Episode 01 - Chapter 7 - Canto on Slaying of Vaali.

Chapter 7 - Canto on the Slayng of Vaali - வாலி வதைப் படலம்

 

We move into one of the most intensively commentated and debated cantos of this great epic. Neither the Aadhi Kaavya nor the Kamban’s peerless epic would let us down on this great riveting fare that this Canto would present. Your narrator gets into it with trepidation – as Kamban said at the invocation – like a cat in its greed ventures to drink out the entire Milky Ocean. “ஓசை பெற்று உயர் பாற் கடல் உற்றுஒரு பூசை முற்றவு நக்கு புக்கென ஆசை பற்றி அறையலுற்றேன்” The poet’s greed was matched, obviously, by his daring and poetic repertoire. In your narrator’s case, though, it is paired with an antithetical trepidation. He is aware that the canto is generously sprinkled with literary, spiritual, religious and ethical quick-sands that have taken the best out of great commentators in steering through them; lesser ones have tried to steer around them, often getting sucked into one vortex or the other!

 

*******

 

After the caucus – Rama, Lakshmana, Sugreeva and his council led by Hanuman, decide to go ahead with the plot to get rid of Vaali, the party moves Vaali-wards. Kamban presents that moving party thus:

 

வெங் கண் ஆளிஏறும், மீளி மாவும், வேக நாகமும்,

சிங்கஏறு இரண்டொடும் திரண்ட அன்ன செய்கையார்,

தங்கு சாலம், மூலம் ஆர் தமாலம், ஏலம் மாலைபோல்

பொங்கு நாகமும், துவன்று, சாரலூடு போயினார்.

 

சாலம், மூலம் ஆர் தமாலம், ஏலம் = names of trees/plants: Sal aka Aacha trees, Moolam trees, ஆர் = ஆத்தி (Aati – botanical name bauhinia racemose; Lord Siva is supposed to wear the flowers os this tree, therefore ஆத்திசூடி; தமாலம் – herbal plants; ஏலம் – cardamom; பொங்கு நாகம் = சுரபுன்னை aka வழை – botanical name Ochrocarpos longifolius (not to be mixed up with வாழை ) The flora presented would remind us of the dense western ghats including the yet-surviving ever-green patches.

 

The movement of this party resembled a group of fierce animals – male Yaali; ferocious tigers; trundling elephants; all these led by Rama and Lakshmana who looked like two young male lions. The group moved through dense groves abounding with huge and tall trees, creepers and plants.  

 

Commentators would impart the qualifying numeric “இரண்டொடும்” to each of the four animal portrayals -  மீளி மாவும் (connoting NaLan and Neelan), வேக நாகமும் – connoting  Hanuman and Tharan and of course சிங்கஏறு connoting Rama and Lakshmana).

    

அறங்கள் நாறும் மேனியார், அரிக் கணங்களோடும், அங்கு

இறங்கு போதும், ஏறு போதும்,  ஈறு இலாத ஓதையால்,

கறங்கு வார் கழல் கலன் கலிப்ப, முந்து கண் முகிழ்த்து

உறங்கு மேகம், நன்கு உணர்ந்து, மாக மீது உலாவுமே.

 

Here is a Kamban gem: அறங்கள் நாறும் மேனியார் = Rama and Lakshmana carried with them the compelling aroma of Dharma.

 

With the loud tinkles from the anklets of these warriors climbing up and down the hilly tracts, the quiet and still overhead clouds, sleepy till then, were bestirred from their slumber and commenced swimming the sky above.

 

நீடு நாகமூடு மேகம் ஓட, நீரும் ஓட, நேர்

ஆடு நாகம் ஓட, மான் யானை ஓட, ஆளி போம் -

மாடு நாகம் நீடு சாரல், வாளை ஓடும் வாவியூடு

ஓடு நாகம் ஓட, வேங்கை ஓடும், யூகம் ஓடவே.

 

The group’s movement through these dense forests the environment got agitated: the (rain-filled) clouds ran into the hills, that triggered a cool torrent and consequent rivulets, the turbulent cloud-movement stirring snakes that fled the commotion, deer and elephants ran about helter-skelter, lions got mixed up with this chaotic animal grand show of fright, the slopes of the hills that were dense with சுரபுன்னை trees (see the botanical name in the first paragraph), had swelling rivulets from the cloud-bursts flooding down with Vaalai fishes; water snakes, terrified, joining the spiral of scatter, tigers and baboons ran around, wholly unaware of their natural enmity,  in fear-hit confusion.

