Episode 01 - Chapter8-Yajna.

CHAPTER 8 – CANTO ON THE YAJNA - வேள்விப்படலம்

 

Before we proceed with this canto, we could dwell on the communication style adopted by Sage Viswamitra while persuading Rama to kill Thadaka, seeing Rama entertaining an ethical dilemma – “should I kill a woman?”

 

 Viswamitra could have just commanded the young Rama to go do it. Given the instruction that Rama received from his father at the time of leaving with Viswamitra, Rama would have complied without any reservation, whatever. But Viswamitra takes it upon himself to take Rama through an elaborate detour of dharma as well as precedents – both powerfully persuasive. Thadaka could not be regarded as a woman for several reasons: she was a man-eater, and one did not pause to consider if the man-eater is a male or female before killing it; she made men become impotent in her presence and therefore she wasn’t a female. She was evil personified and therefore had lost that consideration of deference to a woman. And, did not Lord Vishnu and Indra themselves choose to kill women for the right reasons?

 

Concluding, the sage shoots the most-becoming of persuasions: It is not from my anger that I am asking you to do this (disabusing Rama of any possible thought over the reputed short-fuse of Viswamitra) but this is the just thing to do.

 

Narratives like this carry a load of reasoning for students to pick and ponder over. The epic could have moved on simply with a simple command from the sage and compliance by the young Rama. The weighty logic and reasoning would have been lost to the audience.

 

I am tempted to infer the power of logic and rationality in narratives, communications and scriptural presentations of yore – be these the epics or spiritual / philosophical books like the Upanishads, Brahma Sutra or the Gita.  The presence of scientific logic and rationality and perfectly sequenced (like telescoping) style in these are so very arresting and compelling. Let us look at some mantras in Seekshavalli in Taitropanishad (“seekshavalli” is a sort of primary for students of vedas and upanishads).

 

Adhaadhi jyowthisham: (Let us consider light);

Agni: poorva roopam: (Fire i.e. heat as energy - supervenes)

Aditya uttara roopam: (Sun - as the receptor - underlies)

Apah sandhi: (Product:  water)

Vaidhyuthassanthaanam: (the link is lightning).

Idhyathi jyowthidsham: (This is the thought about light.)

 

Adhaathi vidhyam (Let us consider learning)

Achaarya: poorva roopam (The teacher – repository of knowledge - supervenes)

AnadEvaasyuththara roopam (The student – the receptor - underlies)

Vidhya Sandhi: (Knowledge is the product)

Pravachangm santhaanam: (Learning is the link.)

Idhyathi vidhyam: (This is the thought about learning).

 

The logic is compelling. The scientific tenor is exceptional. The power of decisive finality is unmistakable.

 

It is true that some of these theories come through as a bit foggy at first blush. Maybe, if one had the time and inclination, and was fortunate to secure the help and instruction of a truly learned teacher, the fog would lift.

 

The counter-point would, undeniably, be the overlayer of superstition and irrational social conduct that was often legitimized, liberally dispersed all over the puranas. But then, this is the over-layer that hides the irresistibly forceful and glittering philosophical gems. Those who were keen went past the overlayer and found and enjoyed the gems.

 

This epic, with its mind-boggling expanse of time (time traversing multiple yugas), travels, scenes, characters and action, is bedecked every inch with such brilliant gems – not just of philosophy, but of ethics, governance and human and social relationships. It is hard for anyone getting involved with this epic – as a student or even as a lay listener – not to get completely engrossed in it – emotionally. (As an extreme illustration of such emotionally engrossed involvement, Kulasekara Azhwar, a Chera King,  ordered his forces to rise immediately and march to Lanka to help his Raghava in the battle with Ravana. The pouranika, realizing what serious reaction of the King he had triggered, had to douse the emotions by hastening the fall of Ravana.)

 

Back to Viswamitra and the two divine princes.

