Episode 01 - Chapter5-Canto on Rama's Incarnation.
CHAPTER 5 – CANTO ON RAMA’S INCARNATION - திரு அவதாரப் படலம்
We have arrived at the epicenter, as it were, of the epic – the cantos leAading to and narrating the birth of Sri Rama and his three siblings.
Let us, for a while, step aside, out, of the narratives by Sri Valmiki or Kamban and consider a logical perspective of Sri Rama Avathara:
“ParithrANaaya sadhoonaam, vinayasaca dushkritham,
Dharma sansthabanaarthaaya sambhavami yugE, yugE”
Thus spake the Lord during his Srimad Bhagavad Gita discourse.
Consider Ayodhya, Kosala or the neighbouring Videha, where with Mithila as its capital, King Janaka ruled, around the time Sri Rama Avatara happens.
From everything that the epic narrates about these reigns, it would seem that righteousness (dharma) supervened everywhere, tranquil peace, contentment, happiness, affluence and a sense of supreme safety under the rule by all the subjects prevailed.
Sage Valmiki, in the following two verses, sums up the reign of Emperor Dasaratha – as a glorious, acclaimed model for the three worlds, no less:
अवेक्षमाणः चारेण प्रजा धर्मेण रक्षयन् |
प्रजानाम् पालनम् कुर्वन् अधर्मम् परिवर्जयन् || १-७-२१
विश्रुतः त्रिषु लोकेषु वदान्यः सत्य संगरः |
स तत्र पुरुषव्याघ्रः शशास पृथ्वीम् इमाम् || १-७-२२
avekShamaaNaH caareNa prajaa dharmeNa rakshayan |
prajaanaam paalanam kurvan adharmam parivarjayan || 1-7-21
vishrutaH trishhu lokeshhu vadaanyaH satya saMgaraH |
sa tatra purushhavyaaghraH shashaasa pR^ithviim imaam || 1-7-22
Tiger-like in his manly prowess, and generous to a fault, Emperor Dasaratha assiduously monitored the welfare of his subjects through spies; took pains to ensure that all of them were protected, through righteous (dhaarmic) governance; took great care to forsake non-righteous means in his governance; his rule was “ruled” by truthfulness alone. Thus Emperor Dasaratha ruled the whole earth (prithveem imam), a rule that was acclaimed as the most glorious in all the three worlds.
न अध्यगच्छत् विशिष्टम् वा तुल्यम् वा शत्रुम् आत्मनः |
मित्रवान् नत सामन्तः प्रताप हत कण्टकः |
स शशास जगत् राजा दिवि देव पतिर् यथा || १-७-२३
na adhyagacChat vishiShTam vaa tulyam vaa shatrum aatmanaH |
mitravaan nata saamantaH prataapa hata kaNTakaH |
sa shashaasa jagat raajaa divi deva patir yathaa ||
Emperor Dasaratha’s reign was acclaimed for his acquiring friends everywhere (allies), the unquestioned subordination to his reign by numerous kings by numerous kings, his eliminating thorny threats or confrontations through his valour: there was no ruler that was superior or even equal to him and there were of course no enemies; and such a glorious reign was not encountered even in the Heavens ruled by Devendra himself; thus did Emperor Dasaratha rule with glory and acclaim.
The Emperor’s Cabinet and Court were highly distinguished and that, in part, was the backbone of the illustrious reign:
· The two Raja Guru’s were: Sages Vasishta and Vamadeva
· The eight cabinet ministers were: Dhrishti, Jayantha, Vijaya, Suraashtra, Raashtravardhana, Akopa, Dharmapala and Sumantra. (We would hear a lot about Sumantra in the course of the epic.)
· The King’s religious/dhaarmic Council had the following highly learned and renowned Brahmin scholars to advise him:
Suyajna, Jabaali, Kaashyapa, Gautama, Maarkandeya, Deerghaayu, and Kaatyayana
We would come across some of these names too in the course of the epic.
Dasaratha’s contemporary, his would be sambandhi, was equally illustrious; possibly a bit more endowed with spiritual wisdom and thus earning the sobriquet – raja rishi.
Where was, then, the “avasara” (अवसर = the right moment) or a proximate context, for the avatara? “dharma sansthabanaartham” as a context or pretext did not yet arise as righteousness – dharma – prevailed everywhere.
Even the reign of Ravana, the rakshasa king down south, and the villain of the epic, was attended by all the prescribed raja dharmas; Ravana himself was a highly learned person, renowned for his highly disciplined penances and famous for his mastery of saama ghaana with which he pleased Lord Siva no ends.
The context for the avatara is provided by the aggressive subjugation of the Devas, including Indra himself, by Ravana and his kin, particularly his son Meghanadha aka Indra Jit (the vanquisher of Indra).
