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Old Delhi's Spectacular Lav-Kush Ramlila:Three Pivotal Scenes in Translation
Lav-Kush Ramlila, staged at the Red Fort, has gained popularity in recent years amongst other similar dramatic re-enactments of the epic saga. Its attractiveness, owing to its casting, includes film and television personalities from entertainment industries across India. While the festivities of many Indian celebrations allow modern audiences to bear witness to an amalgam of ritual, religion, and histrionics, the Ramayan maintains a prime position in shaping the national narrative. What helps sustain its position in the Indian psyche is accessibility to the story of Ram. This article draws attention to the language of the Lav-Kush Ramlila, specifically through translations of three pivotal scenes: Ram's Exile, Lakshman Cuts Off Shurpnakha's Nose, and Hanuman Fetches Sanjivani, as derived from its live performance in 2016 and 2018. The translations are accompanied with summaries and supporting commentaries to further illuminate the performance, its sub-text, and cultural references, as well as an introduction that locates purposeful connections between the performance and Ramanand Sagar's Ramayan which continues to serve public memory, collective sentiment, and Hindutva politics.
Radhica Ganapathy is Assistant Professor in the School of Theatre & Dance at West Virginia University. She holds a Ph.D. in Theatre from Texas Tech University. Ganapathy began her career in theatre as a professional actor in New Delhi, India. Prior to WVU, Ganapathy taught at The Pennsylvania State University Berks Campus and Stockholm University in Sweden. She has collaborated with various artists, performers, and scholars in India, Sweden, and the United States. Ganapathy's research engages in critical representations of race, class, gender, and sexuality in twentieth century theatre and performance. Ganapathy is specifically interested in examining notions of performance and performativity in art and the everyday life. [End Page 38]
Introduction
Arvind Rajagopal writes in his book, Politics After Television: Hindu Nationalism and the Reshaping of the Public in India, that the official proposal for the serialization of the Ramayan and the Mahabharat stated, "Ramayan is not only a great epic of Himalayan dimensions, it is also a repository of our social and moral values. … The real challenge … lies in seeing this immortal epic with the eyes of a modern man and relating its message to the spiritual and emotional needs of our age" (Rajagopal 2001: 80). Ramanand Sagar's 78-episode serial Ramayan (1987–1988), based largely on Valmiki and Tulsidas' versions of this great Indian epic, was first broadcast on television on 25 January 1987. Within a couple of episodes, it became the highest-grossing television show of its time. The phenomenal success of the serial may be attributed to the fact that it told a deeply familiar narrative in a simple storytelling format. In this way, Sagar was able to tap into a core sentiment of many people, Hindus especially, and the nation at large (Lutgendorf 1990, 1991: 411–412; Hindustan Times 2018).
One could argue that the phenomenon of television itself, which had only just arrived in India in the early 1980s, was crucial to the spread and overall impact of Sagar's Ramayan. The government-owned channel Doordarshan that aired the serial was the only channel available on network television at the time, and it had a very limited number and variety of shows. Typically, Doordarshan only had one television serial running at any given time. Some of the most popular were social dramas like Hum Log (Us Folks, 1984–1985), Yeh Jo Hai Zindagi (Such is Life, 1984), Buniyaad (Foundation, 1986–1987), and Wagle Ki Duniya (Wagle's World, 1988). However, Sagar's serial was perhaps the first to usher in the era of TV mythologicals. Amidst this technologically enterprising period of post-colonial India, Sagar's Ramayan allowed audiences to come together as families and neighbors in a collective act—itself a performance, and connect with a traditional story via a new medium.
The TV Ramayan of 1987–1988 has maintained its prime position in shaping the national narrative about the epic. What helps it sustain its position in the Indian psyche is its ability to provide direct access to the story of Ram. When Sagar's Ramayan originally aired nationally on a public television channel, it worked to enhance the rise of the Hindu Right that was gaining traction in the late 1980s. When the TV serial ended, owing to their newly acquired mass appeal, the actors who played Ram (Arun Govil), Sita (Deepika Chikhalia), and Hanuman (Dara Singh) quickly aligned themselves with the Bhartiya Janata Party (BJP), India's largest Hindu-Right political party. For many [End Page 39] viewers, these actors were literally the embodiment of Ram, Sita, and Hanuman. There are documented accounts of people who believed they were receiving darśan (divine vision) of the gods themselves when they watched the show. Some would even do a pūjā (ritual worship) of their television sets before the show came on (Lutgendorf 1990: 161). The actors' choice to join the BJP and endorse its message of Hindutva (Hindu nationalism) reflects the serial's successful fusing of religion and politics.
Shortly thereafter, in 1990, the BJP, led by its then President, L.K. Advani, organized a massive political and religious rally called the Rath yātrā (The journey of [Ram's] chariot) that traveled across North India, and concluded in the town of Ayodhya, which many Hindus consider the actual birthplace of Ram. In 1992, the rally led to the destruction of the Babri Masjid, a sixteenth-century mosque, in Ayodhya, and further deepened the dispute over Rām-janmabhūmī (the birthplace of Ram). Sagar's Ramayan positioned itself as critical in helping the nation refamiliarize itself with Hindu values and ideologies, and it was successful in embedding the Ramayan deep(er) into the warp and woof of India's mass culture. While all of this has become part of India's religious and social history, the politicization of Ram's narrative and the increasing inability to access alternate, non-politicized versions of this narrative continue to be of prominent concern in India today.
I was eleven when Sagar's Ramayan first aired on the channel Doordarshan in 1987. Sunday mornings were instantly committed to family gatherings around the television to watch Sagar's Ramayan. I, along with my family and the rest of the nation, participated in this weekly ritual, as the epic saga unfolded in 78 episodes. While my elevenyear-old self was familiar with the story of Ram prior to Sagar's Ramayan, the experience of watching this familiar narrative on television for the first time was transformative. Sagar's version of the Ramayan set its roots deep in my psyche, and in the collective psyche of the nation. Sagar's version continues to shape how audiences understand the Ramayan, and many still fall back on it as the standard reference work for the epic. Even though the Ramayan has been adapted into many television shows and films, many people continue to watch Sagar's Ramayan—and not merely for entertainment. Many viewers appreciate the values they see embedded in the serial and sincerely believe they should live these values in their own lives. They watch the serial because they want to follow Ram's example, and travel on the path of dharma.
