RAMAYANA THROUGH THE LENS

OF SOUTH INDIA
Submitted by:
Shreya Rajput
Nimisha S Manoj
U N Vikashini
Sneha S S
Saikrishna C R

INTRODUCTION
Ramayana is an epic which has inspired generations of authors to recreate their
own versions after the original one written in Sanskrit by the sage Valmiki also
known as the Adikavi , meaning the first poet . He created a literary and spiritual
masterpiece which continues to be relevant in contemporary times and
influence our idea of human values and ethics such as dharma , Nyay and Niti
. While the epic is a lens of the past it is also an ever evolving text which holds
a special place even in today’s time because of its literary adaptation in a wide
range of languages and religions as well. Ramayana as an epic has crossed
boundaries and resonated with the people across the world .

One of the important themes which we have explored in the research involves
looking at this great epic through the lens of south India , what are the variations
included in these versions to make it more relatable and resonate with cultural,
linguistic and spiritual ethos of the people in these regions. We have explore
the southern versions of ramayana such as the tamil epic of Ramayana ,Kamba
Ramayana , written by the great Tamil Poet Kamban also known as
Ramavataram , considered by literary scholars as one of the greatest religious
literary masterpiece which has also inspired other versions in the south, the
kannada version of ramayana also known as the pampa ramayana of the Jaina
tradition and the versions written by traditional bards known as Tamburi
Dasayyas .The Telugu version consists of the Telugu folklore focusing on a folk
song named Putrakameshti 1.

1
The term Putrakameshti refers to an ancient Vedic ritual (a yajna or fire sacrifice) primarily
performed by couples desiring offspring, specifically a [Link] Putrakameshti song in the Telugu Folk
Ramayana refers to a devotional song related to the Putrakameshti Yajna, which is closely associated
with the story of King Dasharatha from the Ramayana. In the context of the Telugu Folk Ramayana,
this song is often sung in praise of Lord Vishnu or Lord Rama and is part of a traditional performance,
typically during religious or cultural celebrations.
1
The Malayalam version of ramayana consists of Adhyatma Ramayana , again
a spiritual masterpiece in the Malayalam language written by Thunchathu
Ezhuthachan ,who is also considered as one of the greatest poets in Malayalam
, then we have Adiya ramayana which is an oral tradition of the tribes and
provides us with a very different story , and lastly in the Malayalam version we
have also focused on the Mappila Ramayana , which involves the oral tradition
of the Ramayana from the islamic community , providing an perfect example on
how the timeless epic has united different communities in the country and
emphasized on the ideals of unity and embracing different cultures .

Considering Valmiki Ramayana was the original text and undoubtedly the
popular one , we have explored the similarities as well the differences keeping
it as the reference for comparison and contrast , while also focusing on the
popular texts in northern India including Ramcharitmanas written by the
renowned poet Tulsidas. Several broad themes such as their unique literary
style , devotional aspects , tribal and folklore versions , its wide lasting influence
, the differences in the storyline and additional characters described in these
versions have been explored.

What makes this research unique is that we are trying to look at the epic from a
different perspective which is often overlooked , such as how the epic continues
to be relevant because of its ability to adapt with the local culture and how the
text represents different cultural and philosophical tenets of life while also
bringing people together. And most importantly it opens us to a new as well as
a refreshing perspective and certain important revelations , such as how the
character of Ravana has been portrayed in a very nuanced and multi-faceted
way in the south where he is also appreciated for his responsible role as a king
, scholar and devotee of lord Shiva , while the Women characters have also
been portrayed in a more assertive and confident manner such as Sita who
stood up for herself . These new and exciting visions is what makes the epic of
Ramayana unique and blur the boundaries through cultural adaptability 2 .

This research emphasizes on how relevant all versions of Ramayana are ,

considering they are provided equal significance and how it as a epic
transcends cultural boundaries , ideas , religious beliefs and has emerged as a
timeless classic , helping us to understand on how to accommodate different
perspectives on human values and ethics as depicted in the story .

