SIMPLIFIED AND FAITHFUL
RENDERING OF THE ADI KAVYA-3
Valmiki Ramayana: A
Treasure for All Humanity
Vanam Jwala Narasimha Rao
A humble presentation
of Valmiki Ramayana in English is born of an inner urge to make India’s
most sacred epic accessible to those who, though Indian by origin, have
gradually lost touch with their mother tongues, often out of compulsion and in
tune with ever changing times. Living far from their roots, many Non-Resident Indians,
and their children, including my close relations, desire to know what their
ancestors read, revered, and lived by. To them this simplified yet faithful
rendering of the Adi Kavya, not as a mere translation, as was done by
many earlier, but as a bridge between languages, generations, and continents.
The effort is not
scholastic but devotional, a sincere attempt to awaken curiosity, reverence,
and reflection in minds that think in English but feel in Indian rhythm. With a firm belief that, the Valmiki Ramayana is not a book to be just finished
the reading, but a companion to be cherished; not an ancient legend to be
admired from far away, but a living light to be carried within. If these pages
help even a few readers rediscover that light, the purpose of this endeavor
shall stand fulfilled.
Among the sacred
compositions of ancient India, Valmiki Ramayana, Vyasa Mahabharata,
and Vyasa Maha Bhagavata stand as unparalleled works in the
divine Sanskrit Language, which belongs to the Indo-Iranian Branch of the
Indo-European Language Family, making it a relative to English, Spanish,
Russian, and even considered as the mother language. Bharata, Bhagavata and
Ramayana to be precise, are not mere epics, but they are extensions of the Vedas
and Vedanta, enriched with profound spiritual meanings.
Of the three, Valmiki
Ramayana is the earliest and therefore honored as the Adi Kavya, the
first and foremost among all poetic works. As said in Uttara Kanda, only
those who truly understand and interpret Valmiki Ramayana are capable to
convey its inner essence to the world. Such realization is not easily attained
by all. In an era when many young minds (to that matter even significant
number of elders) know little of their cultural scriptures, understanding
Valmiki Ramayana opens not just a window into mythology but into the origins of
human ethics and aesthetics.
There is no
civilization unknown to our wise ancestors. Who were these Aryans, what virtues
did they possess, and how did they live with such noble values? What principles
guided their social order, their family bonds, their relationship between
rulers and the ruled? How did husbands and wives, brothers, parents, and
children conduct themselves? What ideals governed men and women in joy and
sorrow alike? What was their understanding of God and devotion (Bhakti)?
How did they worship and revere the divine?
To anyone who seeks to
explore these worldly and spiritual truths, there exists no greater source of
illumination than Valmiki Ramayana. In today’s fragmented world of fleeting
relationships and cultural confusion, Sri Ramayana becomes not a tale of the
past but a mirror reflecting the timeless balance of human duty, love, and
faith. Caught in the cycle of birth and death, humanity forever seeks
freedom from bondage, desiring peace, purity, and eternal bliss. For such
seekers, Sri Ramayana alone reveals the gentle and luminous path toward
liberation.
Even if one reads it
merely for leisure, no other book rewards so deeply. Every reading of Valmiki
Ramayana leaves the heart fulfilled, with the sense that one’s time was
sanctified. For those who read it with faith and devotion, it fulfills desires
like a wish-yielding tree (Kalpa Vriksha). Hence, to live in happiness
both here (as human beings) and hereafter (after death), the reading of Sri
Ramayana is not optional, but it is essential. To read Valmiki Ramayana
today is to reclaim a spiritual rhythm long lost in the noise of modern life.
In Bharata Varsha,
followers of Shaiva, Vaishnava, and Shakta traditions are in
numerous numbers. Though sometimes sectarian differences arise, Vaishnavas
showing disinterest in Shiva or Shaivites avoiding Vishnu, there is one divine
pair before whom every Aryan bows in reverence: Sri Sita and Sri Rama.
What makes them universally worshipped? Why do even truth-bound kings like
Harishchandra or virtuous souls like Dharmaraja not receive such adoration? The
reason lies in their divine nature that they are incarnations (Avatara)
of the Supreme.