Ravana appears to have considered the earthly kingdoms as unworthy of his aggression! His forays of confrontation were singling out the Devas, no less. Possibly, as a character study, Ravana was afflicted by a sense of inferiority – being born a raakshasa – and therefore being looked down upon. That should have triggered all his passion to master all the scriptures including the vedas, master warfare, master spiritual seeks like hard penances; and acquiring boons with which he liked to bolster his image and persona. And, in order to demonstrate this “upgradation” took on the likes of Indra and took pride in subjugating them.
The only transgressions/incursions that Ravana is known to have made into the earthly life is to cause disruption of yagnas and homams that were designed to please the gods; possibly justified by him because these were meant to propitiate his sworn enemies. In other words he was not reputed as a hostis humani generis – enemy of the (whole) human race!
The actual aparatha (wrongdoing) – in his mind – did not happen till the point his sister Surpanaka, in a fit of vengeful frenzy, sowed the seed of destructive desire in Ravana’s mind about Sita Piratti.
Amidst all the tranquility, peace, contentment, acclamation and fame, the Emperor is nursing one singular pain: that he had not brought forth a progeny to take over and follow his glorious rule of over 60000 years and he confides this in his Raja Guru – Sage Vasishta:
அறுபதினாயிரம் ஆண்டும் மாண்டு உற.
உறு பகை ஒடுக்கி. இவ் உலகை ஓம்பினேன்;-
பிறிது ஒரு குறை இலை; என் பின் வையகம்
மறுகுவது என்பது ஓர் மறுக்கம் உண்டுஅரோ.
I have ruled for all these sixty thousand years; I have ensured that there are no enemies in this dedicated reign of this world. I have no other disappointments. After me (after I am gone), this world under my reign might suffer chaos or pain (without an equally effective successor to take over the reign). That thought is unsettling for my mind.
It is noteworthy that Dasaratha’s mental pain is not that of an ordinary mortal father: like not being blessed with a son, an image of his own flesh and blood to look at and rejoice over, a progeny who would deliver him from “puth” offering ablutions with water and gingelly (thil) after his demise; a successor to whom he would hand over all his worldly possessions for that successor to enjoy after him, etc. His pain is that his subjects, who he loves so intensely, should not be orphaned after his demise without a good king to rule them, should not be suffering from possible chaos of a natural and orderly succession not happening.
God’s ways are inscrutable. They provide scope for nuanced perception for the human minds – nuanced as incredibly as a limitless rainbow, perceptions almost as varied and as many as the minds contemplating them. Fortunately, however, some perceptions are handed to us from minds that are just not ordinary human’s – like Vyasa Bhagwan, or Sage Valmiki or, coming down to Kali Yuga, Kamban or Purandaradasa, for instance. Being endowed with thought-faculties that transcend time and its limitations – tri kaala jnaanis – their assertions anchor our perceptions.
Sage Vasishta, endowed with such powers of time-transcending thought and recall, has the answer for Dasaratha’s lament – about the mental pain that he is nursing concerning his not having a progeny to continue the great work he has been doing as the Emperor par excellence for Sixty Thousand Plus years.
Sri Bhagavan, Sriman Narayana promises to the appealing Devas led by Brahma, that he would relieve the world of the acute suffering and miseries from the tyranny and wicked deeds of Rakshasas led by Ravana, that He would be born in the Raghu Vamsa – Ikshwaku dynasty - as Emperor Dasaratha’s son, that His Sudarsana, Panchajanya and Anantha would be born as his siblings.
We noted that there was no “avasara” i.e. immediate context for the avatara when it actually happened – the context being the promised annihilation of the rakshasas as will be seen from the following verses. But what was Sri Bhagavan’s intent – thiruvullam – in descending to Ayodhya, in the midst of supreme serenity, tranquility, prosperity, contentment, wholesome, unexcepted, happiness and the grandeur of dharma?
The proximate intent and the most perceivable one, of course, was to answer the pain-felt prayers of Emperor Dasaratha, to grant him the supreme fatherhood that he was longing for. But that wasn’t just it, I think.
Sri Rama Charitha is not all about “dushta nigraha and sishta paripaala” – “parithraNaaya saadhoonam, vinaasayaca dushkrtaam”. The epic unfolds for humanity, for all times to come, a code of ideal, purposeful and righteous human life, illustrated so vividly and perfectly by His very life, as He trod this earth, its length and breadth as it were. “Pitru Vaakya Paripaalanam”; “Eka Patni Vradham”, “Saranagatha Vathsalan”, “Satyaasrayam” being some amongst the main themes; His fond affiliation with a lowly, simple, boatman as his very brother “இன்றோடு ஐவரானோம்” and the boundless love shown to Sabari, His compassion towards even his sworn enemy, Ravana, who stood before Him in the battlefield shorn of all his weaponry and was such an easy target to be killed, asking him to return home and come back, fully equipped, the next morn to fight “இன்று போய் நாளை வா” are what makes Srimad Ramayana the greatest epic for humanity.
If we fit these nuggets out of the epic’s course, we perhaps would reach an answer to the riddle: the “avatara” is to illustrate and permanently etch as a glittering commandment to humanity for all times to time, a code of life defined by perfection; the promised “dushta nigraha” just falls along as a spicy subset!