2
The Ramayana Diplomacy:Enhancing the soft power of india ( Preethi Amaresh,2020)

2
THE RAMAYANA AS A DEVOTIONAL TEXT : A COMPARATIVE
STUDY

The Ramayana, a cornerstone of Indian literature, transcends its role as a

narrative to serve as a profound devotional text across regions and traditions.
3
From Tulsidas’ Ramcharitmanas in North India to Kamban’s Kamba
Ramayanam in Tamil Nadu and the Adhyatma Ramayana in Malayalam, the
epic has been reimagined as a spiritual guide, emphasizing devotion (bhakti),
moral virtue, and surrender to divine will.4

Tulsidas’ Ramcharitmanas: Bhakti and Moral Idealism

The Ramcharitmanas frames the story of Rama as a path to salvation, aligning

with the Bhakti movement's principles. Tulsidas emphasizes Rama’s divine
nature as an incarnation of Vishnu, while humanizing him to connect with the
masses. The text’s structure and language make it accessible, enabling its
widespread adoption in devotional practices.

● Tulsidas extols Rama as “the embodiment of compassion, humility, and

righteousness, a guide for all humanity” 5
● The narrative highlights universal moral ideals, such as Rama’s
unwavering adherence to dharma and Hanuman’s selfless service
(dasya bhakti), which have inspired countless devotees.

The inclusion of hymns, such as the Hanuman Chalisa, integrates the

Ramcharitmanas into daily worship, making it a living tradition.6

Kamba Ramayanam: Tamil Devotional Poetics

Kamban’s Kamba Ramayanam elevates Rama as a divine king while blending

Tamil poetic traditions. Unlike Valmiki’s more humanized hero, Kamban
portrays Rama as a supreme deity. His descriptions are suffused with Tamil
values and spiritual intensity:

3
For the Ramayana's importance as a devotional text, see Richman, Paula. Many Ramayanas: The
Diversity of a Narrative Tradition in South Asia (University of California Press, 1991).
4
For the diversity of Ramayana traditions, refer to Lutgendorf, Philip. The Life of a Text: Performing
the Ramcharitmanas (University of California Press, 1991).
5
Tulsidas, Ramcharitmanas, Bal Kand.
6
For the role of the Hanuman Chalisa in worship, refer to Hanuman Chalisa: Verses of Devotion by
Swami Tejomayananda.

3
 ● In the Bala Kandam, Kamban writes, “Rama’s gaze alone destroys the
sins of countless lifetimes, for he is the Lord who carries the weight of
the universe”7 .

The Kamba Ramayanam’s devotional focus is closely tied to Tamil

Vaishnavism, emphasizing surrender (prapatti) and unwavering faith.8 It has
profoundly influenced temple rituals, music, and dance traditions in Tamil Nadu.

Adhyatma Ramayana: Philosophical Bhakti

The Adhyatma Ramayana, a Sanskrit text popular in Kerala, integrates Advaita

Vedanta philosophy with the narrative. It underscores Rama as the Supreme
Brahman and Sita as the eternal consort, symbolizing the soul’s union with
God9. The text introduces episodes, like Sita’s teaching Hanuman the essence
of devotion, emphasizing spiritual knowledge (jnana bhakti).

Folk and Regional Variations

Folk traditions, such as the Telugu and Kannada versions, emphasize localized
devotional practices, often focusing on Hanuman’s heroism and communal
values. The Mapilla Ramayanam, blending Islamic and Hindu elements,
exemplifies how devotion transcends religious boundaries.

Across its many versions, the Ramayana inspires devotion through its portrayal
of divine love, moral virtue, and the soul’s journey toward liberation. Each
adaptation enriches the epic’s spiritual legacy, making it a timeless source of
faith and cultural pride.

