Essay On Ramayana

The original The Ramayana is a great epic that has stood the test of time, and has been influential yet controversial throughout history. R.K Narayan’s version has been the same; his composition of stories adds another layer to the already plentiful themes, leaving the reader satisfied with his brilliant description and insight. Through Narayan’s constant comparison that parallels Rama to a perfect specimen, he is demonstrating a “Straw Man” argument. Its effect illuminates Rama’s flaws rather than his seemingly perfect composure. Narayan consciously chooses moments at Rama’s darkest hours to transform him into the relatable human figure he was meant to become.

For instance, "The Ramayan," the story of Ram and Sita, and "The Mahabharat," the story of the Kauravs and the Pandavs, are epic tales that teach people about the way of life a person should lead.

In the Ramayana by Valmiki, Dasharatha is the King of Ayodhya and has three wives and four sons, Rama, Lakshmana, Bharata and Shatrughna. Rama is the ideal and perfect son, and grows up with his brothers. He marries a woman name Sita. However, Bharata's mother is Kaikeyi, who resents Rama being crown king. She calls up a debt that Dasharatha owes her and asks for Rama to be exiled for fourteen years and her son Bharata be made crown prince instead. The devastated Dasharatha has no choice and Rama prepares to leave for exile. Sita and Lakshmana will not leave his side and follow him into the forest. While in the forest, Surpanakha becomes in love with Rama and is wounded by Lakshmana while trying to kill Sita. She

The Vindication of Sita is considered the culmination of the epic Ramayana, and had attracted numerous artists to choose it as the subject of their artistic creations. It is always illuminating to examine the differences of the paintings with the same subject matter. The Vindication of Sita from Singh’s Ramayana and the one that illustrates the Persian translation of the Ramayana show varied themes, iconography, composition, and narrative techniques that correspond to the nature of their patronages. The Mewar version is colorful and complex in layout with a full demonstration of the court’s political standing, financial power, and an attachment to what was truly Indian. The Sub-imperial Mughal version is much more modest and simple with an allusion to the Persians’ fascination of Indian classics yet a persistence of presenting it in an Islamic way.

She was then seen as “unclean” and was rebuked. Soorpankha was a demon who fell in love with rama. She tried to trap first Rama and then Lakshmana to a sexual relationship. She was so adamant about obtaining a relationship with Rama and jelous of Sita that she attacked Sita and was disfigured by Lakshmana due to this. She then sought revenge by provoking Ravana to abduct Sita.

After a fight with Rama, Vali, an impassioned king, is stuck down. As Vali lays dying, Rama imparts his knowledge to him, chastising the reckless king by expressing that “even after fully realizing that he had committed no wrong, [Vali] let [his] temper carry [him] on and on; [Vali] could afford… to indulge [his] anger luxuriously, however unwarranted” (Ramayana 103). Rama, who is often considered the ideal leader, scolds Vali by referencing Vali’s emotions and how they dictated how he reacted. In this scene, it is obvious to the reader that Rama is in the right since he keeps a calm and collected mind, while Vali is portrayed as an irrational and careless king. Later in The Ramayana, the reader is introduced to Ravana, an evil king. In his court, the seemingly adoring subjects stand around him, and “[t]he kings of this earth whom he had reduced to vassaldom stood about with their hands upraised in an attitude of perpetual salutation, lest at any moment Ravana should turn in their direction and think that they were not sufficiently servile” (Ramayana 74). This show of obedience and continued servitude seems to show appreciation and awe from the subjects. However, due to the worry about Ravana turning to look at the kings appears to come from a fear-related place. Because of this, the reader can infer that Ravana rules with an iron fist, punishing those who disobey him. As Soorpanaka, Ravana’s sister, attempts to gain favor with Rama, she describes the subjects of Ravana’s kingdom, saying they are “hostile to ascetics… they observe no rules or disciplines” (Ramayana 65). The kingdom that Ravana governs does not follow his rules, having little respect for his strategy of ruling by fear. The hostility Soorpanaka mentions correlates with Ravana’s lack of morals, showing that a strong,

