Ramayana

Ramayana (/rɑːˈmɑːjənə/;[1] Sanskrit: ,

Rāmāyaṇam [ɽaːˈmaːjɐɳɐm]) is one of the two major Sanskrit
Ramayana
epics of ancient India, the other being the Mahābhārata. Along
with the Mahābhārata, it forms the Hindu Itihasa.

The epic, traditionally ascribed to the Hindu Valmiki, narrates

the life of Rama, the legendary prince of the Kosala Kingdom .
It follows his fourteen-year exile to the forest from the
kingdom, by his father King Dasharatha, on request of his
second wife Kaikeyi. His travels across forests in India with his
wife Sita and brother Lakshmana, the kidnapping of his wife by
Ravana, the great king of Lanka, resulting in a war with him,
and Rama's eventual return to Ayodhya to be crowned king.

There have been many attempts to unravel the epic's

historical growth and compositional layers; various recent
scholars' estimates for the earliest stage of the text range
from the 7th to 4th centuries BCE, with later stages extending Rama with his wife Sita and brother
up to the 3rd century CE.[2] Lakshmana during exile in forest,
manuscript, ca. 1780
Th e Ramayana is one of the largest ancient epics in world
literature. It consists of nearly 24,000 verses (mostly set in the Information
Shloka meter), divided into seven Kandas and about 500 Religion Hinduism
sargas (chapters). In Hindu tradition, it is considered to be the
Author Valmiki
adi-kavya (first poem). It depicts the duties of relationships,
Language Sanskrit
portraying ideal characters like the ideal father, the ideal
servant, the ideal brother, the ideal husband and the ideal Verses 24,000
king. Ramayana was an important influence on later Sanskrit
poetry and Hindu life and culture. Like Mahabharata, Ramayana is not just a story: it presents the
teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical
elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman, Shatrughna, and Ravana are
all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian
countries such as Thailand, Cambodia, Malaysia, and Indonesia.

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

Contents
Etymology
Textual history and structure
Period
Characters
Ikshvaku dynasty
Allies of Rama
Foes Of Rama

Synopsis
Bala Kanda
Ayodhya Kanda
Aranya Kanda
Kishkindha Kanda
Sundara Kanda
Yuddha Kanda
Uttara Kanda

Versions
India
Buddhist version
Jain version
Sikh version
Nepal
Southeast Asian
Cambodia
Indonesia
Laos
Malaysia
Myanmar
Philippines
Thailand
Critical edition

Influence on culture and art

Religious significance
In popular culture
Stage
Movies
Plays
Exhibitions
Books
TV series

Citations
References
Further reading
External links

Etymology
The name Ramayana is a tatpuruṣa compound of the name Rāma.

Textual history and structure

According to Hindu tradition, and the Ramayana itself, the
epic belongs to the genre of itihasa like Mahabharata. The
definition of itihāsa is a narrative of past events (purāvṛtta)
which includes teachings on the goals of human life. According
to Hindu tradition, Ramayana takes place during a period of
time known as Treta Yuga.[3]

In its extant form, Valmiki's Ramayana is an epic poem of

some 24,000 verses. The text survives in several thousand
partial and complete manuscripts, the oldest of which is a
palm-leaf manuscript found in Nepal and dated to the 11th
century CE. A Times of India report dated 18 December 2015
informs about the discovery of a 6th-century manuscript of
the Ramayana at the Asiatic Society library, Kolkata.[4] The
Ramayana text has several regional renderings, recensions
An artist's impression of Valmiki
and sub recensions. Textual scholar Robert P. Goldman
Muni composing the Ramayana
differentiates two major regional revisions: the northern (n)
and the southern (s). Scholar Romesh Chunder Dutt writes
that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more
distinctly the creation of one mind."

There has been discussion as to whether the first and the last volumes (Bala Kanda and Uttara
Kanda) of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they
are integral parts of the book, in spite of some style differences and narrative contradictions between
these two volumes and the rest of the book.[5]

Retellings include Kamban' s Ramavataram in Tamil (c. 11th–12th century), Gona Budda Reddy's
Ramayanam in Telugu (c. 13th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c.
14th century), Krittibas Ojha' s Krittivasi Ramayan (also known as Shri Rama Panchali) in Bengali (c.
15th century), Sarala Das' Vilanka Ramayana (c. 15th century)[6][7][8][9] and Balaram Das' Dandi
Ramayana (also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's
Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in
Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan' s Adhyathmaramayanam
in Malayalam.

Period
Ramayana predates Mahabharata. However, the general cultural background of Ramayana is one of
the post-urbanization periods of the eastern part of north India and Nepal, while Mahabharata reflects
the Kuru areas west of this, from the Rigvedic to the late Vedic period.

By tradition, the text belongs to the Treta Yuga, second of the four eons (yuga) of Hindu chronology.
Rama is said to have been born in the Treta Yuga to king Dasharatha in the Ikshvaku dynasty.