 

The trio approach the confluence of river Gomathi (now known as Gomti) with Sarayu. As they near the confluence, Rma asks the sage about the roaring, gurgling sound of one river confluencing with the other. This query leads to a very long prologue from the sage that would take all of us, including the eager to learn princes through several dynasties, several juicy episodes of curses, boons and deliverance. (All the rivers of India carry countless stories flowing with them – not just through recent documented history, but since the beginning of dawn, as it were.)

 

The sage first gives the proximate straight-forward explanation: “This is the gurgling sound of River Gomathi flowing into and mingling with Sarayu – the name “Sarayu” deriving from the fact that that river originates in Manasarovar.” He doesn’t stop there. He embellishes the basic fact with several historical anecdotes, parables, events, pertinent to the river Gomathi and the particular spot of confluence.

 

Brahma had a son named “Kusa” who ruled the world. Kusa had four sons – Kusan, Kusanabhan, Aadhurthan and Vasu. Kusan (the son) ruled Kausambi, Kusanabhan ruled Mahodhayam, Aadhurthan ruled Thanmavanam and Vasu ruled Girivirasam.

 

Of these four, Kusanabhan has 100 lovely daughters.  God Vayu, fell for the bewitching beauty of these damesels and asks them to marry him. The girls respond saying, yes, only if you approach our father, pay obeisance to him and make the necessary ablations (of water). Vayu gets offended and angry and breaks the backs of all the girls.

 

The girls crawl to their father and cry for deliverance. Consoling them, Kusanabhan gives all of them in marriage to a noble soul: Brahmadhattan. All the girls regain their backs and are rid of their hunch, with Brahmadhattan’s touch.

 

Kusanabhan performs rituals seeking a son. He is blessed with a son – named “Khaathi”.

 

Khaathi eventually ascends the throne of Mahodhayam and begets two children. The elder one, a girl, is named “Kausiki”. The yonger one, a boy, is aned “Kausika”. “Kausika” becomes Sage Viswamitra.

 

Kausiki is given in marriage to “Rasika”, a son of sage Brigu. After a long and full life Rasika leaves for his heavenly abode. Kausiki is shatterned and forlorn and seeks heavenwards as a river. Rasika stops her and commands her to stay earth-bound, where she would be providing relief to countless creatues as a life-sustaining river. “This is the story of my eleder sister. She became this holy river at the confluence of Gomathi and Sarayu.” Concludes Sage Viswamitra.

 

The sage’s narrative takes the two princes through the hoary history standing behind Sage Viswamitra himself and his elder sister who is now flowing as a life-giving, soul-delivering, holy river. A very rich introduction this!

 

The young princes are spellbound. They move on and approach Siddhasramam.

This is one of the several exalted places that the epic presents.

 

We celebrate several of Rama’s attributes and also journey through the epic in our own informed way during festivities commemorating Rama – like Sri Rama Navami. Of His attributes, we may have recalled:

 

Dharmatma (conducted Himself entirely and strictly aligned with Dharma.)

Satyasandascha (never veered a millimeter away from Satya)

 

The epic has provided an ageless and very very popular sloka, contextually invoking these sterling attributes of Sri Rama:

 

Dharmatma satya sandhasya Ramo daasarathir yadi.

Paurushe cha apratidwandwam sarainam jahi Raavaneem.

 

Lakshmana aims the astra at the heart of Indrajit, who had almost scored one up on the limitless valour of Lakshmana in that epic battle, and commands that weapon with this entreaty: “If Rama is a Dharmatma, if He is a Satyasandha, if he is the son of Dasaratha, if he is the unequalled Purusha*  that he is known to be, GO, this astra, go and slay Ravanaa’s son.”

 

*”Paurusha” could be translated as “manliness”. But, like “Satya” not just being “truth”, “Paurusham” is not just being “unequalled manliness” a la Tarzan. Paurusham is a term that covers the body, mind and the soul – not just  the brawn..