Whatever name one calls
God by, the essence remains one. It is this realization that unites all
devotees in worship of Sri Sita-Rama. In a pluralistic world divided
by names and forms, the devotion to Sita-Rama reminds us that divinity
transcends religious boundaries. The very word Valmiki Ramayana
signifies the divine story of Sri Rama, the human incarnation (Maya
Manushavatara) of Lord Narayana or Maha (The Great) Vishnu, and of Sita
Devi, the incarnation of Goddess Lakshmi. As the divine couple remain inseparable
in spirit and name, so too the sage Valmiki, realizing this truth, gave his
epic the title Sri Ramayana.
Because Valmiki
emphasized the greatness of Sita Devi, he himself called it ‘Sithaayas
Charitam Mahat’ or ‘the great story of Sita.’ Throughout the text, her
grace illuminates every page. While Rama acts outwardly as a man, Valmiki
reveals at every stage both implicitly and explicitly the inner truth that, he
is none other than the Supreme Being Himself. For today’s readers, it reminds us that strength and compassion, power and
humility, masculine, and feminine energies must coexist to preserve balance in
life.
The Valmiki Ramayana
is a Maha Kavya (The Great Epic), first in its creation and first in its
merit. Only Valmiki, the omniscient sage, could have conceived its depth and
secrets. The epic portrays innumerable divine virtues and poetic brilliances.
Its verses are sweet whether chaunted or read. Some works please the ear when recited
but not when read; others read well but lack melody. Valmiki Ramayana
belongs to neither single category. It is both melodious and profound. No
wonder Kusha and Lava (Sri Rama’s twin sons) sang it before the world with
devotion. Even in translation, the music of Valmiki Ramayana continues to
echo in the heart of every sincere reader.
The Valmiki Ramayana
embraces all nine Rasas (emotional essences). Among them, the Srungara
Rasa (Romantic Emotion) shines brightly, especially in the descriptions of
Sita and Rama’s life in Ayodhya after marriage. Valmiki’s mastery over words
makes every scene alive with tenderness. He weaves laughter in the episodes of
Shurpanakha, compassion in Dasharatha’s death, heroism in Lakshmana’s valor,
fury in Ravana’s defiance, horror in the Maricha episode, disgust in the scenes
of Kabandha and Viradha, wonder in the battles of Lanka, and tranquility in
Shabari’s devotion. Each reader finds in Valmiki Ramayana an echo of their
own emotions, making it a timeless human document, not just a divine story.
In matters of Alankara
(Poetic Ornamentation), Valmiki Ramayana excels in both sound and
meaning. While Shabda Alankaras (Figures of Sound) appear sparingly, Artha
Alankaras (Figures of Sense) abound. Valmiki’s nature (For instance
Raining) descriptions make one feel as though the monsoon rains are falling
before our eyes or that we are walking through snow in winter. His vivid
imagery makes readers his playthings, leading them wherever he wills. His Upama
(similes) are so powerful that even Kalidasa seems his disciple. In a world
that often prizes brevity over beauty, Valmiki’s descriptive genius reminds us
that true art makes us pause, visualize, and feel.
One of Valmiki’s
remarkable techniques is Utpreksha, the creative imagination. Describing
a stream flowing down a hill in Lanka’s Ashoka grove, he imagines it as an
angry woman descending her lover’s thigh in fury, only to calm and return like
a reconciled beloved. Such poetic imagination, along with his use of Shlesha
(Quips), shows his unmatched artistry. The very first Shloka of Valmiki
Ramayana, ‘Ma Nishada Pratistham Tvamagamahsāsvati Samaa; Yat
Kraunchamithunaadekam Avadhi Kaamamohitam’ bears double meanings: one
referring to the hunter’s sin and the other symbolizing divine compassion. For
modern minds trained in logic and literalness or strict adherence to the
precise meaning of words, Valmiki’s layered imagination reawakens the joy of
metaphor and mystery.
This first Shloka,
born of Valmiki’s anguish upon seeing the slain bird, became the seed of Ramayana
itself, the Nandi Shloka (Invocatory Verse). It carries a divine meaning
that encapsulates the essence of all seven Kandas in miniature form.
Such depth makes Valmiki Ramayana not merely literature but revelation. Perhaps
every creative act, when born out of compassion and truth, becomes sacred, that
is the enduring message of Valmiki’s first verse.
