Names From Ramayana Baby Boy With Lava Kusa

Ramayana
Rama with his wife Sita and blood brother Lakshmana during exile in forest, manuscript, ca. 1780
Information
Religion	Hinduism
Language	Sanskrit
Verses	24,000

The Ramayana (;^[one] Sanskrit: रामायणम्, Rāmāyaṇam , (pronounced [rɑːˈmɑːjəɳəm]) is an ancient Indian epic poem which narrates the struggle of the divine prince Rama to rescue his married woman Sita from the demon king Ravana. Along with the Mahabharata, it forms the Sanskrit Itihasa.

The epic, traditionally ascribed to the Hindu sage Valmiki, narrates the life of Shri Ram Chandra, the legendary prince of Kosala Kingdom, his banishment from the kingdom by his male parent, King Dasharatha, his travels across forests in Republic of india with his wife Sita and brother Lakshmana, the kidnapping of his wife past Ravana, the demon king of Lanka, resulting in a state of war with him, and Rama'due south eventual render to Ayodhya to be crowned rex.

The Ramayana is one of the largest ancient epics in world literature. It consists of nearly 24,000 verses (mostly set in the Shloka meter), divided into seven Kandas (books) and nigh 500 sargas (chapters). In Hindu tradition, it is considered to be the adi-kavya (first poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal blood brother, the ideal married woman and the ideal king. The Ramayana was an of import influence on later on Sanskrit poetry and Hindu life and civilisation. Similar the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and upstanding elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman and Ravana are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka and south-east Asian countries such every bit Thailand, Kingdom of cambodia, Malaysia and Indonesia.

At that place are many versions of the Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations; and besides Cambodian, Indonesian, Filipino, Thai, Lao, Burmese and Malaysian versions of the tale.

i Etymology
2 Textual history and construction
3 Period
4 Characters
- 4.one Ikshvaku dynasty
- 4.2 Allies of Rama
- 4.3 Foes of Rama
5 Synopsis
- 5.1 Bala Kanda
- 5.two Ayodhya Kanda
- 5.3 Aranya Kanda
- 5.four Kishkindha Kanda
- five.five Sundara Kanda
- v.six Yuddha Kanda
- 5.vii Uttara Kanda
6 Versions
- 6.1 In India
  - 6.1.1 Buddhist Version
  - six.1.ii Jain Version
  - 6.1.3 Sikh Version
- six.2 In Nepal
- 6.3 Southeast Asian
  - 6.3.1 In Cambodia
  - 6.iii.ii In Lao people's democratic republic
  - 6.3.three In Malaysia
  - 6.3.four In Thailand
  - 6.three.5 In other versions
- half dozen.4 Disquisitional edition
7 Influence on civilization and fine art
8 Religious significance
ix Ramayana in pop culture
- 9.1 Stage
- 9.2 Movies
- nine.3 Plays
- 9.four Tv series
ten Meet also
11 Citations
12 References
13 Further reading
xiv External links

Etymology

The name Ramayana is a tatpuruṣa chemical compound of the name Rāma and ayana (going, advancing), translating to Rama's Journey.

Textual history and structure

An artist's impression of Valmiki Muni composing the Ramyana

According to Hindu tradition – and according to the Ramayana itself – the epic belongs to the genre of itihasa like Mahabharata. The definition of itihāsa is a narrative of by events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, Ramayana takes place during a period of fourth dimension known as Treta Yuga.^{[ citation needed ]}

In its extant class, Valmiki'southward Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and consummate manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century Advertisement. A Times of India report dated 18 December 2015 informs about the discovery of a 6th-century manuscript of the Ramayana at the Asiatic Society library, Kolkata.^[two] The Ramayana text has several regional renderings, recensions and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional revisions: the northern (north) and the southern (south). Scholar Romesh Chunder Dutt writes that "the Ramayana, similar the Mahabharata, is a growth of centuries, just the main story is more distinctly the creation of one mind."

There has been give-and-take as to whether the first and the concluding chapters of Valmiki'due south Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some way differences and narrative contradictions betwixt these two chapters and the rest of the book.^[iii]

Famous retellings include Gona Budda Reddy'south Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan (also known as Shri Rama Panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century)^[iv] ^[five] ^[6] ^[7] and Balaram Das' Dandi Ramayana (also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan'due south Adhyathmaramayanam in Malayalam.^{[ commendation needed ]}

Period

Some cultural evidence, such as the presence of sati in Mahabharata merely non in the main trunk of Ramayana, suggests that Ramayana predates Mahabharata. However, the general cultural background of Ramayana is one of the postal service-urbanization menstruum of the eastern part of north India and Nepal, while Mahabharata reflects the Kuru areas westward of this, from the Rigvedic to the late Vedic period.