Kamban describes Sage Vasishta’s recall, as he listens to Dasaratha’s lament, the event in ThirupaaRkadal that would set up the events ordained by Him that would follow, and, in their course, provide such joy and delight to the aggrieved Dasaratha –*( till Destiny and the “avatara uddhesa” would rob him of that happiness after several long years )
அலை கடல் நடுவண். ஓர் அனந்தன் மீமிசை.
மலை என விழி துயில்வளரும் மா முகில்.
‘கொலைதொழில் அரக்கர்தம் கொடுமை தீர்ப்பென்’ என்று.
உலைவுறும் அமரருக்கு உரைத்த வாய்மையை.
அலைகடல் நடுவண் = in the midst of wave swept ThirupaaRkadal ; ஓர்
அனந்தன் மீமிசை = (reclining) on Ananthan, the snake bed; மீமிசை is a superlative term to exalt the “on”, the reclining on is not just any ordinary recline, it is a most divine recline of Sri Maha Vishnu. மலை என விழிதுயில் வளரும் = like a (dark) hill that is reclining and in an “awakened sleep”; மாமுகில் = resembling a colossal dark cloud (Sri Bhagavan resembles a dark cloud in His complexion as well His limitless bounties); ‘கொலை தொழில் அரக்கர் தம் கொடுமை தீர்ப்பேன’ = shall destroy the misery caused by rakshasas having as their avocation and pleasure, the killing and torturing of other beings; உலைவு உறும் அமரருக்கு=
to the Devas grieving from the wickedness of rakshasas; உரைத்த வாய்மையை=such a promise that was given (by Sri Bhagavan)… the inconclusive infinitive at the end connects with Sage Vasishta’s recalling from his “jnana drishti” what happened in ThirupaaRkadal quite some time ago, as Dasaratha was ventilating his grievance and pain to him – about his not being blessed with a progeny.
மசரதம் அனையவர் வரமும். வாழ்வும். ஓர்
நிசரத கணைகளால் நீறுசெய்ய. யாம்.
கச ரத துரக மாக் கடல்கொள் காவலன்.
தசரதன். மதலைவாய் வருதும் தாரணி.
மசரதம் அனையவர் - mirage like rakshasas’ வரமும் வாழ்வும் = power flowing from the boons they had obtained and their very lives; நிசரத கணைகளால் நீறு செய்ய =with my arrows that never miss their target, to turn to ashes ; யாம் கசரத துரகமாகக் கடல் கொள்காவலன்-
to Dasaratha, possessing ocean-like armies made up of elephants, chariots and fine horses, shall I; மதலையாய் தாரணிவருதும் = come down to earth, as his child..
வளையொடு திகிரியும். வடவை தீதர
விளைதரு கடுவுடை விரிகொள் பாயலும்.
இளையவர்கள் என அடி பரவ ஏகி. நாம்.
வளைமதில் அயோத்தியில் வருதும்’ என்றனன்..
Sanku and Chakra (my two weapons) as well as Anantha, serving as my bed, whose venom could burn even the most ferocious “vadavagni”, shall go (with me) to Ayodhya and be born as my younger siblings (paying obeisance to me). (Please note the elaborate adjectives used by the poet to introduce “anantha” who would be “iLaiyaazhwar – lakshmanan” whose vibrant presence and characterisation would run through the entire epic as Sri Rama's Himself.
We saw that the ethos prevailing in Mother Earth at the time of the avatara did not exactly fit in with His own proclamation in Srimad Bhagavad Gita; there wasn’t seen any avasara predicating his arrival; Ayodhya and its neighbourhood were almost divine havens of absolute bliss for humankind and the rumblings of threat from rakshasas were distant and didn’t stir the minds of humankind; the devas were aggrieved but Mother Earth was serenity personified.
We would see another unique definition of this avatara: Sri Bhagavan ordains that practically the Sri Vaikunta is evacuated and moves down to Ayodhya with Him; but the whole entourage of Devas would also descend to this world to occupy distinct roles defined by Him for them. Before we proceed to that scene, let us see how Kamban narrates Sri Bhagavan materializing before the beseeching Devas led by Indra and Brahma:
கரு முகில் தாமரைக் காடு பூத்து. நீடு
இரு சுடர் இரு புறத்து ஏந்தி. ஏந்து அலர்த்
திருவொடும் பொலிய. ஓர் செம்பொன் குன்றின்மேல்
வருவதுபோல். கழலுன்மேல் வந்து தோன்றினான
Sri Bhagavan, resembling a huge dark raincloud, a forest of lotus blooms (each of His limbs resembled a lotus – the hands, the feet, the eyes, the face, each one) holding on His two sides Sudarsana and Panchajanya fiery like two blazes, with Sri Piraati seated on a Lotus, materialized on Garuda, like descending on “Meru Mandapam” that looked a Mount of Pure Glittering Gold.