 

The poet presents a rare picture: in the commotion sourced totally external to their habitat, fauna that would normally not countenance each other’s presence amidst them – like deer and lions/tigers, fishes and water snakes, lions/tigers and baboons, lost their minds and scattered around unmindful of their inborn adversity to each other. This commotion, the poet implies, reflects the intense anger and fierce intent that the party that was moving in, was carrying with it. 

 

நாகம் is a word that is used in this single verse in various meanings: hills; poisonous snakes; சுரபுன்னை trees; and water snakes.   யூகம் = simians.

  

அவ் இடத்து, இராமன், நீ அழைத்து, வாலி ஆனது ஓர்

வெவ் விடத்தின் வந்து போர் விளைக்கும் ஏல்வை, வேறு நின்று

எவ்விடத் துணிந்து அமைந்தது; என் கருத்து இது' என்றனன்;

தெவ் அடக்கும் வென்றியானும், 'நன்றிஇது' என்று சிந்தியா.

 

Arriving in the precincts of Kishkinta, the Group’s destination, they paused and considered strategies. Rama suggested to Sugreeva: “You should incite Vaali, the most vicious poison, for a combat with you. When you are engaged in that fight, I shall stand aside and kill Vaali with a dart. I think that this (strategy) fits in in this situation. That is my view.” Sugreeva, thinking through what Rama had said, accepts that that was the best proposition. 'நன்றிஇது' என்று சிந்தியா

 

The core, the first precursor, of this canto’s extensively debated issue is imbedded in this verse: வேறு நின்று = I shall stand aside (not in the sight of either of you).

 

The poet uses the term “துணிந்து அமைந்தது; என் கருத்து” – Rama says that what he proposed was what he had thought (well) through. Resonates with the KURAL - 'எண்ணித் துணிக கருமம்'.

 

Sugreeva arrived at Vaali’s ramparted palace and mads a thunderously noisy war-dance.

    

இடித்து, உரப்பி, 'வந்து போர்  எதிர்த்தியேல் அடர்ப்பென்' என்று,

அடித்தலங்கள் கொட்டி, வாய் மடித்து, அடுத்து, அலங்கு தோள்

புடைத்து நின்று, உளைத்த பூசல் புக்கது என்ப - மிக்கு இடம்

துடிப்ப, அங்கு உறங்கு வாலி திண் செவித் துளைக்கணே.

 

“Come down, if you dare! Come and battle with me! I shall destroy you!” thus clamoring aloud, stomping his feet, slapping his huge shoulders with a great thunderous noise, Sugreeva incited Vaali. That clamor pierced Vaali’s ears, arousing him from his slumber; as he rose from his bed, he felt his left eye and left shoulder twitch. (the twitching of the left eyelids and the left shoulders for males and the right side for the females are regarded as ill omens. Contrarily, twitching on the other side is considered as good omens.)

 

VAALI WAS INFURIATED. His incendiary reaction to Sugreeva’s inciting call is presented by Kamban:

 

சிரித்தனன்; அவ் ஒலி, திசையின் அப் புறத்து

இரித்தது, அவ் உலகம் ஒர் ஏழொடு ஏழையே.

போய்ப் பொடித்தன மயிர்ப் புறத்த, வெம் பொறி;

காய்ப்பொடு உற்று எழு வட கனலும் கண் கெட,

தீப் பொடித்தன, விழி; தேவர் நாட்டினும்

மீப் பொடித்தன புகை, உயிர்ப்பு வீங்கவே.

 

“Vaali’s (derisive and angry) laughter reverberated beyond the (eight) directions. It had the fourteen worlds crumble on its impact. The incense emitted from his hair-roots rose threateningly – more incendiary and blinding than the vadavaagni itself. The smoke emanating from his fiery breath reached out to scorch the heavens.

 

வந்தெனன்! வந்தெனன்!' என்ற வாசகம்

இந்திரி முதல் திசை எட்டும் கேட்டன;

 

வந்தெனன்! வந்தெனன்! – Kamban, the dramatist!

 

Vaali’s reverberating response to Sugreeva’s battle-call: “I am coming! I am coming!, reached into Indra’s quarters and all the eight directions.

 

Tara, Vaali’s wise and lovely spouse,  sensing some nefarious scheme behind Sugreeva’s incitement, tried to stop Vaali from joining this battle.

