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The Ramayana Kakawin A Product of Sanskrit Scholarship and Independent Literary Genius
The Ramayana Kakawin A Product of Sanskrit Scholarship and Independent Literary Genius
The Ramayana Kakawin A Product of Sanskrit Scholarship and Independent Literary Genius
Khanna
M. Saran
The Ramayana kakawin; A product of Sanskrit scholarship and independent literary genius
In: Bijdragen tot de Taal-, Land- en Volkenkunde 149 (1993), no: 2, Leiden, 226-249
1
We cannot say with certainty whether the author of the Ramayana kakawin was
a male or a female. We use the noun 'poet' and pronoun 'he' throughout this
article purely as a conventional device.
2
While recognizing that there are still many unresolved issues relating to the
problems of interpolation/reshaping/interpretation of the text, for the purposes
of this article we use the text and translation of the Ramayana kakawin prepared
by Soewito Santoso. Wherever we refer to a translation other than Santoso's,
this is specifically mentioned. To the extent that any passage commented upon
by us turns out to be the work not of the original poet but by some later hand,
our comments about Sanskrit scholarship and/or poetic skill naturally apply to
Since a suggestion by H.B. Sarkar in 1934, and after that in the successive
works of Manmohan Ghosh, Bulcke and Hooykaas, it has been established
that the RK had an Indian prototype, and that this was not the Valmiki
Ramayana(VR) but the BhK (Zoetmulder 1974:226-228). On the basis of a
comparison between the RK and the BhK, Hooykaas advanced the thesis that
after following the BhK more or less closely for the first two-third part or so
of his work, the author of the kakawin completely abandoned his Indian
prototype, apparently borrowing 'from the flotsam and jetsam of general
knowledge concerning the Ramayana that was current in those days in
South-east Asia' (Hooykaas 1955:34). Elsewhere, Hooykaas argues that 'It
is only the first 60% or so of the OJR [Old Javanese Ramayana] that runs
parallel with the Bhk; from then onward the same epic material is dealt
with, but the differences become so considerable that comparison has no
longer the force of proof: the poet of the OJR went his own way' (Hooykaas
1958b: 5-6).
This view of Hooykaas' has been accepted, with occasional variations, by
a large number of scholars, including Zoetmulder, Sarkar, and Robson. Thus
Zoetmulder says, '... the close correspondence of the kakawin with the
kawya exists only in the first part of the former. After sarga 13 it becomes
less and less, and from sarga 17 onward it has vanished altogether'
(Zoetmulder 1974:229). According to Sarkar, "The text was based, up to the
middle of the sixteenth canto, on the Sanskrit Bhattikavya, but the source of
the remaining portion has not been yet determined' (Sarkar 1985:313).
Robson, in a paper presented at a conference in Lucknow in India in 1986,
asserted, 'A comparison between the OJR and BhK shows, however, that by
no means the whole of the former is based on the latter; in fact, at the most
two thirds can be said to be taken from the BhK, while the last one third is
entirely independent. We do not know what could have motivated the poet to
abandon his model at this point; actually the transition is gradual, [the
correspondence] becoming less after sarga 13, and disappearing entirely from
sarga 17 (up to the end in sarga 26).'
whoever was the author of that passage. For the Valmiki Rama"yaria, all
references are to the three-volume translation by H.P. Shastri, since a complete
English translation of the Critical Edition is not yet available. For the Bhatti-
kavya we use the text edited and translated by Karandikar and Karandikar (see
Bibliography for publication details).
228 Vinod Khanna and Malini Saran
Episode BhK RK
sarga 14 sarga 19
(i) Sarga 19
Whether it is the scene of the demons bidding goodbye to their families, or
the phrase about Rama casting a glance at his brother at exactly the same
point in the two texts, or the description of the curious omens seen by
Rama - all these little touches, which we observed in the comparative
exercise above, clearly indicate that in sarga 19 the Old Javanese poet has
returned to the BhK.
(ii) Sarga 20
As the battle unfolds and opposing warriors engage in single combat, we are
struck by the extraordinary identity of the pairs of contestants in the two
texts: the demon Prajarigha versus the monkey hero Sampati, Pratapana
versus Nala (there is a revealing mix-up about the name Pratapana which we
will clarify below), Jambumali versus Hanaman, Mitraghna versus
Vibhisana, Praghasa versus Sugnva, Bajramusji versus Mainada, Nikumbha
versus Nlla, Virupaksa versus Laksmana, ASaniprabha versus Dvivida
(Drawida in the RK), and Indrajit versus Angada. These protagonists already
appear in the VR, but in a somewhat different order. The fact that the RK
poet is basing himself on the BhK is obvious from the sequence of the
battles being identical to those in the BhK (BhK sarga 14, 31-36; RK sarga
20, 7-35).