The names of the characters (Rama, Sita, Dasharatha, Janaka, Vashista, Vishwamitra) are all known in
late Vedic literature. However, nowhere in the surviving Vedic
poetry is there a story similar to the Ramayana of Valmiki.
According to the modern academic view, Vishnu, who,
according to Bala Kanda, was incarnated as Rama, first came
into prominence with the epics themselves and further, during
the puranic period of the later 1st millennium CE. Also, in the
epic Mahabharata, there is a version of Ramayana known as
Ramopakhyana. This version is depicted as a narration to
Yudhishthira.

Books two to six form the oldest portion of the epic, while the
first and last books (Bala Kanda and Uttara Kanda,
respectively) are later additions, as some style differences
and narrative contradictions between these two volumes and
the rest of the book.[5] The author or authors of Bala Kanda Rama (left third from top) depicted in
and Ayodhya Kanda appear to be familiar with the eastern the Dashavatara, the ten avatars of
Vishnu. Painting from Jaipur, now at
Gangetic basin region of northern India and with the Kosala,
the Victoria and Albert Museum
Mithila and Magadha regions during the period of the sixteen
Mahajanapadas, based on the fact that the geographical and
geopolitical data accords with what is known about the region.

Characters

Ikshvaku dynasty
Dasharatha is king of Ayodhya and father of Rama. He has
three queens, Kausalya, Kaikeyi and Sumitra, and four sons:
Bharata, and twins Lakshmana,Shatrughna and Rama. Once,
Kaikeyi saved Dasaratha in a war and as a reward, she got the
privilege from Dasaratha to fulfil two of her wishes at any time of
her lifetime. She made use of the opportunity and forced
Dasharatha to make their son Bharata crown prince and send Rama seated with Sita, fanned by
Rama into exile for 14 years. Dasharatha dies heartbroken after Lakshmana, while Hanuman pays his
Rama goes into exile. respects
Rama is the main character of the tale. Portrayed as the
seventh avatar of god Vishnu, he is the eldest and favourite son
of Dasharatha, the king of Ayodhya and his Chief Queen, Kausalya. He is portrayed as the epitome of
virtue. Dasharatha is forced by Kaikeyi to command Rama to relinquish his right to the throne for fourteen
years and go into exile. Rama kills the evil demon Ravana, who abducted his wife Sita, and later returns to
Ayodhya to form an ideal state.

Sita is another of the tale's protagonists. She is a daughter of Mother Earth, adopted by King Janaka, and
Rama's beloved wife. Rama went to Mithila and got a chance to marry her by breaking the Shiv Dhanush
(bow) while trying to tie a knot to it in a competition organized by King Janaka of Mithila. The competition
was to find the most suitable husband for Sita and many princes from different states competed to win her.
Sita is the avatara of goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female
purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is
imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to
twin boys Luv and Kusha.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi has forced
Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in
 search of Rama in the forest. When Rama refuses to return from
his exile to assume the throne, Bharata obtains Rama's sandals
and places them on the throne as a gesture that Rama is the
true king. Bharata then rules Ayodhya as the regent of Rama for
the next fourteen years, staying outside the city of Ayodhya. He
was married to Mandavi.
Lakshmana is a younger brother of Rama, who chose to go into
exile with him. He is the son of King Dasharatha and Queen
Sumitra and twin of Shatrughna. Lakshmana is portrayed as an
avatar of Shesha, the nāga associated with the god Vishnu. He
spends his time protecting Sita and Rama, during which time he
fights the demoness Shurpanakha. He is forced to leave Sita,
who was deceived by the demon Maricha into believing that
Rama was in trouble. Sita is abducted by Ravana upon his
leaving her. He was married to Sita's younger sister Urmila.
Shatrughna is a son of Dasharatha and his third wife Queen
Sumitra. He is the youngest brother of Rama and also the twin
brother of Lakshmana. He was married to Shrutakirti.
Statue of Ravana at Koneswaram
Hindu Temple, Sri Lanka.
Allies of Rama

Vanara

Hanuman is a vanara belonging to the kingdom of Kishkindha.

He is an ideal bhakta of Rama. He is born as son of Kesari, a
Vanara king in Sumeru region and his wife Añjanā. He plays an
important part in locating Sita and in the ensuing battle. He is
believed to live until our modern world.
Sugriva, a vanara king who helped Rama regain Sita from Rama and the monkey chiefs
Ravana. He had an agreement with Rama through which Vali –
Sugriva's brother and king of Kishkindha – would be killed by
Rama in exchange for Sugriva's help in finding Sita. Sugriva
ultimately ascends the throne of Kishkindha after the slaying of
Vali and fulfills his promise by putting the Vanara forces at
Rama's disposal.
Angada is a vanara who helped Rama find his wife Sita and
fight her abductor, Ravana, in Ramayana. He was son of Vali
and Tara and nephew of Sugriva. Angada and Tara are
instrumental in reconciling Rama and his brother, Lakshmana,
with Sugriva after Sugriva fails to fulfill his promise to help
Rama find and rescue his wife. Together they are able to
The vanaras constructing the Rama
convince Sugriva to honour his pledge to Rama instead of
Setu Bridge to Lanka, makaras and
spending his time carousing and drinking.
fish also aid the construction. A 9th
century Prambanan bas-relief,
Riksha
Central Java, Indonesia.