We saw last week how Sriman Narayana ordains His Sudarsana, Panchajanya and Anantha to descend to Ayodhya to be his siblings in Sri Rama Avatara. (As Bharatha, Satrugna and Lakshmana respectively). We also noted the superlatives adduced by Kamban while describing Anantha, indicative of the very distinguished role Lakshmana would play throughout the avatara.
Let us see how He ordains the virtual evacuation of Deva Loka:
வான் உளோர் அனைவரும் வானரங்கள் ஆய்.
கானினும். வரையினும். கடி தடத்தினும்.
சேனையோடு அவதரித்திடுமின் சென்று’ என.
ஆனனம் மலர்ந்தனன்- அருளின் ஆழியான்
“Vaan uLoar anaivarum vaanarangaL Ai,
Kaaninum, varaiyinum , kAadi thadathilum,
sEnaiyOdu avadharithidumin sendRu” ena
Ananam malarndhanan – aruLin Azhiyaan.
“All of you, Devas, proceed to Earth and be born in droves of monkeys, in forests, hills and mountain valleys” thus ordained Sri Bhagavan – oceanlike in compassion.
(This “avatara udhdhesa” contemplates that Ravana, in his disdain for those below the ranks of Devas and Asuras as well as Rishis capable of cursing his destruction, sought and secured boons that would protect him against those and didn’t deign it fit or necessary to include humans and animals in that list. Reminds us of Hiranyakasipu who thought he had all the risks covered but left some gaping holes in that cover.)
This also sets apart Sri Ramavatara from the other Avataras.
Postscript: The Aadi Kaavya does not narrate the one-to-one conversation between sage Vasistha and Dasaratha, when the Emperor unburdens his mental anguish about his not being blessed with progeny. Sage Valmiki just states the mental anguish of the King and that mental-churn leAading to his decision to perform an Aswa Medha Yagna:
चिन्तयानस्य तस्य एवम् बुद्धिः आसीन् महात्मनः |
सुतार्थम् वाजिमेधेन किम् अर्थम् न यजामि अहम् || १-८-२
chintayaanasya tasya evam buddhiH aasiin mahaatmanaH |
sutaartham vaajimedhena kim artham na yajaami aham || 1-8-2
२. चिन्तयानस्य (chintayaanasya) = while thinking; तस्य (tasya)= to him; महात्मन(mahaatmanaH) = to that great soul; एवम् (evam) = this way; बुद्धिः आसीत्(buddhiH aasiin = thought, occurred; सुत अर्थम् (sutaartham) = sons, for the purpose of; वाजि मेधेन(vaajimedhena) = by Horse Ritual; किम् अर्थम् (kim artham) = why, not; न यजामि अहम्(na yajaami aham) = not, perform, I shall.
To that anguished great-soul, a thought occurred this way, "To beget sons, why should not I perform the Aswamedha Yaga..[and thus propitiate the gods in order to beget worthy sons..."
We noted how Kamban deviates from the Adi Kavi in bringing out this narrative: Sage Valmiki brings it out as an insight in Dasaratha’s own mind; Kamban adduces the decision to the counselling by Sage Vasista. We would see more of such deviations – “inserted and inspired originality” of Kamban as we proceed.
The Emperor’s wish, immediately as it is articulated, gets to the ground-level of execution with great enthusiasm and fervour. The three wives – Kousalya, Kaikeyi and Sumitra – are delighted.
Now, the chief priest for the yaga should normally be the “Raja Guru”, sage Vasishta himself. But for this particular ritual, in order to be absolutely sure that the prayed objective is accomplished, the Emperor decides to bring in Sage Rishya Sringar. And, thereby hangs a very interesting tale!
“Rishya Sringar” translates to a sage with a horn. He was the son of sage Vibhandaka, who was the son of that great and one of the earliest of sages , Kashyapa.
Rishya Sringa comes through as a greatly unusual personality – tightly cocooned and untouched, unexposed and untarnished by any sense pleasures – whatever. He is fed with tubers, fruits and leaves and does not understand taste or palate; he had not seen a female nor understands what that form represents; he is thus a natural, absolute, celibate. Even exposure to the guiles of nature does not emote him in any manner – almost inanimate. Possibly, that conserved and unspilled inner energies caused the distinctive “horn” on his head. Kamban calls him “கலைக் கோட்டு முனிவன்” – kalai kOttu munivan – sage with a stag’s horn. We often hear in Thamizh: 'அவன் என்ன கொம்பனா?' or அவனுக்கு என்ன கொம்பு முளைச்சிருக்கா? – avan enna kombanaa? Avanukku enna kombu muLaiccirukkaa? Probably derived from this.