 

This couplet has been presented by pravachanakartas, pouranikas and litterateurs numberless times for its intriguing import and meaning.

 

The discussion centres around the four presuppositions used by Lakshmana: he could just used one – Dharmatma. Since there is no question about this, he should have accomplished his task with that one prayer. Why did he have to hedge and go on to No.2, No.3 and No.4? Episodes would be invoked to bring in just a teeny weeny sliver of doubt about each one of these attributes, largely contentious. Even the one about Rama being the son of Dasaratha, was He not conceived through the payasa portion from the ritual fire?

 

This epic excels every other one with such informing, subtle, fine, nuances.

 

Back to Sri Rama’s virtues -

 

Eka Patni Vrata – Sri Rama wed Sita; He never set his eyes on another woman. He is reputed to have been familiar only with the feet of all the other countless women who he encountered. And He was the son of Dasaratha, who famously married every year – 60000 times; it was Raja Dharma in the epic’s days and much later as well.

 

Soulabhyam – “Sulabhaaya Suseelaaya” is the refrain about Lord Venkateswara. Rama was the epitome of this virtue, illustrated by his owning a lowly fishermen’s head as his own brother and spending a night in his modest hut.

 

KaaruNyam: (Compassion): Sparing the crow’s life at the behest of Sita who the crow had offended unpardonably; asking Ravana to go home and come next day with his arms and armour, as his foe stood in front of him crestfallen, shorn of both his pride and weaponry.

 

Dhrithi: Equanimity: Kamban takes us to a giddy level of astonishment in illustrating Sri Rama’s reaction to Kaikeyi’s command that He should abdicate, go, and live in the forests for fourteen years:

 

ஒப்பதே முன்பு பின்பு;    அவ் வாசகம் உணரக் கேட்ட

அப் பொழுது அலர்ந்த செந்தா மரையினை வென்றது அம்மா

 

Rama’s appearance after receiving and internalizing Kaikey’s heartless command was more lovely and pleasant than when he went in to see her.

We could try and fit Sri Rama in the definitive prescription for the rest of the forty odd virtues which the Gita, the Manu Smriti, the Yoga Sutra, the Dhamma Patha, the Granth Sahib, the Bible and the Thirukkural enumerate. We could spend several weeks doing this and would rejoice over how Sri Rama fits each like a perfect picture. But, Kamban would not wait and we would need to get on with him.

 

But I wonder how many of us celebrated Rama’s unquenchable thirst for history and worldly knowledge. As He accompanies Sage Viswamitra, we saw him punctuating the journey with several searching queries, as they arrived at interesting landmarks,  which lead to the unfolding of so much of history. Those of us who are inclined to consider this in the divine avataaraa frame of Sri Rama would conclude: He knew all this as He is the creator of all history; he was doing what he did as part of the avataara leela, and He was doing so in order that the world at large would benefit from the interaction and the resultant cascade of knowledge. Those of us who are inclined to submerge the avataara aspect and consider this as a very human attribute would marvel at the querying mind of the young prince, his hunger for knowledge, his fervour in making the most of the opportunity that proximity to repositories of knowledge – njaanaa – has provided.

 

Let us get back to Kamban – the Siddhaasrama:

 

The groves of enchanting beauty evoked a query from Rama to Sage Viswamitra – what is this lovely place, brimming with serenity? The Sage relates, again, several tales of history –

 

தங்கள் நாயகரின் தெய்வம்    தான் பிறிது இலை’ என்று எண்ணும்

மங்கைமார் சிந்தை போலத்    தூயது; மற்றும் கேளாய்;

எங்கள் நான்மறைக்கும். தேவர்    அறிவிற்கும். பிறர்க்கும். எட்டாச்

செங் கண் மால் இருந்து. மேல்நாள்    செய் தவம் செய்தது அன்றே.