In my case, the experience was also deeply pedagogical because my participation was not limited to watching the visual narrative unfold on television, but also encompassed my simultaneous exploration of the oral tradition itself. The myths, characters, subplots, and various [End Page 40] other details shown in the serial were often discussed within my family and the larger community around us. My mother, who had knowledge of the Ramayan and related Indian myths, was fascinated by how they would be depicted on television. Prior to the airing of an episode, she would often narrate what she expected to happen, and then follow up with post-show commentary. This type of extended discussion was not unique to my home. There was significant discursive momentum around the serial; the entire nation got swept into conversations about the serial, a major public performance event. Perhaps the creators of the serial anticipated this would happen and so intentionally injected weighty ethical content into their epic intervention—but regardless, they knew the serial and its messages would strike gold with their intended audience.
Norman K. Denzin, in Performance Ethnography, states that performance becomes public pedagogy when it uses the aesthetic and the performative to foreground the intersection of politics, institutional sites, and embodied experience. In this manner, performance is a form of agency, a way of bringing culture and people into play, as the act of performing intervenes between experience and the story told (2015: 5). The pedagogical aspects of performance that shape cultural identity are also actively engaged in shaping national identity. For instance, the character-driven plot of Sagar's Ramayan, with its portrayal of the dutiful son, the loyal brother, and the committed wife, gives audiences many virtuous characters to emulate. By embracing the characters in the serial, the country showed it was accepting of the Hindu cultural identity captured through Sagar's lens. In the 1980s, the collective identity of the country was still largely secular. The Indian National Congress, the liberal party of Gandhi and Jawaharlal Nehru, had ruled the county almost continuously since independence in 1947. By the time the serial aired in the late 1980s, however, Hindu nationalism was already on a slow, steady ascent, thanks in large measure, to the Bharatiya Janata Party (BJP). In 1996, the BJP swept national elections and has been a dominant player in state politics ever since. In the current political climate, many Hindus believe that giving continued attention and visibility to the Ram narrative in the cultural mainstream is critical to maintaining their Hindu identity.
The Lav-Kush Ramlila meets Sagar's Ramayan
Directly contributing to the continuation and visibility of the Ram narrative in contemporary India is the increasingly popular Ramlila (Rāmlīlā) known as the "Lav-Kush Ramlila," performed in the country's capital. Based on Tulsidas's Rāmcaritmānas, the Lav-Kush Ramlila is performed annually over an eleven-day period in conjunction [End Page 41] with Dussehra at the Lal Qila Maidan, a large field inside the Red Fort complex in Old Delhi. This has served as its performance space since 1989; it is reported that the Lav-Kush Ramlila, founded in 1979, was originally performed near the Old Delhi railway station (ABP News 2017). While the central focus of the Ramlila is the main events of the Ramayan, the story is pieced together with the help of a narrator, who sings and narrates, and a vyās, who sings and recites Tulsidas's sixteenth century text (in Avadhi). They are accompanied by live musicians, and additional background vocalists. Recorded music (varying between bhajans or devotional songs, and popular film music) is also used for transitions and elaborate, spectacle-oriented dance numbers. Much of the dialogue spoken by characters is in modern Hindi, and the acting style, similar to that on contemporary Indian TV. Certain supporting characters also take on the role of story tellers and help thread the epic narrative together, occasionally addressing the audience directly.
The Lav-Kush Ramlila's appeal grew massively in 2016 when organizers started casting television and film actors from the regional and national entertainment industries. That year, the Hindustan Times reported that the Lav-Kush Ramlila Committee was replacing lesser known actors with better-known faces from film and television. Many in the former cast were let go or demoted, some of them after having performed in the Ramlila for many years (Hindustan Times 2016). Although the former cast members were not pleased, the casting change only increased the popularity of the Lav-Kush Ramlila, furthering the notion that audiences respond to what is familiar to them.
In 2018, the popularity of the Lav-Kush Ramlila exploded to new heights, when Prime Minister Narendra Modi, the BJP's most prominent spokesman, served as the guest of honor at the grand finale on the last day of the performance. Modi was invited to burn the effigies of Ravan, Meghnad, and Kumbhkarn. The burning of these effigies is customary at many Ramlilas, for it symbolizes the victory of Ram over Ravan—of good over evil. First, an announcer asked Modi "to release an arrow to end all evil … an arrow aimed at the effigies of Ravan, Meghnad, and Kumbhkarn. Only once the arrow is released, will the effigies be set ablaze and destroyed" (Times Now 2018).1 The presence and active participation of Modi at the Lav-Kush Ramlila is revelatory about the current state of Indian politics, and Modi's own sociopolitical identity. Specifically, Modi's active engagement in the performance—releasing an arrow in a manner that symbolically links him with Ram, speaks volumes about his position in the country. The gesture shows that Modi wants to be seen as a powerful leader, one who is directly responsible for ending all that is evil in society today. Notably, [End Page 42] Modi did this only one year prior to a major national election. His presence at this prominent Hindu festival was likely designed to visibly reaffirm his tacit support of Hindu nationalism.
News media coverage often attributes the Lav-Kush Ramlila's current popularity to its incorporation of much spectacle and glamor, noting that famous celebrities from film and television play major roles in the performance. However, beyond the presence of Bollywood actors and the prime minister, I contend that it is the Lav-Kush Ramlila's convergence with Sagar's Ramayan that is a chief reason for its success. The Lav-Kush Ramlila utilizes verses from Tulsidas's Rāmcaritmānas, but it takes its primary inspiration from Sagar's Ramayan, particularly in its language, acting style, and visual presentation. This is a serial that is still very much present in the hearts and minds of many audience members.
