Episode 01 - Chapter6-Vishwamitra arrives at the court.
CHAPTER 6 - SAGE VISWAMITRA ARRIVES AT THE ROYAL COURT
A western appreciation of Kamban tends to rate him more as a dramatist than as a (poetic) narrator. Dr. David Shulman, Professor of Sanskrit and Head of the Indology Department, Hebrew University, Jerusalem, a keen and long-time student of Indian literature, asserts:
It was not written as a Kavya, but a dramatic text, suitable for enactment. Seventy to eighty percent of the text contains dramatic dialogues between various characters. Rama does not talk much. Everybody else talks. In the smaller dialogue sequences there are speech marker signs such as the terms “inran” , “kotiyan” at the end of lines, rhyming and “nityaksharaprasam” which give a clear idea of its dramatic tone. Kamban was a magician of sound and used alliteration constantly. Another quality of the text is that it is written in simple, easy language understood by the common people. With his simple and poetic language he weaves a text of ten thousand verses which are hypnotic and mesmerizing.
Kamban lives up to that rating in the “கையடைப் படலம்” that deals with the arrival of Sage Viswamitra in emperor Dasaratha’s Court and his securing Rama (and Lakshmana since he was inseparable from Rama) for the protection of his rituals imperiled by Rakshasas.
மடங்கல்போல் மொய்ம்பினான் முன்னர். ‘ மன்னுயிர்
அடங்கலும் உலகும் வேறு அமைத்து. தேவரோடு
இடம் கொள் நான்முகனையும் படைப்பென் ஈண்டு’ எனாத்
தொடங்கிய. துனி உறு. முனிவன் தோன்றினான்.
Sage Vishwamitra appearing in Emperor Dasaratha’s Court is presented in this verse in a powerful gripping dramatic style. The verse ends with the word “தோன்றினான் “(appeared) – a gripping drama scene. And in a couple of lines, Vishwamitra’s personality is hinted – egoistic vanity born out of ill-conceived and ill-concealed power, initially as a King and later, after seeing Sage Vasishta’s enviable power by possessing “Nandini” the Kamadenu cow that provided a feast to the entire King’s entourage a great feast just by a hinted wish, and later, after giving up his Kshatriya lifestyle, assuming ascetic rituals (thapas) and, drunk with that spiritual power, audaciously commanding King Trisunku to travel to Heaven in his human body (as wished by Trisunku); as Trisunku was repelled by the Heavens and hurtled towards the earth, Vishwamitra stops him midair and creates a whole new “Heaven”, trying to replicate the Universe, with Brahma and all - for him there! That puranic episode underscoring the the ascetic power, inflated ego and the very short fuse of the sage is presented here by Kamban in order to bring out the severe dilemma that Dasaratha would be confronted with with the sage’s arrival in his court.. 4
‘என் அனைய முனிவரரும் இமையவரும் இடையூறு ஒன்று உடையரானால்.
பல் நகமும் நகு வெள்ளிப் பனிவரையும். பாற்கடலும். பதும பீடத்து
அந் நகரும். கற்பக நாட்டு அணி நகரும். மணி மாட அயோத்தி என்னும்
பொன் நகரும். அல்லாது. புகல் உண்டோ?- இகல் கடந்த புலவு வேலோய்!
“If ascetic sages like me or even the Devas are confronted with any troubles or problems (which they are unable to handle themselves), is there any refuge other than Sri Mahavishnu (resident in ThiruppaRkadal), the lotus-seated Brahma, Indra or you, valourous Dasaratha?” (Vishwamitra states his agenda – he has a problem and he has come to Dasaratha for its resolution.)
The verse, in elevated hyperbole, could also be construed to mean, that Ayodhya i.e. Dasaratha, is the last refuge – for sages like Vishwamitra, the gods, and even Sri Mahavishnu, Brahma and Indra.
தருவனத்துள் யான் இயற்றும் தகை வேள்விக்கு இடையூறா. தவம் செய்வோர்கள்
வெருவரச் சென்று அடை காம வெகுளி என. நிருதர் இடை விலக்கா வண்ணம்.
‘’செருமுகத்துக் காத்தி’’ என. ‘நின் சிறுவர் நால்வரினும் கரிய செம்மல்
ஒருவனைத் தந்திடுதி’ என. உயிர் இரக்கும் கொடுங் கூற்றின். உளையச் சொன்னான்.
Vishwamitra states his agenda: rakshasas are hindering his lofty rituals, he and his co-ascetics feel threatened; they need to be stopped by vanquishing them in battle. For that purpose, from amongst the four of your children, give me the peerless one with the dark complexion. Dasaratha (specially fond as he is of Rama) is greatly agonized and pained to hear this request.