 

தங்கள்  நாயகரின் தெய்வம் தான்பிறிது  இலை என்றெண்ணும் மங்கைமார் (thangaL naayakarin theyvam thaan piRithu illai endRu eNNum mangaimaar) – (chaste) women who think that, beyond their husbands there is no God;  சிந்தை போலத் தூயது (chindhai pOlath thooyadhu) – this grove is pristine pure like their thought ;

 

This place is prestine pure like the minds of chaste women who think that there is no God other than their husbands; besides, Thirumaal Himself, who is beyond the understanding of the four vedhas, beyond the comprehension of the Devas themselves and beyond the access of all else, He himself did supremely austere ascetics in this very place.

 

We chose this verse for the first two lines: women who looked to no God beyod their husbands were considered pristine (by Kambar). தங்கள் நாயகரின் தெய்வம்    தான் பிறிது இலை’ என்று எண்ணும்மங்கைமார் சிந்தை போலத்    தூயது is his refrain, mirroring Thiruvalluvar:

 

தெய்வம் தொழாஆள், கொழுனற் தொழுதெழுவாள்,

பெய்! எனப் பெய்யும் மழை.

 

(Rains would instantly respond to the command of chaste women who would not pray to any God but would pay obeisance to their husbands (alone).

This kind of male-superiority and elevating male-obedience of women as the most valuable virtue in them is seen as a Thamizh cultural refrain, mostly post-Sangam era. Today’s canvas of course, is very very different.

 

A very interesting, hot, issue is tabled for the Group to grapple with: the Group has a powerful, intellectually strong and socially aggressive, female presence – with core values intact no doubt but with modern, rational, socially-acceptable world view on male-female social and value issues. I expect the screens to be scorched with this debate. A salivating prospect! I would be disappointed if the keyboards don’t screech!

 

Sage Viswamitra seems to be claiming the four Vedhas as the exclusive preserve of Rishis like him. We hear him say: எங்கள் நான்மறைக்கும் (OUR Four Vedhas).

 

‘’பாரின்பால். விசும்பின்பாலும்.    பற்று அறப் படிப்பது அன்னான்

பேர்’’என்பான்;‘’அவன் செய்மாயப்   பெரும் பிணக்கு ஒருங்கு தேர்வார்

ஆர்?’’ என்பான்; அமல மூர்த்தி    கருதியது அறிதல் தேற்றாம்;

ஈர்-ஐம்பது ஊழிக்காலம் இருந்தனன்  யோகத்து. இப்பால்.

 

On this earth and in all the heavens, the One Name that is uttered for deliverance from the worldly ties is His; who can? (I can’t) comprehend and elucidate His illusive mischiefs; I can’t comprehend nor communicate the inscrutable contemplation of that Paramatma. That Very God was here for one hundred long yuga-cycles in a supreme state of yoga. (This place is so sanctified).  மாயப்   பெரும்பிணக்கு. – His inscrutable never-ending illusion

 

Sri Rama Navami celebrations evoked a detour. I presume it is excusable and rewarding enough.

 

After comparing the pristine glory of Siddhasramam to the glowing purity of women who paid not obeisance to any gods other than their husbands, Sage Viswamitra, dwells on the history of that tranquil, divinely blessed place. Apart from Sri Maha Vishnu Himself being in a state of supreme yoga here for one hundred yuga cycles, Sage Kasyapa had his hermitage here. It was here that Vamana avataara happened.When Vaamanaa arrives at Mahabali’s court and asks for land covered by His three steps, the Guru for Asuras, Sukracharya, warns him thus:

 

’கண்ட திறந்து இது கைதவம்; ஐய!

கொண்டல் நிறக் குறள் என்பது கொள்ளேல்;

அண்டமும் முற்றும் அகண்டமும். மேல்நாள்.

உண்டவன்ஆம்; இது உணர்ந்துகொள்’என்றான்.

