Brahmasutra

 wiki/Brahma_Sutras

The Brahma Sūtras (ब्रह्मसूत्राणि), also known as the 

Vedanta Sūtra (वेदान्त सूत्र),or as Shariraka Sūtra,and Bhikshu-sūtra (latter two in monastic traditions),

Is a Sanskrit text which criticizes the metaphysical dualism of the influential Samkhya philosophy, 

instead it synthesizes and harmonizes divergent Upanishadic ideas and practices about the essence of existence, 

postulating Brahman as the only origin and essence of everything. 

It is attributed to the sages Bādarāyaṇa, who is also called Vyāsa (arranger), (but probably an accumulation of incremental additions and changes by various authors to an earlier work, completed in its surviving form )

The Brahma Sūtras consist of 555 aphoristic verses (sutras) in four chapters,dealing with attaining knowledge of Brahman.

Rejecting the smriti as a base of knowledge, it declares that the Vedic Upanishads are the only acceptable source of truth, infallible revelations describing the same metaphysical Reality, Brahman, which cannot be different for different people. 

The text attempts to synthesize and harmonize diverse and sometimes apparently conflicting vidyas ("knowledges") of, and upasanas (meditation, worship) of the essence of existence, stating they are actually synonyms for Brahman. 

It does so from a bhedabheda-perspective,,: " Brahman and Atman are, in some respects, different, but, at the deepest level, non-different (advaita), being identical."

core texts

 

   

Core Hindu Texts

Vedas: Considered the most ancient and foundational texts, the four Vedas are the Rigveda, Yajurveda, Samaveda, and Atharvaveda. They are seen as divinely revealed and consist of hymns, rituals, and philosophical teachings. 

Upanishads: These are a part of the Vedas and are known for their philosophical and mystical content, discussing concepts like meditation and spiritual knowledge. 

Mahabharata and Ramayana: 

These are two major epic poems that narrate the lives of legendary figures and provide moral and spiritual guidance. 

The Mahabharata includes the Bhagavad Gita, a key religio-philosophical text. 

Puranas: These texts elaborate on Vedic wisdom through stories and myths. There are 18 principal Puranas, such as the Skanda Purana, Vayu Purana, Agni Purana, Markandeya Purana, and Padma Purana. 

Other important texts

Smritis: This category includes texts that are considered to be remembered knowledge, written by humans. It encompasses a wide range of works, including law books like the Manusmriti, and other treatises on conduct and philosophy. 

Tantras: A significant body of religious texts that developed alongside Vedic tradition, these works form their own distinct system with a unique set of beliefs and practices. 

Shastras: These are a variety of texts that include philosophical systems and codes of conduct. Examples include the Yoga Sutras of Patanjali and the Nyāya Sūtras

RAMAYANA TOPICS

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hanuman in ravana's palace

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Thus that mighty monkey searched every quarter of Ravana’s private apartments without seeing Janaki anywhere and, having scanned the faces of all these women, he was filled with apprehension, fearing lest he had failed in his purpose. Then he reflected: “Beholding the wife of another while she is sleeping, is undoubtedly an infringement of the moral law, verily to look on another’s wife was never my intention but here I have seen one who has lusted after the wives of others.”

Then another thought came to that sagacious monkey, single-mindedly bent on the execution of his duty: “All these consorts of Ravana have been beheld by me without their knowledge yet I find no fluctuation in the tenor of my mind. The mind is the motive power of every movement of the senses, whether it be good or evil and mine remains untroubled; further, how could I search for Sita otherwise? It is amongst women that one should look for women; every being is to be sought amongst its own kind, none searches for a woman among deer. Therefore with a pure heart I have explored Ravana’s inner apartment but I have not seen the daughter of Janaka.”

• A moment of misjudgment for Hanuman: The episode also serves to underscore Hanuman's devotion. He is so focused on finding Sita that he momentarily believes the most beautiful woman he sees must be her. However, he quickly corrects his mistake, realizing that Sita's grace is entirely different from the worldly beauty of Mandodari. 

Chapter 10 - Hanuman sees Ravana surrounded by his Wives

 Book 5 - Sundara-kanda

 Looking round, Hanuman observed a splendid dais, worthy of the Gods, made of crystal encrusted with pearls, furnished with couches of emerald mounted on ivory and gold and covered with rich and priceless rugs. And he saw a white canopy, in that place, festooned with celestial garlands that gleamed like the moon.

And he observed a magnificent couch inlaid with gold, flaming like fire and bearing garlands of Ashoka flowers, around which figures were waving fans to and fro, creating cooling draughts and perfumes of every kind wreathed it with delicious fragrance. Spread with soft woollen cloths and decked with chaplets of flowers, it was adorned on every side.

And there, resembling a thundercloud, the Sovereign of the Titans lay with bright and flashing earrings, reddened eyes, golden raiment, his limbs smeared with saffron and fragrant sandal, like a purple cloud at dusk, riven with lightning. Adorned with celestial ornaments, magnificent to behold, able to change his form at will, as he lay asleep he resembled the Mandara Mountain with its trees, groves and bushes without number. Having ceased from dalliance, decked with priceless ornaments, the delight of the titans and dear to all the titan women, his feasting over he lay sleeping on the golden bed, breathing like a serpent.

And Hanuman, filled with awe, shrank back in fear, and stationed himself on a landing of the stairway, pressing himself against the inner wall; then that courageous monkey looked down on that lion among titans lying there in a drunken stupor. And as the King of the Titans lay sleeping, his luxurious couch resembled a great waterfall by which a mighty tusker in mustha is resting.

Hanuman looked down on the two outstretched arms, encircled with golden bracelets of that gigantic monarch, resembling the standards of Indra, which had formerly been pierced in combat by the sharp tusks of Airavata and torn by the discus of Vishnu and the great shoulders that had been lacerated by India’s mace. Those vast arms, firmly set with well-formed, powerful muscles and thumbs and nails bearing auspicious marks, rings coverings the fingers, those arms, thick as clubs, rounded like the trunk of an elephant, that lay along the opulent couch as it were two snakes with five heads, smeared with sandal of the colour of hare’s blood, fresh, extremely rare and of a delicious fragrance massaged by women of sovereign beauty with precious unguents, those arms that had caused Yakshas, Pannagas, Gandharvas Devas and Danavas to cry out in terror, that monkey gazed upon as they lay along the couch, like two great and angry reptiles sleeping in a cave on the Mandara Mountain. And with his two great arms, the Chief of the Titans resembled Mount Mandara with its twin peaks.

The scent of the Mango or Punnaga tree, impregnated with that of the Bakula blended with the savour of viands and the aroma of wine, issued from the vast mouth of that Monarch of Titans during sleep and seemed to fill the whole apartment. His diadem was decorated with rubies and precious stones, gleaming with gold and he was adorned with earrings, smeared with red sandal, his well-developed chest bearing a string of pearls; a white silken cloth, flung aside, revealed his scars and he was covered with a costly yellow coverlet. Like a mass of light he lay, hissing like a serpent so that it seemed as if an elephant lay asleep in the deep waters of the Ganges. Four lamps, set on golden pillars, cast their light to the four sides as lightning reveals the surface of a mass of cloud.

Then that foremost of monkeys saw the wives of that great monarch of the titans sleeping at the foot of their lord, their faces bright as the moon, wearing precious earrings and fresh garlands. Skilled musicians and dancers, they lay in the arms and on the breast of that Indra of Titans, attired in beautiful raiment, and the monkey gazed on those women wearing golden bracelets and earrings set with diamonds and emeralds, their faces fair as the moon, illumined by the reflection of their glittering earrings, lighting the hall as stars illumine the firmament.