VISWAMITRA BOILS OVER WITH ANGER:
என்றனன்; என்றலும். முனிவோடு எழுந்தனன். மண் படைத்த முனி; ‘இறுதிக் காலம்
அன்று’ ‘என. ‘ஆம்’ என இமையோர் அயிர்த்தனர்; மேல் வெயில் கரந்தது; அங்கும் இங்கும்
நின்றளவும் திரிந்தன; மேல் நிவந்த கொழுங் கடைப் புருவம் நெற்றி முற்றச்
சென்றன; வந்தது நகையும்; சிவந்தன கண்; இருண்டன. போய்த் திசைகள் எல்லாம்.
The sage (Vishwamitra) who audaciously ventured to replicate the creation of the Universe, rose with (seething) anger; மேல் நிவந்த கொழுங்கடைப் புருவம் (mEl nivandha kozhun kataip puruvam)- his thick bristling eyebrows arching up; நெற்றிமுற்றச் சென்றன (netRi mutRac chendRana) - expanded to his whole forehead; நகையும் வந்தது(nagaiyum vandhadhu) - laughter of anger joined in; கண் சிவந்த (kaN sivandha) - his eyes became bloodshot; மேல் வெயில் கரந்தது (mEl veyil karandhadhu) – the sun, blazing till then, hid with fear அங்கும் இங்கும் நின்றனவும் திரிந்தன (angum ingum nindRanavum thirindhana)-
creatures in hitherworld and thitherworld became chaotic; திசைகள் எல்லாம் போய் இருண்டன(thisaigaL ellaam pOi iruNdana) - all the four sides darkened ominously. இமையோர் (imaiyOr) – the gods (those who don’t blink), observing this ; இறுதிக்காலம் அன்றுஎன ஆம்என அயிர்த்தனர் (iRuthik kaalam andRu ena aam ena ayirththanar) - thought and apprehended that this was the end of the worlds.
Vishwamitra’s anger, provoked by what Dasaratha said to him, is captured in this verse
in deeply stirring poetic terms: his anger rose as he rose; the eyebrows twisted, to occupy his whole forehead; his derisive, angry laughter underscored his fury; eyes became bloodshot. The blazing sun ran with fear, to hide from the sky. Creatures in all the worlds ran around in commotion and fear. The four directions darkened ominously.
The gods apprehended the end of all the worlds.
What more intense drama could we expect? Can anger be captured in more stirring tremulous terms?
Some of us might wonder why did Sage Vishwamitra, who had the ascetic power even to create an alternative universe for Trisunku and whose short-fuse cursing sent shivers even amongst the gods, why did he have to come and seek help from a king for protecting his rituals. Could he not have burnt the two mischief-making rakshasas, Mareecha and Subahu, into ashes and got along with his rituals?
Sage Valmiki provides the answer:
न च मे क्रोधम् उत्स्रष्टुम् बुद्धिः भवति पार्थिव || १-१९-७
तथा भूता हि सा चर्या न शापः तत्र मुच्यते |
na ca me krodham utsraShTum buddhiH bhavati paarthiva || 1-19-7
tathaa bhuutaa hi saa caryaa na shaapaH tatra mucyate |
"And (I cannot resolve this problem) by letting loose my anger (i.e. cursing the mischief-makers) as those who have gone into a spiritual/religious ritual sankalpa, are forbidden to lose their temper. (That would nullify the ritual/sankalpa.) (Our religious/spiritual rituals require us to be clean not just bodily, but within, in our minds as well – wholly cleansed of the five mischiefs of the mind – kama, krOdha, madha, lOba, maascharya (lust, anger, arrogance, miserliness and jealousy, when we set out to perform them).
(A message for all of us here.)
Before we move on to see what happens next in Kamban’s dramatic presentation of Sage Vishwamitra’s “bull in a Chinashop” entry in Emperor Dasaratha’s Court, let us look at (Samuel Taylor) Coleridge’s** admonition to his clan of young poets: “I wish our clever young poets would remember my homely definitions of Prose and Poetry: that prose is “words in their best order”, poetry “the best words in their best order.” V.V.S. Iyer, quoting Coleridge, goes on to say: ‘As the medium in which the poet works is language, execution in his case is the arrangement of the best words in the best order, the best order being in all but a few anomalous cases, a rhythmical one. The technical laws of verse, however, deal only with ‘the best order’. There remain, as a part of execution, ‘the best words’. This section of the definition covers all the intellectual propriety, the moral passion, the verbal felicity, the myriad charms and graces of which ‘the best order’ is but one.
(**Coleridge was an English Poet, (1772 to 1834), a contemporary (and a fellow-traveller of William Wordsworth) and one of the founders of the British Romantic Movement. Amongst his several poetic works, “The Rime of the Ancient Mariner” and “Kubla Khan” are widely known.)
Savour the first words in the stanza below: கறுத்த மா முனி (kaRuththa maa muni): the fair-complexioned sage became dark, all over, not just in the face – with anger!
அடுத்தது காட்டும் பளிங்கு போல் நெஞ்சம்
கடுத்தது காட்டும் முகம் ..