Past tradition, the text belongs to the Treta Yuga, second of the four eons (yuga) of Hindu chronology. Rama is said to have been built-in in the Treta yuga to male monarch Dasharatha in the Ikshvaku dynasty.

The names of the characters (Rama, Sita, Dasharatha, Janaka, Vashista, Vishwamitra) are all known in tardily Vedic literature. Still, nowhere in the surviving Vedic poetry is there a story like to the Ramayana of Valmiki. Co-ordinate to the modern academic view, Vishnu, who, according to bala kanda, was incarnated as Rama, start came into prominence with the epics themselves and further, during the puranic period of the afterward 1st millennium Advertising. Also, in the ballsy Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.

At that place is general consensus that books two to half dozen class the oldest portion of the ballsy, while the first and concluding books (Bala Kanda and Uttara Kanda, respectively) are later additions.^{[ citation needed ]} The author or authors of Bala Kanda and Ayodhya Kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the menstruum of the xvi Mahajanapadas, based on the fact that the geographical and geopolitical information accords with what is known nearly the region. The noesis of the location of the isle of Lanka also lacks detail.^{[ citation needed ]} Basing his supposition on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a engagement of the 4th century BC for the composition of the text. Historian and Indologist Arthur Llewellyn Basham is of the opinion that Rama may accept been a modest chief who lived in the 8th or the seventh century BC.^{[ citation needed ]}

Characters

Ikshvaku dynasty

Dasharatha is king of Ayodhya and father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Rama is the master protagonist or hero of the tale. Portrayed as the seventh avatar of god Vishnu, he is the eldest and favourite son of Dasharatha, the rex of Ayodhya and his Chief Queen, Kausalya. He is portrayed every bit the epitome of virtue. Dasharatha is forced by Kaikeyi, the second of his three wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. Rama kills the evil demon Ravana, who abducted his married woman Sita, and later returns to Ayodhya to form an ideal land.

Rama and the monkey chiefs

Sita is another of the tale's protagonists. She is a daughter of Mother Globe, adopted by King Janaka, and Rama's beloved wife. Rama went to Mithila and got a gamble to marry her by breaking the Shiv Dhanush (bow) while trying to necktie a knot to it in a competition organized by King Janaka of Mithila in Dhanusa. The contest was to find the near suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon rex Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later on, she gives birth to Luv and Kusha.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi has forced Rama into exile and acquired Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to render from his exile to presume the throne, Bharata obtains Rama'due south sandals and places them on the throne as a gesture that Rama is the truthful king. Bharata so rules Ayodhya equally the regent of Rama for the next fourteen years, staying exterior the metropolis of Ayodhya. He was married to Mandavi.
Lakshmana is a younger brother of Rama, who chose to go into exile with him. He is the son of King Dasharatha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of Shesha, the nāga associated with the god Vishnu. He spends his fourth dimension protecting Sita and Rama, during which time he fights the demoness Surpanakha. He is forced to exit Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon his leaving her. He was married to Sita'due south younger sister Urmila.

Shatrughna is a son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and as well the twin brother of Lakshmana. He was married to Shrutakirti.

Allies of Rama

Vanara

Hanuman is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born every bit son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to alive until our modern earth.
Sugriva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vali – Sugriva's brother and male monarch of Kishkindha – would be killed past Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vali and fulfills his promise by putting the Vanara forces at Rama'southward disposal.
Angada is a vanara who helped Rama find his wife Sita and fight her abductor, Ravana, in Ramayana. He was son of Vali and Tara and nephew of Sugriva. Angada and Tara are instrumental in reconciling Rama and his brother, Lakshmana, with Sugriva after Sugriva fails to fulfill his promise to aid Rama find and rescue his wife. Together they are able to convince Sugriva to honor his pledge to Rama instead of spending his time carousing and drinking.

Riksha

Jambavan/Jamvanta is known as Riksharaj (King of the Rikshas). Rikshas are bears. In the epic Ramayana, Jambavantha helped Rama find his wife Sita and fight her abductor, Ravana. It is he who makes Hanuman realize his immense capabilities and encourages him to wing across the ocean to search for Sita in Lanka.

Griddha

Jatayu, son of Aruṇa and nephew of Garuda. A demi-god who has the form of a vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very former, Ravana shortly got the better of him. Every bit Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Sampati, son of Aruna, brother of Jatayu. Sampati's role proved to be instrumental in the search for Sita.

Rakshasa

Vibhishana, youngest brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the state of war and he was crowned king later on the fall of Ravana.