Tribal renditions of ramayana

The Ramayana is an epic that has transcended social boundaries and has been
retold by the upper sections of society and various tribal communities. These
tribes have reinterpreted the narrative, adapting it to their unique worldviews,
cultural practices, and local struggles. In this section, we will compare two such
tribal renditions of the Ramayana from South India: one written by the Adiya
community of Wayanad district in Kerala10 and the other by the Halakki tribes

7
Kamba Ramayanam, Bala Kandam.
8
On Tamil Vaishnavism’s influence on the Kamba Ramayanam, refer to Hardy, Friedhelm. Viraha-
Bhakti: The Early History of Krsna Devotion in South India (Oxford University Press, 1983).
9
For philosophical themes in the Adhyatma Ramayana, refer to Swami Tapasyananda, The
Adhyatma Ramayana: A Spiritual Perspective (Sri Ramakrishna Math, 1985).
10
Wayanad is a district in the northeast of Kerala, covered with lush green forests and mountains. A
large majority of its population belongs to tribal traditions and there are twelve major tribes which
4
of Uttara Kannada district in Karnataka11. Each version reflects these
communities' distinctive perspectives and traditions while offering a fresh take
on the ancient epic.

This section will focus on the Ramayana of the Adiya community and the Seethe
Kami of the Halakki tribes. The Adiya version of Ramayana included popular
characters from local legends like Valliyoorkkavu Bhagavathi, Pulpalli
Bhagavathi, Pakkatheyyam, Tirunelli Perumal, Siddhapan, Nenjappan, and
Mathappadeva. The main characters of Valmiki Ramayana like Sita, Rama,
Lakshmana, etc are placed below the local deities and are considered normal
human beings belonging to the Adiya community. When it comes to the Seethe
Kami we can see Janaka chewing betel leaves and chats, Sita washing clothes,
and Rama is a selfish, doubtful, painful elder brother who depends on
Lakshmana for everything. Seethe Kame also sings of Lakshmana, not Rama,
winning Seetha's hand in swayamvara by killing a crow obstructing Janaka’s
meditation12. In both of these versions, the characters are not superficial or God-
like and are given human characters.

Also in Adiya's version of Ramayan, the entire story takes place in the forest of
Wayanad and Coorg in Karnataka. For example, the Valmiki shrine near
Pulpally and also a spot where Sita is supposed to have vanished under the
earth. Adiya community gives great importance to women, so when they told
their Ramayana they tried to make changes in the story which supports Sita. In
one section of the Adiya Ramayana, Rama and Lakshmana are tied in a tree
and interrogated by the tribal head for abandoning the pregnant Sita. Similarly
in the Seethe Kame 13, women characters are given more importance. In this
version, Sita was born as the daughter of Ravana and Mandodari but her
horoscope tells that she can be the cause of Lanka’s destruction, which forces
Ravana to order to kill Sita and cook and feed him. But in this version,

include Adiya , Paniya, Kurichiya, Kurumar, Kattunaykan, Wayanadan Kaadar, Karimbalan, Kundu
Vaadiyan, Patiyar, Tachanadan Moopan, Uridakkaudar and Kalanaadikal. Each of these tribes has its
retelling of Ramayana. Adiya is more popularized by Kali Mathei among the Adiya community in
Wayanad.P.K Kalan and [Link] were other notable names in this tradition. It is in the form of an
oral tradition , thus as passed from one person to another there is no stability in the content

11
The Halakki tribes of Uttara Kannada district in Karnataka have a hidden folk version of the
Ramayana called Seete Kami. Volunteers from BuDa folklore have shared this version

12
There is no ‘swayamvara’ — King Janaka says whoever kills the crow troubling him will get Seetha
and half of his kingdom

13
Halakki tribes have strong womenfolk who bind the families together and also work hard in the fields
and forest and Seethe Kami emphasizes more on Seetha, not so much on Rama.

5
Mandodari doesn’t listen to Ravana and leaves Sita in Janaka’s field and feeds
him Rabbit flesh instead. It shows the importance given to a girl child and a
mother who protects her. So here we can see that the entire story of Ramayana
adapted to the lived experiences of the people who have told the story in a way
that people could resonate more with the epic.

