Ramayana in sanskrit free download

BhK's Rama does make a few suggestions of a rather general kind. The RK's Rama, on the other hand, delivers an extensive lecture on the status and role of a king. This passage, known as the as a- brata, is even more famous than that containing Rama's advice to Bharata.

While the concept of the divine character of the king is fairly widespread in Indian literature, the Old Javanese poet appears to have turned to the Manusmrti, one of the most influential texts of ancient India, for the specific idea of eight divinities who are embodied in the king and should be his role-models. Santoso renders ihe central ten stanzas of the asfa-brata passage in sarga 24 of the RK as follows Santoso b :. Besides he [the king] is supposed to be respected, because deities are in him.

There are eight deities in the body of a king, which gives him power without equal. They are embodied in the king. That is why he should have cherished the asfabrata the eightfold meritorious acts.

This is the meritorious act of Indra which you should follow: He gives rain to the satisfaction of the world. You should take Indra as an example and carry out his acts. Generosity is your rain overflowing the world. The meritorious act of Yama is "punishing the evil-doers". He punishes the thieves after they are dead.

You should also punish the wrong-doers. Whoever gives trouble to the world should be eliminated. If you have to take [from the people] to obtain [something], you should do it the way the sun does, in a gentle way. Your conduct should show kindness and tenderness.

Your smile should be sweet like nectar, honour your elders and wise people and be kind to them. Your investigation should be carried out in a proper and unobtrusive way. That is the excellent and subtle meritorious act of Bayu. Enjoy the pleasures and luxuries of life but do not overdo eating, drinking, dressing, wearing ornaments and jewellery.

That is the meritorious act of Dhanada which should be taken as an example. God Baruna holds an extremely poisonous weapon, the snake-arrow which can tie up [people].

Your aversion to the enemy is the fire, whoever you attack, he must be crushed. That is what you call the meritorious act of Agni. Let us now compare this with the relevant passages in the Manusmrti. In Chapter 9 Manu further expands the concept, as follows:. The correspondence between the two passages is obvious. Indeed, the relationship is even closer than appears from the translations which we have used.

Where both the Manusmrti and the RK use the same concept,. However, this does not remain a puzzle for too long. Further down, in stanza 80, the RK also mentions the 'Brata Prethiwi'! Significantly, the Old Javanese poet, before concluding Rama's discourse, pointedly quotes him as exhorting his disciple to pay attention to the rules set out by Manu sarga 24, 82 , thus giving us an ample hint about the source of the concepts taught by Rama to Vibhlsana.

It should be clear by now that the RK has drawn on its Sanskrit sources, in particular the BhK, to a much greater extent than has generally been recognized. However, a good poet can create an independent and original work of literature even where he resorts to such relatively large-scale 'borrowing'.

This is certainly true of the numerous re-tellings of the Rama tale through history. Kamban's Tamil and Tulsidas's Hindi Ramayanas - just to take two better-known examples - are quite rightly regarded as literary masterpieces in their own right in their respective languages, even though they have 'borrowed' heavily from the Sanskrit Valrmki Ramayana and other forebears.

Similarly, the Old Javanese Ramayana kakawin has been justly hailed as 'first and foremost a largely independent creation of literary art' Uhlenbeck The Old Javanese poet may or may not have had the didactic purpose of producing an exemplary kakawin which Hooykaas attributes to him Hooykaas b. But, as Hooykaas' study certainly brings out, he had definitely mastered the art of writing in accordance with the criteria of a mahakdvya laid down by such theoreticians of Sanskrit poetics as Dandin and Bhamaha.

Even more importantly, having mastered the mechanics of writing a mahakdvya, the author applied these with poetic creativity, so that his work has become no mere display of technical virtuosity but an outstanding work of literature. The main Indian prototype of the RK, the BhK, is in many ways an impressive work but is not a particularly attractive poem. BhaBi has allowed his objective of providing a guide-book on the rules of Sanskrit grammar and rhetoric to dominate his poetry.

A standard work on the history of Sanskrit literature speaks of Bhatti's 'consciously laboured language' and castigates him for making 'all thought, feeling, idea or expression' a slave. In sharp contrast, the authorities on Old Javanese literature are unanimous in their judgement of the RK as a most beautiful poem. We shall not attempt a comprehensive analysis of all its merits but will highlight just a few below.

The BhK lacks a sense of drama. A number of the most exciting and moving episodes of Valmlki's epic have become rather matter-of-fact under the impact of Bhaui's relentless scholasticism. The leading characters of the epic, who have fascinated lovers of the Rama tale for more than two thousand years, have become disconcertingly two- dimensional.

The RK, on the other hand, is full of drama, tension, adroitly managed confrontations, racy dialogue, and vibrantly alive characters. The liveliness and raciness of the RK text may be partially attributable to the fact that it is a work designed more to be heard than read.

We do not need to add anything further to the illuminating comments in this connection made in his various articles by Robson, building upon suggestions by various scholars from I Wayan Bhadra to Uhlenbeck. In a conversation with one of the co-authors of the present article, Prof. Uhlenbeck described it as the most beautiful work in the entire history of Indonesian literature. The style of the OJ, on the other hand, is transparent in most places and elegant in its simplicity The loose structuring and use of short, manageable syntactic units that characterize this style point unambiguously in the direction of a literary work that was intended by its author to be perceived by ear, rather than eye.

