An Incident And Characters Of The Great Epic Of Valmiki The Ramayana

“They wept together, for the things they now knew.”(104) The last sentence of the first story in Interpreter of Maladies, reveals the cruelty of the elapsed romance in a marriage. In the two collections, A Temporary Matter and The Third and Final Continent, Jhumpa Lahiri demonstrates that a marriage can be either uplifting or discouraging depends on the mindset held by the couple and the strength of human bonding. Lahiri emphasizes the significance of mindset and human bondings through the ending of the two stories. The endings of the two stories are polar opposite : In A Temporary Matter, Shukumar and Shobha weeps for the termination of their relationship; The Third and Final Continent, by contrast, the protagonist(MIT) enjoys a fairytale-like

The author moves to her actual realization that she has been misunderstood her entire lifetime along with the Western world by extending her vocabulary and appealing to emotional diction. These are seen clearly through “’aina” meaning culture and “the great bloodiness of memory: genealogy” (Trask 118). These few examples show how her language is connecting with the audience on an emotional level by using native terms and powerful language such as “bloodiness.” She appeals to the ideals of pathos by employing meaningful words when describing the traits of her people. She

Ramayana, translated by William Buck, is an ancient Indian epic telling the story of a prince named Rama who fights against his adversary, Ravana. Although there are many important female characters throughout the book, they are often seen as subordinate to their male counterparts where intelligence and strength are concerned. One character who proves this stereotype wrong is Sita, Rama’s wife, who often shows that she has the capacity of being just as powerful as the men of the story. By being more mindful than most people around her, Sita defies the expectations that many characters have placed on her. Sita lets the reader see another side of women’s power and shows us the strength that women could have. The reason that Sita proves to be powerful is that she seems to have an understanding of the deeper meaning of her life; precisely the quality that men don’t expect her to have.

Vali alludes to how Ravana captured Sita; He too did not fight Rama head on. Instead, Ravana hid and took Sita without Rama’s knowledge. In this scenario, Rama is just as sinister as Ravana, relying on subterfuge to achieve his goal. His imperfections start to emerge as it seems he acted out of haste and half-knowledge. The perfect image of Rama wavers under Vali’s story. Without Narayan’s critiques, the reader is only left with their own judgement and knowledge. However, Narayan brilliantly implants uncertain prejudgements about Rama’s actions, creating the ideal breeding ground for his imperfections to manifest. The “straw man” argument at play, unconsciously promotes Rama’s mistakes.

When an epic hero, like Amari and Odysseus, has the opportunity to face the unknown, or has a crisis, and has something to gain, this starts the beginning of their journey called “The Call.” During this period, the heroes go through things, in their eyes, that is unimaginable or wasn’t expected. Odysseus’s call was more voluntary and exciting than Amari’s call because his “Call” was when he won the Trojan War and could return home after ten years. Amari’s “Call” was when she and a few others from her tribe were captured and taken as slaves after her family was killed and her village destroyed. Odysseus had a choice but Amari did not. Before “The Call”, Amari and Odysseus characteristics affected and predestined their journey. Two epic hero qualities, Noble Birth and Cultural Legend, set up Amari and Odysseus path. Odysseus Noble Birth quality was that he was the son of Laertes, a hero, and his Cultural Legend was being a war hero and the King of Ithaca. Amari’s Noble Birth quality was that her family was considered royalty because her father was an elder of her tribe, Ewe, he was a favored storyteller, and her family was skilled weavers. Her Cultural Legend couldn’t be fulfilled because she was to inherit the family business of weaving. Although Amari didn’t become a Cultural Legend, they both had purpose due to their family’s high-rank in their culture.

In daily life, people encounter many concepts such as emotions, thoughts, actions, and situations. These concepts can often be categorized into two atmospheres: positive and negative. In “The Old Masters” and “The Racer,” Amit Chaudhuri and Hanif Kureishi convey their atmospheres through character relationships involving greed and symbolic ideas. Within “The Old Masters,” the reader is focused on the relationship between Pramathesh and Ranjit--two colleagues who work together--and their lives as time progresses. Throughout “The Racer,” the reader experiences the failing marriage of a husband and wife and their desire to compete in a race and win to show superiority over one another. Although Chaudhuri and Kureishi utilize symbolism,

Do you know who the Devil of Ramadi is? The Devil of Ramadi is Chris Kyle a former Navy Seal. Kyle was an elite sniper for the United States Military. He was born and raised in Texas. He joined the military in 1999 and quit in 2009 to be with his family. He joined the military because he thought he was made to do something more with his life. Chris used perseverance, adaptability and bravery to survive being a Navy SEAL.

War has been treated as an acceptable response to political or personal disagreements. The Bhagavad-Gita shows how a person can have a moral dilemma when faced with the prospect of fighting against people who are familiar. This story explains how, if there are no other options available to solve a dispute, then violent conflicts are acceptable responses. The use of armed conflict to resolve any political or personal disputes has been a theme that is visible in famous warrior stories. The Odyssey, The Ramayana of Valmiki, and The Bhagavad-Gita all deal with conflicts of war and how it can affect the lives of those involved. Violence as a solution to combat any disagreements or problems has been viewed as noble and necessary in many stories. Armed conflict and violence has an effect on everyone involved and the aftermath can be just as destructive as the initial fighting. The characters in these stories are defined by their status as a warrior and hero. A man’s ability to be successful in battle has been praised in these stories. Odysseus and Rama are both viewed as strong heroes and they have been praised for the violent actions taken in order to solve the situations in their lives. Arjuna was a warrior who was expected to fight against loved ones because that was his job as a solider. The nature of war in these ancient stories showed how accepted and valued violence conflicts were to a hero’s status and legend.