A careful textual scrutiny reveals another interesting point which
establishes, more or less conclusively, that the RK poet was following the
BhK and no other model at this point in sarga 20. He refers here to Nala's
adversaries as 'Sphutadaksj' and 'Pratapanaksi' (sarga 20, 15-18), not
Pratapana, which is the name we find in the VR and the BhK. We have here
one of the rare instances of oversight, where the RK poet, who is otherwise
an accomplished Sanskritist, perhaps misread the BhK. The relevant phrase
230 Vinod Khanna and Malini Saran
(Hi) Sarga 21
The great demon warrior Indrajit, the son of Ravana, renders Rama and
Laksmana unconscious with the help of a deadly serpent missile. To destroy
her morale, Ravana deludes Slta into believing that the two bodies are
lifeless. In the RK, Slta laments: 'yan bajra sdksdt pwa kunari hatiriku,
matari nya tan syah ri pgjahta ndtha' (sarga 21, v.19, line 2) ('Perhaps my
heart is made of adamant that it does not break at your death').4
Exactly the same episode occurs in BhK. That the RK's source here was
neither the VR nor any 'flotsam or jetsam' becomes obvious on examining
the lament of Slta in BhK. Confronted with the horrifying sight of Rama's
apparently lifeless body, the hapless Sita asks, 'Lauhbandhair-babandhe nu,
vajrena kirri vinirmame, I mano me, na vind Rdmdd-yat puspho\a
sahasradhd" (sarga 14, 56) ('Is my heart caged in iron fetters or is it
fashioned out of adamant that it does not burst into a thousand pieces
without Rama?'). It would be carrying scepticism too far to assume that, by
some extraordinary coincidence, the Old Javanese poet decided on his own to
use exactly the same va/ra-related simile at precisely the same point as BhK.
Episode RK BhK
sarga 22 sarga 15
Turbulence when Kumbhakarna (K)
sets out for the battlefield 44 23
Shower of blood among the ill omens 48 26
Vibhisana warns Rama about K's prowess 65-66 39-40
sarga 23
Laksmana destroys K's crown and
armour 2 64
Description of K's^all 8 69
The slaying of Ravana*sTbur sons
(except for Indrajit) 10-19 74-94
sarga 17
Admittedly the BhK itself broadly follows the VR but, being a much briefer
work than the epic, highlights only certain points in the battles. The RK
chooses to deal with precisely these same points. Furthermore, every now
and then, when Bhatfi adds a little flourish of his own, the author of the RK
follows suit, as in the detail of the confusion caused by the dust.
(v) Sarga 24
This sarga presents a more complex picture. There is clear agreement
between the first thirty or so stanzas of sarga 24 of the kakawin and the last
25 or so verses of sarga 17 of its Indian model, covering the final stages of
the Rama-Ravana duel. A series of details confirm that the Old Javanese
poet continued to have the BhK before him. Thus, in the BhK, immediately
after the episode of the arrival of Indra's chariot and charioteer to assist
Rama, the poet speaks of Ravana discharging the 'PaSupata' missile at
Rama {sarga 17, 97-98), whereas we do not find any reference to the
Pasupata in the VR at this stage. The same sequence of events as in the
BhK is found in the RK {sarga 24,14-15).5
Further along in sarga 24 the RK poet does appear to allow himself more
or less total freedom from BhK. In Vibhisana's lament at Ravana's death
{sarga 24, 32-42) and in Rama's famous discourse on kingship {sarga 24,
47-86) there is no correspondence with the BhK at all. In the latter passage,
the Old Javanese poet draws upon another Indian classic, the Manusmrti, a
source we shall elaborate on later. We have not been able to trace any Indian
source for the RK's mode of description of the joy and celebration in Lanka
following the coronation of Vibhls.ana {sarga 24, 91-126), however.
Nevertheless, the RK poet appears to be returning to the BhK for the few
verses in which Hanuman goes to inform Slta of Rama's triumph.
Episode RK BhK
sargalA sarga 20
Hanuman hails Slta 128 1
5
Except that here, too, the OJ poet seems to have been misled by the
complicated structure of Bhatti's verse into believing that it was Rama who
discharged the 'PaSupata'.
