A delightfully straightforward and lyrical retelling of the ancient Indian epic of loyalty, betrayal, redemption, and insight into the true nature of life -- one of history's most sacred ethical works, rendered with completeness and sterling accuracy for the modern reader. Here is one of the world's most hallowed works of sacred literature, the grand, sweeping epic of the divine bowman and warrior Rama and his struggles with evil, power, duplicity, and avarice. The Ramayana is one of the foundations of (...) world literature and one of humanity's most ancient and treasured ethical and spiritual works. 'This new version is so simply and beautifully written -- it will stir the soul!' --David Lynch. (shrink)

Philosophical aspects of Rāmāyaṇa, classical Hindu epic by Valmiki; a study.

Jābāli, one of the priest-cum-counsellors of king Daśaratha, has long been recognized as an odd character, preaching materialism in order to persuade Rāma to go back to Ayodhyā after the death of his father. The critical edition of the Vālmīki Rāmāyaṇa reveals several stanzas interpolated in the vulgate so as to denigrate Jābāli and brand him as a rank opportunist. In spite of that, whatever remains of Jābāli’s speech addressed to Rāma evinces one of the basic tenets of materialist (...) ontology, i.e., denial of the existence of any other-world, and hence the futility of performing rites for the ancestors. However, nothing is said about the epistemology,, ethics, and metaphysics of materialism as it existed at the time when the Rāmāyaṇa was redacted. Considering all this it is better to call Jābāli a proto-materialist who speaks of a philosophy akin to the teachings of Ajita Kesakambala, a senior contemporary of the Buddha, whose doctrine has been dubbed as that of annihilation in the Tipiṭaka. Both of them belong to the pre-Cārvāka materialist tradition in India. (shrink)

This article analyzes the significance of the Rāmāyaṇa, a serial telecast on state-controlled television in 1987-88, to the neo-liberal shift and the rise of Hindu nationalism in India. Analyzing the inter-subjective structure of the TV serial and the audience it created, the article teases out the complex play of commodity fetishism and mythopoeic investment in the experience of the audience, and how the political right capitalized on these processes. It argues that the human compulsion to repetition and a jouissance (...) consequent to a pre-existing collective unconscious were harnessed as able allies in this transformative process. The Rāmāyaṇa serial metonymically represents the ideological appropriation of the hysteric’s scream for god at the traumatic moment of neo-liberal arrival, both as a flood of commodities and as discursive hegemony. The religious discourse, I argue, was necessary to this transitional structure –the new economic order could only be ushered in the name of God. God was the necessary supplement of a culture apropos the new economy. (shrink)

Moral and ethical aspects in Mahabharata and Ramayana epics.

This paper looks at Vālmīki’s use and placement of his female characters as significant markers of religious identity. It argues that Vālmīki conceptualizes and creates specific types of female figures and carefully locates the episodes in which they appear to mark specific narrative transitions and real or imagined anxiety-inducing threats to the author’s idealized world. Moreover, Vālmīki provides his audience with potential resolutions to those threats. Thus, in addition to such major figures as Sītā, Kausalyā, and Kaikeyī, characters such as (...) Anasūyā, Śabarī, Svayaṃprabhā, and even the non-human characters Surasā and Nikumbhilā are demonstrated to have a specific and integrated function within the narrative and are argued to form part of a larger, gendered narrative frame in which the epic action occurs. Each of these characters, I contend, represents a particular level of the feminine intruding into the culture’s religious practices in an ever-increasing destabilization of the poet’s idealized vedic world or as the means for its reemergence as a stronger, more stable, and less corruptible one. Vālmīki’s creation and use of these intriguing figures provide further testament both to the author’s genius and the underlying unity of structure of his great epic. (shrink)