The performance draws upon powerful public memory and sentiments related to the serial, but at the same time, dramatizes a Hindutva ideology that resonates with many. The rise in Hindu nationalism, I argue, has also greatly contributed to the spectacular success of the Lav-Kush Ramlila and the Ram narrative generally in mainstream media platforms. Major politicians in the BJP have even performed in the Lav-Kush Ramlila. These include two Members of Parliament, Manoj Tiwari (as Angad in 2016) and Harsh Vardhan (as King Janak in 2018). The presence of prominent politicians and popular celebrities in the Ramlila acts as a tool to further the BJP's Hindutva ideology and influence over mass culture. There was a distinct shift in the country's political landscape with the BJP's victory in the general election of 2014. The religious rabble rousing, which was not new, suddenly ratcheted up when the BJP took divisive steps such as implementing a ban on the consumption of beef, leading to a spate of public beatings and lynchings of minorities, virtually all of them Muslim or Dalit, who were suspected, often falsely, of breaking the ban. The BJP's grip over the country has since grown stronger by leaps and bounds. In the 2019 general election, the BJP won so many seats, it was able to take control of the Parliament without having to form a coalition, a first in many years.
Amidst this critically fateful shift in the body politic that touches all aspects of Indian culture and society, Sagar's Ramayan remains an important historical artifact, and the Lav-Kush Ramlila, a reminder of the time when the entire country first warmly embraced this televised Hindu narrative. To further understand the connection between the Lav-Kush Ramlila and Sagar's Ramayan, I utilize Kenneth Burke's theoretical analysis on form. Burke explains that form involves "an arousing and fulfillment of desires. A work has form in so far as one part of it leads a reader to anticipate another part, (and) to be gratified by [End Page 43] the sequence" (Ott and Mack 2014: 119). More specifically, I argue that the Lav-Kush Ramlila falls under Burke's repetitive category of form. According to Burke,"repetitive" is understood as "consistent maintaining of a principle under new guises. It is the restatement of the same thing in different ways" (Ott and Mack 2014: 119). As its newest avatar, the Lav-Kush Ramlila allows audiences to relive Sagar's Ramayan again and again. In many ways, the Ramlila replicates the acting, language, plotting, and style that audiences have already witnessed in the TV serial. Re-witnessing them in Ramlila only heightens the audiences' appetite for more of the same, in this new context. As Burke ironically notes, repetition is rewarding because it satiates an appetite created by repetition itself (Ott and Mack 2014: 119). The Lav-Kush Ramlila taps into Sagar's Ramayan, a serial that is deeplying rained in the psyche of Indian audiences. It walks in the footprints of Sagar's Ramayan, and thus, continues to satisfy the appetite of audiences.
The Lav-Kush Ramlila is also successful because, like so many Ramlilas, it accentuates the ethical dimension of Ram's narrative. While ritual, religion, and histrionics are often on full display in the Lav-Kush Ramlila, the message of poetic justice is still center stage. To reward the good and punish the bad is, of course, intrinsic to much popular storytelling. Indian television shows and films thrive on this concept: they presume the world is only made of good and bad, with little room for grey. Ramlila audiences everywhere have the opportunity to witness the portrayal of an ideal man, Ram, and many do attend Ramlila for this reason—to draw inspiration from Ram's moral example. Many enjoy seeing truth and justice prevail, and Ramlila performances deliver on this, clearly delineating the good, the bad, and the demonic for them. Further, Ramlilas utilize a number of conventions—stylized, exaggerated gesticulations; bombastic, emotional delivery of dialogue; improvisation; and the repetition of motifs and words—all to create entertaining spectacle and highlight the poetic justice in Ram's narrative.
The Lav-Kush Ramlila continues to grow in popularity. Although its core storyline is fairly fixed, its visual presentation is not. Elements and aesthetics from Sagar's Ramayan have especially seeped into the Ramlila and become a regular part it, but it is still constantly evolving. Also, we should recall that Sagar's version itself, with its extravagant presentation and over-the-top melodrama, borrows from the folk traditions of Ramlila and Nautanki. Besides the impact of Sagar's TV serial, the Lav-Kush Ramlila has also been shaped by audience demand for a flashy, commercial Ramlila. As a sign of this, organizers seem keen to incorporate more and more crowd-pleasing technological elements each year, even as they try to stay true to audience expectations of how the epic narrative should unfold. They also do other things to keep the [End Page 44] Ramlila relevant and entertaining. For example, they include frequent dance numbers between scenes that serve as transitions and/or devices to introduce characters and their entourages. While these add to the length of an already lengthy epic saga, they make the ten-day event an absolute spectacle for audiences.
Are audiences today going to the Lav-Kush Ramlila primarily for the sake of darśan or for entertainment? I think the response to this question will be different for every audience member. Perhaps the devoted pilgrims who attend the celebrated month-long Ramnagar Ramlila would shun all of the modernization at the Lav-Kush Ramlila, but when Prime Minister Modi himself gets involved, it shows that the Lav-Kush Ramlila has a huge amount of cultural and political capital in India today.
Heroes and Heroines, Villains, and Vamps
Below I have translated three critical scenes from the Lav-Kush Ramlila, drawing on recordings of performances from 2016 and 2018 ([Lav-Kush Ramlila] 2016a, 2016b, 2016c, 2018a, 2018b, 2018c). Performances at the Lav-Kush Ramlila are generally recorded and streamed live on the Lav-Kush Ramlila Committee's official website. Later the recordings are uploaded to YouTube. I have used some of these online videos as my "primary sources" for these translations. I chose to focus on 2016 since that year marked a significant departure. That year organizers deliberately re-cast the Ramlila with famous personalities, a move that unquestionably helped to escalate its popularity. I also focused on 2018 because there were more changes that year, when Prime Minister Modi served as an honorable guest and was invited to set the demon effigies alight on the final day of the Ramlila. His participation is revealing about how the performance has become more politicized and also a barometer of how popular this Ramlila has become in recent years. By juxtaposing translations of the same scenes from 2016 and 2018, my hope was that readers would gain insight into how the Ramlila has been changing in recent years.
