Rāmāyaṇa, Vālmīki: Yuddhakāṇḍa, Trans. by Goldman et al., Princeton
Journal name: Acta Orientalia
Original article title: The Rāmāyaṇa of Vālmīki: An Epic of Ancient India, Volume VI: Yuddhakāṇḍa. Translation and Annotation by Robert P. Goldman, Sally J. Sutherland Goldman, and Barend A. van Nooten; Introduction by Robert P. Goldman and Sally J. Sutherland Goldman. Princeton
ACTA ORIENTALIA is a journal focused on the study of Oriental languages, history, archaeology, and religions from ancient times to the present. The journal includes articles reviewed by a senior scholar in the relevant field.
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Stella Sandahl
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: The Rāmāyaṇa of Vālmīki: An Epic of Ancient India, Volume VI: Yuddhakāṇḍa. Translation and Annotation by Robert P. Goldman, Sally J. Sutherland Goldman, and Barend A. van Nooten; Introduction by Robert P. Goldman and Sally J. Sutherland Goldman. Princeton
Year: 2010 | Doi: 10.5617/ao.7343
Copyright (license): CC BY 4.0
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Summary of article contents:
Introduction
The sixth volume of the comprehensive translation project of the Rāmāyaṇa, titled Yuddhakāṇḍa, has been expertly translated and annotated by Robert P. Goldman, Sally J. Sutherland Goldman, and Barend A. van Nooten. Published by Princeton University Press in 2009, this impressive work spans 1655 pages and includes extensive introductions, translations, notes, glossaries, a bibliography, and an index. The translation captures the epic's essence, maintaining an accurate yet readable style, despite the overwhelming length and detailed battle scenes, a hallmark of the Yuddhakāṇḍa.
The Nature of Violence in the Epic
One significant aspect of the Yuddhakāṇḍa is its vivid and graphic portrayals of violence. The text is rife with descriptions of brutal battles, focusing on the relentless and often fantastical elements of warfare. The translators point out that Vālmīki delights in showcasing the immense carnage: "massive and sanguinary violence" fills the battleground with imagery that transforms it into a river of blood, intertwining poetic devices with stark realities of war. This exaggeration reflects the epic's fantastical nature, showing the reader an aggrandized world where realism is less relevant than the epic's thematic interests in honor, combat, and valor.
Sītā and Rāma’s Relationship Dynamics
The interaction between Sītā and Rāma following the war raises critical questions about gender dynamics and societal values. After Rāma's victory, Sītā expresses a desire to meet him without adornments, suggesting purity and her experiences of hardship. However, Rāma insists on her presenting herself as a dignified queen, triggering reflections on her status and honor. The commentary notes that Rāma's behavior reveals a male-dominated society's perspective, where women are seen as replaceable and primarily valued for their beauty. This treatment illuminates Rāma's complex character, exposing tensions between personal honor and the treatment of Sītā, who embodies resilience amidst societal constraints.
The Philosophical and Theological Implications
The discussion about Rāma's divinity remains another pivotal point, especially regarding his portrayal in the epic versus later interpretations. The translators highlight a scholarly debate surrounding Rāma's avatar status, suggesting that interpreting him solely through a theological lens diminishes the epic's rich human drama. Many interpretations rely on much later commentaries, which complicate the understanding of Rāma's character and actions in their original narrative context. The text’s humane qualities, particularly in tragic moments, illustrate the conflict between divine representation and experiential challenges faced by its characters, inviting further exploration of these philosophical themes.
Conclusion
In summary, the Yuddhakāṇḍa stands as a monumental achievement within the Rāmāyaṇa translation project, providing invaluable insights into ancient Indian literature's complexity. While the graphic violence and battle scenes capture the epic's fantastical qualities, the nuanced relationship between Sītā and Rāma and the philosophical reflections on Rāma's divinity provoke deeper considerations of gender and theological interpretation. Despite minor critiques regarding specific details, this translation ultimately preserves the profound emotional depth and cultural significance of the original text, establishing itself as an essential resource for understanding the richness of the Rāmāyaṇa.
FAQ section (important questions/answers):
What is the Yuddhakāṇḍa in the Rāmāyaṇa?
The Yuddhakāṇḍa, or Battle Book, is the sixth volume of the Rāmāyaṇa, detailing the intense battles between Rāma and the rākṣasas, as well as other critical events following Sītā's abduction.
Who are the translators of this work?
The translation and annotation of the Yuddhakāṇḍa was undertaken by Robert P. Goldman, Sally J. Sutherland Goldman, and Barend A. van Nooten, with an introduction by the Goldmans.