When Lakshmana bowed to
his mother Sumitra before accompanying Rama to the forests, her words of
counsel are among the finest examples of wisdom in literature. Scholars have
interpreted that single Shloka in three profound ways. In the first,
Sumitra tells her son, ‘You were once to Rama as the right hand is to the body,
as the breath is to life. Follow him now with that same devotion. Once he was a
prince living in royal comfort; now he goes to the forest in hardship. Do not
see this exile as suffering, but as service. In joy or sorrow, in palace or
forest, regard Rama as your father and Sita as your mother. The forest, my son,
is no place of misery, it is Ayodhya itself when your mind is at peace.’
Her words still echo
as timeless parenting, teaching that duty, when embraced with love, transforms
adversity into grace. In the second
interpretation, Sumitra reminds Lakshmana that after Rama’s departure, King
Dasharatha would not live long, thus truthfully saying, ‘Know that Rama is
indeed your father.’ In the third, she perceives her own end near and speaks of
her detachment: ‘Why should I grieve? To serve the divine couple in the forest
is a rare blessing. Go, and through devoted service attain Vaikuntha,
the realm of Lord Vishnu.’ Such insight makes Sumitra one of the least
spoken yet most enlightened figures in Valmiki Ramayana, a mother who
knew renunciation and duty were two sides of the same coin.
Every type of poetic
embellishment (Alankara) described in Sanskrit poetics finds a
place in Valmiki Ramayana. His artistry is incomparable. One notable device is Chitra
Alankara, ‘Word Painting.’ After Ravana abducts Sita, Rama wanders in
grief, speaking even to trees, rivers, and birds. Seeing a mountain, he
laments, ‘O King of Mountains, did your eyes fall upon my beloved Sita whom I
lost in this lonely forest?’ The mountain’s echo replies his own words,
deepening the tragedy. In a way, Valmiki anticipates modern psychology, our
tendency to seek conversation with the universe when the heart is broken.
Every character in the
Epic Valmiki Ramayana, speaks with inner consistency, their words mirror their
nature. When Kaikeyi tells Bharata about his father’s death, her tone reflects
her moral fall: ‘Your father attained the destiny of all beings.’ In contrast,
Bharata conveys the same news to Rama with deep sorrow, saying, ‘He breathed
his last with your name on his lips.’ The difference shows how speech
reveals the soul. In our own age, words too often become masks. Valmiki teaches
that words, when pure, become prayers.
When Ravana ordered his
general Dhoomraksha to attack the Vanaras, he said, ‘Go, fight Rama and perish.’
Though meant as a command to kill Rama, the words foretold Dhoomraksha’s own
death, a poetic irony. Similarly, Ravana’s brother Kumbhakarna, mighty but
doomed, speaks with unconscious prophecy that his death will lead to Sita’s
restoration and Rama’s victory. Through such ironies, Valmiki reminds us
that destiny often hides in our own utterances.
Valmiki never lets a
character speak words inconsistent with their essence. He repeatedly declares
Rama to be divine, yet portrays him outwardly as human. When Rama says before
his coronation, ‘Tomorrow the King shall crown me as prince regent’ he knows
within that destiny will soon take him to exile. His words, on the surface,
describe ceremony; inwardly, they reveal detachment. Rama’s life becomes a
lesson in inner surrender, performing one’s role fully, yet remaining untouched
by its outcome.
Those who seek the
jewels hidden in Valmiki’s deep-sea, the Great Ocean, must first understand his
inimitable style. He rarely narrates, recounts, or describes everything in one
place any subject matter connected directly or indirectly to the main story,
Sri Ramayana. He hints, he layers, he scatters meanings like seeds across Kandas.
Some truths appear only by connection and comparison. Thus, reading Valmiki Ramayana
is like walking a sacred jumble, each turn revealing a new insight to the
attentive mind.
For instance, in Sundara
Kanda, when Sita asks Hanuman about Bharata that, ‘Is Bharata, the son of
Kaushalya, well? Has he sent armies to the forest’ readers might wonder how
such a question fits the context. But those who read Uttara Kanda know
that Bharata constantly sought news of his brothers through messengers, proving
Sita’s words natural.
Even small dialogues in Valmiki Ramayana remind us that love transcends
distance, true concern travels faster than any messenger.