The scenes I have selected to translate are titled as follows: I. Ram's Exile; II. Shurpnakha's Humiliation; and III. Hanuman Fetches the Sanjivani Herb to Save Lakshman. I have prefaced my translation of each scene with a summary of events in the scene and my own commentary on it, to assist the reader. I chose these pivotal scenes because they are defining moments in the production, ones that move the plot and lead to the ultimate triumph of good over evil, i.e. Ram's victory over Ravan. In my commentaries, I provide additional insights about the differences between the dialogues of 2016 and those of 2018, explaining how the performance has changed. [End Page 45]
I. Ram's Exile
Summary
King Dashrath has three wives: Kaushalya, Kaikeyi, and Sumitra. Kaushalya is mother to Ram, Kaikeyi is mother to Bharat, and Sumitra is mother to twin boys named Lakshman and Shatrughna. Queen Kaikeyi has a handmaid named Manthra. When Manthra sees the joyous preparations taking place in the city in honor of Ram's imminent coronation, she becomes deeply upset. Manthra is devoted to Kaikeyi and therefore wants Bharat to be crowned King of Ayodhya. Manthra plots a wicked plan. She enters Kaikeyi's chambers crying. Kaikeyi asks Manthra why she is crying. But Manthra does not immediately reveal the cause of her distress. Upon much probing by Kaikeyi, Manthra acknowledges her disappointment over Ram's coronation. Manthra is concerned that Ram's coronation will lead to Kaushalya becoming the most powerful Queen Mother. Manthra convinces Kaikeyi that Queen Kaushalya is crafty and that Ram's coronation is by her design. Despite her love for Ram, Kaikeyi falls into Manthra's trap. Manthra guides Kaikeyi, advising her to take charge of the situation by asking King Dashrath for the two promises that he still owes her. Manthra successfully persuades Kaikeyi, such that she now finds herself questioning her own future and the future of her son Bharat. Manthra instructs Kaikeyi to manipulate King Dashrath's love to her advantage. Manthra exits and Kaikeyi retreats to the kopbhavan, a special chamber in the kingdom where queens retreat when displeased. She prepares herself by removing all of her jewelry and other adornments, and unties her hair. This symbolizes that she is in a state of mourning. Kaikeyi sends word for Dashrath, and awaits his arrival.
When Dashrath enters, he is shocked to see his beloved Queen in this state of mourning. He questions her and tries to comfort her. She immediately withdraws from him. It is clear that she is very upset. When Dashrath finally gets through to her, Kaikeyi reminds him of the two promises he has yet to fulfill—promises he made to her after she once saved his life. Dashrath is sorry that he has forgotten to keep his word, and vows to fulfill these promises right away. He even swears by Ram that he will do anything for Kaikeyi. At this point, Kaikeyi makes her demands: her first wish is for Bharat to be crowned King of Ayodhya, and her second wish is for Ram to live in exile for fourteen years. Ram must spend his exile in the forest, away from all material comforts. Her words break Dashrath. He is angry, and deeply saddened. He pleads with Kaikeyi to withdraw her second wish. He is willing to make Bharat king, but is not willing to live life apart from Ram. Kaikeyi mocks Dashrath for his weakness and inability to keep his word. The righteous king has no choice but to follow the path of righteousness, and keep his word, by granting Kaikeyi the two wishes he has promised her. [End Page 46]
Ram now enters. Seeing his dejected and heartbroken father, he asks Kaikeyi the reason for his father's suffering. Kaikeyi reveals the truth behind Dashrath's heartache. Ram reacts with peace and love. He considers himself fortunate to be able to fulfill his parents' commands. Kaikeyi is taken aback by Ram's reaction. He is more than willing to take on his duty, which he considers his destiny. He is worried about his father though, and hopes that Kaikeyi will take care of him while he is away.
Commentary
In this scene, from the beginning of the conversation between Manthra and Kaikeyi, it is clear that Manthra's motives do not bode well for Ram. The scene opens with Kaikeyi at peace with herself, looking forward to Ram's coronation. Manthra enters with a clear motivation to disrupt the peace. While Manthra may want what is best for Kaikeyi and Bharat, she also manipulates Kaikeyi. She understands the political game better than Kaikeyi. Manthra is the catalyst, the pot stirrer, in this scene. She also reminds Kaikeyi of the two wishes that Dashrath still owes her. And she instructs Kaikeyi on how she should go about asking for those wishes. Manthra addresses Kaikeyi boldly. This reveals their close bond. Manthra appears to be a mother figure, even a surrogate mother to Kaikeyi. She speaks to the Queen with almost no inhibitions revealing her sense of deep concern for Kaikeyi and Bharat. Manthra has known Kaikeyi since when she was a baby, and arrived to Ayodhya with Kaikeyi when she married Dashrath. So, her loyalty has always been with Kaikeyi.
In comparison to the 2018 performance, the 2016 performance is more nuanced, and the characters themselves, more complex. Manthra is more convincing, alternately showing genuine affection and concern for the Queen and her son and stirring the pot, in a treacherous and self-serving manner. Kaikeyi herself is shown to be more torn between her love for Ram and her desire for Bharat to be King. In the 2018 performance, however, Manthra and Kaikeyi appear to be more black and white, as characters. Each has a specific part to play in the palace intrigue, but now Manthra is more clearly bad, and Kaikeyi, while not entirely good, is clearly a victim of Manthra's machinations.
Next, in the conversation of Dashrath and Kaikeyi, the protagonists and antagonists are once again clearly defined. Dashrath is a righteous man, who trusts his beloved Kaikeyi. It is commonly believed that Kaikeyi is his favorite Queen. However, he is trapped by his own righteousness. Dashrath vows to keep his word, and then swears by Ram to show that he will not break his promises to Kaikeyi. Unfortunately for him, he does this before he finds out what Kaikeyi's [End Page 47] wishes are. Kaikeyi knows that if she can get the King to commit to his promises, he will not go back on his word. Kaikeyi is willing to put everything on the line, including her dignity and respect, in the eyes of the King, to get him to grant her the two wishes. She even mocks her husband, calling Dashrath's attachment to Ram a weakness. Because of Manthra's goading, Kaikeyi now believes it is imperative for Bharat to become king and Ram to be exiled for fourteen years simultaneously, so that in the duration, the people will forget about Ram. This would also grant Bharat a fair chance to rule the kingdom successfully. Everyone is looking forward to Ram becoming King of Ayodhya, so it is essential that he leave as soon as Bharat takes over. Dashrath knows he will never recover from the pain of exiling Ram, mainly because he will have to live apart from his most beloved son. This further proves to Kaikeyi that Ram must go. More importantly, Bharat would always be second to Ram, if Ram were not exiled.