Foes of Rama

Rakshasas

Ravana, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikesi. After performing severe penance for 10 thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons, or spirits. He is portrayed equally a powerful demon rex who disturbs the penances of rishis. Vishnu incarnates equally the man Rama to defeat him, thus circumventing the boon given by Brahma.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with diverse stratagems to inflict heavy losses on Vanara army before his death.
Kumbhakarna, brother of Ravana, famous for his eating and sleeping. He would sleep for months at a fourth dimension and would be extremely ravenous upon waking upwardly, consuming anything fix earlier him. His monstrous size and loyalty made him an of import office of Ravana's regular army. During the war he decimated the Vanara army before Rama cutting off his limbs and caput.
Surpanakha, Ravana'southward demoness sister who savage in love with Rama and had the magical ability to take any class she wanted.

Vanara

Vali, was male monarch of Kishkindha, husband of Tara, a son of Indra, elderberry brother of Sugriva and father of Angada. Vali was famous for the boon that he had received, according to which anyone who fought him in single-gainsay lost half his strength to Vali, thereby making Vali invulnerable to any enemy. He was killed by Lord Rama, an Avatar of Vishnu.

Synopsis

Bala Kanda

Pictorial depiction of the birth of iv sons of Dasharatha

Vishvamitra looks on as Rama breaks the bow, to win the paw of Sita in wedlock.

Dasharatha was the king of Ayodhya. He had iii wives: Kaushalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, so he performs a fire sacrifice known every bit putra-kameshti yagya. As a upshot, Rama is showtime born to Kaushalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to gainsay the demon Ravana, who was oppressing the gods, and who could but exist destroyed by a mortal. The boys are reared equally the princes of the realm, receiving instructions from the scriptures and in warfare from Vashistha. When Rama is 16 years old, sage Vishwamitra comes to the courtroom of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his abiding companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and go on to destroy the demons.

Janaka was the king of Mithila. One solar day, a female child was found in the field by the king in the deep furrow dug by his plow. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew upwards to be a girl of unparalleled dazzler and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could ally Sita. Sage Vishwamitra takes Rama and Lakshmana to Mithila to evidence the bow. So Rama desires to lift it and goes on to wield the bow and when he draws the string, it breaks.^[eight] Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are historic with bang-up festivity at Mithila and the marriage party returns to Ayodhya.

Ayodhya Kanda

Guha, King of the hunter tribe (Nishadas) helped Rama and his companions cross the river

Subsequently Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their back up. On the eve of the great event, Kaikeyi – her jealousy angry by Manthara, a wicked maidservant – claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken rex, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm cocky-control which characterises him throughout the story. He is joined past Sita and Lakshmana. When he asks Sita non to follow him, she says, "the woods where you dwell is Ayodhya for me and Ayodhya without yous is a veritable hell for me." After Rama's deviation, Male monarch Dasharatha, unable to bear the grief, passes abroad. Meanwhile, Bharata who was on a visit to his maternal uncle, learns well-nigh the events in Ayodhya. Bharata refuses to profit from his female parent's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, adamant to carry out his father'southward orders to the letter of the alphabet, refuses to render before the flow of exile. However, Bharata carries Rama'southward sandals and keeps them on the throne, while he rules as Rama's regent.^{[ citation needed ]}

Aranya Kanda

13 years pass and in the last year of exile Rama, Sita and Lakshmana journey south along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati wood they are visited past a rakshasa (demon) woman, Surpanakha, sis of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an assault against the princes. Rama annihilates Khara and his demons.

When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced past the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; agape for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama'southward orders to protect her. On the verge of hysterics, Sita insists that information technology is not she merely Rama who needs Lakshmana's help. He obeys her wish only stipulates that she is non to go out the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, effectually the cottage and casts a spell on information technology that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an austere requesting Sita's hospitality. Unaware of the devious program of her invitee, Sita is tricked into leaving the rekha and is and so forcibly carried away past the evil Ravana.^[9]

Jatayu, a vulture, tries to rescue Sita, just is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita ally him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana larn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they run into the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.

Kishkindha Kanda

A rock bas-relief at Banteay Srei in Cambodia depicts the combat betwixt Vali and Sugriva (center). To the correct, Rama fires his bow. To the left, Vali lies dying.

Kishkindha Kanda is set in the ape (Vanara) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the biggest devotee of Rama, greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kishkindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his hope and spends his fourth dimension in enjoying his powers. The clever former ape queen Tara (married woman of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She and so eloquently convinces Sugriva to honor his pledge. Sugriva so sends search parties to the four corners of the earth, only to render without success from due north, e and west. The southern search political party under the leadership of Angada and Hanuman learns from a vulture named Sampati (elderberry blood brother of Jatayu), that Sita was taken to Lanka.