Valmiki Ramayana is a Dhvani
Kavya, a poem of suggestion. Dhvani (resonance) is its soul. Without
it, a poem is lifeless. Every Shloka carries layers of implied meaning.
In verses describing seasons or nature, moral and spiritual echoes resound. In
every Sarga, Valmiki begins and ends with summary verses, ensuring
continuity. When rituals, omens, or repeated events appear, earlier Shlokas
are often restated, what critics call repetition is in fact poetic precision. For
modern readers accustomed to directness, Valmiki’s suggestive art teaches how
silence and nuance often speak louder than loud rhetoric. In an age
preoccupied with novelty, Valmiki Ramayana teaches that repetition, when
sacred, deepens memory and meditation.
Elders interpret the
inner meaning of Ramayana characteristically as: ‘the Supreme Being is the only
Purusha (Cosmic Male), and all souls are feminine, symbolized by Sita. As long
as the soul remains devoted to God, it knows no suffering. When distracted by
illusion, for instance in the case of the golden deer, it falls into bondage
symbolized by Lanka. Ravana and Kumbhakarna represent ego and attachment. The
demons are the senses. Hanuman is wisdom. The reunion of Sita and Rama is the
soul’s return to God. Such allegory reminds us that Valmiki Ramayana is not
merely a story to be told but a truth to be lived. Each of us is Sita yearning
for reunion with the divine Rama within.
When Ravana calls Rama ‘a
mere mortal’ he seals his fate; for if he had accepted Rama’s divinity, he
would have escaped death. Valmiki likens Rama’s incarnation to an artiste so
immersed in his role that he forgets himself. Thus, Ravana perishes by
misperception, and Rama triumphs by perfect awareness. How often in life do
we, like Ravana, suffer by misreading reality and mistaking the divine for the
mundane! When Jatayu dies before revealing all about Sita’s abduction,
Valmiki later introduces Sampati to narrate what remained untold. Such
narrative weaving shows the poet’s craftsmanship. Rama’s alternating tones, divine
in one moment, human the next, illustrate Valmiki’s subtle art. True
literature, like life, breathes between divinity and humanity and never only
one. Explaining the poetic grandeur of Valmiki Ramayana could fill
volumes. Even Kalidasa and Bhavabhuti drew their genius from it.
Their poetic creepers
were nourished by Valmiki’s nectar. The philosopher Ramanujacharya read it
eighteen times from his guru before writing his commentary. The truly great
never begin from emptiness, but they grow upon sacred roots. To call ‘Kalidasa
a Great Poet (He is Of course)’ is like ‘Admiring a River and Forgetting the Ocean
from which it flows.’ Valmiki is that ocean and ‘Source of all Literary
Perennial Rivers.’ Just as later religions evolved by expanding one virtue
of the Vedic faith, later poets elaborated one quality each from Valmiki’s vast
reservoir. The modern reader, too, may take from Valmiki Ramayana one value,
truth, loyalty, or compassion, and live by it; even that single virtue can
illumine a lifetime.
A comparison of
Kalidasa’s verses with Valmiki’s reveals ‘Disciple and Great Master.’ The
celebrated line in Vikramorvashiyam mirrors Valmiki’s description of
Rama’s lament for Sita, word for word, save one term. Vyasa himself translated
Valmiki’s verses, it is said. What more proof of his primacy is needed? Originality
is not defiance of tradition, but it is fidelity with new expression.
Valmiki remains the fountainhead of inspired originality.
Whoever aspires to be a
true poet must read Valmiki Ramayana repeatedly, with devotion and
reflection. It is not only poetry but Dharma Shastra or a ‘True Code
of Righteousness.’ It explains every Virtue: Royal, Civic, Marital, Fraternal,
Familial, Submissive, and Friendly. Even the ethics of justice and advocacy are
embedded in its narrative. Perhaps this is why Valmiki Ramayana endures, and it teaches through stories
what laws and sermons often fail to convey. The ideals of kingship are
exemplified by Rama and Dasharatha. Ancient rulers never acted without public
consent. They governed not for power but for the welfare of people. Taxation
without compassion was deemed sin. How relevant this remains for today’s
leaders is a million-dollar question mark. Authority divorced from empathy
turns governance into tyranny.