 

ஆயிடை ,தாரை என்று அமிழ்தின் தோன்றிய

வேயிடைத் தோளினாள், இடை விலக்கினாள்;

வாயிடைப் புகை வர, வாலி கண் வரும்

தீயிடை, தன் நெடுங் கூந்தல் தீகின்றாள்.

 

Tara, with slender and lovely shoulders resembling young bamboo, intercepted Vaali and tried to stop him, and as she so tried, the smoke emitted from Vaali’s mouth scorched her long tresses.

 

'விலக்கலை; விடு; விடு; விளித்துளான் உரம்

கலக்கி, அக் கடல் கடைந்து அமுது கண்டென,

உலக்க இன் உயிர் குடித்து, ஒல்லை மீள்குவல்,

மலைக் குல  மயில்!'  என, மடந்தை கூறுவாள்:

 

We considered Kamban as a super dramatist, in an earlier selection. He plays true here.

“'விலக்கலை; விடு; விடு”.

 

“Do not stop me! Leave me! Leave me! Even as I churned the Thirupparkadal (long ago), I shall churn and demolish Sugreeva and return after drinking his sweet life.”

 

Tara would continue to dissuade Vaali:

 

கொற்றவ! நின் பெருங் குவவுத் தோள் வலிக்கு

இற்றனன், முன்னை நாள், ஈடு உண்டு ஏகினான்;

பெற்றிலன் பெருந் திறல்; பெயர்த்தும் போர் செயற்கு

உற்றது, நெடுந் துணை உடைமையால்' என்றாள்.

 

“Oh! My King! Sugreeva had just a while ago got decimated by your powerful shoulders and fled with unforgettable agony. He ought not to have gained any new prowess or energy now to dare you in combat. Reason why he is venturing to incite you ought to be that he has gained some significant, lasting help நெடுந் துணை .”

 

Vaali countered Tara’s apprehension and tried to douse her fears by reminding her of his great exploits with his invincibility and valour.

 

ஆற்றல் இல் அமரரும்,  அவுணர் யாவரும்,

தோற்றனர்; எனையவர் சொல்லற்பாலரோ?

கூற்றும், என் பெயர் சொலக் குலையும்; ஆர், இனி

மாற்றவர்க்கு ஆகி வந்து, எதிரும் மாண்பினார்?

 

“The emaciated Devas and all the Asuras fled, defeated. Can you give a count? Even the God of Death would be terrified if my name is mentioned to him. Who, do you think, could dare to confront me, venturing to help Sugreeva?”

 

'பேதையர் எதிர்குவர் எனினும், பெற்றுடை

ஊதிய வரங்களும், உரமும், உள்ளதில்

பாதியும், என்னதால்; பகைப்பது எங்ஙனம்?

நீ, துயர் ஒழிக!' என, நின்று கூறினான்.

 

Vaali comforted Tara with more of his invincibility - “Even if some ignorant, stupid adversaries dare to join battle with me, half of their accumulated strength in terms of boons and prowess would be drawn out to me; how can anyone cross me as an enemy? You grieve not”

 

Ravana, while lamenting about his shameful defeat at the hands of Vaali, would cite Vaali’s boon – of drawing to himself half of the power, energy and battling skills of his adversaries:

'என் வலி அவன் வயின் எய்த வரங்கொள் வாலிபால் தோற்றனென்”

 

Tara thought that if she was forthcoming with Vaali with specifics of her apprehension, he could change his stubborn attitude to this instigated confrontation with Sugreeva.

 

'அரச!' ''ஆயவற்கு இன் உயிர் நட்பு அமைந்து இராமன் என்பவன்,

உன் உயிர் கோடலுக்கு  உடன் வந்தான்'' எனத்

துன்னிய அன்பினர் சொல்லினார்' என்றாள்.

 

. “Oh! King! That one (Sugreeva) has gained the intimate friendship of one Rama, who is in Sugreeva’s company with the intent of taking your life; this is what I have been informed by some loved ones who care for us.”

 

(This would place Tara as a worldly-wise woman well-versed in state-craft and positively involved in the governance; she was keeping her ears to the ground and informing herself about risks emanating against her husband-king (and possibly) for the state as well.)