If contemporary wayang kulit performances are anything to go by, this seems eminently plausible. The RK poet renders both with equal felicity, making his way skilfully through various nuances of love, from extreme joy to extreme pain. For Vipralambha we turn to the lament of Slta, abducted by Ravana and languishing in captivity far away from her beloved Rama. She confides in her faithful companion Trijaja, saying: ' The heart of one in separation is burnt horribly and turned to nothing by the arrows of the god of Love; deceitful and exceedingly humiliating, like evil spirits they penetrate into the heart, and consciousness is then enveloped by passion and bewilderment' sarga 8, And 'O sinful god Manmatha [the god of love], may you be a human being and suffer the anguish of those overwhelmed by desire But the most moving expression of Sita's love occurs in the message which she sends to Rama via Hanoman.

In the BhK, as in Valmlki, she sends her crest-jewel to Rama. So does the Sita of the RK, but the Indonesian poet adds an inspired innovation to this - a letter. She describes her letter as an expression of her longing and her crest-jewel as herself coming to pay homage to him. To Slta the ring which her husband sends her is like his embraces, and its sight fills her with the 'pangs of love and longing'.

She asks Rama to recall the time when they were young, saying and here we use a translation not by Santoso. In Indrani and Sacl thou wert versed, thou wert not inexperienced; especially didst thou have knowledge of everything concerning the senses; that was the reason for my mind being sorrowful, for my heart being bruised and broken; for there exists none other to equal thee in knowledge and in virtue Incidentally, while Indrdni and Sad are well-known names for the wife of Indra, the two words also have a specialized meaning outside the known texts, denoting particular types of coitus.

Here we have yet another instance of the Old Javanese poet's mastery of the Sanskrit language. Though Bhatji is more uninhibited than Valmlki in his treatment of the sentiment of love, he does not depict the physical love between Rama and Slta, which the ancient Javanese poet does not hesitate to do.

There are a number of other Sanskrit works which handle this delicate theme. Depending on the demands of the situation, he is tender and bashful or uninhibitedly erotic. The description of Rama and Slta's wedding night sarga 2,65 provides a good illustration of the former, while the account of their union following their return to Ayodhya sarga 26, 32 gives it the intensity of a Tantric ritual.

Images of seduction and sexual playfulness amongst the birds and the beasts, and even flowers, abound in the RK as reflections of similar sexual delights amongst the human characters. Thus, for instance, all nature joyfully abandons itself to amorous dalliance in Lanka when the virtuous Vibhlsana comes to the throne, its happiness symbolizing the harmony and tranquillity in the land.

The Javanese poet, reflecting his society's approach to life, sees sexual fulfilment as an essential ingredient of happiness. True, Trijaja is not an invention of the Old Javanese author. She makes two appearances already in Valmlki's epic, in the minor role of one of the demonesses placed by Ravana near Slta to intimidate his captive, but who actually turns out to be sympathetic towards Slta. In fact, the epic refers to her as an old demoness.

As in the epic, she is sympathetic towards Slta but is no relative of Vibhlsana. In the. However, this work was probably written in the 10th century A. There is evidence suggesting that this work did travel to Indonesia Lokesh Chandra , and we cannot rule out the possibility that the Ramayana kakawin poet may have read it.

However, a comparison of the two texts reveals no influence of the Janakiharanam. There are some other Indian re-tellings of the Rama story in which Trijata does become a more defined character than in the VR and the Bhk. The poets of some of these later Ramayaija versions tended to conflate into the single character of Trijata several other Lankan women who figure briefly in the VR as well-wishers of Slta. However, the RK Trijaja surpasses all her Indian forebears. She emerges here as an important, fully developed character who greatly enhances the dramatic effect of the scenes in which she appears.

She is the spirited young daughter of Vibhisana, with all the nobility of her father. She is deeply devoted to Slta and shows much intelligence and initiative in her efforts to help the abducted princess retain her sanity under the intense psychological pressure to which she is subjected by Ravana and his minions.

One of the most spectacular appearances of Trijata in the RK is when she publicly denounces Rama for casting doubts on Slta's chastity. In a passage stretching to over 17 stanzas sarga 24, she castigates Rama and boldly challenges his notion of what true morality requires in such a situation.

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Parisistamuttarani For Vakya vyavahara. Samskrita Swadhyaya Dvitiya Diksha. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3.

Software Images icon An illustration of two photographs. Dutt, introduction by Dr. Legends of Devi. Srimad Valmiki Ramayana is an epic poem of India which narrates the journey of Virtue to annihilate vice.

Sri Rama is the Hero and aayanaHis journey. This epic poem Ramayana is a smriti which is translated as 'from memory'. These sacred verses are and extract from the latter portion of the Brahmand Puran composed by the great Vedvyas. This second volume contains original Sanskrit verses in Kannada followed by commentary in Kannada.

This book contains Sundarkandam from Valmikiya Ramayanam in Telugu in book size. Shrimadvalmikiya Ramayan Sundarkand, Tamil. This volume contains Yuddhakandam with original Sanskrit verses in Tamil followed by commentary in Tamil. It is available in two volumes in Tamil script. This religious book contains the ideal characteristics of Lord Ram, the precept gorakhupr to devotion, knowledge, dispassion, adoration and good conduct.

In this book Sundarkand from Shrimadvalmikiya Ramayan has been published separately in Tamil. It is noted for its poetic excellences and is the oldest specimen of epic poetry.