 

ஐய! இது கண்ட திறத்திது  கைதவம் (aiyaa! Idhu kaNda thiRaththithu kaithavam) -   My Lord! This dwarf-like Brahman appearance is deceitful கொண்டல் நிறக் குறள் என்பது  கொள்ளேல் (koNdal niRak kuRaL enbathu koLLEl) – Don’t be misled by  this  raincloud complexioned dwarf – like appearance அண்டமும் முற்றும்  அகண்டமும் (aNdamum mutRum agaNdamum)  - This earth and the whole Universe that is surrounding it;  மேல் நாள் உண்டவன்  ஆம்  (mElnaaL uNdavan: aam) -   Eons ago, He (is reputed to have) devoured all these worlds (during the deluge) – He is Maha Vishnu Himself, none else; இது உணர்ந்து  கொள் என்றான் (idhu uNarndhu koL)  - Understand this well” said Sukracharya. 

 

‘’நினைக்கிலை; என் கை நிமிர்ந்திட வந்து.

தனக்கு இயலாவகை தாழ்வது. தாழ்வு இல்

கனக் கரியானது கைத்தலம் என்னின்.

எனக்கு இதன்மேல் நலம் யாதுகொல்?’’ என்றான்.

 

“You say this one who is in front of us is not just a dwarf-like dark-complexioned Brahmin, He is Lord Maha Vishnu Himself. If that be so, Guruji, what could be a greater honour for me for my hands to hover over his peerless hand, ever Gracing and giving and never lowering below someone else’s hand?”

 

The episode, going forward, of Mahabali pouring water and donating the three steps of land asked of him by Vaamana, Sukracharya trying to stop this by taking the form of a bumble bee and blocking the spout of the water kettle held by Mahabali, Vamana pricking the spout with a dharba grass (thus blinding Sukracharya), Vamana becoming Trivikrama, and not finding a place for his third step after measuring the earth with one step, the heavens with the second, and Mahabali offering his head for the third step, to be lowered to the nether worlds for ever, is all well-known to us.

 

It was also here that Lord Maha Vishnu, in his Vamana avataara, after sending Mahabali to the nether worlds with his third step, receded to be in a state of yoga till ascending to Sri Vaikunta.

 

It was also here that Lord Maha Vishnu, in his Vamana avataara, after sending Mahabali to the nether worlds with his third step, receded to be in a state of yoga till ascending to Sri Vaikunta.

 

Sage Viswamitra explains to Rama that because of the hoary divine history of the place (Siddhasrama), he chose it for his rituals as the most suitable.

 

We would look at the ritual, how the two divine princes guard it night and day, the vanquishing of Maareecha and Subahu, in the next post.

 

We have had elevating and rich discussions around the Mahabali – Vaamana – Sukracharya episodes. I do hope that, going forward, these energies are sustained and built on.

 

Sage Viswamitra, winding up his anecdotal underpinnings for the exalted and serene attributes of Siddasrama, also remarking that whoever sees and experiences the serenity of Siddasrama would be delivered of the pain of rebirth, says that is why he chose this place for these rituals. His rituals begin. The two divine princes guard the ritual grounds, with single-minded focus, night and day.

 

எண்ணுதற்கு. ஆக்க. அரிது  இரண்டு-மூன்று நாள்

விண்ணவர்க்கு ஆக்கிய    முனிவன் வேள்வியை.

மண்ணினைக் காக்கின்ற   மன்னன் மைந்தர்கள்.

கண்ணினைக் காக்கின்ற  இமையின் காத்தனர்.

 

“Rama and Lakshmana, the sons of Emperor Dasaratha who rules the world with impeccable governance standards, protected Sage Viswamitra’s rituals dedicated to the Gods, for six days – days and nights – even as the eyelids would protect the eyes, an accomplishment that is difficult to imagine.”

 

Rama enquires of Sage Viswamitra: “Where are those evil doers that you were talking to us about, when would they come?” Even as Viswamitra was contemplating a response, the skyline darkened; the Rakshasas appeared like frightening, dark clouds.

and roared like thunderbolts that would frighten thunderbolts themselves. They started showering rain-like arrows, showered fire(balls) and heavy cascades of water, threw machetes, and caused myriad illusionist tricks (Rakshasas’ main attributes are their ability to take different forms at will and cause illusions).