VARIATIONS ACROSS RAMAYANAS

FEATURES OF THE CHARACTERS

Different characters are portrayed differently in different versions of Ramayana;

RAMA

In the Valmiki Ramayana, Rama is portrayed as an ideal hero, having human

feelings. Whereas, in the Ramacharitmanas and in the Kamba Ramayana,
Rama is depicted as a figure of divine origin, who is working in accordance with
the cosmic order. In the tribal Ramayanas of Kerala and in the Telugu folk
tradition, he is seen as a human figure, even belonging to the lower caste.
Whereas, in the Pampa Ramayana of Karnataka, he is shown as a non-violent
hero, converting himself into a Digambara monk 14 and in the Mappila
Ramayana, he is portrayed as a prophet.

SITA

In Valmiki’s Ramayana, Sita is depicted as a shy, passive and submissive

woman. Ramacharitmanas portrayed Sita as an embodiment of purity, patience
and devotion, whereas, in Pampa Ramayana, she became the cause of her
father’s death. She is depicted as a strong and assertive character in the Telugu
folk tradition. In the Mappila Ramayana, she is seen as a Muslim woman. But,
in the Kamba Ramayana, she is portrayed in such a way as to command greater
respect and adoration in the view of cultural perspectives.

RAVANA

In the Valmiki’s Ramayana, which is same as in Adhyathma Ramayana,

Ravana is shown as a complex character, having both positives and negatives.

14
In the Pampa Ramayana, after the tumultuous events of his life, Rama undergoes a transformation
as a way of seeking spiritual liberation and renouncing worldly attachments. The term "Digambara"
means "one who is sky-clad" — a term traditionally associated with Jain monks who renounce all
material possessions, including clothing. This symbol of complete renunciation is significant because it
reflects a move away from worldly responsibilities and attachments, embracing a life of spiritual
austerity.

6
Likewise, in the Telugu folk tradition, Ravana is also a multi-dimensional
character, portrayed as a devotee of Shiva. This view also can be seen in the
Kamba Ramayana, where he is depicted as a man of certain values. In the
Pampa Ramayana, he is depicted as Udatta [Link] Ramacharitmanas, he
is seen as a demonic figure.

HANUMAN

Hanuman is showcased as a devoted servant of Rama in the Valmiki’s

Ramayana, similar to Hanuman shown in both Pampa Ramayana and the
Telugu folk tradition, which is more elaborated in the Ramcharitmanas and
Kamba Ramayana, depicting his heroic acts. But, in the Adiya Ramayana, he
is portrayed as challenging Rama.

LAKSHMANA

In the Valmiki’s Ramayana, Lakshmana is described as hot-headed, while in

the Ramacharitmanas and Kamba Ramayana he is portrayed as a tranquil
being.

INCLUSION OF ADDITIONAL CHARACTERS

The various regional versions of the Ramayana incorporate distinct characters

beyond the core narrative. In Rama Raju's Telugu folk Ramayana, additional
figures like Mahiravana16 (known as Mayil Ravanan in Tamil and Padala
Ravana in Malayalam), Matsyagarbhan17 (also mentioned in Adhyatma

15
In Sanskrit, the word "Udatta" can mean "elevated," "noble," or "dignified." When combined with
Ravana, it suggests a portrayal of the demon king as possessing elevated qualities, such as wisdom,
virtue, or a sense of honor. This alternative portrayal contrasts with the more common image of Ravana
as a ruthless villain.
16
Mahiravana is a character from the Ramayana who appears in some regional versions of the epic,
particularly in the Adhyatma Ramayana, Kamba Ramayana and Telugu Folk Versions. He is the cousin
of Ravana and is often depicted as a powerful demon king, the ruler of the underworld, and a devotee
of Maya, the illusionary powers.