Overcome with drinking and amorous dalliance, those slender-waisted wives of the King of the Demons lay fast asleep where they had been seated; and one, possessed of lovely limbs, skilled in the dance, slept there, wearied by her graceful motions, whilst another, embracing her Vina, looked like a lotus that had fallen into the water clinging to a passing raft; a third darkeyed maiden held her Mankuka in her lap, as a youthful woman would her child, while yet another with graceful limbs and shapely bosom, slept with her tambourine pressed to her heart, as one embraces his love after a long absence. This one, with eyes like lotuses had fallen asleep clasping her Vina, as a beautiful girl enfolds her beloved one affectionately in her arms. Here one of restrained sense lay beside her lute which she encircled with her arms, resembling one affianced lying by the side of her chosen one; there, one whose limbs gleamed like Kanada gold, dimpled, ravishing, her eyes heavy with wine, though sleeping, was striking her drum. One of slender waist and flawless beauty, worn out by feasting, slept with a cymbal in her lap and yet another held a Dindima and had another slung on her back so that she looked like a young mother with her husband and her child. One, with eyes large as lotus petals, clasping her Adambara tightly to her breast, had fallen asleep under the influence of wine and yet another, her water vessel overturned, resembled a flowery wreath that is sprinkled with water to keep it green; another, falling under the sway of sleep, with her hands covered her breasts resembling two golden cups, and one, with eyes like lotuses, fair as the moon, had fallen asleep embracing one of her companions possessed of lovely hips. Peerlessly beautiful women, clasping musical instruments, pressed them to their bosoms like lovers their chosen ones.

And that monkey beheld a marvellous bed set apart, on which one of these lovely women lay, richly attired, adorned with pearls and precious gems, who seemed to lend radiance to that magnificent apartment. Clad in silk bright as Kanaka gold, Ravana’s favourite Queen, Mandodari by name, that slender-waisted woman of gracious features, lay fast asleep, adorned with ornaments and, seeing her, that offspring of the Wind-God said to himself: “This one, endowed with the wealth of youth and beauty may be Sita” and he rejoiced exceedingly. Thereafter, in his delight, he leapt into the air, waving his tail and manifesting his joy by his antics, frolicking, singing, climbing up the pillars from whence he dropped to the ground, thus demonstrating his monkey nature.

hanuman articles

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 Hanumān_in_the_Rāmāyaṇa_of_Vālmīki

According to one legend, Shiva and Parvati were once playing as monkeys when Parvati became pregnant. Shiva then transferred this pregnancy to Anjana, who had been performing penance to have a child. Thus, Anjana gave birth to Hanuman, who is considered to be an embodiment of Shiva. 

myths and legends

hanuman-a-symbol-of-unity

 ramayana-topics

 Hanuman: A symbol of unity

hanuman

 ramayana-topics

 Hanuman also known as Maruti, Bajrangabali, and Anjaneya,is  a devoted companion of the deity Rama. Central to the Ramayana, Hanuman is celebrated for his unwavering devotion to Rama  . He is traditionally believed to be the spiritual offspring of the wind deity Vayu, who is said to have played a significant role in his birth.

 In Shaiva tradition, he is regarded to be an incarnation of Shiva, while in most of the Vaishnava traditions he is the son and incarnation of Vayu.

 His tales are recounted not only in the Ramayana but also in the Mahabharata and various Puranas . His theological significance and the cultivation of a devoted following emerged roughly  , during  1001-2000 ce

  

Vedic roots

The earliest mention of a divine monkey is in hymn 10.86 of the Rigveda, 

 The twenty-three verses of the hymn are a metaphorical and riddle-filled legend. It is presented as a dialogue between multiple figures: the god Indra, his wife Indrani and an energetic monkey it refers to as Vrisakapi and his wife Kapi.

Epics and Puranas

Sita's scepticism

Vanaranam naranam ca

kathamasit samagamah

Translation:

How can there be a

relationship between men and monkeys?

—Valmiki's Ramayana'

Sita's first meeting with Hanuman

(Translator: Philip Lutgendorf)[26]

Hanuman is mentioned in both the Hindu epics, Ramayana and Mahabharata.

Hanuman is mentioned in the Puranas. The Shiva Purana mentions Hanuman as an avatar of Shiva; all other Puranas and scriptures mention him as the spiritual son of Vayu, an incarnation of Vayu, or sometimes an avatar of Rudra (another name of Vayu).

Commonly, Hanuman is not related to Shiva in Vaishnava traditions but is known as Shiva's avatar or sun in Shaiva traditions.

Other texts, such as those found in South India, present Hanuman as a being who is the union of Shiva and Vishnu, or associated with the origin of Ayyappa. The 17th century Odia work Rasavinoda by Dinakrishnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined to take to the form of Hanuman.

Late medieval and modern era

Numerous 14th-century and later Hanuman images are found in the ruins of the Hindu Vijayanagara Empire.

In Valmiki's Ramayana, estimated to have been composed before or in about the 3rd century BCE, Hanuman is an important, creative figure as a simian helper and messenger for Rama. It is, however, in the late medieval era that his profile evolves into a more central role and dominance as the exemplary spiritual devotee, particularly with the popular vernacular text Ramcharitmanas by Tulsidas (~ 1575 CE). The Ramcharitmanas presented Rama as a Vishnu avatar, supreme being and a personal god worthy of devotion, with Hanuman as the ideal loving devotee with legendary courage, strength and powers.

 Legends

Birth

According to Hindu legends, Hanuman was born to mother Anjana and father Kesari.[14][41] Hanuman is also called the son of the deity Vayu (Wind god) because of legends associated with Vayu's role in Hanuman's birth. He is also said to be the incarnation of Shiva (Destroyer god). One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Vayu, the King Dasharatha of Ayodhya was also performing the ritual of Putrakameshti yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu delivered the falling pudding to the outstretched hands of Anjana, who consumed it, leading to the birth of Hanuman.[41][verification needed]

Maharshi Veda Vyasa proposed Anjanadri Hill at Tirumala is the birthplace of Hanuman. Anjaneri in Nasik, Maharashtra[42][43][44] along with Anjeneri Anjanadri (Near Hampi) in Gangavathi Taluk Koppal District, Karnataka is one of a number of places that claim to be the location of Kishkinda.[45][46][47]

Childhood

Child Hanuman reaches for the Sun thinking it is a fruit by BSP Pratinidhi

Indra maintains the celestial order by striking down the precocious Hanuman

According to Valmiki's Ramayana, one morning in his childhood, Hanuman was hungry and saw the sun. Mistaking it for a ripe fruit, he leapt up to eat it. In one version of the Hindu legend, the king of gods Indra intervened and struck Hanuman with his thunderbolt. It hit Hanuman on his jaw, and he fell to the earth dead with a broken jaw. Hanuman's father, Vayu, became upset and withdrew all the air from Earth. The lack of air created immense suffering to all living beings. This led Shiva to intervene and resuscitate Hanuman, which in turn prompted Vayu to return air to the living beings. As the mistake was done by the god Indra, he grants Hanuman a wish that his body would be as strong as Indra's Vajra, and that his Vajra can also not harm him. Along with Indra other gods have also granted him wishes: the God Agni granted Hanuman a wish that fire won't harm him; God Varuna granted a wish for Hanuman that water won't harm him; God Vayu granted a wish for Hanuman that he will be as fast as wind and that the wind won't harm him. Brahma also granted Hanuman a wish that he can move to any place where he cannot be stopped. Hence these wishes make Hanuman an immortal, who has unique powers and strength.[48]

In another Hindu version of his childhood legend, which is likely older and also found in Jain texts such as the 8th-century Dhurtakhyana, Hanuman's leap to the sun proves to be fatal and he is burnt to ashes from the sun's heat. His ashes fall onto the earth and oceans.[49] Gods then gather the ashes and his bones from land and, with the help of fishes, re-assemble him. They find everything except one fragment of his jawbone. His great-grandfather on his mother's side then asks Surya to restore the child to life. Surya returns him to life, but Hanuman is left with a disfigured jaw. Hanuman is said to have spent his childhood in Kishkindha.