 

Vaali’s reaction to what Tara informed him about, sets up the contours of the ethical discourse that would follow in this canto. He refused to believe that Rama would condescend to do what Tara thought he was about to do. He expatiates with her the reasons why he would rubbish Tara’s apprehension, with his understanding of Rama’s character and history. He actually strongly reprimanded Tara for having stooped to suspect Rama of such a lowly plot.

 

உழைத்த வல் இரு வினைக்கு ஊறு காண்கிலாது

அழைத்து அயர் உலகினுக்கு அறத்தின் ஆறு எலாம்

இழைத்தவற்கு, இயல்பு அல இயம்பி என் செய்தாய்?

பிழைத்தனை; பாவி! உன் பெண்மையால்' என்றான்.

 

“You Sinner! You have erred grievously because of your female ignorance. What have you done in saying what you just have? By adducing to Rama, who had resolved to show, by his own conduct, all the Dharmic life principles, to a world that is suffering from the inevitability of the accumulated  karmas,  evil things that are most inappropriate and ill-fitting?”

 

“ பிழைத்தனை; பாவி! உன் பெண்மையால்” is also interpreted by some commentators to mean – “You are spared, Oh! Sinner! Because you are a woman”.

 

Resonates with Kamban’s earlier acclamation: ); ''அறைகழல் இராமன் ஆகி,

அறநெறி நிறுத்த வந்தது'' (4073)

 

இருமையும் நோக்குறும் இயல்பினாற்கு இது

பெருமையோ? இங்கு இதில் பெறுவது என்கொலோ?

அருமையின் நின்று, உயிர் அளிக்கும் ஆறுடைத்

தருமமே தவிர்க்குமோ தன்னைத் தான்அரோ?

 

“How could this (coming to the aid of Sugreeva with the intent to get rid of me) be honourable to that one (Rama) who (always) considers both this present life and the one following it? (Meaning, that the fruits of one’s actions might not play out in this life but shall surely follow in the subsequent ones – the inevitability of karma). What would he accomplish in this? Would the priceless Dharma, which sustains all life by standing steadfast with virtuosity, destroy itself like this (by doing what you say)? (Vaali here equates Rama with Dharma itself.)”

 

Vaali presents the Rama he knew – the personification of Dharma; and ridicules the proposition that he would stoop to the adharmic act of intervening in the duel between two brothers, on behalf of one of them.

 

The epic builds up here, seemingly with intent, the threshold for the massive issues of ethics and morality that would be thrown up for the world, for posterity, later.

    

Vaali elaborated the ingredients of his understanding of Rama – as personification of Dharma.

 

'ஏற்ற பேர் உலகு எலாம் எய்தி. ஈன்றவள்

மாற்றவள் ஏவ, மற்று, அவள்தன் மைந்தனுக்கு

ஆற்ற அரும் உவகையால் அளித்த ஐயனைப்

போற்றலை; இன்னன புகறல்பாலையோ?'

 

“Having duly gained the reign of this whole wide world (the crown of Ayodhya) as a matter of fair right, he gave it to the son of his step mother with incomprehensible pleasure. Instead of extolling and prasiing that virtue of his, how would you impute such a blame-worthy intent to him?” 

 

நின்று பேர் உலகு எலாம் நெருக்கி நேரினும்,

வென்றி வெஞ் சிலை அலால், பிறிது வேண்டுமோ?

தன் துணை ஒருவரும், தன்னில் வேறு இலான்,

புன் தொழில் குரங்கொடு புணரும் நட்பனோ?

 

“Rama, endowed with his renowned bow that could confront and conquer even if all the worlds together came against him as one adversary, which ally could he need apart from that “Kothandam”? Why would he, the matchless one, descend to seek the friendship of a lowly Monkey?”

 

A recall of this view of Rama by Vaali would be found later in this canto – as Vaali, downed by Rama’s dart and dying, would address Rama, poignantly, as - . 'கூட்டு ஒருவரையும் வேண்டாக் கொற்றவ'

 

தம்பியர் அல்லது தனக்கு வேறு உயிர்

இம்பரின் இலது என எண்ணி ஏய்ந்தவன்,

எம்பியும் யானும் உற்று எதிர்ந்த போரினில்

அம்பு இடை தொடுக்குமோ, அருளின் ஆழியான்?

 

“This one (Rama) is known to regard his siblings as his own very life. Would such a man stoop to intervene in the quarrel between two brothers (Vaali and Sugreeva) and choose to kill one of them?”  What Vaali means here is that if anything, Rama would bring the feuding siblings back to loving brotherly equation – not punish one of them unfairly and unethically.

