Indian Antiquary Vol 41

SR No.: 032533
Original Sutra Author: N/A
Author: Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications
Publication Year: 1984
Total Pages: 320
Language: English
Classification: Book_English
File Size: 39 MB

Page 283

DEOXXBER, 1912.) THE RAMACHARITAMANASA AND THE RAMAYANA
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leave and goes in search of Sita and Kausalya, and finds both of them praying for him in the deatág dra. After having spoken to them, be returns to his own house (interval). Then Daçaratha sends Vasishtba to Râms to prescribe to him once more the performance of the fasting (C, 5 = B, 4) (second event). In Tulasi Dasa's poem we miss every trace of the interval and find the two events blended together, inasmuch as Daçaratha does not himself inform Râms of the proposed consecration, but from the very beginning sends Vasishțba to give him the information, as well as to prescribe to him the customary fast (R. C.M., II, 9-10);
(6) In Valmiki's Aranyakanda (C, 19-20 = B, 25-26) Çûrpanakhâ, after having been mutilated by Lakshmana, goes in tears to her brother Khara and, being asked the reason of her grief, tells him of the insult she has suffered at the hands of the two Raghavas. Khara commits to fourteen rakshasas the task of revenging her ; she leads these champions against the Râghavas, but Râma destroys them (first event). Then Çûrpanakhâ returns back to Khara and keeps on weeping till he requests of her for a second time the reason of her tears. She tells him of the defeat of the fourteen rakshasas and for the second time begs for revenge (C, 21 = B, 27) (interval). Then Khara sends against Rama fourteen thousand rákshasas at the command of Dushana (C, 22 = B, 28) (second event). Tulasi Dåsa omits the interval and makes onte event of the two: the two expeditions are reduced to one, and this one of course no longer corresponds either to the first or to the second of the two, but is a mixture of both. So Tulasi Dasa describes his unique expedition as being led by Çûrpaņakhâu (like the first one in the Ramdyana) and as composed of fourteen thousand rakshatas (like the second one in the Ramayana) (R. C.M., III, 20);
(c) In Velmiki's Yuddhakanda (C, 68=B, 47) Ravana laments Kumbhakaraa's death (first event). Then comes another terrible fight, in which Narantaka, Devintaka, Mahodara, Triciras, Mahapareva and Atikâya lose their lives (C, 69-71 = B, 48-51) interval). This gives Rêvana the opportunity of making other lamentations and getting into despair, till Indrajit comforts him with blustering promises (C, 73 = B, 52) (second event). Tulasi Dasa passes the whole interval over and makes Råvaņa lament only once, viz., after Kumbhakarna's death, and at this particular moment be consoled by Meghanada (R. C. M, VI, 72).
In the same order of alterations are to be included all the anachronisms proceeding from Tulasf Dasa knowing already from Valmiki the result of every particular event, and anticipating by ascribing to the will of his personages facts, wbich in the Ramayana happen only afterwards, either by a mere chance, or as a natural consequence of previous occarrences. Thus he makes Agni himsell, when handing to Daçaratha the impregnating nectar, direct him to divide it into the proper portions (R. C.M., I, 189, 8); Viçvamitra demand from Daçaratha not only Ráma but also Lakshmana (R. C.M., I, 207, 10); Râma promise Sugriva that he will slay Valin with a single arrow (R. C.M., IV, 7, 15), etc.
Turning to the rhetorical and artistic side of the Ramacharitamanasa, we shall have to notice the very contrary of what we have observed in regard to its contents. The fact is that Tulasi Dasa, whilst conforming himself closely to Valmiki as far as the particulars of Rama's life are concerned, directs on the other hand all his efforts towards acquiring an absolate independence from Valmiki's style and expressions. He displays the strongest aversion to availing himself of Valmiki's artistic resources and continuously takes the utmost care not to slide inadvertently into any imago, simile or phrase used by his predecessor. Whether it be the natural pride arising from the poet's consciousness of his own worth and, his consequent abhorrence of lowering himself to the humble position of an imitator, or whether it be the necessity of giving vent to his poetical genios and to bis rich imagination, or even the desire of giving his poem an appearance more in harmony