Some time after this event, Hanuman begins using his supernatural powers on innocent bystanders as simple pranks, until one day he pranks a meditating sage. In fury, the sage curses Hanuman to forget the vast majority of his powers. The curse remains in effect until he is reminded of his powers in his adulthood.

Mahabharata

Bhima tries to lift Hanuman's tail.

Centuries after the events of the Ramayana, and during the events of the Mahabharata, Hanuman becomes a nearly forgotten demigod living his life in a forest. After some time, his spiritual brother through the god Vayu, Bhima, passes through looking for flowers for his wife. Hanuman senses this and decides to teach him a lesson, as Bhima had been known to be boastful of his superhuman strength (at this point in time supernatural powers were much rarer than in the Ramayana but still seen in the Hindu epics). Bhima encountered Hanuman lying on the ground in the shape of a feeble old monkey. He asked Hanuman to move, but he would not. As stepping over an individual was considered extremely disrespectful in this time, Hanuman suggested lifting his tail up to create a passage. Bhima heartily accepted, but could not lift the tail to no avail.[52][53]

Bhima, humbled, realized that the frail monkey was some sort of deity, and asked him to reveal himself. Hanuman revealed himself, much to Bhima's surprise, and the brothers embraced. Hanuman prophesied that Bhima would soon be a part of a terrible war, and promised Bhima that he would sit on the flag of his brother Arjuna's chariot and shout a battle cry for Bhima that would weaken the hearts of his enemies. Content, Hanuman left his brother to his search.[54]

 

In the Muktikā Upanishad Hanuman is in dialogue with Rama about the subject of moksha.[74]

 

Relation with Devi or Shakti

The relation between Hanuman and the goddess Kali finds mention in the Krittivasi Ramayana. Their meeting takes place in the Yuddha Kanda of this Ramayana, in the legend of Mahiravana. Mahiravana is stated to be the king of the Patala (netherworld) and a trusted friend/brother of Ravana. After his son, Indrajita, was killed, Ravana sought Mahiravana's help to kill Rama and Lakshmana. One night, Mahiravana, using his maya, took Vibhishana's form and entered Rama's camp. He cast the nidra mantra (sleeping spell) on the vanara army, kidnapped Rama and Lakshmana, and took them to Patala to sacrifice them to Devi, as per Ravana's suggestion. Hanuman learnt the way to Patala from Vibhishana and made haste to rescue his lords. On his journey, he met Makardhwaja, who claimed of being Hanuman's son. Hanuman defeated and tied him, and went inside the palace. He met Chandrasena, who told about the sacrifice and the way to kill Mahiravana. Hanuman shrunk his size to that of a bee and came across a huge idol of Kali. After being prayed to, the goddess agreed to help Hanuman rescue the brothers, allowing him to take her place while she slipped below. When Mahiravana asked the brothers to bow, they refused, claiming not to know how to perform the act. As Mahiravana decided to demonstrate, Hanuman assumed his panchamukha (five-faced) form (manifesting the additional heads of Garuda, Narasimha, Varaha, and Hayagriva), blowing the five oil lamps present in the chamber in the five cardinal directions. He severed the head of Mahiravana, thus killing him. He carried Rama and Lakshmana upon his shoulders to return them to their camp, before which he released and crowned Makaradhvaja the king of Patala. The story of Ahiravan finds its place in the Ramayanas of the east. It can be found in the Bengali version of the Ramayana, written by Krittibash, in the passage known as Mahirabonerpala. It is believed that Kali, pleased with Hanuman, blessed him to be her dvarapala (gatekeeper).[76]

Buddhism

Hanuman appears in Tibetan Buddhism (southwest China) and Khotanese (west China, central Asia and northern Iran) versions of Ramayana. The Khotanese versions have a Jātaka tales-like theme but are generally similar to the Hindu texts in the storyline of Hanuman. The Tibetan version is more embellished, and without attempts to reference the Jātakas. Also, in the Tibetan version, novel elements appear such as Hanuman carrying love letters between Rama and Sita, in addition to the Hindu version wherein Rama sends the wedding ring with him as a message to Sita. Further, in the Tibetan version, Rama chides Hanuman for not corresponding with him through letters more often, implying that the monkey-messenger and warrior is a learned being who can read and write.[77][78]

In Japan, icons of the divine monkey (Saruta Biko), guarding temples such as Saru-gami at Hie Shrine.[79][80]

In the Sri Lankan versions of Ramayana, which are titled after Ravana, the story is less melodramatic than the Indian stories. Many of the legends recounting Hanuman's bravery and innovative ability are found in the Sinhala versions. The stories in which the figures are involved have Buddhist themes, and lack the embedded ethics and values structure according to Hindu dharma.[81] According to Hera Walker, some Sinhalese communities seek the aid of Hanuman through prayers to his mother.[82] In Chinese Buddhist texts, states Arthur Cotterall, myths mention the meeting of the Buddha with Hanuman, as well as Hanuman's great triumphs.[83] According to Rosalind Lefeber, the arrival of Hanuman in East Asian Buddhist texts may trace its roots to the translation of the Ramayana into Chinese and Tibetan in the 6th-century CE.[84]

In both China and Japan, much like in India, there is a lack of a radical divide between humans and animals, with all living beings and nature assumed to be related to humans. There is no exaltation of humans over animals or nature, unlike the Western traditions. A divine monkey has been a part of the historic literature and culture of China and Japan, possibly influenced by the close cultural contact through Buddhist monks and pilgrimage to India over two millennia.[79] For example, the Japanese text Keiranshuyoshu, while presenting its mythology about a divine monkey, that is the theriomorphic Shinto emblem of Hie shrines, describes a flying white monkey that carries a mountain from India to China, then from China to Japan.[85] This story is based on a passage in the Ramayana where the wounded hero asks Hanuman to bring a certain herbal medicine from the Himalayas. As Hanuman does not know the herb he brings the entire mountain for the hero to choose from. By that time a learned medicine man from Lanka discovered the cure and Hanuman brings the mountain back to where he got it from. Many Japanese Shinto shrines and village boundaries, dated from the 8th to the 14th centuries, feature a monkey deity as guardian or intermediary between humans and gods (kami).[79][80]

The Jātaka tales contain Hanuman-like stories.[86] For example, the Buddha is described as a monkey-king in one of his earlier births in the Mahakapi Jātaka, wherein he as a compassionate monkey suffers and is abused, but who nevertheless continues to follow dharma in helping a human being who is lost and in danger.[87][88]

Various scholars have suggested that Hanuman may have influenced the conception of Sun Wukong, the central figure in the Chinese epic Journey to the West.[89][90]

Jainism

Main articles: Rama in Jainism and Salakapurusa

Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman not as a divine monkey, but as a Vidyadhara (a supernatural being, demigod in Jain cosmology). He is the son of Pavangati (wind deity) and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, thus receiving the name "Hanuman."

There are major differences from the Hindu text: Hanuman is a supernatural being in Jain texts, Rama is a pious Jaina who never kills anyone, and it is Lakshamana who kills Ravana. Hanuman becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf but is unable to convince Ravana to give up Sita. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds.

Later Jain texts, such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE), tell the same story.