 

இருத்தி, நீ, இறை, இவண்; இமைப்பு இல் காலையில்,

உருத்தவன் உயிர் குடித்து, உடன் வந்தாரையும்

கருத்து அழித்து, எய்துவென்; கலங்கல்' என்றனன்;

விரைக் குழல், பின், உரை விளம்ப அஞ்சினாள்.

 

Vaali conclusively comforts Tara: “You just stay here for a little while. Within the batting of your eyelids, I shall finish Sugreeva and also destroy the intent of whoever is accompanying him.”

 

Vaali acclaims that he would destroy the intent of whoever is accompanying/aiding Sugreeva. This follows his extolling and praising Rama in such unequivocal terms. Did he mean to be able to get the better of Raghava? கருத்து அழித்து is a precise expression by Kamban that steers clear of any such impolite intent in Vaali’s statement. He only expresses his confidence that by overcoming Sugreeva despite the assistance he might be having, he would defeat the intent, the purpose of that source of assistance – even if it be Rama. The other interpretation is that Vaali is certainly of the belief that whoever could be helping his brother, it could not be Rama.

 

This is a long canto; selecting verses for presentation could also be a dauting task as verses would vie with each other in dramatic and poetic content. We may have to be dwelling in this canto for a few weeks. But we would not have a dull moment – that is promised.

 

Your narrator feels it would be appropriate and useful to recall at this juncture, the fine delineating difference between the AAadi Kaavya and Kamban’s epic. We could not get a better hold of this finely nuanced difference in one place, than with Sri V.V.S.Iyer’s observations: (Courtesy: “Kamba Ramayanam – A Study” by Sri V.V.S.Iyer.

 

(Varahaneri Venkatesa Subramania Iyer – 1881 to 1925 – was a revolutionary, patriot and literateur rolled into one. Those who would like to learn more about this astonishingly accomplished man, who in his short life, tried valiantly to conquer the two dissimilar worlds of political independence and literary mastery, are referred to this link: http://shodhganga.inflibnet.ac.in/bitstream/10603/135950/9/09_chapter%204.pdf

that offers a lucid biography of this remarkable, (unsung today) son of India. Just one little episode from this document that would produce for us the ferocity in his love for his motherland and hatred for the occupation: “V.V. Subramaniya Aiyar had become anti-British completely. Though he passed his Barrister-in-law examination with credit, he was not awarded the Degree since he refused to take the oath of allegiance to the British monarch. He became a determined enemy to the cause of British rule in India”)

 

“In the delineation of character, Kamban stands on a level with the greatest poets of the world. The lines are drawn with a firm hand, and the characters are painted with such accuracy and fullness that from any single sentence, and sometimes even from a single phrase in a speech, one can tell the person speaking without any the least doubt.

 

“Here too, naturally, Valmiki has set the stamp on the characters of the Ramayana. But in Kamban’s hands they have become much more grand. The student of Valmiki will wonder

how his Rama and Bharata, Ravana and Kumbhakarna, Vali and Hanuman, Sita and Kausalya and the rest could be improved. The fact, however, is  that Kamban’s heroes and heroines are beings of a decidedly higher stature than those of Valmiki.

 

“The idealization(sic) of Rama is not solely or chiefly the work of Kamban. The fact is that the Rama of Valmiki has so captivated the heart of Hindusthan that the whole nation has expended on him all the love and devotion of which its rich nature was capable. The Tamil Alwars, and especially Kulasekhara the Chera Prince, have given literary expression in their devotional verses to the popular pronouncement that Rama is the Supreme Narayana Himself in human form. In Kamban’s time, therefore, the ideal man had grown into very God, the mere repetition of whose name with devotion would lead unto heaven. What Kamban has done is to give the impress of the master-artist to the character that had grown into its fullness and grandeur by the devotion-filled meditation of generations of the sons of India.

 

“This, however, was no ordinary task. It is easy to pile epithets upon epithets and constantly repeat that Rama was a divine king. But to create the poetical impression of the divinity of Rama’s character and to maintain the epic in all places at the level that will alone harmonise with such an impression is a vastly different thing. And Kamban has eminently succeeded in this extremely difficult task.