17
In some regional versions and folk traditions of the Ramayana, the character of Matsyagarbhan is
said to be the son of [Link] story of Matsyagarbhan, as the son of Hanuman, appears in certain
retellings and local folk lore where Hanuman, known for his divine strength and devotion to Lord Rama,
is said to have fathered a child under unique circumstances. In these stories, Matsyagarbhan is often
depicted as a powerful figure with some divine connection, possessing special powers like his father,
[Link]'s important to note that this figure does not appear in the Valmiki Ramayana or in most of
the classical versions of the Ramayana (like Kamba Ramayana or Ramcharitmanas). Instead,
Matsyagarbhan as Hanuman's son is part of more regional or folk traditions, often unique to specific
cultures or storytelling practices within the broader framework of the Ramayana narrative.

But in the Adi Ramayana or certain folk traditions, Matsyagarbhan is associated with the birth of Lord
Rama or a divine event related to his early life. The term "Matsyagarbhan" is a combination of "Matsya"
(meaning fish) and "Garbhana" (meaning womb or gestation). It is often interpreted in some regional
texts as a symbolic reference to the miraculous or divine nature of Lord Rama's birth, or an unusual
7
Ramayana), and Shabala (Rama's divine horse) are featured. Kamba
Ramayana introduces figures like Kugan18 (a hunter chieftain),also known as
Kukudhi (in Adhyatma Ramayana) and Indrajit (Ravana’s son).The Mappila
Ramayana includes local Muslim characters. Adiya Ramayana adds
Pakkatheyyam19 (a tribal chieftain) , while Pampa Ramayana (in Kannada) also
mentions Rama’s bond with the forest tribes.

CULTURAL INFLUENCE OF REGIONAL RAMAYANAS

The Ramayana has inspired diverse art forms and monuments across India,
with each regional version contributing to the country’s cultural heritage.

The Pampa Ramayana in Kannada has influenced Karnataka’s classical dance

and theater, especially Yakshagana. Vachanas, devotional songs from the
Lingayat tradition, narrate episodes from the Ramayana. Temples and
monuments in Hampi and Hoysala architecture feature depictions of Rama’s
life.

The Kamba Ramayana inspired Tamil literature, Bharatanatyam, and

Therukoothu20 (street theater). Temples like the Nataraja temple in

event involving water, similar to other divine or mythological births that occur under extraordinary
circumstances.

18
Kugan (also sometimes referred to as Kukudhi) is a character who plays a role in the narrative, though
he is not present in the Valmiki Ramayana. Kugan is depicted as a tribal or forest-dwelling figure and is
closely associated with Lord Rama during his exile in the [Link] the Adhyatma Ramayana as well as
in the Kamba Ramayana, Kugan is a character who shows devotion to Rama and aids him in various
ways. The Adhyatma Ramayana and the Kamba Ramayana , which are devotional and more spiritual
versions of the Ramayana, places a greater emphasis on the relationships between Rama and the local
communities, including forest dwellers and tribes, as seen through characters like Kugan.

19
In the Adiya Ramayana ( Malayalam Tribal Ramayana), Pakkatheyyam is a character who plays a
role in the forest-dwelling version of the Ramayana, unique to the Malayalam tribal retellings. The Adiya
Ramayana often emphasizes the close connection between Rama and the forest tribes, incorporating
their customs, deities, and local figures.
Pakkatheyyam is depicted as a tribal chieftain or a leader who aids Rama, Sita, and Lakshmana during
their time in exile in the forest. In the Adiya Ramayana, many such local characters, like Pakkatheyyam,
help create a more localized and community-driven version of the epic, representing the lives and
struggles of forest dwellers. These figures are usually portrayed as loyal and protective, reflecting the
cultural integration of the forest tribes into the broader Ramayana [Link] this version, characters
like Pakkatheyyam contribute to the themes of alliance, survival, and the deep-rooted connection
between nature and the divine, highlighting the importance of community support during times of
hardship.

