthralling version of his own. Accessible and engaging, and bursting with energy, Nagra's Ramayana is a distillation and an animation for readers of all ages, whether familiar with or entirely new to this remarkable tale.
Poet, translator, and folklorist, A.K. Ramanujan has been recognized as the world's most profound scholar of South Asian language and culture. This book brings together for the first time, thirty essays on literature and culture written by Ramanujan over a period of four decades. It is the product of the collaborative effort of a number of his colleagues and friends. Each section is prefaced by a brief critical introduction and the volume includes notes on each essay as well as a chronology of Ramanujan's books and essays.
Datte's deft intermingling of western and eastern literary traditions brought about a sea change in South Asian literature. His masterpiece is now accessible to readers of English in this translation, complete with introduction, notes and a glossary.
This volume examines The Rāmāyaṇa traditions of South India and Southeast Asia. Bringing together 19 well-known scholars in Rāmāyaṇa studies from Cambodia, Canada, France, India, Indonesia, Malaysia, Singapore, Thailand, UK, and USA, this thought-provoking and elegantly illustrated volume engages with the inherent plurality, diversity, and adaptability of the Rāmāyaṇa in changing socio-political, religious, and cultural contexts. The journey and localization of the Rāmāyaṇa is explored in its manifold expressions – from classical to folk, from temples and palaces to theatres and by-lanes in cities and villages, and from ancient to modern times. Regional Rāmāyaṇas from different parts of South India and Southeast Asia are placed in deliberate juxtaposition to enable a historically informed discussion of their connected pasts across land and seas. The three parts of this volume, organized as visual, literary, and performance cultures, discuss the sculpted, painted, inscribed, written, recited, and performed Rāmāyaṇas. A related emphasis is on the way boundaries of medium and genre have been crossed in the visual, literary, and performed representations of the Rāmāyaṇa. Print edition not for sale in South Asia (India, Sri Lanka, Nepal, Bangladesh, Pakistan and Bhutan)
Chandrabati, the first woman poet in Bangla, lived in the sixteenth century in Mymensingh district in present day Bangladesh. She was also the first poet in the Bangla language to present a retelling of the Ram story from the point of view of Sita. Idolised as a model of marital obedience and chastity in Valmiki’s Ramayan, Chandrabati’s lyrical retelling of Sita’s story offers us a fresh perspective. Written in order to be sung before a non-courtly audience, mainly of womenfolk of rural Bengal, Chandrabati’s Ramayan adds new characters and situations to the story to provide new interpretations of already known events drawing richly on elements of existing genres. Its location in the tales of everyday life has ensured that Chandrabati’s Ramayan lives on in the hearts of village women of modern-day India.
The Ramayana is an epic poem by the Hindu sage Valmiki, written in ancient Sanskrit sometime after 300 BC. It is an allegorical story that contains important Hindu teachings, and it has had great influence on Indian life and culture over the centuries. Children are often encouraged to emulate the virtues of the two main characters -- Rama and Sita. The Ramayana is frequently performed as theater or dance, and two Indian festivals -- Dussehra and Divali -- celebrate events in the story. This version of The Ramayana is told from the perspective of Sita, the queen. After she, her husband Rama and his brother are exiled from their kingdom, Sita is captured by the proud and arrogant king Ravana and imprisoned in a garden across the ocean. Ravana never stops trying to convince Sita to be his wife, but she steadfastly refuses his advances. Eventually Rama comes to her rescue with the help of the monkey Hanuman and his army. But Rama feels he can't trust Sita again. He forces Sita to undergo an ordeal by fire to prove herself to be true and pure. She is shocked and in grief and anger does so. She emerges unscathed and they return home to their kingdom as king and queen. However, suspicion haunts their relationship, and Sita once more finds herself in the forest, but this time she is pregnant. She has twins and continues to live in the forest with them. The story is exciting and dramatic, with many turns of plot. Magic animals, snakes, divine gods, demons, sorcerers and a vast cast of characters all play a part in the fierce battles fought to win Sita back. And in the process the story explores ideas of right vs. wrong, compassion, loyalty, trust, honor and the terrible price of war.
He Is Eka-Vachani, A King Who Always Keeps His Word; Eka-Bani, An Archer Who Strikes His Target With The First Arrow; And Eka-Patni, A Husband Who Is Eternally And Absolutely Devoted To A Single Wife. He Is Maryada Purushottam Ram, The Supreme Upholder Of Social Values, The Scion Of The Raghu Clan, Jewel Of The Solar Dynasty, The Seventh Avatar Of Vishnu, God Who Establishes Order In Worldly Life. Hindus Believe That In Stressful And Tumultuous Times Chanting Ram&Rsquo;S Name And Hearing His Tale, The Ramayan, Brings Stability, Hope, Peace And Prosperity. Reviled By Feminists, Appropriated By Politicians, Ram Remains Serene In His Majesty, The Only Hindu Deity To Be Worshipped As A King.