 

“With regard to the other characters, and especially with regard to the Rakshasas, the heightening of the colour is mainly Kamban’s work. With the instinct of the born artist, Kamban must have seen that the idealization of Rama alone without raising the other personages of the story to a similar height of character would not produce a harmonic whole. And so he has made his Ravana and Indrajit, Sugriva and Angada, Kausalya and Mandodari much grander characters than they appear in Valmiki’s poem. And although Valmiki’s Bharata is one of the finest creations of poetry, the little touches that Kamban has given to the figure have rendered Bharata’s virtue even more resplendent than in the original Ramayana.”

********

Vaali arrives for the battle – how?

 

நின்றான், எதிர் யாவரும்  நெஞ்சு நடுங்கி அஞ்ச,

தன் தோள் வலியால் தகை மால் வரை சாலும் வாலி,

குன்றூடு வந்து உற்றனன் - கோள் அவுணன் குறித்த

வன் தூணிடைத் தோன்றிய  மா நரசிங்கம் என்ன.

 

Vaali arrived and stood astride a large hill – himself resembling a huge hill, making everyone beholding this event shake with fear. (Kamban would use a strange metaphor here). Like the superb Narasimha, who manifested in the stone pillar that Hiranyakasipu sundered with his maze, daring Prahlada to show his Lord there. The metaphor is, we presume, to highlight the appearance that evoked fear.

 

Rama points to the two battle-ready brothers to Lakshmana and articulates his admiration:

 

அவ் வேலை, இராமனும்,  அன்புடைத் தம்பிக்கு, 'ஐய!

செவ்வே செல நோக்குதி;  தானவர் தேவர் நிற்க,

எவ் வேலை, எம் மேகம், எக் காலொடு  எக் கால வெந் தீ,

வெவ் வேறு உலகத்து இவர் மேனியை மானும்?' என்றான்.

 

Rama pointed Vaali and Sugreeva to Lakshmana and admired: “Look at these! Let the Devas and Asuras be. Which roaring sea, which thundering cloud, which sweeping wind, which searing, all-destroying fire, would match these two – in all the worlds?”

 

Lakshamana, however, was not taken in by Rama’s admiration: he thought that it was pathetic and ignoble for Sugreeva to have got himself into this confrontation,  entwining the Dharma-bound Rama into it. A lot of subtle allegories in this one verse for us to savour:

 

வள்ளற்கு, இளையான் பகர்வான்,  'இவன், தம்முன் வாழ்நாள்

கொள்ள, கொடுங் கூற்றுவனைக்  கொணர்ந்தான்; குரங்கின்

எள்ளற்குறு போர் செய எண்ணினன் என்னும் இன்னல்

உள்ளத்தின் ஊன்ற,உணர்வு உற்றிலென் ஒன்றும், என்றான்.

 

Lakshmana responded: “This one, just to secure his own future, has hired the God of Death (alluding to Rama having consented to kill Vaali); this battle of monkeys is derisive and laughable - that disturbing scene deeply imbedded in my mind, I am incapable to a rational thought.”

 

Lakshmana appears to rub it in, into Rama’s conscience –“You gave up the priceless Ayodhya crown to your brother and ventured into the forests. This one – Sugreeva – wants to kill his elder brother in order to secure his own life and his future, the glory of Kishkinta’s crown – and you, the epitomized form of Dharma itself, have been tricked into participating in this dastardly act as an ally of the wrong-doer.”

 

Lakshmana piles it some more – one cannot but marvel at the poet’s amazingly incisive imagination to bring out a rare lapse on the part of Rama to assess the character of Sugreeva – as Lakshmana would imply here –  while venturing to seal a pact with Sugreeva.

 

ஆற்றாது, பின்னும் பகர்வான், 'அறத்தாறு அழுங்கத்

தேற்றாது செய்வார்களைத் தேறுதல்  செவ்விது அன்றால்;

மாற்றான் எனத் தம்முனைக் கொல்லிய வந்து நின்றான்,

வேற்றார்கள் திறத்து இவன் தஞ்சம் என்? வீர!' என்றான்.

 

Lakshmana, provoked by this unbearable quandary in his mind, would tell Rama this much more: “Oh! Great Warrior! Those who cross the clearly-laid lines of Dharma with impunity and indulge in wrong-doing – would they be worth your trust? This one regards his own elder brother as his enemy and has arrived here to finish him. How would such a character be (trustworthy of) providing help and be a (dependable) ally to total strangers?”