In several versions of the Jain Ramayana story, there are passages that explain the connection of Hanuman and Rama (called Pauma in Jainism). Hanuman, in these versions, ultimately renounces all social life to become a Jain ascetic.[22]

 

Five-faced or Panchamukhi Hanuman: Hanuman face, man-lion face, Garuda face, Boar face, Horse face. It is found in esoteric tantric traditions that weave Vaishvana and Shaiva ideas, and is relatively uncommon.[104][105]

Five-faced or Panchamukhi Hanuman: Hanuman face, man-lion face, Garuda face, Boar face, Horse face. It is found in esoteric tantric traditions that weave Vaishvana and Shaiva ideas, and is relatively uncommon.[104][105]

The earliest known sculptures of Hanuman date from the Gupta Empire ca. 500 CE. In these very early representations, Hanuman is not yet shown as a sole figure. Free standing murtis or statues of Hanuman appeared from ca. 700 CE. onwards. These murtis portrayed Hanuman with one hand raised, one foot suppressing a demon, and an erect tail.[106] In later centuries his raised hand was sometimes shown supporting a mountain of healing herbs.[107]

Hanuman's iconography is most commonly derived from Valmiki's Ramayana. He is usually portrayed with other central figures of the Ramayana – Rama, Sita and Lakshmana. He carries weapons such as a gada (mace) and thunderbolt (vajra).[14][108] In the Hanuman Chalisa, a 16th century song written by Tulsidas, he is described as golden in color, wearing beautiful clothes and earrings, and having thick, curly hair. Tulsidas through the Hanuman Chalisa also describes him as having a mace and flag in his hands.[75]

His iconography and temples are common today. He is typically shown with Rama, Sita and Lakshmana, near or in Vaishnavism temples, as well as by himself usually opening his chest to symbolically show images of Rama and Sita near his heart. He is also popular among the followers of Shaivism.[12]

In north India, an iconic representation of Hanuman such as a round stone has been in use by yogis, as a means to help focus on the abstract aspects of him.[109]

Temples and shrines

41 meters (135 ft) high Hanuman monument at Paritala, Andhra Pradesh

Panchmukhi Hanuman Temple in Karachi, Pakistan is the only temple in the world which has a natural statue of Hanuman

The green Hanuman statue in Batu Caves, Malaysia

Hanuman is often worshipped along with Rama and Sita of Vaishnavism, and sometimes independently of them.[21] There are numerous statues to celebrate and temples to worship Hanuman all over India. Vaishnavites, adherents of Vishnu, hold that the wind god Vayu manifested in three distinct incarnations to aid Vishnu. In his incarnation as Hanuman, he supported Rama; as Bhima, he assisted Krishna; and as Madhvacharya (1238–1317), he established the Vaishnava sect known as Dvaita.[110] Shaivites claim him as an avatar of Shiva.[21] Hanuman's identification as one of the eleven Rudras may reflect a Shaiva sectarian claim on an increasingly popular god, suggesting his kinship with, and hence potential control over, a class of awesome and ambivalent deities. Hanuman's other abilities are rooted in his divine heritage as the son of Vayu, the Wind God.[11] Some scholars state that the earliest Hanuman murtis appeared in the 8th century, but verifiable evidence of Hanuman images and inscriptions first appear in the 10th century in Indian monasteries in central and north India.[111]

Wall carvings depicting the worship of Hanuman at Undavalli Caves in Guntur district.

Tuesday and Saturday of every week are particularly popular days at Hanuman temples. Some Hindus keep a partial or full fast on either of those two days and remember Hanuman and the theology he represents to them.[112]

Major temples and shrines of Hanuman include:

The oldest known independent Hanuman temple and statue is at Khajuraho, dated to about 922 CE from the Khajuraho Hanuman inscription.[113][114]

Hanumangarhi, Ayodhya, is a 10th-century temple dedicated to Hanuman.[115]

Panchmukhi Hanuman Temple is a 1,500-year-old temple in Pakistan. It is located in Soldier Bazaar in Karachi, Pakistan. The temple is highly venerated by Pakistani Hindus as it is the only temple in the world which has a natural statue of Hanuman that is not man-made (Swayambhu).[116][117]

Jakhu temple in Shimla, Himachal Pradesh contains a monumental 108-foot (33-metre) statue of Hanuman and is the highest point in Shimla.[118]

The tallest Hanuman statue is the Veera Abhaya Anjaneya Swami, standing 135 feet tall at Paritala, 32 km from Vijayawada in Andhra Pradesh, installed in 2003.[103]

Chitrakoot in Madhya Pradesh features the Hanuman Dhara temple, which features a panchmukhi statue of Hanuman. It is located inside a forest, and it along with Ramghat that is a few kilometers away, are significant Hindu pilgrimage sites.[119]

The Peshwa era rulers in 18th century city of Pune provided endowments to more Hanuman temples than to temples of other deities such as Shiva, Ganesh or Vitthal. Even in present time there are more Hanuman temples in the city and the district than of other deities.[120]

One of the major temples of Hanuman is Hanuman Temple Salangpur in based in Salangpur, Gujarat.[121] There is also a statue of Hanuman which is 54 ft tall.[122]

In India, the annual autumn season Ramlila play features Hanuman, enacted during Navratri by rural artists (above).

A major Hanuman statue has been built by Tamil Hindus near the Batu caves in Malaysia.

An 85-foot (26 m) Karya Siddhi Hanuman statue by colonial era Hindu indentured workers' descendants at Carapichaima in Trinidad and Tobago.

Another Karya Siddhi Hanuman Temple has been built in Frisco, Texas in the United States.[123]

In 2024, another Hanuman statue was inaugurated in Texas with the name Statue of Union, which is now the fourth-tallest statue in the US.[124]

Festivals and celebrations

Hanuman is a central figure in the annual Ramlila celebrations in India, and seasonal dramatic arts in southeast Asia, particularly in Thailand; and Bali and Java, Indonesia. Ramlila is a dramatic folk re-enactment of the life of Rama according to the ancient Hindu epic Ramayana or secondary literature based on it such as the Ramcharitmanas.[56] It particularly refers to the thousands[125] of dramatic plays and dance events that are staged during the annual autumn festival of Navratri in India.[126] Hanuman is featured in many parts of the folk-enacted play of the legendary war between Good and Evil, with the celebrations climaxing in Vijayadashami.[127][128]

The Ramlila festivities were declared by UNESCO as one of the "Intangible Cultural Heritages of Humanity" in 2008. Ramlila is particularly notable in the historically important Hindu cities of Ayodhya, Varanasi, Vrindavan, Almora, Satna and Madhubani – cities in Uttar Pradesh, Uttarakhand, Bihar and Madhya Pradesh.[127]

Hanuman's birthday is observed by some Hindus as Hanuman Jayanti. It falls in much of India in the traditional month of Chaitra in the lunisolar Hindu calendar, which overlaps with March and April. However, in parts of Kerala and Tamil Nadu, Hanuman Jayanti is observed in the regional Hindu month of Mārgaḻi, which overlaps with December and January. The festive day is observed with devotees gathering at Hanuman temples before sunrise, and day long spiritual recitations and story reading about the victory of good over evil.[8]

Hanuman in Southeast Asia

Cambodia

Cambodian depiction of Hanuman at Angkor Wat. Rama is standing on top of Hanuman in the middle of the mural.