Sundara Kanda

Ravana is meeting Sita at Ashokavana. Hanuman is seen on the tree.

Sundara Kanda forms the eye of Valmiki'southward Ramayana and consists of a detailed, vivid account of Hanuman'due south adventures. Afterward learning about Sita, Hanuman assumes a gargantuan grade and makes a colossal jump across the sea to Lanka. On the way he meets with many challenges like facing a Gandharva kanya who comes in the form of a demon to exam his abilities. He encounters a mountain named Mainakudu who offers Lord Hanuman assistance and offers him residuum. Lord Hanuman refuses because there is little time remaining to complete the search for Sita.

After entering into Lanka, he finds a demon, Lankini, who protects all of Lanka. Hanuman fights with her and kills her in social club to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in Ashoka grove, where she is existence wooed and threatened by Ravana and his rakshasis to marry Ravana. Hanuman reassures Sita, giving Rama'southward signet band every bit a sign of practiced faith. He offers to bear Sita back to Rama; however, she refuses and says that it is not the dharma. She says that Rama himself must come up and avenge the insult of her abduction.

Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana'south warriors. He allows himself to exist captured and delivered to Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on burn down, but he escapes his bonds and leaping from roof to roof, sets burn down to Ravana's citadel and makes the giant bound dorsum from the isle. The joyous search political party returns to Kishkindha with the news.

Yuddha Kanda

The Boxing at Lanka, Ramayana by Sahibdin. It depicts the monkey army of the protagonist Rama (top left, blueish figure) fighting Ravana—the demon-male monarch of the Lanka—to save Rama's kidnapped married woman, Sita. The painting depicts multiple events in the boxing confronting the three-headed demon general Trisiras, in bottom left. Trisiras is beheaded by Hanuman, the monkey-companion of Rama.

As well known as Lanka Kanda, this volume describes the Ramayana State of war betwixt the regular army of Rama and the regular army of Ravana. Having received Hanuman'south study on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern body of water. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu)^[10] across the body of water, using stones that floated on water considering they had Rama's proper name written on them. The princes and their army cantankerous over to Lanka. A lengthy war ensues. During a battle, Ravana'south son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nigh killed.^{[ commendation needed ]} And so Hanuman assumes a gigantic class and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana and so decided to bring the entire mountain back to Lanka. Eventually, the state of war ends when Rama kills Ravana. Rama so installs Vibhishana on the throne of Lanka.

On meeting Sita, Rama asks her to undergo an Agni Pariksha (test of fire) to prove her chastity, equally he wants to get rid of the rumors surrounding her purity. When Sita plunges into the sacrificial fire, Agni, lord of fire raises Sita, unharmed, to the throne, attesting to her innocence. The episode of Agni Pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In before versions, this event does non occur and many scholars consider it to have been added later as gild became more patriarchal. In Tulsidas'due south Ramacharitamanas, Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the outset of Ram Rajya, which implies an ideal land with good morals.

Uttara Kanda

Uttara Kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. Later on being crowned rex, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. Nonetheless, despite Agni Pariksha ("fire ordeal") of Sita, rumours most her "purity" are spreading among the populace of Ayodhya. Rama yields to public stance and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama ("hermitage"). Here, she gives nativity to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.

Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Subsequently, Rama holds a ceremony during the Ashwamedha yagna, which sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite virtually Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the Earth, her mother, to receive her and equally the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years subsequently, a messenger from the Gods appears and informs Rama that the mission of his incarnation is over. Rama returns to his celestial abode forth with his brothers. It was dramatised as Uttararamacarita by the Sanskrit poet Bhavabhuti.

Versions

The epic story of Ramayana was adopted past several cultures across Asia. Shown hither is a Thai historic artwork depicting the battle which took place betwixt Rama and Ravana.

Equally in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in northward India differs in important respects from that preserved in due south India and the rest of southeast Asia. At that place is an extensive tradition of oral storytelling based on Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of the Ramayana.

In India

The 7th century AD poem Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini'south Aṣṭādhyāyī every bit well equally the major figures of speech and the Prakrit language.

At that place are diverse regional versions of the Ramayana written by various authors in Bharat. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly every bit Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written past Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early on 14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki'due south Ramayana inspired Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi (a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an best-selling masterpiece of India, popularly known as Tulsi-krita Ramayana. Gujarati poet Premanand wrote a version of the Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version past Krittibas Ojha in the 15th century; Vilanka Ramayana by 15th century poet Sarala Dasa^[11] and Dandi Ramayana (besides known as Jagamohana Ramayana) by 16th century poet Balarama Dasa, both in Odia; a Torave Ramayana in Kannada by 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu'southward Sri Ramayana Darshanam in Kannada.