As portrayed in the 2016 performance, the marriage of Dashrath and Kaikeyi appears very contemporary. They are almost equals, in age and in their ability to speak their minds. There is genuine love between them, so when Dashrath is betrayed by his most beloved Queen, the scene becomes quite dramatic. Kaikeyi is strong and puts up an even stronger fight than she does in 2018. In the 2018 performance, Dashrath is much older than Kaikeyi. He appears to be an old, tired king who is ready to relinquish his duties to his son. His focus is on Ram and losing him is what appears to hurt him the most—not the Queen's betrayal of him per se. In this scene in 2018, Kaikeyi threatens to end her life several times. She threatens suicide as additional leverage to convince Dashrath to do her bidding, and she is relentless in her pursuit. Dashrath also breaks more easily in 2018. Thus there is more foreshadowing of Dashrath's inevitable death in the 2018 performance.
Rounding out this scene, there is a meetup of Ram, Kaikeyi, and Dashrath—the good, the bad, and the silent. When Ram enters and asks about the sad state of Dashrath, Kaikeyi does not hold back. She reveals everything to Ram. It is evident here that Dashrath is powerless—he literally does not speak, although he is present in the scene. In both the 2016 and 2018 performances, Dashrath is a quiet figure who sits silently in the background. The exchange of words is solely between Kaikeyi and Ram. Ram fully accepts what is being asked of him. However, the audience realizes that poetic justice will be served soon enough because Bharat will reject his mother's wishes. This will only cause Kaikeyi deep pain, and she will eventually realize the error of her ways. Manthra will also be punished for her part in this evil plan. But unfortunately, Ram's exile will also break Dashrath's heart and cause his death. [End Page 48]
Translation (2016 Production)
(The scene opens in the women's quarters of Ram's ancestral palace in Ayodhya. It is the day Ram is to be crowned King. All of Ayodhya is jubilant and preparing for celebration.)
Narrator/Voiceover: Kaikeyi is very happy today because of her beloved and favorite Ram, whom she loved even more than Bharat. She loves him very much. Amidst this happiness, enters Manthra with her cunning ways. Manthra comes to meet Kaikeyi with the intention to control and influence her.
(Musical interlude)
(Enter Manthra, visibly upset and crying. She paces up and down the stage.)
Manthra? Handmaid? What happened? Why are you crying? Usually you talk so much, today … today your cheeks … and your hair. … Why is your hair so messy? Why are you crying? At least tell me what the matter is? Are you hungry? Are you thirsty? My dear handmaid, tell me. Why are you worried? Why are you sad? Tell me.
Dear Queen, why would I be sad? Who would dare say anything to me? But the truth is that today no good is happening to anyone besides Ramchandra ji.2 I ask, what good is happening to the rest? I want to warn you that if Ram becomes King, then the entire property will be his. Dear Queen, listen to me, King Dashrath loves Kaushalya. All this is her doing. Rise up, Queen! Rise up! Why are you sleeping? Listen to me, if Ram becomes King, then the kingdom will be in his name. And our poor Bharat will become a servant. O Queen!
Manthra, you have lost your mind! Have you gone mad? Once again, you have come to destroy this home. Go, get out of here! And listen to my words, don't ever say such things in front of me again. I will grant whatever wealth you ask for on the day my Ram is crowned King. I say this to prove to you that there is no disappointment in my mind. Ram being crowned King will be the most auspicious day and that is the honest truth. This means, you are foolish, understand? But since you are my handmaid, here as a gift—I give you my bangle.
(Kaikeyi removes a bangle from one of her hands and gives it to Manthra. She does this as a sign, to share her joy over the news of Ram's coronation.)
This bangle! [End Page 49]
(Manthra laughs, speaking sarcastically.)
Dear Queen, this bangle looks good only on you. (Rejecting the gift.) Your handmaid is not greedy. Dear Queen, rise up! If Ram's coronation goes through, then Ram wins and our Bharat loses.
(Upset) Now be quiet, Manthra. Be quiet. You talk too much!
You have no right to speak about the kingdom and its inner workings. Listen to me carefully, Ram has a lot of love in his heart for Bharat. Bharat too adores Ram. They are both like my two eyes, my priceless gems. Understand? And at a time of duty, why are you indulging in this deceitful talk? Speak?
What do I do, dear Queen? How do I explain this to you? Each time I try, you shut me down. It feels like I need a second mouth to help you understand. Dear Queen, rise up! Listen to me! I have eaten your salt, I am your handmaid. I cannot watch you lose. Ram's coronation should not happen, dear Queen, it should not happen!
(Angry) Handmaid, enough! Enough. I said, enough. I don't want to hear another single word out of you. Why don't you speak about the things you truly wish to speak about? Stop speaking in circles. What is the truth? What are your trying to tell me? Tell me. And if you don't, then I will claw your face!
Why would I want to have my face clawed, Queen? What difference does it make to me if Ram is crowned King, or Bharat? I will continue to remain a handmaid. Why don't you understand what I am trying to explain? If Ram becomes King, then our Bharat will live amongst the servant class. King Dashrath loves Kaushalya. This is her doing. Queen, rise up! Awake from your sleep! I hope Bharat does not have to move in with the male servants, and you have to live with female servants. I have eaten your salt. I cannot watch you lose. Rise up, Queen, Rise up!
(A change comes over Kaikeyi.) Manthra, who did you mention? Kaushalya? Is this her trickery? Tell me Manthra, tell me. What is the truth? I want to know!