232 Vinod Khanna and Malini Saran
' Later though it was than the other krin4as, the Uttarakdncfa was still written
several centuries before the Bhaftikavya. So its non-inclusion by Bha((i was
deliberate.
The Rdmdyana Kakawin 233
work would only have a desirable effect if it succeeds in carrying the story to
a happy conclusion' (Robson 1980:16). It is our view that the RK has a
happy ending because it is faithful here to its prototype, the BhK. If the Old
Javanese poet did indeed have the allegorical purpose attributed to him by
Robson and Aichele, then, of course, the happy ending of the BhK would
have been an additional attraction.
Our disagreements with Hooykaas notwithstanding, there is not the
slightest doubt that his comparisons of the RK and the BhK are invaluable
to any student of the subject. Thus he demolishes the view of scholars like
Kern, Juynboll and Poerbatjaraka, that the erotic passages in the RK are
later interpolations, by showing how some of these stanzas are based quite
unmistakably on corresponding passages in the BhK (Hooykaas 1955:35).
He further offers a useful analysis of the manner in which the Old Javanese
kakawin deals with certain episodes at greater length. His examination of 30
such passages shows 'the OJR's liking for good narration, dramatic tension,
artha-kama-dharma-moksa, and its dislike for /-d/yosa-practices (perhaps the
occasion to demonstrate blbhatsa) - all of these subjects recommended by
the Indian theorists' (Hooykaas 1958b:26-30). It is somewhat mystifying
that Hooykaas did not look at any examples beyond sarga 15.
7
We cannot tell to which recension of the Valmiki Ramayana he had access, nor
can we assume that he had a good complete manuscript.
234 Vinod Khanna and Malini Saran
Let us now examine some of the more important cases where we feel the
author of the RK turned to the VR for inspiration.
Sarga 17: Hooykaas has noted the relationship with the VR with respect to
the episode in which Ravana makes a desperate bid to win Slta's affections
by the stratagem of showing her the imitation head of Rama. He rightly
points out that the kakawin 'draws much greater profit from the strong
human tension in this dramatic (and near tragic) situation ..." (Hooykaas
1958b:55).8
Sarga 18: Hooykaas does not, however, seem to have realized that in sarga
18 as well the Old Javanese poet derived his inspiration to a considerable
extent directly from Valmlki's epic. In this part of the kakawin, Ravana
sends his spies, Suka and Sarana, to collect military intelligence, with
specific instructions to count the prominent among the monkey host. They
disguise themselves as monkeys but are identified by Vibhlsana. Rama -
whom today we would hail as an adept in the art of psychological warfare -
turns down the advice of his counsellors to put the spies to death. Instead,
he treats them courteously and allows them to freely assess his formidable
military capability. Convinced of Rama's virtue and might, they return to
persuade Ravana to release Slta and make peace with Rama, but only
succeed in driving him into a paroxysm of anger.
This exercise in espionage that backfires on Ravana takes up no more
than a mere phrase in BhK, where even the names of the spies are not
mentioned (sarga 14,1). Freeing himself of Bha^i's pedagogic intent, the
author of RK instead gives us a detailed paraphrase of the episode from
Valmlki's epic. In both the yR and the RK:
(i) Ravana sends two spies, Suka and Sarana, into Rama's camp;
(ii) the spies disguise themselves as monkeys;
(iii) but they are discovered by Vibhlsana
(iv) the wise and compassionate Rama spares their lives and lets them return
to Lanka to inform their master about the invincibility of his adversary; and
(v) Suka and Sarana advise Ravana to make peace and return Slta, but only
succeed in infuriating their master. (Shastri 1976:111,60-72.)
The likelihood that our poet was drawing for his inspiration on the VR
becomes greater when one notes that Ravana's spies, in listing the leading
figures of the monkey army in the RK, mention not only well-known
8
According to Bulcke, the Old Javanese poet was here following an ancient
Sanskrit play, Abhiseka-Nafaka (Bulcke 1962:204-205). If this is so, it would
only reinforce our argument about the poet's wide-ranging Sanskrit scholarship.
236 Vinod Khanna and Malini Saran
figures like Hanuman and Artgada, but also such lesser-known generals as
Gawaya, Gawaksa, Sarabha, Kurnuda, Dhumra and Satabali, all of whom
figure in the account rendered by Suka and Sarana in the VR.