 

COME THROUGH AS AFTER-THOUGHTS OF LAKSHMANA, PROVOKED BY THE SCENE IN FRONT OF HIM. HE HAD TOED THE LINE ALL ALONG SINCE THE BEGINNING OF THESE PARLEYS WITH SUGREEVA & CO., THOUGH NOT WHOLESOMELY CONTRIBUTING TO THEM. WHY THIS PRICKED CONSCIENCE AT THIS LATE, IRRETRIEVABLE, HOUR? DESTINY? KAMBAN IS UPPING THE ANTE FOR RAMA, STROKE BY BEAUTIFUL STROKE. WHY WOULD HE PLACE HIS LORD AND MASTER UP TO THIS CRUNCHING TEST? WHY WOULD HE DEVIATE FROM THE AADHI KAAVYA AND CONJURE THIS NETTLING, PRICKLY EXCHANGE BETWEEN THESE TWO – THE ULTIMATE IN BROTHERLY BOND AND DEVOTION? IT WOULD HAVE BEEN UNDERSTANDABLE FOR RAMA, AS “SARANAGATA VATSALAN”: TO HAVE PROVIDED REFUGE TO SUGREEVA IF THERE WAS A SURRENDER; BUT THIS WAS AN ALLIANCE BETWEEN ASSUMED EQUALS AND A QUID PRO QUO WAS PART OF THE PACT. WHY WOULD RAMA DO THIS? WE WOULD FIND OUT….

 

Sri V.V.S.Iyer summarises this verse thus:

 

But still his heart returned upon its theme,

And thus unburdened he his mind: ' They say

It is unwise to put our faith in those

That are unnatural: when he can harden

His heart against a brother, and fall on him

As on a foe, what can his loyalty

Be worth to strangers, brother?

 

Rama responds to Lakshmana – with a glint of riposte, it would seem:

 

அத்தா! இது கேள்' என,  ஆரியன் கூறுவான், 'இப்

பித்து ஆய விலங்கின்  ஒழுக்கினைப் பேசல் ஆமோ?

எத் தாயர் வயிற்றினும், பின் பிறந்தார்கள் எல்லாம்

ஒத்தால், பரதன் பெரிது  உத்தமன் ஆதல் உண்டோ?

 

“Let me tell you this: is it appropriate or wise to speak of ethical codes (meant for humans) when we are dealing with mindless beasts? (Besides), if all siblings born of the same mother were to be as virtuous and devoted to the elder brother, why would Bharatha be hailed as an exceptionally exalted one?”

 

Bharatha repudiated the crown but was administering Ayodhya with Rama’s padukas as the reign. But Lakshana left his mother, his wife, his due place in palace comfort and had accompanied Rama through all of Rama’s travails; the epic asserts that he did not sleep a wink during those fourteen long years. He would, later on, also stake his own life in the great war with Ravana. Was this exaltation of Bharatha by Rama – discernibly above Lakshmana - also a slight of Lakshmana – annoyed with Lakshamana quoting ethics and strategy to him? Was Rama fair to this totally self-effacing younger brother – his alter ego? This shall agitate our minds.  Rama would make handsome amends with unequivocal praise for Lakshmana liberally sprinkled all over the epic. E.g. When Lakshmana was laid low by Indrajit’s Brahmastra and was found by Rama on the battle-field with little signs of life, he would lament: 'தாயோ நீயே; தந்தையும் நீயே; தவம் நீயே; சேயோ நீயே; தம்பியும் நீயே; திரு நீயே'' Yuddha Khandam – Brahmastra Padalam. But this one barb does stick out – as unfair on the part of Rama, the personification of equipoise and ‘mridhu bhashana”.

 

More rationalization from Rama:

 

'வில் தாங்கு வெற்பு அன்ன  விலங்கு எழில் தோள! ''மெய்ம்மை

உற்றார் சிலர்; அல்லவரே  பலர்'' என்பது உண்மை.

பெற்றாருழைப் பெற்ற பயன் பெறும் பெற்றி அல்லால்,

அற்றார் நவை என்றலுக்கு  ஆகுநர், ஆர்கொல்?' என்றான்.

 

The first reasoning was that values of virtuosity that are associated with humans would not rest well with beasts (monkeys). Now Rama scales up to rationalize even with reference to humans.

 

“In this real world, the ones with virtues and goodness are but a few; the majority are without those attributes. Therefore, when you seek associations/friendships, would it not be wise and prudent to find and accept the good attributes in those offering such friendship/association and overlook / ignore their flaws and failings?”