There is a sub-plot to the Ramayana, prevalent in some parts of India, relating the adventures of Ahiravan and Mahi Ravana, evil brother of Ravana, which enhances the function of Hanuman in the story. Hanuman rescues Rama and Lakshmana later they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cavern, to exist sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki – intended as a supplementary to the original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence, such equally elaboration of the events surrounding her birth – in this instance to Ravana's wife, Mandodari as well as her conquest of Ravana'southward older blood brother in her Mahakali form.

Mappillapattu – a genre of vocal popular among the Muslims belonging to Kerala and Lakshadweep – has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of Ramayana has been changed into that of a sultan and there are no major changes in the names of characters except for that of Rama which is Laman in many places. The language and the imagery projected in the Mappilapattu are in accordance with the social textile of the earlier Muslim community.

Buddhist Version

In the Buddhist variant of the Ramayana (Dasarathajātaka, #467), Dasharatha was rex of Benares and non Ayodhya. Rama (chosen Rāmapaṇḍita in this version) was the son of Kaushalya, first wife of Dasharatha. Lakṣmaṇa (Lakkhaṇa) was a sibling of Rama and son of Sumitra, the second married woman of Dasharatha. Sita was the married woman of Rama. To protect his children from his wife Kaikeyi, who wished to promote her son Bharata, Dasharatha sent the three to a hermitage in the Himalayas for a twelve-year exile. Later nine years, Dasharatha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a farther two years. This version does not include the abduction of Sītā.

In the explanatory commentary on Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of Buddha, and Sita an incarnation of Yasodharā.

Jain Version

Jain versions of the Ramayana tin can exist found in the various Jain agamas similar Ravisena's Padmapurana (story of Padmaja and Rama, Padmaja existence the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa'due south Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every one-half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of ii distinct classes of mighty brothers, who announced nine times in each half time cycle and jointly rule half the world every bit one-half-chakravartins. Jaini traces the origin of this listing of brothers to the jinacharitra (lives of jinas) by Acharya Bhadrabahu (3d–4th century BC).

In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and non Rama equally told in the Hindu version. In the end, Rama, who led an upright life, renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to Hell. However, it is predicted that ultimately they both will be reborn every bit upright persons and attain liberation in their future births. According to Jain texts, Ravana volition be the future Tirthankara (omniscient teacher) of Jainism.

The Jain versions have some variations from Valmiki'south Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These 4 queens had four sons. Aparajita's son was Padma and he became known past the proper noun of Rama. Sumitra's son was Narayana: he came to exist known by some other name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to the Jain version, Rama had 4 chief queens: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic subsequently Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in the quaternary hell, volition attain liberation in their future births. Accordingly, Ravana is the futurity tirthankara of the side by side one-half ascending fourth dimension cycle and Sita will be his Ganadhara.

Sikh Version

In Guru Granth Sahib, there is a description of two types of Ramayana. One is a spiritual Ramayana which is the actual subject field of Guru Granth Sahib, in which Ravana is ego, Sita is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in the being of Dashavatara who were kings of their times which tried their best to restore order to the world. Male monarch Rama (Ramchandra) was one of those who is not covered in Guru Granth Sahib. Guru Granth Sahib states:

ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥

हुकमि उपाए दस अउतारा॥

By hukam (supreme command), he created his ten incarnations

This version of the Ramayana was written past Guru Gobind Singh, which is part of Dasam Granth.

He as well said that the almighty, invisible, all prevailing God created great numbers of Indras, Moons and Suns, Deities, Demons and sages, and as well numerous saints and Brahmanas (enlightened people). But they too were caught in the noose of death (Kaal) (transmigration of the soul). This is similar to the explanation in Bhagavad Gita which is part of the Mahabharata.^{[ citation needed ]}

In Nepal

Besides being the site of discovery of the oldest surviving manuscript of the Ramayana, Nepal gave rise to ii regional variants in mid 19th – early 20th century. I, written by Bhanubhakta Acharya, is considered the first ballsy of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the Nepal Bhasa renaissance.

Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the Ramayana and its tale, originally written in Sanskrit Language was profoundly enhanced by the piece of work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called Aadi Kavi or The Pioneering Poet.

Southeast Asian

In Cambodia

The Cambodian version of the Ramayana, Reamker, is the most famous story of Central khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and shows the balance of expert and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and accent on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such every bit sculpture, Central khmer classical trip the light fantastic, theatre known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas-reliefs seen at the Silver Pagoda and Angkor Wat.

In Laos

Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of Gautama buddha.