The resemblance which sarga 18 of the RK bears to the VR does not end
with the Suka-Sarana espionage attempt. All students of the VR will know
of the ambassadorial exercise undertaken by Artgada at the behest of Rama to
deliver an ultimatum to Ravana to return Sita and beg for mercy or be
destroyed in battle. Bhatti skips this episode, but the Old Javanese poet,
once again going beyond his immediate prototype, 'borrowed' the episode
from the Valmikian epic. In this epic, the furious Ravana is merely quoted
as ordering that Artgada be put to death (but the mighty monkey hero
escapes) (Shastri 1976:111, 96-102). The RK author, on the other hand,
skilfully exploits the dramatic possibilities offered by the fact that Artgada is
the son of Vali, killed by Rama under somewhat dubious circumstances. In
the kakawin, Ravana recalls this embarrassing fact when he denounces
Artgada and his royal master {sarga 18,46).
9
Hooykaas points out that this possibility was noted by Aichele on the basis of
a suggestion by Poerbatjaraka (Hooykaas 1958b:66).
10
The Old Javanese poet is aware that Vasava is one of Indra's many names.
238 Vinod Khanna and Malini Saran
Kapila V. 138 V. 26
Ucchaisravas V. 140 V. 27
Gayatn V. 141 V. 35
'My memory of your sweet look is kindled by the sight of a deer, the
elephant reminds me of your elegance, the moon of your brilliant face.
Ah! I am possessed by your beauty.
The water of the deep river is flowing, its ripples are like your eyebrows
moving. Shining are the feathers of the dancing peacock. For sure, I say,
it is your brilliant hair-knot' (sarga 7,24-25).
The Old Javanese poet apparently derived his inspiration for this passage
from one of the verses of the message which the exiled Yaksa sends to his
beloved in Kalidasa's lyrical masterpiece, Meghaduta, which says:
We are struck by the fact that Rama and Yaksa are both reminded of the
same four physical features of their beloved by the same four natural
phenomena.11 Even if these may have been fairly standard similes by the
time the RK was written, it would really be far too much of a coincidence
for the Old Javanese poet to have brought together in one single passage
precisely the four which Kalidasa used in one verse. Students of Sanskrit
literature have always regarded Kalidasa as unequalled in the use of the
upama (simile). It is almost as if the learned Old Javanese poet deliberately
chose to reproduce these similes from the Meghaduta as a tribute to the great
master.12
Santoso renders ihe central ten stanzas of the asfa-brata passage in sarga 24
of the RK as follows (Santoso 1980b):
Let us now compare this with the relevant passages in the Manusmrti. In
Chapter 5, it states: '[96] A king has a body made of the eight Guardians of
the World: Soma (the Moon), Fire, the Sun, Wind, Indra, the Lords of
Wealth and Water (Kubera and Varuna), and Yama.' (Doniger and Smith
1991:110.) In Chapter 9 Manu further expands the concept, as follows:
'[303] The king should behave with the brilliant energy of Indra, the
Sun, the Wind, Yama, Varuna, the Moon, Fire, and the Earth. [304] Just
as Indra rains heavily during the four monsoon months, even so he
should rain down the things that are desired in his own kingdom,
behaving like Indra. [305] Just as the Sun takes up water with his rays
for eight months, even so he should constantly take up taxes from his
kingdom, for in that he behaves like the Sun. [306] He should pervade
(his subjects) with his spies just as the Wind moves about, pervading all
creatures, for in this he behaves like the Wind. [307] The king should
restrain his subjects just as Yama restrains both friend and foe at the
proper time; for in this he behaves like Yama. [308] He should seize evil
men just as Varuna is seen to bind people with his ropes; for in this he
behaves like Varuna. [309] When his subjects thrill with joy in him as
human beings do at the sight of the full moon, the king is behaving like
the Moon. [310] He should constantly turn the heat of his brilliant
energy and majesty against evil-doers and use it to injure corrupted
vassals; this is traditionally known as behaving like Fire. [311] He
behaves like the Earth when he supports all living beings just as the
Earth bears all living beings equally.' (Doniger and Smith 1991:229-
230.)14
13
Santoso's translation may be compared with that of the ten a$ta-brata verses
from the kakawin by Hooykaas (Hooykaas 1956:339-340).
" The passage from Chapter 9 of the Manusmrti speaks of the Earth rather than
Dhanada (Kubera), mentioned in the a$ta-brata in the RK, although in Chapter 5
Manu mentioned Kubera, and not Earth. However, this does not remain a puzzle
for too long. Further down, in stanza 80, the RK also mentions the 'Brata
Prethiwi'!
242 Vinod Khanna and Malini Saran
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 1989:339).