(Realizing she has finally succeeded) Queen, even the animals and the birds know what is good or bad for them. And then, there's you! You have no clue that you are actually lost. For the last fourteen days there have been preparations for a grand celebration all over Ayodhya, and you know nothing? And you are now realizing, after fourteen days, and then too the news has come to you from your handmaid? Queen, rise up! Rise up, Queen, rise up! Don't let there be such a great loss! I have helped raise Bharat. He is my boy. I have eaten your salt, Queen. Rise up, Queen, rise up! [End Page 50]
(Changed) Handmaid, you speak the truth. My right eye has been twitching,3 I have been getting nightmares at night! You speak the truth, O my handmaid! I am thankful for your mindfulness. And after today, my Bharat, he too will be indebted to you. (Showing affection) Manthra, now tell me, what do I do? You know based on what you have told me, I am willing to sacrifice both my husband and my Ram. But tell me what I need to do. What is the solution?
I'll tell you, Queen, I'll tell you. Ever since I heard that Ram would become King, I have not been able to sleep at night. Now, I will tell you what you need to do. Do you recall a specific story that you had shared with me?
Story? Which story?
(Cunningly) That same story, Queen, in which you mentioned that King Dashrath had made two promises to you. And that the King still owes you those two promises! Now is the time for you to ask the King to grant you the two promises. For the first promise, ask for Bharat to be King. And for the second promise, ask for Ram to be banished for fourteen years! Yes, Queen!
All right, Manthra!
Remember Queen, you must ask for these promises tonight. And to make things go as desired, make the King swear by Ram before you ask him to fulfill your promises. Don't forget! Make him swear by Ram. Do not let the day get away, for if it does, our important work will be wasted.
No handmaid, no. Today will not be wasted. Just as you said, I will speak to the King. I will ask for the fulfillment of those two promises. I will tell him to send Ram away for fourteen years. But fourteen years? (Becoming soft again.) Handmaid, don't you feel that fourteen years is too long? Two or four years should be enough.
O Queen! Don't go back into the storm now that you are finally approaching the shores of the riverbed! Why do you take the axe to your own feet?4 I feel like I am banging my unfortunate head against a wall to no avail. (Giving encouragement) Queen, you have this one opportunity … to take revenge upon Kaushalya. She is gifting the kingdom to her son. And this is your opportunity. Queen, don't let this opportunity slip out of your hands. Don't let the night slip away.
(Manthra starts to exit.)
And one more thing, don't forget to make him swear by Ram. I am leaving. Don't forget make him swear by Ram.
(Manthra exits.) [End Page 51]
(Alone on stage) I won't let this opportunity slip out of my hands. But how do I approach this conversation with the King? I need to do something. What do I do? (She starts to get furious.) How dare he, the King? How dare he strip away Bharat's rights? No, I will not let this happen. What do I do?
(Kaikeyi starts to remove all of her jewelry. She removes her veil and the flowers in her hair. She loosens her hair.)
(Musical interlude)
(Kaikeyi weeps.)
(Waiting impatiently) Where is the King? Where did he go?
(Kaikeyi sees King Dashrath enter. She quickly runs back to her grieving position. She assumes her role of "weeping and wailing." This is a complex moment because even though Kaikeyi is genuinely sad, she is also acting to get the King to be on her side.)
(Enter Dashrath. He sits next to Kaikeyi as she weeps, and places his hand on her.)
Beloved, doe-eyed beauty, O beautiful one. Joyful like the moon, tell me why are you upset? Who has upset you? Who has dared to invoke Yamraj?5 Dear beloved, upon your word I am ready to turn a penniless man into a king, and upon your word I shall exile a king. Dear beloved, whom I value as much as life itself, tell me what is the problem? What is the trouble? Come on, get up, make yourself beautiful again, and ask me what you so desire, Queen, ask.
Who am I to you that you have come here to bother me? You have come to pacify me for your own selfish reasons. Dear King, remember I had asked you for something. Remember? Sometimes, even without asking, we are granted pearls, and other times, despite our many pleas, we are granted nothing. My wish is very hard to grant. Given your emotional attachment, I worry that you will be unable to grant it.
Now let go of this riddle, and tell me why you are so upset. Swear upon my life, and tell me, why do you cry?
You are my lord. You always try to keep me happy. Do you remember, I once asked you for two wishes? You are a great Raghuvamshi, a member of the Raghu clan, a follower of truth. You would die for your word, you value your word greater than life itself … you have enormous wealth, you can easily grant me some of your wealth, and you can do this because you are courageous.6
Queen, I am forgetful. All right, instead of two you may ask me for four wishes. The tradition of Raghukul7 continues … one's word is far more valuable than life itself. [End Page 52]
Dear husband … no … (Struggling) … this wish is very difficult to grant. I don't want to insult you and I am not angry with you … and you must know this very well too. I am slowly developing hate towards men, and I don't like it … but I will ask you for this wish. But first … if you are a true Raghuvamshi, you must swear by Ram!
Is that all? Even if all the stars in the sky fall and scatter on the Earth, or if all the living creatures of this Earth rise up into the sky, with God as my witness, it would be highly inappropriate for me, King of the Raghus, to shrink from my duty. Today for the first time, I swear by that auspicious name. In front of you, I swear by Ram.
(Now more resolved) You must grant me this wish. You cannot deny me, you will not refuse me because … you love me very much. All right, then listen, listen! For my first wish, instead of Kaushalya's son Ram, I want my son Bharat to be crowned King. I want Bharat to sit on the throne.
(Dashrath is taken aback.)
King, my second wish is very severe, but I know. … I know that you will not hesitate. You will not be angry because you love me very much, and you are very brave. One's word is far more valuable than life itself. So my second wish is that Ram be exiled tomorrow for fourteen years.
(Shouting, stunned) No! I was living in some illusion, but Kaikeyi has uprooted my world and thrown it away!
King, do I mean nothing to you? Was I picked up from the market? Is Bharat not your son too? Why do my words sting you like arrows?
Queen! Why these wishes? When you know very well that Ram and Bharat are both stars in my eyes. If you want, I will send for Bharat immediately and give the reigns of the entire kingdom to him, but don't kill me by making me pine for Ram. Don't kill me!