Jambavan/Jamvanta is known as Riksharaj (King of the

Rikshas). Rikshas are bears. In the epic Ramayana,
Jambavantha helped Rama find his wife Sita and fight her abductor, Ravana. It is he who makes Hanuman
realize his immense capabilities and encourages him to fly across the ocean to search for Sita in Lanka.

Griddha

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

Rakshasa

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

Foes Of Rama

Rakshasas

Ravana, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess
Kaikesi. After performing severe penance for ten thousand years he received a boon from the creator-god
Brahma: he could henceforth not be killed by gods, demons, or spirits. He is portrayed as a powerful demon
king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus
circumventing the boon given by Brahma.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle,
before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with
various stratagems to inflict heavy losses on Vanara army before his death.
Kumbhakarna, brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time
and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size
and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army
before Rama cut off his limbs and head.
Shurpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any
form she wanted.

Vanara

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

Synopsis

Bala Kanda
Dasharatha was the king of Ayodhya. He had three wives:
Kaushalya, Kaikeyi and Sumitra. He was childless for a long
time and anxious to produce an heir, so he performs a fire
sacrifice known as putra-kameshti yagya. As a consequence,
Rama is first born to Kaushalya, Bharata is born to Kaikeyi,
Lakshmana and Shatrughna are born to Sumitra. These sons
are endowed, to various degrees, with the essence of the
Supreme Trinity Entity Vishnu; Vishnu had opted to be born
The marriage of the four sons of
into mortality to combat the demon Ravana, who was Dasharatha with the four daughters
oppressing the gods, and who could only be destroyed by a of Siradhvaja and Kushadhvaja
mortal. The boys are reared as the princes of the realm, Janakas. Rama and Sita,
receiving instructions from the scriptures and in warfare from Lakshmana and Urmila, Bharata and
Mandavi and Shatrughna with
Vashistha. When Rama is 16 years old, sage Vishwamitra
Shrutakirti.
comes to the court of Dasharatha in search of help against
demons who were disturbing sacrificial rites. He chooses
Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and
Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy
the demons.

Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep
furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of
god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled
beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented
to his ancestors by Shiva, could marry Sita. Sage Vishwamitra takes Rama and Lakshmana to Mithila
to show the bow. Then Rama desires to lift it and goes on to wield the bow and when he draws the
string, it breaks.[10] Marriages are arranged between the sons of Dasharatha and daughters of
Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughna to
Shrutakirti. The weddings are celebrated with great festivity in Mithila and the marriage party returns
to Ayodhya.

Ayodhya Kanda
After Rama and Sita have been married
for twelve years, an elderly Dasharatha
expresses his desire to crown Rama, to
which the Kosala assembly and his
subjects express their support. On the
eve of the great event, Kaikeyi – her
jealousy aroused by Manthara, a wicked
maidservant – claims two boons that
Dasharatha had long ago granted her.
Kaikeyi demands Rama to be exiled into
Rama leaving for fourteen years of exile from Ayodhya
the wilderness for fourteen years, while
the succession passes to her son
Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to
Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm
self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When
he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya
without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the
grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the
events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in
the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's
orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's
sandals and keeps them on the throne, while he rules as Rama's regent.
Aranya Kanda
After thirteen years of exile, Rama, Sita and Lakshmana journey
southward along the banks of river Godavari, where they build
cottages and live off the land. At the Panchavati forest they are visited
by a rakshasi named Shurpanakha, sister of Ravana. She tries to
seduce the brothers and, after failing, attempts to kill Sita.
Lakshmana stops her by cutting off her nose and ears. Hearing of
this, her brother Khara organises an attack against the princes. Rama
defeats Khara and his raskshasas.