A righteous ruler must,
through trusted messengers, know his people’s joys and sorrows, and abandon
whatever habits displease them. Rama himself, after coronation, asked his spy
Bhadran for honest public opinion. On hearing whispers of doubt, he renounced
Sita, saying, ‘To preserve pure fame, I sacrifice my own happiness.’ Few in
power today would surrender comfort for character. Rama’s example remains a
mirror to every generation of rulers. A noble ruler must daily enquire into
the welfare of his subjects. When Lakshmana delayed his return, Rama refused to
hold court for four days, grieving deeply. This human empathy of Rama transforms kingship into kinship, a leadership
ideal that modern democracies can still learn from.
The people, too,
reciprocated Rama’s affection. They were ready to accompany him into exile,
even to die with him. Despite his greatness, Rama mingled freely with the
humble, true Saushilya (gentle nature). His embrace of the boatman Guha
speaks volumes. Likewise, he heeded his ministers and valued dissent. True
leadership, Valmiki implies, is not command but communion. Understanding
Rama’s qualities reveals not only the ideals of kings but the virtues every
human should cultivate, namely, truth, compassion, self-control, filial piety,
monogamy, brotherly affection, devotion, worship, and daily discipline. In
the end, the ideal citizen and the ideal king are one who lives by self-mastery
and service.
From Sita, Kausalya,
and Sumitra we learn the nobility of virtuous women. From Kaikeyi and
Shurpanakha, the pitfalls of passion and pride. Ravana’s downfall stemmed from
lust, deceit, lack of wise counsel, and suspicion of truth-tellers. Every
fall in history, whether of empires or individuals, begins not from enemies but
from ignored advice. Through the actions of Rama and his brothers, Bhatru
Dharma (brotherly duty) shines, through Sugriva, Mitra Dharma
(friendship), and through Hanuman, Bhrutyu Dharma (service) shines.
Sita’s conversations with Anasuya reveal Sati Dharma (wifely devotion).
Rama’s speech to Kausalya shows Pitru Bhakti (devotion to father). Each
of these relationships teaches modern families that love without duty becomes
indulgence, and duty without love becomes burden.
Sugriva’s words, ‘It is
easy to gain friends but difficult to keep friendship unbroken’ capture the
essence of loyalty. Hanuman’s reasoned speech in Lanka exemplifies the Dharma
of advocacy, Janaka’s counsel reveals parental virtue, and Sita’s words show
the nature of righteous indignation. The Valmiki Ramayana, in truth, is a University
of Human Conduct. All forms of Dharma dwell within Valmiki Ramayana
and those found in other scriptures are but reflections. Vyasa expanded many of
its seeds into new narratives, such as in Mahabharata. Even the Bhagavad Gita,
at its core, is the distilled essence of Valmiki Ramayana. If Gita is
philosophy in discourse, Valmiki Ramayana is philosophy in motion, the life
made luminous through example.
Valmiki Ramayana is a
repository of sacred mantras. Its recitation with proper rituals fulfills
desires and removes afflictions. Especially the Sundara Kanda brings
success to devotees who chant it with faith. The text itself declares that Valmiki
Ramayana embodies the Gayatri Mantra, each thousand verses aligned with
one syllable of it, making it a total of 24000 Shlokas. Thus, to read Valmiki
Ramayana is not only to learn but to pray through poetry. Because it is
divine narrative, Valmiki embedded within it the potency of Bija Aksharas
(seed syllables). For instance, Sundara Kanda begins and ends with the
syllable TA reflecting Sita’s presence as its presiding deity. The
repetition of SA and TA throughout symbolizes SITA, who,
in essence, is the sacred syllable OM. For those drawn to meditation
and mantra, every sound in Valmiki Ramayana vibrates with spiritual resonance.
Valmiki Ramayana is not merely equal to the Vedas, but it is the Veda
itself. Its verses rearrange Vedic Syllables in new harmony, retelling divine
truths in poetic form. Hence, recitation of Valmiki Ramayana became part of
Vedic Ritual Duties. It reminds us that faith and art are not separate
pursuits, and sacred literature unites intellect and devotion. Some say the
24,000 Shlokas of Valmiki Ramayana correspond to the 24 syllables of Gayatri.