 

ஊன் நகு படைக்கலம் உருத்து வீசின.

கானகம் மறைத்தன. கால மாரிபோல்;

மீன் நகு திரைக் கடல் விசும்பு போர்த்தென.

வானகம் மறைத்தன. வளைந்த சேனையே.

 

உருத்து  வீசின ஊன் நகுபடைக்கலம் (uruththu veesina oon naghu padaikkalam) -  weapons that  made light work of (laughed at) the sturdiest bodies were thrown densely ; காலமாரி போல் கானகம் மறைத்தன

-  (kaala maari pOl kaanagam maRaiththana) – like the rains of the final deluge, completely enveloped the forest;  மீன் நகு திரைக்கடல் விசும்பு போர்த்த என (meen naghu thiraikkadal visumbu pOrththa ena)  -  as if the whole ocean with lolling fishes rose to envelop the whole sky, ; வளைந்த சேனை

வானகம்  மறைத்தன  (vaLaindha sEnai vaanagham maRaiththana) -  the entire forest was enveloped by the (rakshasa) army.

 

The rakshasa army threw (at Rama and Lakshama and the sage) weapons that made light of the sturdiest of enemies’ body  

 

மீன் நகு is an admirable poetic expression. The rakshasa army enveloped the entire forest (and the ritual grounds) so completely that it caused the illusion that the whole ocean with lolling fishes had risen to cover the whole sky. (This again is an exceptional poetic expression.)

 

Rama points to the Rakshasa army and explains to Lakshmana what their features are. Lakshmana then vows to Rama, with his eyes aflame, “You shall see all of them cut in pieces in a trice”.

 

Rama then covers the entire Siddasrama into a completely protected enclave with his darts. All the sages in Siddasrama seek refuge with Rama.

 

கவித்தனன் கரதலம்; ‘கலங்கலீர்’ என.

செவித்தலம் நிறுத்தினன். சிலையின் தெய்வ நாண்;

புவித்தலம் குருதியின் புணரி ஆக்கினன்;

குவித்தனன். அரக்கர்தம் சிரத்தின் குன்றமே.

 

கலங்கலீர்  என (kalangaleer ena) – “ don’t be upset”, was Rama’s assuring words (to the sages who sought his refuce கரதலம்   கவித்தனன்  (karathalam kaviththanan) -  He made them rest with his raised hands (in a gesture of assurance)   சிலையின்   தெய்வ   நாண்  (silaiyin dheiva nan)  -   with arrows from his quive drawn to his divine bow  செவித்தலம் நிறுத்தினன் (seviththalam niRuththinan) – drawing the cord of the bow right up to his ear, held there  புவித்தலம்  குருதியின்   புணரி  ஆக்கினான் (bhuviththalam kurudhiyin puNari aakinaan) – made the entire forest grounds a see of (enemy armiy’s) blood;   அரக்கர் தம் சிரத்தின்   குன்றம்   குவித்தனன்   (arakkar tham siraththin kundRam kuviththanan) -   brought down the heads of the rakshasas like a huge hill.

 

கவித்தனன் கரதலம் – both the hands raised with palms downwards, a gesture of blessing in normal context, but here it is a gesture of reassurance and grant of refuge.

 

செவித்தலம் நிறுத்தினன். சிலையின் தெய்வ நாண்;  (Rama draws the bowstring right upto his ear). Reminded of the sloka many of us would be acquainted with:

 

Agrdha prashtadhaschaiva, paarsvadhasya mahaa balav,

aakarNa poorNa dhanvaanaw, rakshEthaam Rama Lakshmanow.

 

(Your fears shall be banished: the mightiest of all worlds, with Their bows in readiness with the bowstring drawn up to Their ears, Sri Rama and Lakshmana shall protect thee (from all fear).