When the news of these events reach Ravana, he resolves to destroy

Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha,
assuming the form of a golden deer, captivates Sita's attention.
Entranced by the beauty of the deer, Sita pleads with Rama to Ravana fights Jatayu as he
capture it. Rama, aware that this is the ploy of the demons, cannot carries off the kidnapped
dissuade Sita from her desire and chases the deer into the forest, Sita. Painting by Raja Ravi
leaving Sita under Lakshmana's guard. After some time, Sita hears Varma
Rama calling out to her; afraid for his life, she insists that Lakshmana
rush to his aid. Lakshmana tries to assure her that Rama is invincible
and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics,
Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates
that she is not to leave the cottage or entertain any stranger. He draws a chalk outline, the
Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the
boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an
ascetic requesting Sita's hospitality. Unaware of her guest's plan, Sita is tricked into leaving the rekha
and is then forcibly carried away by Ravana.[11]

Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the guard
o f rakshasis. Ravana asks Sita to marry him, but she refuses, being eternally devoted to Rama.
Meanwhile, Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out
to save her. During their search, they meet Kabandha and the ascetic Shabari, who direct them
towards Sugriva and Hanuman.

Kishkindha Kanda
Kishkindha Kanda is set in the ape (Vanara) citadel
Kishkindha. Rama and Lakshmana meet Hanuman, the
biggest devotee of Rama, greatest of ape heroes and an
adherent of Sugriva, the banished pretender to the throne of
Kishkindha. Rama befriends Sugriva and helps him by killing
his elder brother Vali thus regaining the kingdom of
Kishkindha, in exchange for helping Rama to recover Sita.
However Sugriva soon forgets his promise and spends his
time in enjoying his powers. The clever former ape queen Tara A stone bas-relief at Banteay Srei in
(wife of Vali) calmly intervenes to prevent an enraged Cambodia depicts the combat
Lakshmana from destroying the ape citadel. She then between Vali and Sugriva (middle).
eloquently convinces Sugriva to honour his pledge. Sugriva To the right, Rama fires his bow. To
then sends search parties to the four corners of the earth, the left, Vali lies dying.
only to return without success from north, east and west. The
southern search party under the leadership of Angada and
Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to
Lanka.

Sundara Kanda
Sundara Kanda forms the heart of Valmiki's Ramayana and
consists of a detailed, vivid account of Hanuman's adventures.
After learning about Sita, Hanuman assumes a gargantuan
form and makes a colossal leap across the sea to Lanka. On
the way he meets with many challenges like facing a
Gandharva kanya who comes in the form of a demon to test
his abilities. He encounters a mountain named Mainakudu
who offers Lord Hanuman assistance and offers him rest. Lord Ravana is meeting Sita at
Ashokavana. Hanuman is seen on
Hanuman refuses because there is little time remaining to
the tree.
complete the search for Sita.

After entering into Lanka, he finds a demon, Lankini, who

protects all of Lanka. Hanuman fights with her and subjugates her in order to get into Lanka. In the
process Lankini, who had an earlier vision/warning from the gods that the end of Lanka nears if
someone defeats Lankini. Here, Hanuman explores the demons' kingdom and spies on Ravana. He
locates Sita in Ashoka grove, where she is being wooed and threatened by Ravana and his rakshasis
to marry Ravana. Hanuman reassures Sita, giving Rama's signet ring as a sign of good faith. He offers
to carry Sita back to Rama; however, she refuses and says that it is not the dharma, stating that
Ramayana will not have significance if Hanuman carries her to Rama – "When Rama is not there
Ravana carried Sita forcibly and when Ravana was not there, Hanuman carried Sita back to Rama".
She says that Rama himself must come and avenge the insult of her abduction.

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

Yuddha Kanda
Also known as Lanka Kanda, this book describes the war
between the army of Rama and the army of Ravana. Having
received Hanuman's report on Sita, Rama and Lakshmana
proceed with their allies towards the shore of the southern
sea. There they are joined by Ravana's renegade brother
Vibhishana. The apes named Nala and Nila construct a
floating bridge (known as Rama Setu)[12] across the sea,
The Battle at Lanka, Ramayana by
using stones that floated on water because they had Rama's
Sahibdin. It depicts the monkey
name written on them. The princes and their army cross over army of the protagonist Rama (top
to Lanka. A lengthy war ensues. During a battle, Ravana's son left, blue figure) fighting Ravana—the
Indrajit hurls a powerful weapon at Lakshmana, who is badly demon-king of the Lanka—to save
wounded and is nearly killed. So Hanuman assumes a gigantic Rama's kidnapped wife, Sita. The
painting depicts multiple events in
form and flies from Lanka to the Himalayas. Upon reaching
the battle against the three-headed
Mount Sumeru, Hanuman was unable to identify the herb that demon general Trisiras, in bottom
could cure Lakshmana and so decided to bring the entire left. Trisiras is beheaded by
mountain back to Lanka. Eventually, the war ends when Rama Hanuman, the monkey-companion of
kills Ravana. Rama then installs Vibhishana on the throne of Rama.
Lanka.

