Analyzing Chapters 2-4 of Book I of The Ramayana; while the story builds progressively, each post is intended to be standalone
After receiving the full story of The Ramayana from the sage Narada, Valmiki is tasked with transcribing the epic in poetic meter. This imperative comes from Brahma, the Supreme Creator within the Hindu Trinity, who tells the poet:
“And as long as Rama’s legend authored by you flourishes…till then will you flourish in heavenly, in netherworlds, and even in my abode (Brahmaloka)”
The next few chapters continue with the meta-textual focus, first illustrating Valmiki’s writing process; his consideration of all of the aspects of The Ramayana, and his visualization of how to emphasize the confluence of different events and themes. This seemingly serves as a sort of editorial curation, atop Narada’s full rendition.
The most fascinating piece of narrative framing is in the fourth chapter, where upon completion of the epic poem, Valmiki considers: who should deliver it? In his mind, the only logical choice is the pair of princes who are under his tutelage at his hermitage, Lava and Kusha - the twin sons of Rama and Sita. As their father’s sons, they are described as having dual reflections of Vishnu’s perfection; with the capacity of “celestial singers” that can cover the full gamut of classical aesthetics: romance, pathos, comedy, fury, fright, and valor.
The chapter then tells of Lava and Kusha traveling to their father’s kingdom, Ayodhya, and beginning to sing The Ramayana among the public crowd. Stunned by both the story and their talent, groups of scholars, sages, and average denizens begin to crowd the two princes as they proceed through the kingdom. Gifts are bestowed upon the two, as they continue with their recitation:
“…And another sage bestowed a black-deerskin, and like that yet another a sacred thread... another a saffron cloth…and another enchanted for their singing ballad handed out a sacrificial vessel…yet another gave a plank-seat of audambari wood…and other called forth blessings…and someone then happily chanted bless-hymns for longevity... there by all the truth-avowing saints, those that are great sages have thus bestowed boons…”
Eventually, Rama’s own deputies take notice - causing the king himself to come and witness the twin marvels. He invites them to his palace, to continue their recitation. Knowingly, Rama then introduces the two princes as reciting not his own legend, but the legend of his beloved wife Sita:
“These two saint-like Kusha and Lava, who also possess kingly features, but they are great hermits... this narration is endowing good fortune to me also, listen to that great efficacious legend of Sita...”
The chapter then concludes with Rama focusing intently on the harmony of the twins’ recitation, in an effort to “pacify his own mind” against the anguish that this story has surfaced within him.
An Exile In Question
It’s rare to find a single chapter in a grand story that singularly changes its tone and perspective; this fourth chapter is one of those, in my humble analysis. The trials and tribulations of Sita - Rama’s beloved wife, the incarnation of the Goddess Lakshmi (Vishnu’s wife), and rightful queen of Ayodhya - is one of the most contentious elements in Hindu mythology.
Many devotees and scholars alike have a difficult time accepting her arc, within The Ramayana: she ventures out with Rama upon his exile; acts forthrightly and without error, even when kidnapped and imprisoned by the demon-king Ravana; upon her rescue, has her fidelity tested by the lord of fire, Agni; and at the end, due to the perception among Ayodhya’s citizenry that she could have possibly been compromised while taken prisoner, chooses to leave the throne and return to exile - while pregnant - to raise the royal twins at Valmiki’s hermitage. Sita endured, just as Rama and his brother Lakshmana endured - and she must then deal with another exile, even after the grand victory.
In the abridged version of The Ramayana that I read as a teenager, I remember that the author ended the story with Rama and Sita’s glorious return to Ayodhya - writing something along the lines of “in my heart, this is where the story ends, and so we shall conclude it here.” Clearly Sita’s second exile did not sit well with him. From my own research - it seems that everyone has their own opinion on where to draw the lines with the narrative. Some assert that the poem was meant to end with Rama and Sita’s formal ascendency to the throne, and do not believe that a divine ending could have such bitter notes.
Others maintain that Sita’s exile is core to the message of The Ramayana; even though Rama, Sita, and the reader all know that Sita acted with the same perfection as Rama - both are bound to the duties of their mortal incarnations. Rama must respect the duty of a king to act with the utmost propriety - even if that means separation from the family that he holds most dear. Sita must respect the (unwarranted) skepticism from her royal subjects, and proceed to do what is right for her children and kingdom. God and Goddess, even after the supposed victory, both voluntarily adhere to the dharma that governs their mortal forms.
Valmiki's Frame
Given that we, the readers/listeners, will receive The Ramayana, verse by verse, as the twins deliver it to Rama in his palace - it seems undeniable that Sita’s exile is indeed canonical in the story. Valmiki is clear on the centrality of her arc, as indicated when Rama recognizes the story being sung as the “Legend of Sita” - not one about his own glory. The King in anguish, as the meta-textual scaffolding for the entire epic, is perhaps the most poignant and intentional framing that could be chosen.
The surrounding details, at this point in the story, remain unclear. Rama is God-incarnate; does he recognize the twins as his own sons? Has he seen them at all, before this point? Hindu mythology tells of both Lava and Kusha succeeding their father on the throne, and forming their own branched dynasties. There are myriad interpretations, as far as I understand, on how and when this succession occurs. Will this be touched upon towards the end of the poem? (Would that part of the story be outside the recitation by the twins themselves?)
In any case, I appreciated that Valmiki provides the complex texture of the story upfront - allowing the reader/listener to dive in, with all of these questions swimming around their mind. In the next chapter, the story begins in earnest…