By the time Dasaratha’s Aswa Medha comes by, Rishya Sringa gets out of his cocoon-seal, is pretty much a domesticated sage. Yet a remarkable sage. Let us see the story of his emerging out of his cocoon – briefly. The king of Anga Desa – King Romapaada (translates to one with hair on the soles of his feet – grieves because of a very severe and most-punishing drought in his country. (Anga Desa, according to historical hints, lies approximately straddling a part of eastern Bihar, parts of West Bengal – possibly the 24 parganas which are even now drought-prone – and a part of northern Jharkan. See the map of India approximating to the Ramayana times. (Anga also figures in Mahabharatha – Duryodhana anoints his most intimate friend (and a Pandava by birth), Karna, as the King of Anga, in order that his friend could no longer be ridiculed as the son of a charioteer.)
Romapaada’s council of sages advise him to get Rishya Sringa into the country and catetgorically affirm that if he sets his foot into this land, the drought would immediately lift and there would be copious rains and prosperity would return. They also design a scheme to accomplish this: getting a nomad sage, totally unexposed to the external world, to leave his cocoon and come out to this place. They suggest that a select group of very beautiful courtesans, quite adept in the fine art of seduction, should be sent to the sage’s hermitage when his father, Vibhandaka, is away (the father is reputed to be an ill-tempered sage like Durvasa and is feared for his curses), and seduce him to come out with them to Anga. The courtesans accomplish this very well. As Rishya Sringa sets foot in Anga Desa, the heavens open up and it pours prosperity.
Let us accept the story as plausible and see if there could be a rational explanation. The Puranas and Upanishads extol the sterling virtue of disciplining man’s sense organs, conquering sense pleasures, as the first pre-requisite to the prescribed search for spiritual powers – either for avowed objectives that may not be spiritual – like overcoming physical threats, enemies, conquering the world, etc., or for seeking the ultimate – union with God. Celibacy and conquering the sense organs are believed to conserve inner energies leading to accretion of supra-natural, supra-human powers. We could accept this premise even on notional scientific consideration. We have seen sages like Sri Ramana or the Kanchi Swami in our life time, as standing examples of some divinity coming through these persons – the cause being their mastering their minds and their bodies.
Rishis, men, devas and asuras were all reported to seek this inner energy by imposing on themselves extremely stringent and challenging austerities and physical withdrawal and progress to gather spiritual/divine powers that qualified them to seek boons from the Gods. The tapas would, however, be an island in an otherwise normal passion-filled life, for prescribed objectives. (“tapas” is usually translated as “penance”; I find it quite disagreeable: “penance” has the meaning making atonement for a wrongdoing or sin; “reparation”, self-punishment; atonement; repentence; etc. “tapas” is far from all these terms. I therefore choose to retain the Sanskrit term which all of us understand).
In the case of Rishya Sringa, though the austerity and celibacy were inborn and were not instruments for any specific objective. That possibly was the reason why, when he emerged out into the world, the selflessly and naturally acquired super-energies caused the great rain-relief in a cursed, drought-ridden land. This is a conjecture, but then, a plausible one, isn’t it?
My thoughts fleet to our godmen today.
Rishya Sringa goes on to marry the foster-daughter of Romapaada, Shanta, and becomes a part of the Anga kingdom and the court. (Shanta was a natural daughter of Emperor Dasaratha and given to his childless friend Romapaada as the latter’s foster-daughter; thus Rishya Sringa is a biologically-related kin (son-in-law) of Dasarath).
Sage Vasishta describes sage Rishya Sringa to Emperor Dasaratha and suggests that he should be invited for the Aswa Medha – as per Kamban:
‘வரு கலை பிறவும். நீதி மனுநெறி வரம்பும். வாய்மை
தரு கலை மறையும். எண்ணின். சதுமுகற்கு உவமை சான்றோன்.
திருகலை உடைய இந்தச் செகத்து உளோர் தன்மை தேரா
ஒரு கலை முகச் சிருங்க உயர் தவன் வருதல் வேண்டும்.
Varu kalai piRavum nIthi manu neRi varambum, vaaymai
Tharu kalai maRaiyum, eNNin, cathumukaRku uvamai, saandROn.
Thirukalai udaiya indha cegathuLOr thanmai thEraa
Oru kalai mukac cirunga uyar thavan varudhal vENdum.
Sage Rishya Sringa, comparable in esteem and stature to none other than Brahma himself in terms of erudition, knowledge, observance of justice and dharma to the very limites prescribed by Manu and the mastery and internalization of the Truth-filled vedas, the one with a stag horn, should visit (and preside over the Aswa Medha).
பாந்தளின் மகுட கோடி பரித்த பார்அதனில் வைகும்
மாந்தர்கள் விலங்கு என்று உன்னும் மனத்தன். மாதவத்தன்,எண்ணின்
பூந் தவிசு உகந்து உளோனும். புராரியும். புகழ்தற்கு ஒத்த
சாந்தனால் வேள்வி முற்றின். தனையர்கள் உளர்ஆம்’ என்றான்.