Hanuman is a revered heroic figure in Khmer history in southeast Asia. He features predominantly in the Reamker, a Cambodian epic poem, based on the Sanskrit Itihasa Ramayana epic.[129] Intricate carvings on the walls of Angkor Wat depict scenes from the Ramayana including those of Hanuman.[130]

In Cambodia and many other parts of southeast Asia, mask dance and shadow theatre arts celebrate Hanuman with Ream (same as Rama of India). Hanuman is represented by a white mask.[131][132] Particularly popular in southeast Asian theatre are Hanuman's accomplishments as a martial artist Ramayana.[133]

Indonesia

Hanuman statue at Bali, Indonesia

Hanuman (Indonesian: Hanoman or Anoman ) is the central figure in many of the historic dance and drama art works such as Wayang Wong found in Javanese culture, Indonesia. These performance arts can be traced to at least the 10th century.[134] He has been popular, along with the local versions of Ramayana in other islands of Indonesia such as Java.[135][136]

Hanuman relief in Prambanan temple, Indonesia

In major medieval era Hindu temples, archeological sites and manuscripts discovered in Indonesian and Malay islands, Hanuman features prominently along with Rama, Sita, Lakshmana, Vishvamitra and Sugriva.[137][138] The most studied and detailed relief artworks are found in the Candis Panataran and Prambanan.[139][140]

Hanuman, along with other figures of the Ramayana, are an important source of plays and dance theatre repertoire at Odalan celebrations and other festivals in Bali.[141]

Wayang story

Hanuman wayang (puppetry) in Indonesian culture

Hanoman in Javanese wayang is the son of Batara Guru who became the disciple and adopted son of Batara Bayu. Hanoman himself is a cross-generational figure from the time of Rama to the time of Jayabaya. Anjani is the eldest daughter of Rishi Gotama who is cursed so that she has the face of an ape. On the orders of his father, he was imprisoned naked in the lake Madirda. Once upon a time, Batara Guru and Batara Narada flew across the sky. When he saw Anjani, Batara Guru was so amazed that he released semen. The king of the puppet gods rubbed it with tamarind leaves and threw it into the lake. The sinom leaf fell on Anjani's lap. She also picked it up and ate it until she became pregnant. When it was time to give birth, Anjani was assisted by the angels sent by Batara Guru. She gave birth to a baby monkey with white hair, while herself again had a beautiful face and was taken to heaven as an angel.

The baby, in the form of a white monkey, which is Anjani's son, was taken by Batara Bayu and adopted as a child. After completing his education, Hanoman returned to the world and served his uncle, Sugriwa, the monkey king of Kiskenda Cave. At that time, Sugriwa had just been defeated by his brother, Subali, another uncle of Hanoman. Hanoman managed to meet Rama and Laksmana, a pair of princes from Ayodhya who were undergoing exile. The two then work together with Sugriwa to defeat Subali, and together attack the land of Alengka to free Sita, Rama's wife who was kidnapped by Rahwana, Subali's disciple.

Hanoman infiltrates the Alengka palace to investigate Ravana's power and witness Sita's plight. There he made such a mess that he was caught and burned. Instead, Hanoman actually managed to burn parts of the capital city of Alengka. This event is known as Hanuman Obong. After Hanoman returned to Rama's place, the monkey army set out to attack Alengka. Hanoman appears as a hero who kills many Alengka troops, for example Surpanaka (Sarpakenaka) Ravana's younger brother. In the final battle between Rama and Ravana, he was overwhelmed with his Aji Pancasu, the ability to live eternally. Every time Rama's weapon killed Ravana, immediately Ravana rose again. Wibisana, Ravana's sister who sided with Rama immediately asked Hanoman to help. Hanoman also lifted Mount Ungaran to fall on top of Ravana's corpse when Ravana had just died at the hands of Rama for the umpteenth time. Seeing Hanuman's impudence, Rama also punished him to guard Ravana's grave. Rama believes that Ravana is still alive under the crush of the mountain, and at any time can release his spirit to wreak havoc in the world.

Several years later after Rama died, Ravana's spirit escaped from Mount Pati and went to Sumatra Island to seek the reincarnation of Sita, namely Subhadra, Krishna's sister. Krishna himself is the reincarnation of Rama. Hanoman chases and meets Bima, his younger brother and Bayu's adopted son. Hanuman then served Krishna. He also managed to capture the spirit of Ravana and imprisoned him in Mount Kendalisada. On the mountain Hanoman acts as a hermit.

Unlike the original version, Hanoman in the wayang has two children. The first is named Trigangga who is in the form of a white ape like himself. It is said that when he came home from burning Alengka, Hanoman had the image of Trijata's face, Wibisana's daughter, who took care of Sita. Over the ocean, Hanuman's semen fell and caused the seawater to boil. Unbeknownst to him, Baruna created the foam into Trigangga. Trigangga immediately grew up and met Bukbis, the son of Ravana. The two are friends and sided with Alengka against Rama. In the war Trigangga managed to kidnap Rama and Laksmana but was chased by Hanoman. Narada came down to intervene and explained the blood relationship between the two white monkeys. Finally, Trigangga turned against Ravana.

Hanuman's second son was named Purwaganti, who had only appeared in the Pandavas era. He was credited with finding Yudhisthira's lost heirloom named Kalimasada. Purwaganti was born to a priest's daughter whom Hanoman married, named Purwati. Hanuman lived so long that he was tired of living. Narada descends to grant his wish, which is to die, as long as he can complete the final task, which is to reconcile the six descendants of Arjuna who are involved in a civil war. Hanoman disguised himself as Resi Mayangkara and succeeded in marrying Astradarma, son of Sariwahana, to Pramesti, daughter of Jayabaya. The Sariwahana family and Jayabaya were involved in a dispute even though they were both descendants of Arjuna. Hanoman then appeared to face Jayabaya's enemy named Yaksadewa, the king of Selahuma. In that war, Hanuman died, moksha with his body, while Yaksadewa returned to his original form, namely Batara Kala, the god of death.[142]

Thailand

Thai iconography of Hanuman. He is one of the most popular figures in the Ramakien.[143]

Hanuman plays a significantly more prominent role in the Ramakien.[144] In contrast to the strict devoted lifestyle to Rama of his Indian counterpart, Hanuman is known in Thailand as a promiscuous and flirtatious figure.[145] One famous episode of the Ramakien has him fall in love with the mermaid Suvannamaccha and fathering Macchanu with her. In another, Hanuman takes on the form of Ravana and sleeps with Mandodari, Ravana's consort, thus destroying her chastity, which was the last protection for Ravana's life.[146]

As in the Indian tradition, Hanuman is the patron of martial arts and an example of courage, fortitude and excellence in Thailand.[147] He is depicted as wearing a crown on his head and armor. He is depicted as an albino with a strong character, open mouth, and sometimes is shown carrying a trident.

Hanuman is the mascot of the 1st Asian Martial Arts Games in Bangkok, Thailand.

Lineage

Though Hanuman is described to be celibate in the Ramayana and most of the Puranas, according to some regional sources, Hanuman married Suvarchala, the daughter of Surya (Sun-God).[148]

However, once Hanuman was flying above the seas to go to Lanka, a drop of his sweat fell in the mouth of a crocodile, which eventually turned into a baby. The monkey baby was delivered by the crocodile, who was soon retrieved by Ahiravana, and raised by him, named Makardhwaja, and made the guard of the gates of Patala, the former's kingdom. One day, Hanuman, when going to save Rama and Lakshmana from Ahiravana, faced Makardhwaja and defeated him in combat. Later, after knowing the reality and after saving him, he made his son the king of Patala.

The Jethwa clan claims to be a descendant of Makardhwaja, and, according to them, he had a son named Modh-dhwaja, who in turn had a son named Jeth-dhwaja, hence the name of the clan.

In popular culture

While Hanuman is a quintessential character of any movie on Ramayana, Hanuman-centric movies have also been produced with Hanuman as the central character. In 1976 the first biopic movie on Hanuman in Hindi was released with wrestler Dara Singh playing the role of Hanuman. He again reprised the character in Ramanand Sagar's television series Ramayan and B. R. Chopra's Mahabharat.[149] The TV series Jai Hanuman was released in 1997 on Doordarshan.