No, King, no! The wishes that I have asked for cannot be withdrawn because they are written in stone and cannot be erased. (Pause) All right, if your heart aches so, if you are feeling pain, then I put forth a resolution. Okay, Ram need not go anywhere. He will stay right here with us. This conversation will remain between you and me. Nobody else knows that I have asked you for two wishes and you … you were unable to fulfill them.
(Angry) O, you lowdown woman, you try to take me down, you try to separate me from the greater truth that exists in my life. I won't allow this black stain on the legacy of the Suryavamsh dynasty. [End Page 53]
You hear me, I will fulfill my promise, even if I have to sacrifice my life!
(Clapping) Well done, King! You have met my expectations! At one end there is Raja Harishchandra who continues to serve as an example of truth long after he has left this world, and then there is the King, who sacrificed his own flesh to save a pigeon. Did you know that? And after that, King Dadhichi. When Indra asked for thunder, Dadhichi sacrificed his own bones. But I am neither asking you to act like Harishchandra, nor asking for your flesh or bones. I am merely asking for my two, and only two promises. And you, you cannot refuse me these because you are a descendent of Raja Harishchandra. Grant me, grant me, the two promises that I am ask.
(Pleading) Queen, don't take an axe to cut down the Surya dynasty. Instead ask for my head, and I will not pause for a moment. Don't kill me by separating me from Ram, my heart will burn ceaselessly. (Dashrath falls to his knees.)
If it burns then, let it burn.
Queen, O Queen! Take all the wealth, take all the wishes, take all the blessings, take all of the throne, and take my life!
(Exit Dashrath, followed by Kaikeyi.)
(Musical interlude)
(King Dashrath is sitting on his throne, while Kaikeyi paces up and down.)
(Musical interlude)
(Enter Ram.)
(To Kaikeyi) Greetings, Mother. Mother dear, what is this condition that father is in? Does an illness envelope him? Is there a problem, Mother? Tell me, have I done something wrong to upset him?
No Son, it's no fault of yours. How do I say this to you? The thing is … the King loves you very much and today that very attachment has become the main cause of his condition. Ram, now I will tell you the truth. The King owed me two wishes. And today, I asked for them both. My first wish is that Bharat should be crowned king, and the second wish is that you should leave this kingdom and live in exile for fourteen years.
Mother dear, a son who is able to fulfill the command of his parents is considered very fortunate. I am very happy that my Bharat will be King of Ayodhya. I feel as though God has given me everything. What could bring me greater joy than this! But I am also sad to see Father so heartbroken over something so miniscule. Now please give me permission to leave. [End Page 54]
Okay, Son, prepare to go. You will have to leave. Go, Son, go. Start making preparations.
Mother dear, the command you have shared with me I will obey. However, I request that you please take care of the King. I cannot bear to look at him in this condition. I shall leave now and get ready to leave for the forest. I take your leave.
(Ram exits.)
(Musical interlude)
And just like that, by listening to Kaikeyi's words, Lord Ram smiled to himself and thought a son who gets an opportunity to fulfil the promises of his parents should consider himself fortunate. Dashrath in the absence of Ram was extremely sad. Queen Kaushalya who was busy preparing for the coronation ceremony remains unaware, while Kaikeyi smiles viciously as her wishes come to fruition. Today Mother Kaikeyi who actually did love Ram exiled him to the forest.
(Kaikeyi goes to the King.)
King, my Lord, you need to rest.
Queen, leave me alone.
Dashrath is heartbroken. Dashrath's heart beats inside Ram's. Ram was raised with so much love and affection. Ram was the star of Dashrath's eye. And Dashrath's days began and ended with Ram.
Translation (2018 Production)
(Enter Manthra, disgruntled about the upcoming coronation of Ram. She takes center stage, muttering to herself, disappointment over the news.)
Ram's coronation! They talk of his coronation. I will see to it that it never happens. I will lay out an intricate trap and ruin the current game plan for this kingdom. I will teach Kaikeyi a proper lesson and ruin the game plan for this kingdom. I will get sweet Bharat the throne by showing Kaikeyi the proper path. They think they can make Ram the next king … they think they can ignore my Bharat … but what do I do? What do I do? Ahhh! My name is Manthra! Let me get my things in order. (Adjusting her cloth bundle) I need to get to Kaikeyi. Yes, now I think I should go to Kaikeyi. I need to teach her the ways of this kingdom.
(Manthra crosses the stage and approaches Kaikeyi, who is resting on her throne.) [End Page 55]
Queen, O my Queen! A mountain of trouble has fallen upon you and yet you sleep so peacefully. Oh! The sins of your past lives have come back to haunt you. Your destruction is here. Wake up, wake up, quickly!
What happened? Why are you talking in such a brisk manner? Are you feeling okay?
O Queen! You are so proud of your beauty. You thought the King was bewitched by your grace.
Have you lost your mind?
I am in my right mind, but your future appears to be lost.
Why are you talking so strangely? What is wrong with you? Has the King said something to you?
Dear Queen, can you please step down and have a look at these items?
(Manthra places the cloth bundle in front of Kaikeyi.)
What is this?
These are the clothes of a maid. Soon there will be no difference between you and me.
What are you trying to say?
You will definitely become a maid!
Maid? What are you trying to say? Are you going to continue speaking in riddles, or will you tell me what the precise matter is?
O my sweet innocent Queen! Don't you know that tomorrow is Ram's coronation?
(Happily) Really, Manthra? Truly?
(Kaikeyi removes two bangles, and gives them to Manthra as a gift.)
Here take this.
(She removes her earrings and also gives them to Manthra.) Take these as well.
(To the audience) This Queen has lost her mind.
(Ecstatically) Take them all! If you want more, I will give you more! Tomorrow my Ram will be crowned King. I have more love for Ram than even Bharat. Truly, I feel that I could be Ram's biological mother.
How little you know, my sweet innocent Queen. If only it were so.
(Irritated) Manthra, enough of your drama. Don't you know the Suryavamsh's tradition? The oldest son is always crowned King.