பாந்தளின் மகுடகோடி பரித்த (paanthaLin maguta kOdi pariththa) – borne by the heads of several crore headed serpant (Adi Sesha) ; பார் அதனில் வைகும் மாந்தர்கள் (paar adhanil vaigum maandhargaL) - the multitudes of humans tenanting this earth விலங்கு என்று உன்னும் மனத்தன் (vilangu endRu unnum manaththan) - thinks that all of them are just beasts; மாதவத்தன் (maathavaththan) - one who had incalculable ‘thapas’ to his credit; எண்ணின் (eNNin) - considered;
பூந்தவிசு உகந்து உளோனும் (poonthavisu ugandhu uLOnum) – the one who desires and chooses the (lotus) flower for his seat (Brahma) ; புராரியும் புகழ்தற் கொத்த சாந்தனால் (puraariyum pukazhthaR koththa saanthanaal – one whose compassion is worthy or praise by (both Brahma) and Siva, the destroyer of the three worlds; அக்கலைக்கோட்டு முனிவனாலே (akkalaik kOttu munivanaale) – at the hands of that sage with a stag horn(Rishya Sringa); வேள்வி முற்றின் தனையர்கள் உளர்ஆம் என்றான் (veLvi muTRin thanaiyarkaL uLaraam’ endRaan. – if the yaga gets completed, it is certain that you have male progeny’ thus said Sage Vasishta. (தவிசு= thavisu = seat)
Let us now see what the Adi Kavya says about Rishya Sringa presiding over the Aswa Medha planned by Dasaratha:
सुमंत्रस्य वचः श्रुत्वा हृष्टो दशरथोऽभवत् |
अनुमान्य वसिष्ठम् च सूतवाक्यम् निशांय च || १-११-१३
स अन्तःपुरः सह अमात्यः प्रययौ यत्र स द्विजः |
sumaMtrasya vachaH shrutvaa hR^iShTo dasharatho.abhavat |
anumaanya vasiShTham ca suutavaakyam nishaaMya ca || 1-11-13
sa antaHpuraH saha amaatyaH prayayau yatra sa dvijaH |
Listening to the narrative and advice of his charioteer, Dasharatha became gladdened at heart and made Sumantra to take that narrative and suggestion to Sage Vasishta as well, for his approval, then Dasharatha travelled to the land where that Brahman Rishyasringa was, along with the important inmates of the imperial palace-chambers and ministers too.
The Adi Kavya narrates this part of the epic leaving Sage Vasishta out of the narratives and the formation of the proposal altogether; since Vasishta is the Raja Guru, and ex officio would preside over all rituals of the Emperor and the Empire, in this case since Rishya Sringa was proposed to do that job, Sage Vasistha’s consent and approval was being sought by the Emperor; but instead of himself doing that job, he delegates it to Sumantra, his charioteer (and minister).
Kamban makes this the narrative of Sage Vasishta himself and the proposal also emanates from him – no possible wrangling or hurt egos here.
Kamban’s deviation possibly reflects the prevailing value systems at his time; where the Kings were in complete awe of the raja gurus in their courts (“Ponniyin Selvan” – a Chola classic by “Kalki” would make “Anirudha Brahmaraayar” the chief minister and chief priest as well of the Chola Court, an extremely powerful character held in great awe by the Royal Family as well as the people.)
As we had to delve into some story telling – inevitable to connect the dots – this post has had to be specially long but couldn’t tire you’ll because of the story elements, I suppose.
The narrative proceeds with Dasratha meeting the maverick sage, requesting him to come to Ayodhya, the latter consenting and arriving to exceptional homage and celebrations by the Emperor and his retinue, Rishya Sringa ascertaining the objective of the Emperor in inviting him to Ayodhya and after checking about Sage Vasishta’s acquiescence, agreeing to abide by that objective.
The following verse narrates the two sages, Vasishta and Rishya Sringa arriving at the Emperor’s Royal Durbar:
(I am presenting this verse, not for its importance in terms of event or characters, but for the remarkable word play – let us see:
கசட்டுறு வினைத் தொழில் கள்வராய் உழல்
அசட்டர்கள் ஐவரை அறுவர் ஆக்கிய
வசிட்டனும். அரு மறை வடிவு போன்று ஒளிர்
விசிட்டனும். வேத்தவை பொலிய மேவினார்.
கசட்டுறு வினைத்தொழில் (kasattuRu vinaith thozhil) – causing wicked or bad deeds; கள்வராய் உழல் அசட்டர்கள் (kaLvaraai uzhal asattargaL) - roaming like mindless thieves ஐவரை அறுவர் ஆக்கிய வசிட்டனும்(aivarai aRuvar aakiya vasittanum) - ஐவரை (aivarai) – the five senses (that cause our lives’ mischiefs) அறுவர் ஆக்கிய (aRuvar aakiya) – made non-existing, vanquished (Sage Vaishta who had conquered his five senses (and sense organs) and made them non-existing; (aivarai aRuvar aakiya would normally mean “five persons made into six”; the poet causes the mental slip in the reader) ; அருமறை வடிவு போன்று ஒளிர் விசிட்டனும் (arumaRai vAadivu pOnRu oLir visittanum - (the great sage (Rishya Sringa) looking the embodiment of the rare and great Vedhas themselves) ; வேத்தவை பொலிய மேவினார் (vEththavai poliya mEvinar) – “vEththavai” is to be paraphrased as “vEndhar” (King) and “avai” – assembly or dubar; (they) arrived at the (Dasaratha’s) Durbar, making it embellished. “visittan” is the thamizhised version of “visishta” in Sanskrit, meaning greatly disciplined, greatly learned, etc.