20
Therukoothu is a traditional street theater form popular in Tamil Nadu, India, particularly in rural areas.
It is a vibrant and energetic performance style that blends music, dance, drama, and song to narrate
stories, often from Hindu epics like the Ramayana and the [Link] Therukoothu, the performers
enact mythological stories, usually focusing on characters like Rama, Sita, Ravana, and Hanuman. The
performances are highly dramatic, with colorful costumes, elaborate makeup, and exaggerated physical
8
Chidambaram and the Ramanathaswamy temple in Rameswaram showcase
scenes from Kamba's version. Kavadiattam 21 dance performances dramatize
the epic.

The Adhyatma Ramayana has deeply impacted Malayalam literature and

temple arts, inspiring Theyyam22 performances in Kerala, where Ramayana
themes are enacted. The Nalambalam Yatra 23, from Triprayar to Payammal,
reflects the influence of this version.

Ramcharitmanas, written by Tulsidas, shaped Hindi devotional music and folk

art. Temples in Ayodhya, Varanasi, and Mathura display monumental
depictions. Ramlila performances reenact scenes from the text, blending
drama, dance, and music.

The Telugu Folk Ramayana influenced Kuchipudi dance, folk theater, and
puppet performances. Bhadrachalam Temple and other sites in Andhra
Pradesh house artwork inspired by this retelling. Folk festivals and Ramayana-
based dramas in the region celebrate its themes with local music and
performances.

INCLUSION OF ADDITIONAL EPISODES

movements that help convey the emotions and actions of the characters. The artists engage in dialogue
exchanges, singing songs that describe the scenes and add emotional depth.
21
Kavadiattam is a traditional Tamil devotional dance form performed as part of the Pongal festival and
other religious rituals, particularly in temples dedicated to Lord Murugan (Kartikeya). The term
"Kavadiattam" translates to "dance of the burden" (from Kavadi, meaning burden, and Attam, meaning
dance). The dance is deeply spiritual, symbolizing the devotee's act of devotion, penance, and gratitude.
22
Theyyam is a traditional ritual art form of worship performed in the Indian state of Kerala, primarily
in the northern districts. It is a unique and vibrant blend of dance, music, and religious ritual, with the
performances being held in temples, especially during the annual festivals. The name "Theyyam" is
derived from the word "Daivam," meaning "God," as the performances are believed to be an
embodiment of divine beings.
23
Nalambalam Yatra is a religious pilgrimage in Kerala, India, dedicated to Lord Rama and his brothers
Lakshmana, Bharata, and Shatrughna. The term "Nalambalam" means "four temples," as the journey
involves visiting four key temples that are associated with these four brothers. The pilgrimage typically
takes place during the Ramayana month (known as Karkidakam in the Malayalam calendar, usually in
July-August) and is especially popular among devotees of Lord [Link] Yatra begins from
the Rama temple in Triprayar and ends up at Shatrughna Temple in Payyammal. It is customary to visit
the four temples in the order Rama, Bharata, Lakshmana and Shatrughna respectively. A pilgrimage to
these temples on a single day during the holy month of Karkidakam is believed to shower blessings and
ensure prosperity.

9
Regional versions of the Ramayana feature unique episodes, reflecting local
cultures, values, and interpretations, enriching the epic’s universal themes.

In the Telugu folk version, there is an interesting episode which depicts the love
and affection of Rama for Sita. It starts with Rama and Sita playing dice and
when Rama loses, Sita demands her bet prize. Rama retreats to his chamber,
and Sita sees other women with him, and questions his loyalty. The women
claim to be his eternal companions. Insulted, Sita cries, but Shanta eventually
reconciles Rama and Sita, restoring their bond.

In the Kannada folk version, Ravula (Ravana) and Mandodari, childless and
unhappy, seek blessings from Shiva. Shiva grants a magic mango which makes
one pregnant, Ravula keeps the mango with himself and later he eats it. He
becomes pregnant and gives birth to a daughter, Sita, through a sneeze.

In the Malayalam tribal version (Adiya Ramayana) , there is an episode where

Pakkatheyyam24 refuses Sita to stay in his place and in another episode, Rama
and Sita re-unites at the end, and together they go to Iruppu 25 along with Lava
and Kusha.