What are the main themes of the Yuddhakāṇḍa?
The Yuddhakāṇḍa primarily revolves around themes of valor in battle, loyalty among allies, and the complexities of honor and reputation, especially in Rāma's relationships with Sītā and his kin.
What literary techniques are used in Yuddhakāṇḍa's battles?
The text is rich in graphic descriptions of violence and massive warfare, portraying an aggrandized fantasy world where extensive battles and larger-than-life characters dominate the narrative.
How is Sītā portrayed in relation to Rāma's honor?
Sītā's honor and virtue are continually scrutinized by Rāma, who indicates that his actions in the war were predominantly motivated by the need to preserve his own honor, rather than out of love for her.
What can be said about the translation's accuracy and readability?
The translation has been praised for its accuracy and readability, despite its length and the repetitiveness of battle scenes, allowing readers to access the narrative's depth and details smoothly.
Glossary definitions and references:
Oriental and Historical glossary list for “Rāmāyaṇa, Vālmīki: Yuddhakāṇḍa, Trans. by Goldman et al., Princeton”. This list explains important keywords that occur in this article and links it to the glossary for a better understanding of that concept in the context of History, Linguistics, Religion, Philosophy, Hinduism, Buddhism, Jainism etc.
1) Rama:
Rama, an alternative spelling of Rāma, further reinforces his role as the heroic figure in the epic.
2) Sita (Shita):
Sītā is Rāma's wife, whose abduction by Rāvaṇa sets the stage for the epic's central conflict. She is lauded for her chastity and noble character, especially evident when she wishes to appear disheveled before her husband to prove her purity.
3) Book:
In the context of the review, 'Book' refers to the sixth volume of the translation project of the Rāmāyaṇa, specifically the Yuddhakāṇḍa, meticulously translated with annotations by Robert P. Goldman and others.
4) Ramayana:
[see source text or glossary: Ramayana]
5) Epic:
Epic refers to a long poetic composition often centered around heroic deeds and events of historical importance. The Rāmāyaṇa fits this description as it narrates the grand saga of Rāma and his quest to rescue Sītā.
6) Lakshmana (Laksmana):
Lakṣmaṇa is Rāma's devoted brother, who plays a significant role throughout the Rāmāyaṇa. His strong bond with Rāma is highlighted in the Yuddhakāṇḍa where Rāma expresses his deep lamentation upon seeing him wounded.
7) Sanskrit:
Sanskrit is the classical language of India in which the Rāmāyaṇa was originally composed. The translation project by Goldman et al. pays detailed attention to the nuances and syntax of Sanskrit.
8) Rakshasa (Raksasa):
Rākṣasa refers to the demon adversaries in the Rāmāyaṇa, notably led by Rāvaṇa. They are depicted vividly in the Yuddhakāṇḍa, with descriptions of their massive armies and battles against Rāma's forces.
9) Valmiki:
Vālmīki is the sage traditionally credited as the author of the Rāmāyaṇa. His composition is an essential part of Indian literature and spiritual heritage, presenting complex themes and characters.
10) Hanuman (Hanumat):
Hanumān is the devoted monkey warrior and follower of Rāma, who plays a crucial role in relaying messages and offering assistance during the battle depicted in the Yuddhakāṇḍa.
11) Lanka (Lamka, Lànkà):
Laṅkā is the kingdom ruled by Rāvaṇa where Sītā is held captive. It becomes the primary battlefield in the Yuddhakāṇḍa as Rāma and his allies seek to rescue her and defeat the rākṣasas.
12) India:
India is the subcontinent where the Rāmāyaṇa originates, and references in the review suggest the cultural importance of the epic across Indian literature, art, and even popular TV series.
13) Avatara (Avatar):
Avatāra refers to the concept of divine descent, notably Viṣṇu's incarnations. The review discusses controversy over Rāma being viewed as an avatāra of Viṣṇu in the epic and its commentaries.
14) Ravana:
Rāvaṇa is the ten-headed demon king of Laṅkā who abducts Sītā, prompting the central conflict of the Rāmāyaṇa. His defeat by Rāma is a climactic event in the Yuddhakāṇḍa.
15) Weapon:
Weapons play a significant role in the battle scenes of the Yuddhakāṇḍa, with various arms like arrows, spears, and even boulders used by Rāma and his allies against the rākṣasas.
16) Monkey:
Monkeys, specifically the monkey army, are Rāma's primary allies in the battle against the rākṣasas. They use unconventional weapons like uprooted trees and mountain tops in their fight.
17) Sloka:
A Śloka is a verse in Sanskrit often used in epic and classical poetry. The detailed translation includes individual Ślokas and their intricate meanings, annotations, and thematic significance.