On meeting Sita, Rama asks her to undergo an Agni Pariksha (test of fire) to prove her chastity, as he
wants to get rid of the rumors surrounding her purity. When Sita plunges into the sacrificial fire, Agni,
lord of fire raises Sita, unharmed, to the throne, attesting to her innocence. The episode of Agni
Pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In Tulsidas's Ramacharitamanas,
Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before
reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and
Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an
ideal state with good morals. Ramayan is not only the story about how truth defeats the evil, it also
teaches us to forget all the evil and arrogance that resides inside ourselves.[13]

Uttara Kanda
Uttara Kanda concerns the final years of Rama, Sita and
Rama's brothers. After being crowned king, Rama passes time
pleasantly with Sita. After some time, Sita gets pregnant with
twin children. However, despite Agni Pariksha ("fire ordeal") of
Sita, rumours about her "purity" are spreading among the
populace of Ayodhya. Rama yields to public opinion and
reluctantly banishes Sita to the forest, where the sage Valmiki
provides shelter in his ashrama ("hermitage"). Here, she gives
birth to twin boys, Lava and Kusha, who become pupils of
Valmiki and are brought up in ignorance of their identity. Sita in the hermitage of Valmiki

Valmiki composes the Ramayana and teaches Lava and

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

Versions
As in many oral epics, 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.

India
There are diverse regional versions of the Ramayana written
by various authors in India. Some of them differ significantly
The epic story of Ramayana was
from each other. During the 12th century, Kamban wrote
adopted by several cultures across
Ramavataram, known popularly as Kambaramayanam in Asia. Shown here is a Thai historic
Tamil. A Telugu version, Ranganatha Ramayanam, was written artwork depicting the battle which
b y Gona Budda Reddy in the 14th century. The earliest took place between Rama and
translation to a regional Indo-Aryan language is the early 14th Ravana.
century Saptakanda Ramayana in Assamese by Madhava
Kandali. Valmiki's Ramayana inspired Sri Ramacharit Manas
by Tulsidas in 1576, an epic Awadhi (a dialect of Hindi) version
with a slant more grounded in a different realm of Hindu
literature, that of bhakti; it is an acknowledged masterpiece of
India, popularly known as Tulsi-krita Ramayana. Gujarati poet
Premanand wrote a version of the Ramayana in the 17th
century. Other versions include Krittivasi Ramayan, a Bengali
version by Krittibas Ojha in the 15th century; Vilanka
Ramayana by 15th century poet Sarala Dasa[14] and Dandi Relief with part of the Ramayana
Ramayana (also known as Jagamohana Ramayana) by 16th epic, shows Rama killed the golden
century poet Balarama Dasa, both in Odia; a Torave deer that turn out to be the demon
Ramayana in Kannada by 16th-century poet Narahari; Maricha in disguise. Prambanan
Trimurti temple near Yogyakarta,
Adhyathmaramayanam, a Malayalam version by
Java, Indonesia.
Thunchaththu Ramanujan Ezhuthachan in the 16th century; in
Marathi by Sridhara in the 18th century; in Maithili by Chanda
Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in
Kannada.

There is a sub-plot to the Ramayana, prevalent in some parts of India, relating the adventures of
Ahiravan and Mahi Ravana, evil brother of Ravana, which enhances the 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 subterranean 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 her Mahakali form.

Buddhist version
In the Buddhist variant of the Ramayana (Dasarathajātaka, #467), 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 Ravan in this version i.e. no Ram-ravan war.

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

But, Ravana appears in other Buddhist literature, the Lankavatara Sutra.

Jain version
Jain versions of the Ramayana can be found in the various Jain agamas like 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 baladeva, vasudeva and
prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names
Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they
serve as names of 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 Soul in his last life, is unwilling to kill.[15] Instead, it is Lakshmana
who kills Ravana.[15] 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 Saketa 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. Rama, after
Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains
Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were
in the 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.

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

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

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

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

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

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

Southeast Asian

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

Cambodian classical
Indonesia
dancers as Sita and
There are several Indonesian adaptations of Ramayana, including the Ravana, the Royal Palace in
Javanese Kakawin Ramayana[16][17] and Balinese Ramakavaca.[18] Phnom Penh (c. 1920s)
The first half of Kakawin Ramayana is similar to the original Sanskrit
 version, while the latter half is very different. One of the recognizable
modifications is the inclusion of the indigenous Javanese guardian
demigod, Semar, and his sons, Gareng, Petruk, and Bagong who
make up the numerically significant four Punokawan or "clown
servants". Kakawin Ramayana is believed to have been written in
Central Java circa 870 AD during the reign of Mpu Sindok in the
Medang Kingdom.[19] The Javanese Kakawin Ramayana is not based
on Valmiki's epic, which was then the most famous version of Rama's
story, but based on Ravanavadha or the "Ravana massacre", which is
the sixth or seventh century poem by Indian poet Bhattikavya.[20]
Lakshmana, Rama and Sita
Kakawin Ramayana was further developed on the neighboring island
during their exile in Dandaka
Forest depicted in Javanese o f Bali becoming the Balinese Ramakavaca. The bas-reliefs of
dance Ramayana and Krishnayana scenes are carved on balustrades of the
9th century Prambanan temple in Yogyakarta,[21] as well as in the
14th century Penataran temple in East Java.[22] In Indonesia, the
Ramayana is a deeply ingrained aspect of the culture, especially among Javanese, Balinese and
Sundanese people, and has become the source of moral and spiritual guidance as well as aesthetic
expression and entertainment, for example in wayang and traditional dances.[23] The Balinese kecak
dance for example, retells the story of the Ramayana, with dancers playing the roles of Rama, Sita,
Lakhsmana, Jatayu, Hanuman, Ravana, Kumbhakarna and Indrajit surrounded by a troupe of over 50
bare-chested men who serve as the chorus chanting "cak". The performance also includes a fire show
to describe the burning of Lanka by Hanuman.[24] In Yogyakarta, the Wayang Wong Javanese dance
also retells the Ramayana. One example of a dance production of the Ramayana in Java is the
Ramayana Ballet performed on the Trimurti Prambanan open air stage, with the three main prasad
spires of the Prambanan Hindu temple as a backdrop.[25]