In 2005 an animated movie of the same name was released and was extremely popular among children. Actor Mukesh Khanna voiced the character of Hanuman in the film.[150] Following this several series of movies featuring the god were produced, though all of them were animated, prominent ones being the Bal Hanuman series 2006–2012. Another movie, Maruti Mera dost, (2009) was a contemporary adaptation of Hanuman in modern times.[151]

The 2015 Bollywood movie Bajrangi Bhaijaan had Salman Khan playing the role of Pawan Kumar Chaturvedi, who is an ardent Hanuman devotee and regularly invokes him for his protection, courage, and strength.[152]

US president Barack Obama had a habit of carrying with him a few small items given to him by people he had met. The items included a small figurine of Hanuman.[153][154]

Hanuman was referenced in the 2018 Marvel Cinematic Universe film, Black Panther and its 2022 sequel Black Panther: Wakanda Forever, which are set in the fictional African nation of Wakanda; the Jabari tribe often is seen saying Glory to "Hanuman" as the tribe worships its ancestral gorilla deity. The reference was removed from the film in theatre screenings in India. But the uncensored part came out later on digital streaming platforms in the country.[155][156]

The Mexican acoustic-metal duo, Rodrigo Y Gabriela released a hit single named "Hanuman" from their album 11:11. Each song on the album was made to pay tribute to a different musician that inspired the band, and the song Hanuman is dedicated to Carlos Santana. Why the band used the name Hanuman is unclear, but the artists have stated that Santana "was a role model for musicians back in Mexico that it was possible to do great music and be an international musician."[157]

Hanuman is the protagonist in the 2022 film Hanuman White Monkey, a fantasy film that combines special effects with a Khon (Thai masked pantomime) performance style.[158] In the 2022 action-adventure Ram Setu, it is implied that the character "AP" is actually Hanuman.[159] In 2024, Telugu film director Prasanth Varma directed the film Hanu-Man, a superhero film based on Hanuman's power. The film's sequel, Jai Hanuman, was initially scheduled for release during the Sankranti festival of 2025, but the release has since been postponed due to Rishab Shetty’s commitments to Kantara: Chapter 1, and the film is now expected to release in 2026.

Literature

The Sapta Chiranjivi Stotram is a mantra that is featured in Hindu literature: 

The mantra states that the remembrance of the eight immortals (Ashwatthama, Mahabali, Vyasa, Hanuman, Vibhishana, Kripa, Parashurama, and Markandeya) offers one freedom from ailments and longevity.

 

ethical lessons

 ramayana-topics

 

Difference between divine and demoniac natures. Divine beings live within boundaries, respecting them even when angry or hurt, while demoniac beings disregard boundaries altogether. Shurpanakha’s actions, fueled by lust and anger, led to violence and the eventual abduction of Sita by Ravana.

 we see the consequences of crossing moral boundaries. While it is natural to feel hurt or angry when rejected, it is how we respond that defines us. Respect for boundaries is essential, and the actions of Shurpanakha show the dangers of ignoring this principle.

Initially, Ravana’s motivation was his pride, which was hurt when Ram rejected Shurpanakha. But once his lust was triggered, his pride was overshadowed. This is a reminder that our attachments, our desires, can often become our weaknesses, and others can exploit them.

Laxman, trying to calm her down, remained steady. However, Sita, overwhelmed by her fears, could not understand why he wasn’t reacting as she thought he should. As Krishna says in the Bhagavad Gita, self-destructive desires often cloud our judgment, making it difficult to think clearly or rationally in times of distress.

It can refer to any desire or emotion, any self-destructive desire or emotion that arises within us. It exists at the level of the senses, the mind, and can also manifest at the level of the intelligence, as described in verse 3.40 of the Bhagavad Gita.

So, what does this mean? At the level of the senses, we see something and become agitated. At the level of the mind, what we have seen keeps replaying in our thoughts. When it reaches the level of intelligence, we begin to scheme—thinking, “How can I do this?”

If we know something is wrong, but we think we can get away with it without getting caught, we start scheming. For most of us, when there is some temptation, the mind pulls us towards it, but the intelligence says, “No, don’t do it; it’s not good for you.” However, sometimes the mind becomes so powerful that it not only drags the intelligence along, but it also uses the intelligence to justify the action.

For example, the mind might say, “This isn’t really wrong. Why do people consider this wrong? Everyone does it.” We rationalize our actions by coming up with various justifications.

For Sita, her mind was extremely agitated. Now, at an ethical level (not a devotional one), we see that Sita, in her anxiety, was trying to make sense of things. When we are under stress, we often don’t even realize what we’re doing. In her state, she somehow convinced herself that Lakshmana wasn’t going to help because he had evil intentions toward her. She accused him of wanting to possess her, even though Lakshmana had served them faithfully for years. These words were like a thunderbolt to Lakshmana.

To be accused of something we haven’t done is painful enough, but to be accused by someone we trust—someone who should trust us—is even more unbearable. 

 Even though Ram had told Lakshmana not to take Sita’s words seriously, he didn’t blame him. Similarly, Lakshmana didn’t blame Ram for chasing the deer. Instead, they both focused on the real issue: Sita was missing.When something bad happens, people often look for someone to blame. However, in moments of crisis, both Ram and Lakshmana understood the importance of perspective. Sita’s hurtful words were painful, but the far greater danger was her abduction. At that moment, neither Ram nor Lakshmana blamed each other, but instead, they focused on finding Sita.

Finally, it’s important to note that human nature often leads us to personify problems. Instead of addressing the root cause, we tend to blame or give our troubles a “face,” often making them seem more personal than they really are.

When a problem arises, if it doesn’t have a face, it becomes difficult to deal with. Often, we want to pin the blame for a problem on a person and target them. This tendency can lead to scapegoating.

Now, regarding the Lakshmana Rekha, in the Valmiki Ramayana, there is no mention of it. The concept of Lakshmana Rekha appears in later retellings, especially in the Ramcharitmanas. Sometimes, it is said that Sita’s abduction occurred because she stepped outside the Lakshmana Rekha, and that it was her mistake. This analysis can sometimes lead to victim-blaming, as if to suggest, “What did you do to bring this on yourself?” Such thinking is harmful.

neither Ram nor Lakshmana blamed anyone for the situation; they focused on what could be done now that the problem had occurred.

Our natural tendency is often to find someone to blame when something goes wrong, but real life is far more complex, with many factors at play. The primary cause of Sita’s abduction was Ravana, not any of the other circumstances surrounding it. Sometimes, when bad things happen, we excuse the wrongdoer, saying, “They’re just bad people, and this is what they do,” but we shouldn’t shift the blame onto those who are not at fault, especially good people. It’s crucial to avoid this tendency to blame others for every misfortune. While we can learn from mistakes, we shouldn’t let the habit of blaming others worsen the situation or damage relationships.

“Aparigraha”—the aversion to fault-finding, which is considered a characteristic of a godly nature. We should avoid jumping to conclusions and blaming others without understanding the situation fully.(lakshmana on many occassions...dasaratha bharatha)

Often, words spoken in tension should not be taken as the person’s true feelings. Sometimes, life is so stressful that even the best of us may say things we regret.

we need to understand that, especially in times of tension, we should not read too deeply into harsh words spoken in the heat of the moment. People may say things in such moments that they don’t truly mean. It’s important to let these things go, as long as the overall relationship is affectionate and respectful.

When we focus on how to avoid blaming others, we need to understand the difference between being responsible and blaming. The key difference lies in the focus. In blaming, we focus on the cause of the problem, while in being responsible, we focus on the solution. Understanding the cause is important, but the focus should always be on how to resolve the issue.

Sometimes, in life, we may not be able to understand the cause of a problem. I have a friend in California who is a firefighter. California is prone to wildfires, and when a fire breaks out, the first question is always, “What caused the fire?” Was it an accident, or was it intentional? But sometimes, the cause of the fire is unclear, and there are no clues. However, even if the cause is unknown, the firefighters still focus on putting out the fire and saving lives. The priority is always the cure, not the cause.