People have been telling stories of noble heroes, great kings, and hideous monsters for millennia. In fact one of the world’s first great works of literature, The Epic of Gilgamesh, is one such story. This story about the demigod king of Uruk, Gilgamesh, was written on clay tablets in Mesopotamia around 2100 B.C.E. (Ziolkowski 2007). The story begins with Gilgamesh, a power-abusing tyrant. “He takes the young men of Uruk for his army and the young women for his bed” (Freeman 2012). Having nowhere else to turn, the people of Uruk cry to the rulers of Heaven, and in response, they create the wild man, Enkidu to fight Gilgamesh. The confrontation ends, and the king and the wild man become closer than brothers out of mutual respect. Together, they fight

by his side. His second mistake was to doubt Sita’s faithfulness while being in Ravana’s kingdom. He should have known better than to listen to the people’s foolishness and trusted what was in his heart but instead he turned Sita away to the forest to die. Although his own brother told him that the people of Ayodhya were just making up rumors and lies. And by doing this he lived many years with a great sorrow in his heart. When finally he understood his mistake, mother earth took Sita back to her wound and Rama would never to se his beloved Sita again. Yet again Rama was left with a life that to him did not seem worth

The epic story of Rama and Sita, as portrayed by Valmiki’s Ramayana and the modern day film Sita sings the Blues are two different versions of the same story which contain several contrasts as well as similarities. The Ramayana is the ancient version which was written by a sage named Valmiki in 550 B.C.E, featuring a love story between an ideal prince and an ideal woman. It outlines the adventures of Rama in his journey to find his abducted wife Sita. Rama is portrayed as an avatar, being the eighth incarnation of one of the Hindu gods Vishnu, while Sita is representing Lakshmi, the Hindu goddess of light. The modern day version of the Ramayana is seen in Sita Sings the Blues, where the animator Nina Paley is relating her love story to that of Sita’s predicament. This paper will compare and contrast the epic story of Valmiki’s Ramayana and Sita Sings the Blues in the quest for power, honor, faithfulness and the conflict between good and evil.

In the story Ramayana of Valmiki is a story that has often been passed down from generations from the original version of the story. In the story the Ramayana majority of the Ramayana’s view Sita as the wife who follows her husband when he is exiled for fourteen years who upholds her chastity when she is abducted by the Rakshasa king Ravana who goes through the ring of fire to prove her chastity (Anand). During the tenure of the abduction even after passing all these tests quietly, leaves her husband Rama who is the ideal man. When an ordinary washer man from his kingdom tells Rama about Sita of the doubts of her character forcing him to leave her. Despite the culture that these people live in an Indian society Valmiki’s Ramayana is one of those stories that compares women as creatures rather than humans as men use to treat woman as property. In the Ramayana culture they expect the wife the woman to be a virtue a figure assigning no reciprocal duties to the husband. In the sense the wife is nothing more than just a piece of property to her husband.

In this section of the paper I would like to examine character’s relation to and the ways in which they internalize the mythology of their culture. The book displays many elements of mythology which are quite removed from actual experience and yet become a part of characters’ identity and gain a certain power in their minds. The storyteller’s narrations are an obvious example of a sort of mythology. He voices a stream of rumors of the village garnished with religious invocations which lend his tales legitimacy. The love songs (as well as the cinema), which play a particularly key role in Um Saad’s narratives, are another imaginary depiction of a woman’s experience, which guide Um Saad to beliefs of what she may expect from life and love. The recurring

Dharma is the duty that people must fulfill in order to achieve their life’s purpose. In the Hindu religion, it is what guides the followers’ life choices and actions. Only the utmost just decisions and choices will lead down the path of obtaining dharma. At first glance, the Indian epic, The Ramayana, is a love story about a prince who is banished to the forest and an evil creature subsequently kidnaps his wife. However, it serves a much greater purpose in the Hindu culture. The Ramayana serves as a guide to living a life of moral righteousness. Rama and Sita are role models of how men and women should interact with each other and with society. There is multiple times throughout the epic that Rama faces morally difficult decisions that he flawlessly surpasses, a feat that his human peers surely would not have had the mental strength to accomplish. Rama is the supreme example of how to live a moral life. Rama’s dharma is to destroy evil, and throughout the book the difficult choices he makes and the heroic actions her performs are what guide him in his quest to fulfill his duty. Other characters in the epic, such as Ravana, are faced with the same moral dilemmas and chose incorrectly, which ultimately lead to their demise. Rama’s profound greatness is a result of his ability to place dharma above all other humanly desires and personal interests.

The Epic of Sundiata is a tale about the ancient kingdom of Mali in Africa and the legendary king and founder of the Mali Empire told by Djeli Mamadou Kouyate a griot, which is equivalent to storyteller. Before the griot begins the story he introduces himself as a “master in the art of eloquence.” He explains how his family had played an important role in preserving the history of the Mali Empire. By serving the princes of the Mali Empire. He says a griots job is to protect secrets, memorize the names and accomplishments of the great kings and preserving “the memory of mankind.” It is the griot that teaches kings their history so they can use lessons of their ancestors to guide their decisions. There is an obvious tone of importance in his introduction as well as a theme of power that resonates throughout the epic. The griot presents himself in the introduction to the audience in a way that gives him prestige. He is persuading his audience to believe that he has the credentials to tell a valid story.