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

Malaysia

T h e Hikayat Seri Rama of Malaysia incorporated element of both Hindu and Islamic
mythology.[26][27][28]

Myanmar
Yama Zatdaw is the Burmese version of Ramayana. It is also considered the unofficial national epic of
Myanmar. There are nine known pieces of the Yama Zatdaw in Myanmar. The Burmese name for the
story itself is Yamayana, while zatdaw refers to the acted play or being part of the jataka tales of
Theravada Buddhism. This Burmese version is also heavily influenced by Ramakien (Thai version of
Ramayana) which resulted from various invasions by Konbaung Dynasty kings toward the Ayutthaya
Kingdom.

Philippines
The Maharadia Lawana, an epic poem of the Maranao people of the Philippines, has been regarded as
an indigenized version of the Ramayana since it was documented and
translated into English by Professor Juan R. Francisco and Nagasura
Madale in 1968.[29](p"264")[30] The poem, which had not been written
down before Francisco and Madale's translation, [29](p"264") narrates
the adventures of the monkey-king, Maharadia Lawana, whom the
Gods have gifted with immortality.[29]

Francisco, an indologist from the University of the Philippines Manila,

believed that the Ramayana narrative arrived in the Philippines some
time between the 17th to 19th centuries, via interactions with
Javanese and Malaysian cultures which traded extensively with
India.[31](p101)
Rama (Yama) and Sita (Me
By the time it was documented in the 1960s, the character names, Thida) in Yama Zatdaw, the
place names, and the precise episodes and events in Maharadia Burmese version of
Ramayana
Lawana's narrative already had some notable differences from those
of the Ramayana. Francisco believed that this was a sign of
"indigenization", and suggested that some changes had already been introduced in Malaysia and Java
even before the story was heard by the Maranao, and that upon reaching the Maranao homeland, the
story was "further indigenized to suit Philippine cultural perspectives and orientations."[31](p"103")

Thailand
Thailand's popular national epic Ramakien
(Thai: , from Sanskrit
rāmakīrti, glory of Rama) is derived from the
Hindu epic. In Ramakien, Sita is the daughter
of Ravana and Mandodari (thotsakan and
montho). Vibhishana (phiphek), the astrologer
brother of Ravana, predicts the death of
Ravana from the horoscope of Sita. Ravana
The Thai retelling of the tale—Ramakien—is popularly
has thrown her into the water, but she is later expressed in traditional regional dance theatre
rescued by Janaka (chanok).[15]:149 While the
main story is identical to that of Ramayana,
many other aspects were transposed into a Thai context, such as the clothes, weapons, topography
and elements of nature, which are described as being Thai in style. It has an expanded role for
Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate
illustration at Wat Phra Kaew in Bangkok.

Critical edition
A critical edition of the text was compiled in India in the 1960s and 1970s, by the Oriental Institute at
Maharaja Sayajirao University of Baroda, India, utilizing dozens of manuscripts collected from across
India and the surrounding region.[32] An English language translation of the critical edition was
completed in November 2016 by Sanskrit scholar Robert P. Goldman of the University of California,
Berkeley.[33]
Influence on culture and art
One of the most important literary works of ancient India, the
Ramayana has had a profound impact on art and culture in
t h e Indian subcontinent and southeast Asia with the lone
exception of Vietnam. The story ushered in the tradition of the
next thousand years of massive-scale works in the rich diction
of regal courts and Hindu temples. It has also inspired much
secondary literature in various languages, notably
Kambaramayanam by Tamil poet Kambar of the 12th century,
Telugu language Molla Ramayanam by poet Molla and A Ramlila actor wears the traditional
Ranganatha Ramayanam by poet Gona Budda Reddy, 14th attire of Ravana.
century Kannada poet Narahari's Torave Ramayana and 15th
century Bengali poet Krittibas Ojha' s Krittivasi Ramayan, as
well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.