In Malaysia

In Hikayat Seri Rama of Malaysia,^[12] ^[thirteen] Dasharatha is the groovy-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay linguistic communication versions, Lakshmana is given greater importance than Rama, whose graphic symbol is considered somewhat weak.

Rama (Yama) and Sita (Me Thida) in Yama Zatdaw, Burmese version of Ramayana.

In Thailand

Thailand's popular national epic Ramakien (Thai:รามเกียรติ์., from Sanskrit rāmakīrti, glory of Rama) is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari (thotsakan and montho). Vibhishana (phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has thrown her into the h2o, only she is later rescued by Janaka (chanok). While the main story is identical to that of Ramayana, many other aspects were transposed into a Thai context, such every bit the clothes, weapons, topography and elements of nature, which are described every bit existence Thai in style. It has an expanded role for Hanuman and he is portrayed equally a lascivious character. Ramakien can exist seen in an elaborate illustration at Wat Phra Kaew in Bangkok.

In other versions

Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali (Republic of indonesia), Maharadia Lawana and Darangen of Moro Muslims of Mindanao (Philippines) and Yama Zatdaw of Myanmar.

Critical edition

A critical edition of the text was compiled in India in the 1960s and 1970s, by the Oriental Institute at Maharaja Sayajirao University of Baroda, India, utilizing dozens of manuscripts collected from beyond India and the surrounding region.^[14] An English language language translation of the disquisitional edition was completed in November 2016 past Sanskrit scholar Robert P. Goldman of the University of California, Berkeley.^[15]

Influence on culture and art

A Ramlila actor wears the traditional attire of Ravana.

One of the most of import literary works of ancient Bharat, the Ramayana has had a profound impact on art and civilization in the Indian subcontinent and southeast Asia with the lonely exception of Vietnam. The story ushered in the tradition of the adjacent thousand years of massive-calibration works in the rich diction of imperial courts and Hindu temples. It has also inspired much secondary literature in various languages, notably Kambaramayanam past Tamil poet Kambar of the 12th century, Telugu linguistic communication Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana and 15th century Bengali poet Krittibas Ojha'southward Krittivasi Ramayan, as well every bit the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.

The Ramayana became popular in southeast Asia during eighth century and was represented in literature, temple compages, trip the light fantastic and theatre. Today, dramatic enactments of the story of the Ramayana, known as Ramlila, accept place all across Bharat and in many places across the world within the Indian diaspora.

Ramayana has too been depicted in many paintings, well-nigh notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.

Religious significance

Deities Sita (far correct), Rama (eye), Lakshmana (far left) and Hanuman (below, seated) at Bhaktivedanta Manor, Watford, England

Rama, the hero of the Ramayana, is 1 of the most pop deities worshipped in the Hindu organized religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The verse form is not seen as just a literary monument, simply serves equally an integral part of Hinduism and is held in such reverence that the mere reading or hearing of it or sure passages of it, is believed by Hindus to free them from sin and bless the reader or listener.

According to Hindu tradition, Rama is an incarnation (Avatar) of god Vishnu. The master purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.

Ramayana in popular civilization

Multiple modernistic, English-linguistic communication adaptations of the epic exist, namely Ram Chandra Series by Amish Tripathi, Ramayana Series by Ashok Broker and a mythopoetic novel, Asura: Tale of the Vanquished past Anand Neelakantan. Another Indian writer, Devdutt Pattanaik, has published 3 different retellings and commentaries of Ramayana titled Sita, The Book Of Ram and Hanuman's Ramayan.

A number of plays, movies and television serials have as well been produced based upon the Ramayana.

Stage

Starting in 1978 and under the supervision of Baba Hari Dass, Ramayana has been performed every year by Mountain Madonna School in Watsonville, California. Currently, information technology is the largest yearly, Western version of the epic being performed. It takes the course of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and trip the light fantastic. This functioning takes place in a big audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire pattern, mask making and choreography to bring live characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.