18) Jagat:
Jagat, in the context of the review, refers to the 'Jagat Singh Rāmāyaṇa,' illuminated manuscripts that were part of the British Library exhibition but were not elaborated in the current volume’s bibliography.
19) Vishnu (Visnu):
Viṣṇu is a principal deity in Hinduism, often associated with the concept of avatāra. The review mentions the theological debates about Rāma being an avatāra of Viṣṇu, a point of contention in the epic.
20) Vidya:
[see source text or glossary: Vidya]
21) Queen:
Queen in the review context implies Sītā’s semblance because of Rāma’s orders to appear adorned and freshly washed, which creates tension in interpreting her chaste and modest persona.
22) River:
River describes the metaphor used to depict the battleground filled with bodies, blood, and chaos during the Yuddhakāṇḍa, illustrating the epic's graphic and poetic nature.
23) Woman (Women):
Women, such as Sītā and the rākṣasa women, play critical roles. Sītā's dignity and virtue are central themes, while rākṣasa women exemplify loyalty to their king.
24) Lying:
[see source text or glossary: Lying]
25) Tree:
Tree symbolizes the natural weapons used by the monkey army in the battles of the Yuddhakāṇḍa, showcasing the epic’s fantastical elements.
26) Hair:
Hair, particularly in the context of Sītā, symbolizes purity. She wishes to appear with disheveled hair to demonstrate her chaste ascetic life during her captivity.
27) Funeral pyre:
The funeral pyre is crucial in Sītā’s trial by fire, where she proves her chastity by emerging unscathed, reinforcing her virtue and Rāma’s eventual acceptance.
28) Discussion:
Discussion in the review critiques various interpretations and explanatory notes within the epic’s translation, providing scholarly debates on syntax, semantics, and theological perspectives.
29) Speechless:
Speechless describes Sītā's reaction to the news of Rāma's victory, highlighting her deep emotional state and relief after prolonged captivity.
30) Tapasvini:
Tapasvinī refers to Sītā’s designation as an ascetic, living a life of austerity during her captivity, signifying her commitment to purity and virtue.
31) Vaishnava (Vaisnava):
Vaiṣṇava pertains to the worship and philosophical tradition of Vishnu as the supreme deity. The review discusses the recurring theological view of Rāma being an avatāra of Vishnu within the epic.
32) Vaidurya:
Vaiḍūrya, often associated with cat’s eye beryl and sometimes interpreted as lapis or emerald, represents the challenge of precisely identifying gemstones in Sanskrit literature.
33) Mountain:
Mountain tops, used by Rāma's monkey army as weapons in the battles against the rākṣasas, epitomize the epic’s grand and fantastical scale of warfare.
34) Theology:
Theology refers to the interpretive and doctrinal aspects of the epic, particularly the divinity of Rāma as discussed through various commentaries over centuries.
35) Victory:
Victory is a dominant theme, representing Rāma's triumph over Rāvaṇa and the rākṣasas, although overshadowed by his questioning of Sītā’s virtue after the battle.
36) Sarasa (Shara-asa, Sharasa):
Sārasa cranes, mentioned in the poetic descriptions of the battlefield, highlight the detailed and vivid imagery used to describe the aftermath of the combat in the Yuddhakāṇḍa.
37) Temple:
Temples and their friezes, depicting scenes from the Rāmāyaṇa, exemplify the epic’s significant influence on Indian art and culture across centuries.
38) Hamsa (Hansa, Hamsha):
Haṃsas are swans used metaphorically in the poetic description of the battleground, symbolizing the contrast between serene nature and the chaotic warfare.
39) Crane:
Crane, specifically the sārasa crane, is part of the imagery used to describe the battlefield scenes, adding to the vivid and metaphorical representation of the epic’s events.
40) Agni:
Agni, the fire god, plays a pivotal role in rescuing Sītā from the funeral pyre, thereby proving her chastity and innocence through divine intervention.
41) Mind:
[see source text or glossary: Mind]
42) Dead:
Dead refers to the numerous soldiers and characters in the epic who lose their lives in the massive battles, contributing to the graphic and dramatic depiction of warfare.
43) Dark blue:
Dark blue is a color associated with the gem vaidūrya, although its exact identification has been debated, with some interpretations including lapis or cat’s eye beryl.
44) Dasharathatmaja (Dasarathatmaja, Dasharatha-atmaja):
[see source text or glossary: Daśarathātmaja]
45) Nageshabhatta (Nagesabhatta, Nagesha-bhatta):
Nāgeśa-bhaṭṭa is an 18th-century commentator of the epic, whose theological interpretations and explanations often provide insights but also evoke critique for their inconsistency.