 

This definition of friendship by Rama – possibly flowing from his prime attribute of compassion – is not found to be echoed in any of the Thirukkural couplets that discuss “நட்பாராய்தல்” – examining a friendship.

 

Vaali and Sugreeva join battle. The ferocity and speed are captured by the poet in this metaphor:

 

“திரிந்தார் நெடுஞ்சாரி;   நிலம் திரிந்த, வன் தோள் குயவன் திரி மண் கலத்து

    ஆழி என்ன.”

 

As the two circled around and were indistinguishably woven together in that fierce, death-like physical combat, the whirl and swirl resembled the madly spinning, potter’s wheel.

 

Kamban compares this battle with the one between another set of brothers from puranic lore – Sundha and Upasundha.

 

தம் தோள் வலி மிக்கவர்,  தாம் ஒரு தாய் வயிற்றின்

வந்தோர், மட மங்கை  பொருட்டு மலைக்கலுற்றார்;

சிந்து ஓடு அரி ஒண் கண் திலோத்தமை காதல் செற்ற

சுந்தோபசுந்தப் பெயர்த்  தொல்லையினோரும் ஒத்தார்.

 

Here is the “Sundhan – Upasundhan” anecdote that this verse refers to (Aadi Parva of Mahabharatha). These two brothers were descendants of Hiranyakasipu in the Asura clan. They accomplished everything together and took the whole world by their might and inseparable valour. They engaged in severe ascetics and sought far-reaching boons from Brahma. Bramha granted all of those, barring the one that would render them beyond death. Even there, they were asked by Brahma to seek one single exception as the source of their end. Very cleverly and motivated by their inseparable unity, they sought this: death might come to us only through either of us. The Devas tried all their trickery and scheming to dislodge this ferocious and universally perilous pair from its unity but everything came at naught. The Devas then hit on one plan that was sure not to fail. They sent Thiloththama, one of the ravishingly beautiful apsaras, to the two brothers and had her seduce them. When the brothers sought her hand, she laid this condition: I shall go only to one of you – one who is stronger than the other - and proves that in battle. The brothers fell to that bait and engaged in that fateful battle for the hands of a woman. As both were equally strong, the battle killed both and the world was relieved of this great peril.

 

The allegory is now distinct. One of the main contentions for this battle between Vaali and Sugreeva was that Vaali had appropriated Sugreeva’s wife Ruma. (That reason comes through as the clinching one for Rama to decide to aid Sugreeva and get rid of Vaali; we found earlier that when this episode was related to him by Hanuman, Rama nearly exploded with anger, aggrieved as he was by a kindred feeling of having been the subject of such a depravity himself. ‘உருமை என்று இவற்கு உரிய தாரம் ஆம் அரு மருந்தையும் அவன் விரும்பினான்; this provoked Rama into a rage: வாய் இதழ் துடித்தது; மலர்க் கண் செய்ய தாமரை ஆம்பல் அம் போது எனச் சிவந்த and led to his unequivocal promise of retrieving for Sugreeva his spouse as well as the Kishkinta crown ‘உலகம் ஏழினோடு ஏழும் வந்து  அவன் உயிர்க்கு உதவி விலகும் என்னினும், வில் இடை வாளியின் வீட்டித், தலைமையோடு, நின் தாரமும், உனக்கு இன்று தருவேன்;

           

THE BATTLE IS DESCRIBED BY KAMBAN WITH HIS INIMITABLE HYPERBOLE – A FEW VERSES PICKED FROM SEVERAL:

 

கடல் ஒன்றினோடு ஒன்று  மலைக்கவும், காவல் மேருத்

திடல் ஒன்றினொடு ஒன்று அமர் செய்யவும், சீற்றம் என்பது

உடல் கொண்டு இரண்டு  ஆகி உடற்றவும், கண்டிலாதேம்,

மிடல், இங்கு, இவர் வெந் தொழிற்கு ஒப்புரை வேறு காணேம்.

 

“We cannot find any other comparison for this rare, all-enveloping, battle between the two brothers – like a rising sea walloping another sea; like a towering mountain crashing into another equal one; like the very attribute of ANGER taking a form and dividing itself into two  embattling each other.”

 

வெவ் வாய எயிற்றால் மிடல்  வீரர் கடிப்ப, மீச் சென்று,