Ramayanic scenes have also been depicted through terracottas, stone sculptures, bronzes and
paintings.[34] These include the stone panel at Nagarjunakonda in Andhra Pradesh depicting Bharata's
meeting with Rama at Chitrakuta (3rd century CE).[34]

Th e Ramayana became popular in Southeast Asia during 8th century and was represented in
literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of the
Ramayana, known as Ramlila, take place all across India and in many places across the globe within
the Indian diaspora.

In Indonesia, especially Java and Bali, Ramayana has become

a popular source of artistic expression for dance drama and
shadow puppet performance in the region. Sendratari
Ramayana is Javanese traditional ballet of wayang orang
genre, routinely performed in Prambanan Trimurti temple and
in cultural center of Yogyakarta.[35] Balinese dance drama of
Ramayana is also performed routinely in Balinese Hindu
temples, especially in temples such as Ubud and Uluwatu,
where scenes from Ramayana is integrap part of kecak dance
Hanuman discovers Sita in her
performance. Javanese wayang kulit purwa also draws its
captivity in Lanka, as depicted in
Balinese kecak dance. episodes from Ramayana or Mahabharata.

Ramayana has also been depicted in many paintings, most

notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic
proportions measuring 152 x 823 cm in 9 panels. The painting depicts three prolific parts of the epic,
namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is
currently in the permanent collection of the Malaysian National Visual Arts Gallery.

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

According to Hindu tradition, Rama is an incarnation (Avatar)

of god Vishnu. The main purpose of this incarnation is to
demonstrate the righteous path (dharma) for all living
creatures on earth.

Deities Sita (far right), Rama

In popular culture (center), Lakshmana (far left) and
Hanuman (below, seated) at
Multiple modern, English-language adaptations of the epic
Bhaktivedanta Manor, Watford,
exist, namely Ram Chandra Series by Amish Tripathi , England
Ramayana Series by Ashok Banker and a mythopoetic novel,
Asura: Tale of the Vanquished by Anand Neelakantan.
Another Indian author, Devdutt Pattanaik, has published three different retellings and commentaries
of Ramayana titled Sita, The Book Of Ram and Hanuman's Ramayan. A number of plays, movies and
television serials have also been produced based upon the Ramayana.

In Indonesia, "Ramayana" department store is named after the epic. The company which owns it is
known as PT Ramayana Lestari Sentosa founded in 1978 with its main office located in Jakarta.

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

Hanoman At Kecak Fire

Movies Dance, Bali 2018

Sampoorna Ramayanam – a Telugu/Tamil bilingual film starring N. T.

Rama Rao (1958)
Sampoorna Ramayana – a Hindi film directed by Babubhai Mistry (1961)
Lava Kusha – a Uttara Kanda-based bilingual Telugu movie and Tamil movie starring N. T. Rama Rao (1963)
Sampoorna Ramayanamu – a Telugu film directed by Bapu, starring Sobhan Babu, Chandrakala, S V Ranga
Rao (1971)
Kanchana Sita – a Malayalam film by G. Aravindan (1977)
Ramayana: The Legend of Prince Rama – a Indo-Japanese traditional animation feature film (1992)
A Little Princess (1995) – an American film chronicling the time of an orphaned child during WWI in an all-
 girl's boarding school. The story of Rama and Sita is told by the main character to the other girls and is
constantly referenced throughout the plot.
Opera Jawa – an Indonesian-Austrian film in the Indonesian language; inspired by the story of the abduction
of Sita (2008)
Sita Sings the Blues – an independent animated film (2008).
Lava Kusa: The Warrior Twins – animated film based on Uttara Kanda (2010)
Ramayana: The Epic – a Warner Bros. Indian animated film (2010)
Sri Rama Rajyam – based on Uttara Kanda, a Telugu film starring Nandamuri Balakrishna (2011).
Yak: The Giant King – a re-interpretation of Ramayana, the Thai animation film tells the story of a giant
robot, Na Kiew, who is left wandering in a barren wasteland after a great war. Na Kiew meets Jao Phuek, a
puny tin robot who has lost his memory and is now stuck with his new big friend. Together they set out
across the desert populated by metal scavengers, to look for Ram, the creator of all robots. (2012).
Mumbai Musical – DreamWorks Animation (2016)

Plays
Kanchana Sita, Saketham and Lankalakshmi – award-winning trilogy by Malayalam playwright C. N.
Sreekantan Nair
Lankeswaran – a play by the award-winning Tamil cinema actor R. S. Manohar
Kecak - a Balinese traditional folk dance which plays and tells the story of Ramayana

Exhibitions
Gallery Nucleus:Ramayana Exhibition -Part of the art of the book Ramayana: Divine Loophole by Sanjay
Patel.
The Rama epic: Hero. Heroine, Ally,Foe by The Asian Art Museum.