The Old Javanese poet may or may not have had the didactic purpose of
producing an exemplary kakawin which Hooykaas attributes to him
(Hooykaas 1958b). 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
15
In Sanskrit, the word vrata has several, but related, meanings, namely 'a
religious act of devotion', 'a vow, promise, resolve", 'an observance, practice',
'mode of life, course of conduct', 'a rule, law', 'sacrifice', or simply 'an act, a
deed, work'.
The Rdmdyana Kakawin 243
16
Indeed, Poerbatjaraka regards the RK as the most beautiful of them all in
regard to language, embellishments, and so on (Sanloso 1980a:15). 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.
17
To quote from Robson's Lucknow paper, 'The style of Skt kdvya is compact,
not to say dense, and is characterized by long compounds ... 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.' (Robson
1986:8-9.)
244 Vinod Khanna and Malini Saran
'... all kinds of fitting pleasures were given to us, nothing was wanting
for our happiness;
thou wert skilled in love-making and in all that has been taught by the
excellent KamaSastra.
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 ..."
(sarga 11, 27-28) (Hooykaas 1958b: 144).
" Hooykaas, while referring to the extension in the RK of the passage relating
to the fight between Sugriwa and Walin, refers to the popularity of such scenes
in theatrical performances, both court and popular, in Yogyakarta in the 1930s
(Hooykaas 1958b:29).
The Rdmdyana Kakawin 245
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.19
In the depiction of the sambhoga facet of the love between Rama and
Slta, the RK goes well beyond the BhK. 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.20 But the Old Javanese poet's love scenes have a
charm all their own. 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, 31-
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.
entire poem she is mentioned in merely three verses (sarga 8,99-100; sarga
14, 61).
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.
Moreover, the RK is neither the first nor the only Ramayana version in
which she is related to Vibhl$ana. 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, 169-186) she castigates Rama and
boldly challenges his notion of what true morality requires in such a
situation. While all the others stand around in stunned silence, Trijafa
asserts, with breathtaking audacity, 'My lord, you go too far. You are like a
blind man ...' Her loyalty to Slta, and her outrage at the injustice being
done her, prompt her to declare, 'Due to the sorrow that overcame my heart
when I observed the distress experienced by the princess Janakatmaja, my
fear and my veneration toward Your Majesty have disappeared. I do not care
if I be sentenced to death ..."
{d) Ethics
Bhatti, who uses the Rama tale only as an interesting framework for
illustrating the rules of grammar and poetics, is not interested in examining
the ethical issues involved in the epic drama. The Old Javanese poet, on the
other hand, appears to be eager at all times to explore the moral principles
and beliefs underlying the behaviour of his characters or at issue in the
situations confronting them. It is as if the author had set out to prepare a
compendium on ethics. He is quite explicit in projecting the more noble of
the characters - Slta, the faithful wife, Laksmana and Bharata, the devoted
younger brothers, Hanuman, the wise envoy and brave fighter - as role-
models. At the same time, there are critical moments in the plot at which
the RK author brings out the intensity of the moral ambivalence inherent in
a particular situation as - and sometimes even more - dramatically as does
Valmlki. This holds equally for the intrepid young Trijaja challenging the
ethical views of Rama himself when he repudiates Slta because of her
enforced stay in captivity, the morality of the surreptitious manner in which
Rama kills Bali, or Kumbhakarna's dilemma when he is torn between
awarenesss of his brother's moral folly and loyalty to his king and country.
The Rdmdyana Kakawin 247
'To the king gold is not valuable. It is to be used for the business of
ruling the country. Only good deeds are remembered forever. They adorn
people and are never separated from one, wherever one goes.
You do not take power with you when you die. It serves you now,
while you are alive, but once you are dead, power sneaks away from you,
whereas your good deeds go with you, you can keep them ...' (sarga 24,
69-70.)
There is little doubt that the author of the RK was eminently successful in
his use of the character and story of Rama to spell out what has been known
in India and Indonesia as nitLfastra - that area in the general field of political
science which can be described as the essential principles of statesmanship.
CONCLUSION
not do full justice to it, however. The extraordinary history of the telling
and re-telling of the Rama tale began more than 2500 years ago. Many great
poets have since put their own distinctive stamp on the tale, reflecting the
mood and taste of the environment in which they lived. In this galaxy, the
Old Javanese poet deserves a special place of honour.
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De, S.K., [1947], History of Sanskrit Literature, Calcutta: University of
Calcutta.
Doniger, W., and B. Smith, 1991, The Laws of Manu, Penguin Books.
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