The following narrative, encapsulated from two whole sargas of Srimad Valmiki Ramayana, would take us through the Aswa Medha Yaga and to the threshold of the succeeding PUTRA KAAMESHTI YAGA which is commended by Rishya Sringa as the most appropriate for the central objective of Dasaratha – progeny.
As prescribed by the relevant Vedha Agamas, Dasaratha’s Court carefully hand-picks a fine, high-bred, horse, which is highly decorated, with a message fitted on its forehead about who the animal is, etc. and let out to wander the four corners of Bharata Varsha. (It is not clear if the animal was guided in its wandering but we assume that it was as it goes through all the important kingdoms of Bharata Varsha.
After one year, the horse returns to Ayodhya absolutely unhindered nor assailed in its wanderings. (That is one of the prescribed prerequisites for the horse to be led to the Yaga).
The Court and the people celebrate the return of the horse and proceed with the Yaga proper.
The Yagasala – the ritual yard – is carefully architecture, again as prescribed in the Vedha Agamas. (Valmiki Ramayana details this extensively; the types of wooden poles used for the stake, their exact measurements, the architectural shape and dimensions of the yaga sala (it is described to have been constructed in the shape of Garuda; the wooden poles chosen were of BILWA, KHAADIRAAH (mimosa catech) PARNINA (butea frondosa) SLESHMAATAKA (gorida myxa) DEVADAARU (uvaria longifolia). Twenty one posts were used; each post was 21 cubits long (10.5 feet).The posts were octahedral in shape.
Apart from the chief candidate for the yaga – the decorated horse, other animals, reptiles and birds were reAadied for sacrifice.
नियुक्ताः तत्र पशवः तत् तत् उद्दिश्य दैवतम् |
उरगाः पक्षिणः च एव यथा शास्त्रम् प्रचोदिताः || १-१४-३०
niyuktaaH tatra pashavaH tat tat uddishya daivatam |
uragaaH pakShiNaH ca eva yathaa shaastram pracoditaaH || 1-14-30
30. tatra = in that ritual; yathaa shaastram prachoditam = as per the scriptural, directives; pashavaH uragaaH pakshinaH cha eva = animals, serpents, birds, also, thus; tat tat daivatam uddishya = that and that, deity, designated to; niyuktaaH = are reAadied.
Those animals were 300 in number - pashuunaam trishatam tatra yuupeShu
(I am omitting portions in these sargas that might be coming through as a bit offending our sensibilities in today’s cultural ethos. Indeed, Kamba Ramayanam skips the entire Aswa Medha Yaga ritual details: goes straight to the Putra Kameshti Yaga after a brief mention of the Aswa Medha Yaga. Is it possible that Kamban was also troubled by the ‘sensibilities’ issue? He wrote the epic in the 13th century A.D. when Thamizh Nadu was already experiencing the impact of basically non-violent religious denominations like Buddhism and Jainsm and animal sacrifices were not rampant in the society.)
After three days of flawless, perfect, performing of the prescribed rituals and on conclusion of the Aswa Medha Yaga, Dasaratha prostrates fully before the Brahmans and Rishis performing the Yaga and sought their blessings.
He is blessed with the appropriate vedhic mantras meant to endow long life, etc. of the propitiating king.
And, Dasaratha proceeds to make a startling gift to the four main priests(Hota, adhvaryu, brahma, udgaata) : he donates the four quarters of his entire empire to them as “dakshina” for the successful performance of the yaga.
Gracefully, the donees decline this astonishing gift saying that they are better of studying the vedhas and performing the rites, teaching the scriptures, etc. which is their destined avocation and that they are ill-equipped to manage (rule) the vast empire offered to them. Instead, they beseech the Emperor to give them appropriate gifts like gold, silver, cows, etc.
(The epic notes that though silver is an inappropriate gift at a yaga ritual, this was considered as appropriate in this context as it is given in lieu of the original gift of the kingdom.)
RISHYA SRINGA THEN PONDERS OVER WHAT WOULD BE THE RIGHT FOLLOW-UP RITUAL AND RECOMMENDS THE “PUTRA KAAMESHTI YAGA” AS PRESCRIBED IN THE ADHARVA VEDHA, AS THE CENTRAL OBJECTIVE IS TO HAVE MALE PROGENY.
