In a moment, the world you so took for granted has collapsed. You are angry not with the queen or her son, or the king, you are angry that life has not turned out the way you thought it would. My brother has chosen to be true to his feelings. My wife has chosen to be true to her role as my wife. We cannot choose the circumstances of our life, but we can make our choices. I am repaying the debt of the past and so are you. For nothing in life happens spontaneously: it is the result of past actions. Blaming helps no one let us take responsibility for it. Yes, the event is unfortunate but it is but one event in our lives we can call it a tragedy if we wish. Do not blame her for asking what is due to her. My father promised to fulfil her wishes and he is obliged to fulfil them, as am I. It will be injustice if the kings of the Raghu clan do not keep their word, it will be injustice if the wishes of Kaikeyi are not fulfilled. O Lord, wandering with thee, even hell itself would be to me a heaven of bliss.“Ram finally stood up and said in a voice that was clear and soothing, ‘Know this, Ayodhya is not mine to give or Bharata’s to take Ayodhya is the responsibility of the Raghu clan, not our property. Hence, nobody can change what fate has in store for them. It will never transgress those boundaries it imposes on itself. The sorrow is the biggest enemy of an individual. Sorrow takes away all good qualities and thus Sorrow makes forget one’s ability to distinguish between good and bad, It is also popular in much of Southeast Asia-particularly in Indonesia, where it features in traditional Javanese-Balinese dance, theater, and shadow puppet plays. The Rāmāyaṇa enjoys immense popularity in India, where its recitation is considered an act of great merit. Other important versions of the Rāmāyaṇa include the 12th-century Tamiḻ Irāmāvatāram by Kampan, 15th-century Sanskrit Adhyātma Rāmāyaṇa, and the 15th-century Bengali Krittivasi Ramayan by Krittibas Ojha. It also inspired the popular Rāmlīla folk re-enactments during the yearly Vijayadaśamī festival pageants. The most eminent renderings of the Rāmāyaṇa is Tulsīdās’s 16th-century retelling, the Rāmcaritmānas (c.1574–77, ‘The Holy Lake of Rāma’s Deeds,’) which transformed the Rāmāyaṇa into an inclusive bhakti (devotional) scripture. Historians believe that the early compositions, sometimes called Rāmakathā, formed the outline of many oral and written retellings not only in Sanskrit but also in various vernaculars, sometimes with substantial variances in expression form and content. It is a narrative poem of 25,000 couplets (ślokas) divided into seven cantos (kāṇḍas): Bālakāṇḍa (‘The Childhood Book,’) Ayodhyākāṇḍa (‘The Ayodhyā Book,’) Araṇyakāṇḍā (‘The Wilderness/Forest Book,’) Kiṣkindhākāṇḍa (‘The Kiṣkindhā Book,’) Sundarakāṇḍa (‘The Beautiful Book,’) Yuddhakāṇḍa or Laṅkākāṇḍa (‘The War Book’ or ‘The Book of Laṅkā,’) and, Uttarakāṇḍa (‘The Last Book’ or ‘The Book of Further Adventures.’) The first and the last cantos were possibly added to the main text of the Rāmāyaṇa later to complete the narrative’s frame and influence how it is interpreted. For example, Rāmā is the perfect prince and an embodiment of dharma (righteousness.) Rāmā and Sītā set the ideal of marital love, and Rāmā and Lakṣmaṇa characterize supreme fraternal devotion.Īscribed to the legendary sage Vālmīki, the Rāmāyaṇa evolved over a long period of oral composition, starting c.500 BCE. The Rāmāyaṇa’s allegorical plot consists of events that epitomize elements of the Hindu spiritual journey and depict exemplary human virtues and values. The Rāmāyaṇa describes how Rāma, assisted by his brother Lakṣmaṇa and the monkey-god Hanumān, rescued Rāma’s wife Sītā from the clutches of Rāvaṇa, the ten-headed demon king of Lanka. It is the principal source for the worship of Rāmā. The Rāmāyaṇa identifies the god-king Rāmā as the seventh incarnation of Viṣṇu. 300 BCE, is one of the two great epics of the Hindus, the other being the Mahābhārata. The Rāmāyaṇa (Sanskrit: “Adventures of Rāma” or “Rama Saga,”) composed c.