Books
"The Song of Rama" by Vanamali
"Ramayana" by William Buck and S Triest
"Ramayana:Divine Loophole" by Sanjay Patel
"Sita: An Illustrate Retelling of the Ramayana" By Devdutt
Pattanaik
"Hanuman's Ramavan" By Devdutt Pattanaik

TV series
Ramayan – originally broadcast on Doordarshan, produced by
Ramanand Sagar in 1987
Jai Hanuman – originally broadcast on Doordarshan, produced
and directed by Sanjay Khan
Ramayan (2002) – originally broadcast on Zee TV, produced by
BR Films
Ramayan (2008) – originally broadcast on Imagine TV, produced
by Ramanand Sagar La bufanda roja by Fitra Ismu
Ramayan (2012) – a remake of the 1987 series and aired on Zee Kusumo, a promoter of Indonesian
TV art and culture in Mexico
 Antariksh (2004) – a sci-fi version of Ramayan. Originally
broadcast on Star Plus
Raavan – series on life of Ravana based on Ramayana. Originally broadcast on Zee TV
Sankatmochan Mahabali Hanuman – 2015 series based on the life of Hanuman presently broadcasting on
Sony TV
Siya Ke Ram – a series on Star Plus, originally broadcast from November 16, 2015 to November 4, 2016

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Valmiki's (http://www.ramayanabook.com/)Ramayana illustrated with Indian miniatures from the 16th to the
19th century (http://www.ramayanabook.com/), 2012, Editions Diane de Selliers, ISBN 9782903656768

Further reading
Sanskrit text

Electronic version of the Sanskrit text (http://bombay.indology.info/ramayana/statement.html), input by

Muneo Tokunaga
Sanskrit text (http://gretil.sub.uni-goettingen.de/gret_utf.htm#Ram) on GRETIL

Translations

(https://www.wisdomlib.org/jainism/book/trishashti-shalaka-purusha-caritra/d/doc213981.html)Jain
Ramayana of Hemchandra (https://www.wisdomlib.org/jainism/book/trishashti-shalaka-purusha-caritra/d/doc
213981.html) English translation; seventh book of the Trishashti Shalaka Purusha Caritra; 1931
(http://valmikiramayan.net)Valmiki Ramayana (http://valmikiramayan.net) verse translation by Desiraju
Hanumanta Rao, K. M. K. Murthy et al.
(https://vedicfeed.com/the-ramayana-summary-the-deeds-of-rama)Summary of The Ramayana (https://vedic
feed.com/the-ramayana-summary-the-deeds-of-rama) Summary of Maurice Winternitz, A History of Indian
Literature, trans. by S. Ketkar.
Valmiki (http://www.sacred-texts.com/hin/rama/index.htm)Ramayana (http://www.sacred-texts.com/hin/rama
/index.htm) translated by Ralph T. H. Griffith (1870–1874) (Project Gutenberg)
The (http://www.sacred-texts.com/hin/dutt/rama01.htm)Ramayana condensed into English verse (http://www
.sacred-texts.com/hin/dutt/rama01.htm) by R. C. Dutt (1899) at archive.org (https://archive.org/details/Rama
yanaTheEpicOfRamaPrinceOfIndiaCondensedIntoEnglishVerseBy)
Prose translation of the complete Ramayana by M. N. Dutt (1891–1894): Balakandam (https://archive.org/de
tails/ramayanablaknda00vlgoog), Ayodhya Kandam (https://archive.org/details/ramayana01duttgoog),
Aranya Kandam (https://archive.org/details/ramayanaranyakn00vlgoog), Kishkindha Kandam (https://archive
.org/details/TheRamayanaKishkindhaKandam), Sundara Kandam (https://archive.org/details/ramayanaranya
kn00vlgoog), Yuddha Kandam (https://archive.org/details/ramayana03vlgoog), Uttara Kandam (https://archiv
e.org/details/TheRamayanaUttaraKandam)
Rāma the Steadfast: an early form of the (https://books.google.com/books?id=nAzNbPus9TcC)Rāmāyaṇa (
https://books.google.com/books?id=nAzNbPus9TcC) translated by J. L. Brockington and Mary Brockington.
Penguin, 2006. ISBN 0-14-044744-X.

Secondary sources

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

External links
A condensed verse translation (http://oll.libertyfund.org/index.php?option=com_staticxt&staticfile=show.php
%3Ftitle=1778&Itemid=28) by Romesh Chunder Dutt sponsored by the Liberty Fund
The Ramayana as a Monomyth (https://web.archive.org/web/20130501055540/http://orias.berkeley.edu/hero/
ramayana/index.html) from UC Berkeley (archived)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Ramayana&oldid=890479538"

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