Life can be the same. We might not always understand why something happened, but we should focus on resolving the problem, not blaming someone for it.

When a problem arises, it’s difficult to deal with if we can’t assign a face to the problem. Often, we want to pin the blame on someone and target that person, which can lead to scapegoating.

Regarding Lakshmana Rekha, in the Valmiki Ramayana, there is no mention of Lakshmana Rekha. It is only introduced in later retellings, especially in the Ramcharitmanas. Sometimes, people argue that Sita’s abduction happened because she crossed the Lakshmana Rekha, implying it was her mistake. This kind of analysis blames the victim, as if to say, “You must have done something to provoke this.”

However, the Valmiki Ramayana doesn’t blame Sita. It simply states that Ravana abducted her, without assigning fault to her. Neither Rama nor Lakshmana tried to blame anyone. Instead, they focused on the bigger picture, which is a healthier approach to problem-solving.

In real life, problems often arise from multiple factors, and it’s important not to jump to conclusions or immediately place blame. While there may be contributory factors, the primary cause of Sita’s abduction was Ravana, not Sita’s actions.

Blaming others, particularly the victims, can make matters worse. We need to avoid this tendency. Krishna in the Bhagavad Gita says that aversion to fault-finding is a characteristic of the godly nature. So, we should avoid blaming others, especially in moments of tension.

In life, when faced with problems, we should ask, “What can I do to solve this?” rather than getting lost in why it happened.

in life, the focus should be on the solution, not on finding the cause, especially when it comes to blame. Being responsible means focusing on fixing the problem, even if the cause is unclear.

Ramayana: the Inner Spiritual Journey ~ Swami Chinmayananda.

  ramayana-topics

 

Ramayana: the Inner Spiritual Journey ~ Swami Chinmayananda.

 [Excerpts from articles and letters by Swami Chinmayananda]

RAMAYANA – the poem was written by a man well-established in the Ultimate Reality, who was expressing through his work, the pure Advaita Philosophy, the contents of the Upanishads. The glory of the poem is that the ideal “states of living” are expressed – the ideal brother, son, king, enemy, friend and the ideal man living in society. But all this is mere paraphernalia. The core of this poem is utterly divine – which explains why the glorious story of Rama is so popular even today!

RAMA itself means “Sarveshu Ramante iti Ramah” — that which revels in every one of us, the pure Light of Consciousness, the Atman, the Self, the Atma-Rama. This spiritual essence in us, can come out only as a son of Dasaratha, one who has conquered all the ten indriyas – five jnanendriyas and the five karmendriyas. It will be born in you and reborn only in Ayodhya (yuddha means conflict, Ayodhya means where there is no conflict, meaning, where all conflict has ended). In that Ayodhya which is ruled by the self-controlled Dasaratha, RAMA is born.

This Rama, the pure Self, cannot enter into any active participation in life unless wedded to the mind. Sita (the mind) is ready. She was not born to Janaka by wedlock. While ploughing the land, he finds Sita. The mind appeared from the most inappropriate place ever. It is absurd to enquire deep into this. Later you find that the same Sita disappears into Mother Earth. From Mother Earth she came, to Mother Earth she went back. From where the mind comes, and where it disappears during samadhi, nobody can tell. This is Maya !!

Wedded to the mind when Rama returns, he finds that he cannot live in Ayodhya. For, once the mind has come, you start expressing through it. You have to enter the ‘forest of life’, self-exiled as it were. Some cause or other must emerge as one enters the ‘forest of existence’. So long as Sita was looking up to Rama, living in Rama, for Rama, by Rama, she never found any difference between Ayodhya and a jungle. But how long can the mind remain constantly centred in the higher divine potential in us? It has to become extrovert. And this is just what happened the moment Sita looked away from Rama. The golden deer was noticed. The finite, ephemeral, ever-changing objects, start pulling you towards them. The mind demands them. Rama may argue, and all the Scriptures might also argue, that it is all Maya, that it is not real, that it is only a Rakshasa. Yet even Sita, Rama’s own consort, will not accept it, and she will exile Rama in search of the sense-object. Once desire-polluted, you fall. Rama goes…. and Sita is left in Lakshmana’s charge.

Lakshman represents Tapas (austerity). He had no reason to go to the jungle. But he left of his own accord, and he lives in perfect Brahmacharya, even without sleep. It is perfect Tapas. But then, one cannot live in Tapas. The delusion of the other world will force you to give it up. The moment Sita hears the sound of Rama’s voice, she forgets Rama’s glory and might and becomes anxious about his safety. She even urges Lakshmana to go to her husband’s aid. And when Lakshmana assures her that the great Rama will never come to any harm, for there is none to match him in skill and valour, Sita severely rebuffs him. When the beautiful ideal woman Sita utters such malignant words, Lakshmana is shocked into silence. He goes away, drawing a line of demarcation round the hut, urging her not to go beyond it.

Once desire enters your bosom, as an ordinary individual you cannot constantly live in Tapas. But you can at least draw a line — thus far and no further. But once Tapas has been given up, such lines are of no use. You readily step over them. And when you do this instead of Dasaratha, you are confronted by Dasamukha, the opposite character. The latter is an extrovert as the former is self-controlled. The sensuous materialistic power persuades Sita to cross over the line because, as long as you are within the moral boundary, it cannot affect you. You go beyond it, and permissiveness starts, and Dasamukha ensnares you.

Dasamukha does not mean having five heads on the right and another five on the left, with one neck in between. What is meant here is that the five jnanendriyas and the five karmendriyas together constitute the Dasamukha. A totally extrovert man lives in the flesh, for the flesh, and by the flesh – it is the rule of the flesh. Such a man is a sensualist and a total extrovert. Materially he can become great as did Ravana who ruled over a prosperous land, Lanka. In Lanka, nobody worked, everybody was supported by the socialist government, and people from all over the world came to pay homage to Ravana, who was supremely powerful. But does materialism provide anything more than mere physical comfort? It is not a solution to the problem of life. Spiritual and cultural values alone can save the world. This idea is brought out in the Ramayana.

Sita was abducted and taken away. She was no more a citizen of Aryavarta, the hallowed and cultural land any longer. She will be given a place in Lanka, another island, no doubt very near, but altogether another land. Even there she was exiled. We are all at this moment “Sitas” in exile. Should we give in to sensuality? To gain back our original Ayodhya, what should we do? We should do exactly what Sita did. She realised she had fallen and to prevent a further fall, she firmly said ‘No’ to Ravana and remained in the garden under an Ashoka tree. Shoka means ‘dukha’, i.e., sorrow, Ashoka therefore means ‘not dukha’ (devoid of sorrow). You and I will have sorrow but we do not recognise it. This is the ‘Ashoka’ state. Under the “tree of non-recognition of sorrows”, when we want to remain steadfast in character, we will doubtless be tempted and put to a lot of strain. But in that Ashoka-attitude, we should remain steadfast, constantly remembering Rama.

Sita was constantly and vigorously thinking of Rama. And we cannot say that Rama did not respond. In the Ramayana, we will find that the scene is alternately changing — once Lanka is shown, the next moment Rama is shown in the jungle. This shows that there is a secret communication between them. The more intense Sita’s cry, the more frenzied does Rama’s search for her becomes. He weeps like an ordinary mortal, not because he is attached to her, but because of his longing to help a devotee.