Says Thirukkural. But here, it is an engulfing BLACK RAGE!
Not just “best words in the best place” but ones that bring out visualization at its imaginative pinnacle!
This very same civilization and culture could hurtle to deliver obscenities like “ஒட்டகத்தைக் கட்டிக்கோடி” (ottagaththai kattikkOdi); சித்தெறும்பு கடிக்குதா(chiththerumbu kadikkudhaa)டார்லிங் டம்பக்கு(darling dambakku)! The sad adjunct is that these are hits!
கறுத்த மா முனி கருத்தை உன்னி. ‘நீ
பொறுத்தி’ என்று அவற் புகன்று. ‘நின் மகற்கு
உறுத்தல் ஆகலா உறுதி எய்தும் நாள்
மறுத்தியோ?’ எனா. வசிட்டன் கூறினான்.
Sage Vasishta,seeking the forgivness of Sage Vishwamitra, and keeping in mind what his thoughts are, asks Dasaratha: this is an opportunity that would confer immense benefits on your son Rama; would you be depriving him of this?
Vasishta was able to see what was lying ahead of this court drama – not just the vanquishing of Thadaka, Mareecha (was left alive for his crucial role later) and Subaahu, but the coming to life of Ahalya and most importantly, the wedding with Sita. Vasistha was able to visualize Rama returning from this trip as Sitarama! While Kamban had packed all this in a riddle-like உறுத்தல் ஆகலா உறுதி (all the good things that await Rama), Sage Valmiki is more elucidative:
अथ राजा दशरथः तेषाम् दार क्रियाम् प्रति ||
चिंतयामास धर्मात्मा सह उपाध्यायः स बान्धवः
atha raajaa dasharathaH teShaam daara kriyaam prati ||
ciMtayaamaasa dharmaatmaa saha upaadhyaayaH sa baandhavaH
King Dasaratha, in counsel with his high priests and family, was immersed in thoughts about getting his sons properly married.
(It was at this point in the epic that Sage Vishwamitra arrives).
We would see Vasishta comforting Dasaratha and Dasaratha reconciling to
Before I go frther, I apologise for breaching the standards we set for ourselves
when we set out on this austere and elevating journey: we would not stray into discussion of issues other than the epic’s beauty and poesy – contentious issues. I veered from this a bit when, in a mood of sadness and disappointment with today’s literary and cultural values – quoting lines from some of the jarring cinema songs that are popular today. I am truly sorry.
Pacified by Sage Vasishta, and comforted by his words that complying with Sage Viswamitra’s demand that nearly broke his heart, would, after all, be for the immense good and benefit of Sri Rama, Emperor Dasaratha sends for Sri Rama:
குருவின் வாசகம் கொண்டு. கொற்றவன்.
‘திருவின் கேள்வனைக் கொணர்மின். சென்று’ என.-
‘வருக என்றனன்’ என்னலோடும். வந்து
அருகு சார்ந்தனன். அறிவின் உம்பரான்.
Emperor Dasaratha, accepting his Guru Sage Vasishta’s (comforting) words, accepting his prescient advice that going with Sage Vishwamitra would do immense good to Sri Rama), sends the Court servants to fetch Sri Rama.
Now we see a distinct style in Kamba Ramayanam one doesn’t often come across in the Adi Kaavya – Kamban imputes to Sri Rama his true identity i.e. Sriman Narayana quite frequently.
In his mind, while composing this epic, it is apparent that he is unable to perceive Sri Rama as just a mortal or human and is always steeped in the true identity of this avataara. Contextually, here is a young prince in his teens, an eligible bachelor. Sita Kalyanam is a while away. But he calls Sri Rama “Thiruvin KeLvan” (Consort of Sri Mahalakshmi) and attributes that statement to Emperor Dasaratha.
Possibly, Sage Valmiki was not affected as much by this subconscious identity issue because he was narrating the epic live – during Sri Rama’s time. If we want to see this expression without Kamban’s apparent over-statement, we could construe the meaning as: “Sri Rama, who is wedded to all pure auspiciousness”. (“Thiru – would also mean pure auspiciousness).
The poet proceeds to narrate the handing over of the glowing young land Sri Rama along with Lakshmana to Sage Viswamitra with the submission: “You are both their mother and father; please do what is good for them.” Lakshmana is tagged on in passing, as it were: “தம்பிதன்னொடும்”. They were so inseparable.
The two princes follow Sage Viswamitra like his shadow, get past Ayodhya’s ramparts and crossing some bewitchingly beautiful groves, reach the banks of River Sarayu.
The three of them crossed the river Sarayu at noon time: the sun, travelling in his chariot drawn by seven green-coloured horses climbed the zenith, over the peaks of great hills that were clad with rich rain filled clouds, resembling huge elephants adorned on their foreheads with brilliant forehead accoutrement (called muka padaam – or Nethipattam in Malayalam).