 

I was instructed this mantra by my paternal grandfather when I was five. Stood me in good stead all my life. And, in turn I have passed this on to my grandsons.

 

Finsihing off the battle, Rama kills Subahu, but his arrow pushes his brother Maareechaa a long way unto the sea and dunks him into the waters of the ocean.

 

The remnants of the army were chased and destroyed by Rama’s arrows. As the headless trunks fell to the ground, ghosts which reveled in eating them and scavenger birds, feasted on this (unexpected) bonanza and sang the praise of Rama. (praise coming to Rama from some dubious quarters!).

 

The Gods assembled overhead and showered praise and flowers on Rama. They chanted: You, who had save the worlds from the deluge by devouring them, today saved this Sage’s holy ritual.

 

Sage Viswamitra praises the two divine princes for their valour and dedication.

 

Then, Rama, as if nothing major had happened, enquires of Sage Viswamitra: What is your bidding now, Sir?       

 

The story plot here accommodates a very important role for Maareecha later on and therefore is saved for now.

 

“Then, Rama, as if nothing major had happened, enquires of Sage Viswamitra: What is your bidding now, Sir?”

 

 குன்றுபோல் குணத்தான் எதிர்.   கோசலை குருசில். ‘இன்று யான் செயும் பணி என்கொல்?    பணி!’ என இசைத்தான்

 

Of interest are these three terms: குன்றுபோல் குணத்தான் – thamizh literature uses the term “குணக்குன்று”  = pinnancle of virtues. Sage Viswamitra is attributed that term by Kamban – a rare tribute for this really mercurial “sage”!  The second one is:  “குருசில்”- a rare literary term that occurs in the Sangam Thamizh literature, conveying the meaning: “illustrious”. (We find Kamban going to this term quite often while referring to his Lord – Rama.) Then third is “இசைத்தான்” – literally meaning “sung”. Rama’s voice was such a sweet, chiming, moving, alluring, one: not affected but a part of Him. (As boys grow into adolescence, the sing-song child voice breaks into gruffer male voice, as part of the puberty changes. But, we suppose in the case of Sri Rama, the morphing didn’t leave the sweetness behind; His manly voice continued to be musically sweet and soothing to the ears.)

 

The crest of this discussion: Rama’s unassuming, almost innocent, (not affected) humility in asking the sage: “what next, sir? What is your next command?” – as if he had just finished a trifle of an errand!

 

Sage Viswamitra’s reply to Rama’s seeking the next assignment is an interesting peek prelude to the next scene, kindling a tense anticipation like itching to know the next - cleverly fractionally revealed and substantively concealed turn – possibly the most celebrated one in the epic. The literary skill of Kaman is invoked by many writers who write serials in magazines – throw a hint of what is to come in the concluding part of the current installment, for readers keenly to await the next installment in the next issue of the magazine. I could relive this tense expectation that I had lived with while reading Thamizh classics of “Kalki”, “Devan” (Mahadevan), “Lakshmi” and a remarkable but less known woman writer in English, Kamala Markandeya, who wrote in the “Illustrated Weekly”. I don’t feign any such skills of inducing itching reader anticipation; would be very happy if the weekly efforts are even opened and looked at.

 

‘அரிய யான் சொலின். ஐய! நிற்கு    அரியது ஒன்று இல்லை; 

பெரிய காரியம் உள; அவை    முடிப்பது பின்னர்;

விரியும் வார் புனல் மருதம் சூழ்    மிதிலையர் கோமான்

புரியும் வேள்வியும். காண்டும் நாம்;    எழுக! என்று. போனார்.

 

Rama! There is no task that is beyond your (gifted) skills; there is one major task, though; that shall be accomplished (by you) eventually. We shall now move on – to see a (spectacular) ritual that the King of Mithila, that rich “marudham” (alluvial plains) country with abundant water riches. Come on now.