As Rama obeys his father, Sita, Rama’s wife, convinces Rama that she shall go with him, thus fulfilling her dharma s being a

You all must be aware of the epic tale of Ramayana that begins as Lord Rama was exiled to a forest for 14 years with his dear wife, Sita and brother Laxman. To get to the main point straight away, Sita, the epitome of grace and beauty was abducted by the main antagonist of the Ramayana written by Valmiki- Raavan. My mention on Valmiki as the writer is on purpose because it was according to him that Raavan was termed as the villain but in reality,

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.

The Indian Epics contrast very remarkably from that portrayed in Western lands, revealing majesty of the Lord when he manifested in to the world in human form. Mahakavya (epics) known as a genre of Indian epic poetry in classical Sanskrit and earliest form of Indian literature influences the religious and cultural life of the whole India and much of Asia. These two main epic poems of Hinduism include, the Ramayana (The Story of Rama) and the Mahabharata (The Great Epic of India). Beside the question of their value of being good or worthy literature, they are among the most important and earliest literature of the world. For India, the land of spiritualism, the composition of these two great epics have been the sources of inspiration to most Indians. Both these epics existed in oral form as chants before they were written down. During ancient India, the tradition of oral was cherished much more greatly than anything in written form.

Sita is another example of a character who faces karma throughout this story. Sita is the wife of Rama and she faces karma when she tells Lakshmana to disobey Rama’s order for him to stay back at the camp and guard Sita and as a result she is kidnapped by Ravana. ( pg. ). These actions also lead to Rama having to spend time trying to find her and rescues her from Ravana.

Rama’s brothers were perpetually loyal to Rama and could not have loved him more. They were furious when they heard he was banished and would no longer become crowned king. Lakshmana, outraged, threw on his battle robe and weapons and was ready to take on a whole army to see that Rama was crowned king, as he rightfully should be. He even stated, “I know no father and no mother, other than you.”(Narayan, 52) He loved his brother so much that he saw him as greater than his own parents, who gave him life. Lakshmana would have died at any moment for his brother Rama; this is why he decided to leave with Rama on his banishment and swore to protect him with his life. Rama’s other brother Bharata, who was away at the time, was also appalled when he heard the news of Rama being banished. It was Bharata’s mother who banished Rama and when he found out that it was she who was responsible he told her, “If I do not snuff your wretched life out with my own hand, do not pride yourself that it’s because you are my mother, but you are spared because Rama would despise me for my

In Sita Sings the Blues, Paley has an alternate, customized picture of Sita. All through the motion picture we see that Sita is crying, and is assuming the part of the casualty instead of being solid and following the Dharma of Indian culture. Paley conflicts with the conventional understanding and overlooks the possibility of Dharma in general and social perspective. The account of Rama and Sita in Ramayana goes ahead and Rama who was viewed as the perfect child and spouse, abandons Sita after she was captured, trusting that she was touched by another man making her debased and not deserving of him. She is surrendered by her significant other to live in a timberland while she was pregnant with Rama 's twin young men. Regardless she remains faithful to him and brings forth two young men and shows them to love their dad and regard him like a God.

The Ramayana by R.K. Narayan's is an epic story that provides insights into many aspects of Indian culture and still today influences the politics, religion and art of modern India. He based his novel on a poem from one of India's great Sanskrit epics also called "Ramayana." He revived this ancient story and condensed it and set in modern times. This is story of adventure and friendship as well as a story of psychological insight, spiritual meaning and of wisdom. R.K. Narayan does an excellent job of portraying all these aspects throughout his novel. The meanings of The Ramayana are found through the actions and personalities of its principal characters. It is part of the sacred literature for the Hindus because

Re-tellings, translations, or transcreations of Classical Mahābhārata in English, vernacular, or any other language are the dominant literary medium mostly in Mainstream Culture to know about Mahābhārata – and one might add with this the medium of scholarly writings on Mahābhārata too.