In the Kamba Ramayana, there is an additional episode that includes the killing
of Hiranyan26. Another episode mentions Surpanakhai, as a beautiful damsel,
24
It is believed that Pakkatheyyam (Lord of Pakkam) resides in the Pulpally region. One day,
Pakkatheyyam confronted Sita, who was staying in Pulpally. 'Look, Sita, don't stay here. This area
belongs to me. You can choose any place outside my area and build your hut there.' Pakkatheyyam
then planted a boundary stone and measured out his land. (It was customary for the devas [deities] in
ancient days to establish their control over lands. The jurisdictional limits of each God were clearly
demarcated, and they also had their own temples. They set up dominions in places such as the Kottiyoor
temple, the Thirunelly temple and the Valliyoorkavu temple, and settled there).
25
It is believed that Sita lives in Iruppu even today, where there is a temple in her [Link] Sita Temple
in Iruppu is a significant temple located near the Iruppu Waterfalls in the Wayanad district of Kerala,
India. This temple is associated with the Ramayana and is dedicated to Sita, the wife of Lord Rama.
The temple is situated in a serene, forested area, surrounded by natural beauty, and is an important
pilgrimage site for devotees of the Ramayana.
26
Hiranyan, a demon king, received a powerful boon from Lord Brahman after performing severe
penance. The boon made him nearly invincible, as he could not be killed by man or beast, inside or
outside, during the day or night, and by no weapon. With this boon, Hiranyan became arrogant, defeated
the gods, and sought to rule the three worlds. His tyranny and hatred for Vishnu grew, and he even
demanded that his subjects worship him as a [Link], his son Prahladan, a devotee of Lord
Vishnu, refused to worship his father and remained steadfast in his devotion to Vishnu. Hiranyan tried
to force Prahladan to renounce his faith, subjecting him to various punishments, but Prahladan
remained unharmed due to Vishnu’s protection.
Finally, enraged by his son’s devotion, Hiranyan confronted Prahladan and demanded to know where
Vishnu was. Prahladan, in his innocence, replied that Vishnu was everywhere, even in a pillar of the
[Link] a fit of fury, Hiranyan struck the pillar, and to his shock, Vishnu appeared in the form of
Narasimhan — a half-man, half-lion avatar. Narasimhan, being neither man nor beast, neither inside
nor outside, and neither day nor night, fulfilled the conditions of the boon given to Hiranyan.
Narasimhan killed Hiranyan by ripping him apart with his claws, at twilight, on the threshold of the
palace. He placed the demon king on his lap and tore his chest open, thus ending the reign of terror
that Hiranyan had imposed.
10
walking tenderly with the gait of a swan and a peacock, bearing the sole
intention of captivating the heart of Raman.

In the Ramcharitmanas, there is an additional episode of Kakbhushundi 27 who

was a proud and arrogant Brahmin who doubted Lord Rama's divinity. However,
he was cursed by the sage Lomas to become a crow due to his disrespect and
irreverence. Another additional episode is the story of Narada’s curse 28.

CONCLUSION
The role of Ramayana in Indian politics is significant, especially when elections
are nearing we can also see concepts like Ramarajya coming to center stage.
The manifestation of Rama in Indian politics can be understood by the usage of
symbols related to Ramayana.

But often we forget about the different versions of Ramayana while discussing
these concepts which are more closely related to the Valmiki Ramayana. As
Romila Thapar said in her critique of the 1987 Doordarshan version of
Ramayana “The Ramayana does not belong to any one moment in history for
it has its history which lies embedded in the many versions which were woven
around the theme at different times and places.” Not only do diverse
Ramayanas exist; each Ramayana text reflects the social location and ideology
of those who appropriate it:

“The appropriation of the story by a multiplicity of groups meant a multiplicity of

versions through which the social aspirations and ideological concerns of each
group were articulated. The story in these versions included significant

27
Kakbhushundi was originally a proud and arrogant Brahmin who doubted Lord Rama's divinity. He
was cursed by the sage Lomas to become a crow due to his disrespect and irreverence. However, this
curse turned into a blessing, as it led Kakbhushundi to realize the greatness of Rama and devote his
life to chanting Rama's name and narrating his story.
Kakbhushundi is unique in Ramcharitmanas as he recounts Rama's life cycle repeatedly, witnessing
his divine play (or leela) in countless cosmic cycles. He narrates the story of Rama to Garuda, Vishnu's
mount, who had expressed doubts about the Lord’s divine nature.