The spiritual essence in man can kill and destroy Ravan, the ten-headed monstrosity of extrovertedness. It can do it with the army of monkeys. An educated man reading this should know what the monkeys refer to. The monkey has two qualities – asthiratwa and chanchalatwa – instability and restlessness. The thoughts in the human mind have these two qualities. They cannot remain – stable. The monkey cannot remain on one branch, it jumps from one branch to another and from tree to tree. If it gets tired and sits on a tree, it will still be restless. Thus, it cannot keep quiet even for a minute. So too, our thoughts. They can never remain quiet, but keep jumping from topic to topic. The army of thoughts is to be controlled. But, at this moment, Vali, who stands for lust, controls them. This has to be destroyed. And how? It can be only done from behind. From the front, every time it is your lust that wins, and not you. So, if ever you want to conquer this lust, you have to shoot it from behind the tree. Vali had such great power, that anytime an enemy approached him, half the strength of the enemy would drain away and Vali himself would become three times stronger. So, Rama had to kill him from behind. To whom should he then give the kingship of the monkey-clan – the “thoughts?” To whom better than Sugreeva? “Greeva” means reins, “Sugreeva” means well-reined, i.e., well-controlled. When the thoughts are under one’s control, the army is then available to cross the frontiers and reach Lanka to kill the ten-headed monster and bring back Sita.

When Rama regains Sita after having destroyed extrovertedness, the mind that is no longer extrovert is no mind at all. It (Sita) has to disappear. Without Sita, Rama cannot bring about “Rama-Rajya”. He cannot rule without a wife. Therefore, Kapila comes and offers him a Mithya Sita or Maya Sita. And with Maya Sita, Rama returns to rule Ayodhya, with a tranquil and poised mind in a state of perfection, having regained his spiritual status. Though he returns with a mind, it is not really there. It is like the sky which allows everything to remain in space without getting contaminated. So too, Rama, the Man of Perfection, allows the mind to remain in him, but is not affected by it. Since Rama functioned in the world outside with a perfectly controlled mind, the result had to be a RAMA-RAJYA !!!

 

ramayana

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Valmiki's Ramayana

 in its extant form, is an epic poem containing over 24,000 couplet verses, divided into seven kāṇḍas (Bālakāṇḍa, Ayodhyakāṇḍa, Araṇyakāṇḍa, Kiṣkindakāṇḍa, Sundarākāṇḍa, Yuddhakāṇḍa, Uttarakāṇḍa), and about 500 sargas (chapters). It is regarded as one of the longest epic poems ever written

Books two to six are the oldest portion of the epic .

While stabilizing the original text of Ramayana, historians surmised that portions of two Books [Kaandas], namely Book I, Bala Kaanda and Book VII, Uttara Ramayana  are later additions - "The first and the last Books of the Ramayana are later additions. The bulk, consisting of Books II--VI, represents Rama as an ideal hero. In Books I and VII, however Rama is made an avatara or incarnation of Vishnu, and the epic poem is transformed into a Vaishnava text. The reference to the Greeks, Parthians, and Sakas show that these Books cannot be earlier than the second century B.C......"[ The cultural Heritage of India, Vol. IV, The Religions, The Ramakrishna Mission, Institute of Culture ].

M. R. Parameswaran says that the way the positions of women and Shudras are depicted shows that the Uttara Kanda is a later insertion.

Since Rama was revered as a dharmatma, his ideas seen in the Ramayana proper cannot be replaced by new ideas as to what dharma is, except by claiming that he himself adopted those new ideas. That is what the U-K [Uttara Kanda] does. It embodies the new ideas in two stories that are usually referred to as Sita-parityaga, the abandonment of Sita (after Rama and Sita return to Ayodhya and Rama was consecrated as king) and Sambuka-vadha, the killing of the ascetic Sambuka. The U-K attributes both actions to Rama, whom people acknowledged to be righteous and as a model to follow. By masquerading as an additional kanda of the Ramayana composed by Valmiki himself, the U-K succeeded, to a considerable extent, in sabotaging the values presented in Valmiki's Ramayana

"Thus, on getting boon from the Forefather Brahma he has become arrogant and torturing the three worlds, and he is even abducting women. As such, oh, enemy destroyer Vishnu, his elimination is envisaged through humans alone." So said gods to Vishnu. [1-16-6b, 7]

but 

Brahma as a prominent god  existed during the 2nd century CE to 6th century CE. only. /insertion 

multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of southeast Asia. There is an extensive tradition of oral storytelling based on Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives.

During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil, but references to Ramayana story appear in Tamil literature as early as 3rd century CE. The Telugu rendition, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 13th century and another of a purer Telugu rendition, called Molla Ramayanam written by Atukuri Molla in the 15th century.

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 role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a cave, to be 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 as elaboration of the events surrounding her birth – in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in the Mahakali form.

The Gondi people have their own version of the Ramayana known as the Gond Ramayani, derived from oral folk legends. It consists of seven stories with Lakshmana as the protagonist, set after the main events of the Ramayana, where he finds a bride.[45]

In Adiya Ramayana, an oral version of Ramayana prevailing among the Adiya tribe of Wayanad, Sita is an Adiya woman hailing from Pulpally in Wayanad.[46] A notable difference in the version is that the Rama, Lakshmana and Hanuman were tied to a tree and were brought to trial in the tribal court, where the deities of the clan Sidhappan, Nanjappan, Mathappan etc. interrogate them with intense inquiries regarding the ethical justification for abandoning his pregnant wife in the barren jungle, neglecting his duties as a husband. Rama admits his mistakes and reaccepts Sita, Lava and Kusha

Even before Kambar wrote the Ramavataram in Tamil in the 12th century CE, there are many ancient references to the story of Ramayana, implying that the story was familiar in the Tamil lands even before the Common Era. References to the story can be found in the Sangam literature of Akanaṉūṟu (dated 1st century BCE)[48] and Purananuru (dated 300 BC),[49][50] the twin epics of Silappatikaram (dated 2nd century CE)[51] and Manimekalai (cantos 5, 17 and 18),[52][53][54] and the Alvar literature of Kulasekhara Alvar, Thirumangai Alvar, Andal and Nammalvar (dated between 5th and 10th centuries CE).[55] Even the songs of the Nayanmars have references to Ravana and his devotion to Lord Siva.

n the Buddhist variant of the Ramayana (Dasaratha Jataka), Dasharatha was king of Benares and not Ayodhya. Rama (called 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 wife of Dasharatha. Sita was the wife 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.

After nine years, Dasharatha died and Lakkhaṇa and Sita returned. Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā. There is no Ravana in this version, or the Rama-Ravana war. However, Ravana appears in other Buddhist literature, the Lankavatara Sutra.

In the explanatory commentary on Jātaka, Rāmapaṇḍita is said to have been a previous birth of the Buddha, and Sita as previous birth of Yasodharā (Rahula-Mata).

Vimalsuri was a Jain monk of the Śvetāmbara Murtipujaka sect. He is best known for his composition "Paumachariyam", the earliest known Jain version of the Ramayana and the oldest work of literature written in Maharashtri Prakrit.[57][58] Jain versions of the Ramayana can also be found in the various Jain agamas like Saṅghadāsagaṇī Vāchaka's Vasudevahiṇḍī (circa 4th century CE),[59] Ravisena's Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva.

Rama, Lakshmana and Ravana are the eighth Baldeva, 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 two distinct classes of mighty brothers, who appear nine times in each half time cycle and jointly rule half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of jinas) by Acharya Bhadrabahu (3d–4th century BCE).

In the Jain epic of Ramayana, it is not Rama who kills Ravana as told in the Hindu version. Perhaps this is because Rama, a liberated Jain Self in his last life, is unwilling to kill.[60] Instead, it is Lakshmana who kills Ravana (as Vasudeva killes Prativasudeva).[60] 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 as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.

The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Ayodhya had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he came to be known by another 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 four chief queens: Maithili, Prabhavati, Ratinibha, and Sridama.

Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven as Indra. Rama, after Lakshman'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 fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future Tirthankara of the next half ascending time cycle and Sita will be his Ganadhara