Accordingly, arrangements are made for performing a Putra Kaameshti Yaga. And, Kamban covers this just in one verse vs. as many as FIFTY slokas; about 30 of these are devoted to the celestial conclave of the Godheads – the Trimoorthys and all the other important Devas including Indra. The conclave discusses the Ravana problem; Brahma, who had ceded all the boons to Ravana, notes that Ravana had omitted (a deliberate omission due to his perceived disdain for the humans as a possible source of challenge or risk to him) and granting Dasaratha’s putra kaameshti yaga objective through Sri Maha Vishnu being born to him as Sri Rama would settle the Ravana issue.
We noted earlier, in posts 14 and 15, that Kamban brings this part of the narrative upfront, as Sage Vasishta recalling from his inner sight, this conclave’s deliberations and then suggesting to Dasaratha that he should organize an Aswa Medha.
We would continue to note Kamban making such detours from the Aadi Kaavya and also choosing to compress or entirely omit some sequences – in order to fit his own values and ethos and those of the 13th century Thamizh Nadu, the scene of his own epic.
Kamban: தகவு உடை முனியும், அத் தழலின் நாப்பணே மகவு அருள் ஆகுதி வழங்கினான், அரோ (thagavu udai muniyum ath thazhalin naappaNE, maghavu aruL aaguthi vazhanginaan arO) The esteemed muni (Rishya Sringa) offered Ahuthis to the yaga fire amongst its blazing tongues, praying for progeny for the emperor.
A DEMON EMERGES FROM THE RITUAL FIRE, HOLDING A CARASOLE OF NECTAR:
ஆயிடை. கனலின்நின்று. அம் பொன் தட்டம் மீத்
தூய நல் சுதை நிகர் பிண்டம் ஒன்று. - சூழ்
தீ எரிப் பங்கியும். சிவந்த கண்ணும் ஆய்.
ஏயென. பூதம் ஒன்று எழுந்தது - ஏந்தியே.
As the aahuthis were being offered into the yaga fire (accompanied with the prescribed prayers), there arose from the tongues of the fire a demon with hair resembling flames and blood-shot eyes, carrying in its hands a glittering platter made of pure gold on which was placed a ball of dessert that was like pristine divine nectar.
வைத்தது தரைமிசை. மறித்தும் அவ் வழி
தைத்தது பூதம். அத் தவனும். வேந்தனை.
‘உய்த்த நல் அமிர்தினை; உரிய மாதர்கட்கு.
அத் தகு மரபினால். அளித்தியால்’ என்றான்.
மா முனி அருள் வழி. மன்னர்மன்னவன்.
தூம மென் சுரி குழல் தொண்டைத் தூய வாய்க்
காமரு கோசலை கரத்தில். ஓர் பகிர்.
தாம் உற அளித்தனன். சங்கம் ஆர்த்து எழ.
மாமுனி அருள் வழி (maamuni aruLvazhi) - As per Rishya Sringa’s graceful commendation ; மன்னர் மன்னவன் (mannar mannavan) - the king of kings (Dasaratha); தூமமென் சுரிகுழல் தொண்டைத் தூயவாய்க்
காமருகோசலை (dhoomamen churikuzhal thoNdaith thooya vaayk) – the one with lustrous hair bearing the fragrance of “akil” smoke and red-lipped mouth resembling a “thoNdai” fruit ; கரத்தின் ஓர் பகிர் (karatthin Oar pagir) – one part (was given ) in her hand; சங்கம் ஆர்த்தெழ தாமுற அளித்தனன் (Sangham aarththezha thaamuRa aLiththanan – to the accompaniment of bugling of conches, for her to have; அருள்வழி (aruLvazhi) - with divine grace. .
கைகயன் தனைய தன் கரத்தும் அம்முறைச்
செய்கையின் அளித்தனன் தேவர் ஆர்த்து எழப்
பொய்கையும் நதிகளும் பொழிலும் ஓதிமம்
வைகுறு கோசல மன்னர் மன்னனே.
பொய்கையும் நதிகளும் பொழிலும் (poigaiyum nadhigaLum pozhilum) - (where) in the cool groves, ponds and rivers; ஓதிமம் வைகுறு (Odhimam vaiguRu) - swans inhabit; கோசல மன்னர் மன்னன்(kOsala mannar mannavan) - the Emperor (Dasaratha) of Kosala; கைகயன் தனையைதன் கரத்தும் (Kaikaiyan thanaiyai than karaththum) –(gave another portion) in the hand of the daughter of Kaikeya (Kaikeyi); அம்முறைச் செய்கையின் (ammuRaich chaigaiyin) - in the manner commended by Rishya Sringa ; தேவர் ஆர்த்து எழ அளித்தனன் (thEvar aarthu ezha aLiththanan) - gave to the cheers of the Devas. .
Dasaratha gave a similar portion in the hands of Kaikeyi, daughter of Kaikeyan (and Dasaratha’s second wife) to the accompaniment of cheers from the Devas.
நமித்திரர் நடுக்குறு நலம் கொள் மொய்ம்புடை
நிமித் திரு மரபுளான். முன்னர். நீர்மையின்
சுமித்திரைக்கு அளித்தனன் - சுரர்க்கு வேந்து. ‘இனிச்
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