28
Narada, a celestial sage, was a great devotee of Lord Vishnu but also prone to pride. One day, he
saw a beautiful maiden and became enamored, losing his composure. Lord Vishnu, knowing Narada's
arrogance and attachment, disguised himself as another suitor and won the maiden's hand. This
angered Narada, who felt betrayed by [Link] his rage, Narada cursed Vishnu, declaring that he too
would experience the pain of separation from his beloved. This curse set the stage for Rama's life,
where he suffered immense sorrow during Sita's abduction by Ravana.
Later, Narada realizes his mistake and repents. Vishnu forgives him, explaining that the curse was a
divine play to fulfill the cosmic purpose of Rama’s incarnation on earth.

11
variations which changed the conceptualization of character, event, and
meaning.”

Traditionally, local references and topical remarks play crucial roles in many
performances of the Ramayana. The homogenization of any narrative tradition
results in cultural loss; other tellings of the Ramayana story might be
irretrievably submerged or marginalized.

This research underscores the Ramayana’s dynamic evolution across South

India, reflecting its ability to adapt and resonate with diverse cultural and
devotional traditions. Texts like the Adhyatma Ramayana emphasize Rama’s
divinity and philosophical depth, while works like the Pampa Ramayana and
Adiya Ramayana weave local cultural narratives into the epic framework. 29 Folk
versions, such as the Telugu and Kannada adaptations, offer alternative
perspectives that focus on community values and heroic ideals, making the epic
accessible to oral and performance traditions. The Mapilla Ramayanam
uniquely blends Islamic influences with the Ramayana, showcasing its
adaptability in multicultural contexts30.

The portrayal of Ravana in these variations is particularly notable. Periyar’s

critical perspective redefines Ravana as a Dravidian hero, challenging
traditional narratives and sparking socio-political discourse.31 These
interpretations reflect the Ramayana’s capacity to engage with evolving cultural
and ideological frameworks.

While this paper highlights similarities, such as the central theme of devotion
and the valorization of dharma, it acknowledges limitations. 32 The focus on
textual narratives leaves room for deeper exploration of performative traditions,
oral histories, and temple rituals that shape the Ramayana’s cultural role33.

29
For the Adhyatma Ramayana's philosophical perspective, see Sharma, Arvind. The Philosophy of
Religion and Advaita Vedanta (Pennsylvania State University Press, 1995). And
For local cultural narratives in the Pampa Ramayana and Adi Ramayana, see Narayana Rao,
Velcheru, and David Shulman. Classical Telugu Poetry: An Anthology (University of California Press,
2002).

30
For insights into the Mapilla Ramayanam and its syncretic elements, see Kunju, M.A. Mappila
Ramayanam: Syncretism in Tradition (Kerala Historical Research Institute, 2003).
31
On Periyar’s reinterpretation of Ravana, see Geetha, V., and S. V. Rajadurai. Towards a Non-
Brahmin Millennium: From Iyothee Thass to Periyar (Samya, 1998).
32
For discussions on common themes like devotion and dharma, refer to Lutgendorf, Philip. The Life
of a Text: Performing the Ramcaritmanas (University of California Press, 1991)
33
For the importance of performative traditions in shaping the Ramayana’s legacy, see Hiltebeitel, Alf.
Rethinking India's Oral and Classical Epics: Draupadi among Rajputs, Muslims, and Dalits (University
of Chicago Press, 1999).
12
Expanding research into these dimensions could further illuminate the epic’s
multifaceted legacy.34

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