Each destroys great sins and confers spiritual merit. The text’s hidden
structure mirrors the Yajurveda, which Rama himself personifies. Even in
numbers and rhythm, Valmiki wove sacred geometry, where mathematics
meets mysticism.
From Bala Kanda
through Uttara Kanda, the epic parallels the Vedic Sequence, the Yajurveda,
Rigveda, Samaveda, and Atharvaveda, and ending in Upanishadic peace. Thus, Valmiki
Ramayana is not only narrative but revelation. It shows how ancient Indian
thought saw no divide between story and scripture, and in fact, both were
pathways to truth. The count of verses, syllables, and stanzas align with
Vedic Metrics. Valmiki intentionally used Vedic Idioms, proving that his
Ramayana is an echo of eternal sound (Nada Brahma).
Even today, those who chant it experience that same rhythm, connecting
heartbeats to cosmic cadence.
Valmiki Ramayana also
embodies Sankhya philosophy in numerical symbolism: the name Rama equals
seven by syllabic value, meaning, there are seven Kandas, seven days of
war, seven chief heroes, seven ritual sections signifying completeness. Seven,
the sacred number of balance, represents perfection. Thus, the Valmiki Ramayana
mirrors the harmony of creation itself.
The first verse of Bala
Kanda numerically sums to 100, equal to the number of verses in that
section, reflecting the divine precision of Valmiki’s composition. Vyasa, perhaps
recognizing this harmony, named his own work Jaya (18), mirroring the 18
Parvas and 18-day war of Mahabharata. In every sacred number lies a rhythm
of the cosmos. Ancient seers wrote not just with ink, but with insight. Sita
and Rama’s union and separation comprise the very structure of Valmiki Ramayana.
Their names together total 119 in numeric value, equal to the number of Sargas
in Ayodhya Kanda. Such hidden correspondences fill the epic. Behind poetry,
Valmiki built a cathedral of meaning where language and numbers worship
together.
Valmiki Ramayana also
explores moral paradoxes: debates over Rama’s monogamy, or his slaying of Vali,
are clarified by understanding context and Dharma. Every action of Rama
stems from divine purpose, never personal desire. Modern readers must
approach it not with judgment but with inquiry, seeing through time-bound
ethics to timeless intent. Rama’s discipline, his daily worship, penance,
and truthfulness, all makes the Valmiki Ramayana not merely a legend but a
living manual of divine life. Reading it today is like cleansing the mind
with sacred light, reminding us that spirituality is not retreat but refinement
of daily duty.
The greatness of
Valmiki’s creation is inexhaustible and its mysteries are endless. Written in
Sanskrit, supposed to be the language of gods, it reveals new wonders with
every reading. For NRIs and global readers, this English retelling is but an
offering, a small lamp lit before the sun of Valmiki’s wisdom. Those
devoted to meditation upon the divine will find this English rendering as
sacred offering (Prasadam) to the Lord, meant to bridge hearts across
time and language. May it help second generation Indians and seekers
everywhere rediscover that Valmiki Ramayana is not just India’s heritage, but it
is humanity’s inheritance.
Valmiki Ramayana is a mirror of all existence, be it poetic, moral,
spiritual, and cosmic. To read it with reverence is to converse with the
eternal. Valmiki did not merely compose an epic, but he composed humanity’s
conscience. Whoever reads it with faith rediscovers their own higher self,
their own Sita and Rama within.
Having journeyed
through these brief reflections drawn from Valmiki Ramayana, the reader
may please pause now, and see what lingers in the heart. The story that has
been just revisited is not history, it is the heartbeat of civilization, the
whisper of conscience that endures through ages. Let this book stay by everyone’s
side, not merely on a shelf but in the daily life. When circumstances weigh anyone
down, opening it at random and reading its verses will lend calmness and
courage. When success crowns the effort, read a page again and again, and in
the process, it will remind the reader to remain humble and grateful.
Valmiki Ramayana is
that rare companion which consoles in sorrow, steadies in strength, and
sanctifies in joy. Carrying it in
spirit wherever one goes, it guides their thoughts, refine emotions, and deepen
their humanity. Then, the purpose of this English rendering for them, their
children, and generations yet to come, will be complete, not to replace the
original, but to keep its fragrance alive in hearts that beat across oceans and
cultures. (PHOTOGRAPHS COURTESY RAMA BHAKTA JOGESH)