Movies

Sampoorna Ramayanam (1958 picture show) – A Tamil pic starring N. T. Rama Rao (1958).
Sampoorna Ramayana– A Hindi pic directed by Babubhai Mistry (1961).
Lava Kusha – A Uttara Kanda-based bilingual Telugu movie and Tamil movie starring Due north. T. Rama Rao (1963).
Sampoorna Ramayanamu – A Telugu flick directed by Bapu, starring Sobhan Babu, Chandrakala, South 5 Ranga Rao (1971).
Kanchana Sita – A Malayalam picture show by G. Aravindan (1977).
Ramayana: The Legend of Prince Rama – A Japanese animated pic released in the Hindi, Japanese and English languages (1992).
Opera Jawa – An Indonesian-Austrian film in the Indonesian language; inspired by the story of the abduction of Sita (2008).
Sita Sings the Blues – An independent blithe pic (2008).
Lava Kusa: The Warrior Twins – Blithe movie based on Uttara Kanda (2010).
Ramayana: The Epic – A Warner Bros. Indian animated film (2010).
Sri Rama Rajyam – Movie based on Uttara Kanda, Telugu a picture starring Nandamuri Balakrishna (2011).
Yak: The Giant Male monarch – A re-interpretation of Ramayana, the Thai blitheness film tells the story of a behemothic robot, Na Kiew, who is left wandering in a barren wasteland subsequently a great war. Na Kiew meets Jao Phuek, a puny tin robot who has lost his memory and is now stuck with his new big friend. Together they ready out across the desert populated past metal scavengers, to wait for Ram, the creator of all robots. (2012).
Bombay Musical – DreamWorks Animation (2016).
Mahayoddha Rama – An animated version of Ramayana from the perspective of Ravana, the demon rex of Lanka.

Plays

Kanchana Sita (play), Saketham and Lankalakshmi – honor-winning trilogy by Malayalam playwright C. N. Sreekantan Nair.
Lankeswaran – play by award-winning Tamil cinema actor R. S. Manohar.
King's Dharma – A multi-media product produced by Ben Kahan and Andreas Canning (2016).^[16]

TV series

Ramayan (TV series) – Originally broadcast on Doordarshan, produced by Ramanand Sagar in 1987.
Jai Hanuman – Originally broadcast on Doordarshan, produced and directed by Sanjay Khan.
Ramayan (2002) – Originally broadcast on Zee TV, produced by BR Films.
Ramayan (2008 TV series) – Originally broadcast on Imagine TV, produced by Ramanand Sagar.
Ramayan (2012 Idiot box Series) – A remake of the 1987 series ans aured on Zee TV.
Antariksh (2004) – A sci-fi version of Ramayan. Originally broadcast on Star Plus.
Raavan (TV series) – serial on life of Ravana based on Ramayana. Originally circulate on Zee Television receiver.
Sankatmochan Mahabali Hanuman – 2015 series based on life of Hanuman soon broadcasting on Sony Tv.
Siya Ke Ram – a series on Star Plus, originally broadcast from November 16, 2015 to November iv, 2016.

Encounter also

Adam's Span
Indian Numbering System#Vedic numbering systems
Rama
Reamker
3 Hundred Ramayanas: Five Examples and Three Thoughts on Translation, a controversial essay by A. M. Ramanujan

Citations

↑ "Ramayana". Random House Webster's Unabridged Lexicon.
↑ Mukherjee Pandey, Jhimli (18 December 2015). "6th-century Ramayana found in Kolkata, stuns scholars". timesofindia.indiatimes.com. TNN. Retrieved 20 Dec 2015.<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
↑ Uma Singh, Senu Singh (16 Jan 2013). "Ramayan as a complete life of real homo" (PDF). Indian Periodical of Arts. i (1): 2. Retrieved xx November 2016.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Mukherjee, P. (1981). The History of Medieval Vaishnavism in Orissa. Asian Educational Services. p. 74. ISBN9788120602298 . Retrieved 6 January 2017.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Living Thoughts of the Ramayana. Jaico Publishing House. 2002. ISBN9788179920022 . Retrieved 6 January 2017.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Krishnamoorthy, Thou.; Mukhopadhyay, S.; Sahitya Akademi (1991). A Critical Inventory of Rāmāyaṇa Studies in the Earth: Foreign languages. Sahitya Akademi in collaboration with Union Academique Internationale, Bruxelles. ISBN9788172015077 . Retrieved six January 2017.<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
↑ Bulcke, C.; Prasāda, D. (2010). Rāmakathā and Other Essays. Vani Prakashan. p. 116. ISBN9789350001073 . Retrieved half dozen Jan 2017.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ CANTO LXVII.: THE BREAKING OF THE BOW. sacredtexts.com. Retrieved 25 Jan 2016.<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
↑ Rajarajan, R.K.M. (2001) Sītāpaharaṇam: Changing thematic Idioms in Sanskrit and Tamil. In Dirk Westward. Lonne ed. Tofha-e-Dil: Festschrift Helmut Nespital, Reinbeck, two vols., pp. 783-97. ISBN iii-88587-033-ix. https://world wide web.academia.edu/2514821/S%C4%ABt%C4%81pahara%E1%B9%89am_Changing_thematic_Idioms_in_Sanskrit_and_Tamil
↑ Rajarajan, R.K.K. (2014) Reflections on "Rāma-Setu" in Due south Asian Tradition. The Quarterly Journal of the Mythic Society, Vol. 105.3: 1-14, ISSN 0047-8555. https://www.academia.edu/8779702/Reflections_on_R%C4%81ma-Setu_in_South_Asian_Tradition
↑ Jones, Constance; Ryan, James D. (1 Jan 2006). Encyclopedia of Hinduism. Infobase Publishing. ISBN9780816075645.<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
↑ Journal of the Straits Branch of the Royal Asiatic Society. 1898. pp. 107–.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Periodical of the Straits Branch of the Royal Asiatic Society. 1898. pp. 143–.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Ramayana Translation Project turns its final folio, later on iv decades of research | Berkeley News". news.berkeley.edu. Retrieved vi January 2017.<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
↑ "UC Berkeley researchers complete decades-long translation projection | The Daily Californian". dailycal.org. Retrieved 6 Jan 2017.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Welcome". Rex'due south Dharma . Retrieved 10 October 2016.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>