46) Foot-soldier:
Foot-soldier describes the rākṣasa ground troops who participate in the intense and bloody battles against Rāma's forces, highlighting the colossal scale of warfare.
47) Caitraratha:
[see source text or glossary: Caitraratha]
48) Unconscious:
Unconscious describes Rāma and Lakṣmaṇa's state during a critical moment when Sītā, flown in the Puṣpaka, sees them lying on the battlefield, leading her to falsely believe they are dead.
49) Dasharatha (Dasaratha, Dashan-ratha):
Daśaratha is Rāma's father, and the term 'Daśarathātmaja' refers to Rāma being his son. Daśaratha’s lineage is significant for understanding Rāma's royal heritage and the burden of honor he carries.
50) Niralamba (Nir-alamba):
[see source text or glossary: Nirālambā]
51) Lankapuri (Lanka-puri):
[see source text or glossary: Laṅkāpurī]
52) Palanquin (Palankeen):
Palanquin refers to the luxurious conveyance used to bring Sītā to Rāma after the battle, illustrating her queenly appearance as ordered by Rāma, contrary to her wish to appear unadorned.
53) Tapasvin (Tapasvi):
Tapasvin refers to someone who practices austerity. Sītā considers herself a tapasvinī, emphasizing her ascetic and chaste lifestyle during her captivity in Laṅkā.
54) Kashmiri (Kasmiri):
Kashmiri refers to the unique cultural practices, such as the deoguṇ/devguṇ rite in weddings, mentioned as an analogous ritual to Sītā's wish to appear unwashed and unadorned before Rāma.
55) Sankrama (Samkrama):
[see source text or glossary: Saṃkrama]
56) Painting:
Painting refers to the artistic renderings of the Rāmāyaṇa scenes, notably illustrated in manuscripts and temple friezes, contributing to the epic’s rich visual culture.
57) Elephant:
Elephant symbolizes the grand scale of Rāma's battles against the rākṣasas, with thousands of war-elephants mentioned as part of the enemy forces he defeats.
58) Language:
[see source text or glossary: Language]
59) Marriage:
[see source text or glossary: Marriage]
60) Disgrace:
Disgrace, or dishonor, is a key motivation for Rāma’s actions, as he wages war not for Sītā but to cleanse the insult and disgrace brought upon his lineage by Rāvaṇa’s actions.
61) Sugriva:
Sugrīva is the monkey king who assists Rāma in his quest to rescue Sītā, and Rāma even suggests that Sītā could marry him after questioning her chastity.
62) Parikha:
[see source text or glossary: Parikhā]
63) Kritrima (Krtrima, Kritrama):
Kṛtrima in the context of defensive constructions refers to man-made fortifications. The interpretation of ‘caturvidham’ could mean four such defenses including ramparts and moats.
64) Pushpaka (Puspaka):
Puṣpaka is the celestial flying palace in which Sītā is flown to see the unconscious Rāma and Lakṣmaṇa, sparking an emotional and pivotal moment in the Yuddhakāṇḍa.
65) Prakara:
[see source text or glossary: Prākāra]
66) Nandana (Namdana):
[see source text or glossary: Nandana]
67) Parvata:
[see source text or glossary: Pārvata]
68) Vaidehi:
[see source text or glossary: Vaidehī]
69) Chariot:
Chariots are part of the vivid battle descriptions, with thousands mentioned as part of the rākṣasa forces defeated by Rāma, emphasizing the epic’s grand and fantastical warfare.
70) Drashtum (Drastum):
Draṣṭum icchāmi bhartāraṃ—'I wish to see my husband'—utters Sītā to Hanumān, conveying her profound longing to reunite with Rāma.
71) Emerald:
Emerald is one of the interpretations of the gemstone vaidūrya, though it is more commonly identified with cat’s eye beryl or lapis in the translation notes.
72) Disease:
Disease is used metaphorically by Rāma to express his profound disgust towards Sītā by comparing her presence to a bright lamp for someone with an eye disease.
73) Servant:
Servant women, specifically the rākṣasa women who guarded Sītā, are defended by her when Hanumān offers to punish them, demonstrating her noble and forgiving character.
74) Soldier:
[see source text or glossary: Soldier]
75) Lineage:
Lineage is crucial for Rāma, who emphasizes that his battle against Rāvaṇa was chiefly to cleanse the insult to Daśaratha’s illustrious lineage, not solely for Sītā.
[Note: The above list is limited to 75. Total glossary definitions available: 80]