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Bhattacharji, Sukumari (1998). Legends of Devi. Orient Blackswan. p. 111. ISBN978-81-250-1438-6.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Brockington, John (2003). "The Sanskrit Epics". In Flood, Gavin (ed.). Blackwell companion to Hinduism. Blackwell Publishing. pp. 116–128. ISBN0-631-21535-2. CS1 maint: ref=harv (link)<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
Buck, William; van Nooten, B. A. (2000). Ramayana. Academy of California Press. p. 432. ISBN978-0-520-22703-iii. CS1 maint: ref=harv (link)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Dutt, Romesh C. (2004). Ramayana. Kessinger Publishing. p. 208. ISBN978-1-4191-4387-8. CS1 maint: ref=harv (link)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Dutt, Romesh Chunder (2002). The Ramayana and Mahabharata condensed into English verse. Courier Dover Publications. p. 352. ISBN978-0-486-42506-1.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Fallon, Oliver (2009). Bhatti's Poem: The Death of Rávana (Bhaṭṭikāvya). New York: New York University Press, Clay Sanskrit Library. ISBN978-0-8147-2778-2. CS1 maint: ref=harv (link)<templatestyles src="Module:Commendation/CS1/styles.css"></templatestyles>
Keshavadas, Sadguru Sant (1988). Ramayana at a Glance. Motilal Banarsidass Publ.,. p. 211. ISBN978-81-208-0545-3. CS1 maint: extra punctuation (link) CS1 maint: ref=harv (link)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
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Mahulikar, Dr. Gauri. Effect Of Ramayana On Various Cultures And Civilisations, Ramayan Constitute
Rabb, Kate Milner, National Epics, 1896 – see eText in Project Gutenburg
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Valmiki's Ramayana illustrated with Indian miniatures from the 16th to the 19th century , 2012, Editions Diane de Selliers, ISBN 9782903656768

Farther reading

Sanskrit text

Electronic version of the Sanskrit text, input past Muneo Tokunaga
Sanskrit text on GRETIL

Translations

Valmiki Ramayana poetry translation by Desiraju Hanumanta Rao, K. K. Chiliad. Murthy et al.
Valmiki Ramayana translated past Ralph T. H. Griffith (1870–1874) (Projection Gutenberg)
The Ramayana condensed into English verse by R. C. Dutt (1899) at archive.org
Prose translation of the complete Ramayana by M. N. Dutt (1891–1894): Balakandam, Ayodhya Kandam, Aranya Kandam, Kishkindha Kandam, Sundara Kandam, Yuddha Kandam, Uttara Kandam
Rāma the Steadfast: an early on form of the Rāmāyaṇa translated by J. 50. Brockington and Mary Brockington. Penguin, 2006. ISBN 0-14-044744-X.
Geet Ramayan literally "Ramayan in verse" in Marathi by G. D. Madgulkar^[one]

Secondary Sources

Jain, Meenakshi. (2013). Rama and Ayodhya. Aryan Books International, 2013.

External links

Wikiquote has quotations related to: Ramayan

A condensed poetry translation by Romesh Chunder Dutt sponsored by the Liberty Fund
The Ramayana as a Monomyth from UC Berkeley (archived)

↑ Bose, Mandakranta (Editor); Aklujkar, Vidyut (Author) (2004). The Rāmāyaṇa revisited (Online ed.). Oxford: Oxford University Press. pp. 260–273. ISBN978-0195168334 . Retrieved nine Dec 2016. CS1 maint: actress text: authors list (link)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>

seitzeatepas.blogspot.com

Source: https://infogalactic.com/info/Ramayana