My sweet innocent Queen, I weep over your naiveté. Don't you realize that Bharat is being stripped of his rights? [End Page 56]
Manthra, you are crossing the line. I repeat myself, aren't you aware that we follow the Suryavamsh's tradition where the throne is rightfully granted to the first-born son? Ram is older, kinder, more righteous, more kingly, and truly worthy of becoming the next King. Why are you so upset about the news of his coronation? His mother has treated me like a younger sister, and Ram has always given me the respect of a mother.
O Queen, you are so naive. You are unaware of the ruthlessness of Dashrath. He appears to be a righteous King, but in reality his heart is corrupted.
Will you just tell me what happened?
Queen, why hasn't the king shared this big news with you himself? Why are you hearing about this from a handmaid?
Yes, this is surprising indeed. Why hasn't this news been delivered to me directly by the King?
(Mockingly) Queen, I should start instructing you about how to act like a handmaid, because you will have to live the rest of your days as a maid, serving Ram's mother. Ram's mother will be the Royal Mother when Ram becomes King, while you serve them as their maid.
Be quiet! I would rather die than serve anyone. O God! I have never knowingly sinned, so why am I facing this day? Manthra, you truly want the best for me. Tell me, how do I extract myself from this predicament? You have nursed me since birth. Find me some poison!
O Queen! May your enemies be the ones to consume poison and die. The reason you are in this predicament is because you refuse to take action. O my Queen, nothing is ruined yet! If you want, nothing is ruined.
I can't do anything; everything is out of my hands. I cannot even think of doing anything.
O Queen, try to recall! Do you remember something? O my innocent Queen, do you remember that time you narrated a special story to me … it was about how you had saved Dashrath's life during a war, and in return, the King promised to grant you two wishes.
What are trying to say?
That's it, my Queen! Ask for the fulfillment of those two wishes! That's the answer to your problem.
What wishes are you talking about?
Oh goodness, my naive Queen, I am so sick of explaining this conundrum to you over and over … and yet nothing seems to get through to you. Listen carefully, I am reminding you of the two [End Page 57] wishes that the King promised and are yet to be fulfilled! Today, for your first wish, ask for Bharat to be crowned King and for the second wish, ask for Ram to be exiled for fourteen years.
(Horrified) Manthra?! Exile?! Exile for fourteen years? Banishment for my Ram?
I understand that, as per tradition, the oldest son should be the rightful heir to the throne, but is it right to hold the coronation ceremony without all of the brothers present? Shouldn't your father, your brothers, and the rest of your family all be present at this wonderful occasion? Or maybe we should send a message to Bharat to never return to Ayodhya?
That's enough Manthra. Enough of your drama!
I'm talking about what's good for you, otherwise, why would I care who becomes King? Nothing changes for me. I will remain a handmaid no matter what. Queen, enough! Tonight you must ask for the fulfillment of your two wishes.
(Shifting her position) Manthra, either you will find me dead or you will find me victorious.
Queen, stand up! The time for talk is over! Remove all your ornaments and wait for the king in your inner chambers. The king will surely come and meet you there. Don't overthink this.
(Changed) O Manthra, brilliant! Your advice is actually far superior than the advice of a Prime Minister. When Bharat becomes King, I will appoint you as my primary advisor. Well done, Manthra!
Remember not to ask until the King swears by Ram. When the King takes an oath, only then proceed further with your wishes.
Good Manthra, good. Now watch me, you will either find me dead or you will find me victorious.
Queen, be cautious … be cautions.
(Kaikeyi exits.)
She understood! She got it! She understood everything. (Manthra exits.)
(Enter Narad Muni, a divine sage.)
And so! The corrupt Manthra lays her trap and Kaikeyi gets caught in the trap. Now, Kaikeyi waits in the kopbhavan, having discarded all her jewelry and royal adornments. And when Dashrath asked for her, he was informed that she had retreated to the kopbhavan. The King was surprised. He said, "Oh, I was going share the good news of Ram's coronation with her so I could see the joy in her eyes, and now I come to find out that she is in the kopbhavan?" The kopbhavan, a room where Queens retreat to in order to show their displeasure to the King. The King then has to go [End Page 58] and plead with the Queens to come out of the kopbhavan. Dashrath realized that there was no other way out, so he went to the kopbhavan and attempted to placate the Queen. As soon as he set foot in the kopbhavan, he stepped on the Queen's royal clothing. He found Kaikeyi lying on the floor, and rushed to her side!
(Narad Muni exits.)
(Enter Dashrath.)
(Noticing Kaikeyi's state) Queen, are you angry? Are you unwell? There are so many good physicians in our kingdom. Should I send for one? Or has someone said something to upset you? Oh, I see … I think someone has disregarded your orders. I shall punish that individual, whoever it is. You know very well that you are the one closest to my heart. Why did you feel the need to come to the kopbhavan? Have I ever ignored your words or feelings? Laying on the floor, discarding your ornaments, on such an auspicious occasion? Oh, now I understand, I think you want something for Ram, or for your daughters-in-law, or perhaps you want new clothing and jewelry to wear to Ram's coronation. Listen! Look at me and just tell me. What is it that you want?
When a husband neglects his wife then what is the point of life itself?
Says who? Who says that I have neglected you? Which actions of mine speak of neglect towards you? You know how powerful I am. I can do anything, anywhere, and at any point. Just say the word. Now put on your proper royal attire. Look at your condition! Speak to me.
King, I have no physical ailment. Nor has anyone said anything to upset me.
I see … then why won't you say what it is you desire? You know very well that, of all my three Queens, you are my most beloved … and of all my sons, Ram is my favorite. I swear by Ram, I will fulfill your wish … whatever it is that you need. I promise you.
I believe you are granting me what I desire.
Yes, that is true. Yes, Queen, just say what you want.
Do you promise?
Yes, I promise.
Beware King, you have just taken an oath by Ram that you will fulfill my wishes. I hope you will not shy away from your words.
My dear Queen, this is Dashrath's promise. I swear, in the name of Ram, that I will give you whatever your heart desires. [End Page 59]
(Opening up) I did not come here because I was angry or upset. (Pause) If you don't fulfill my wishes, I will sacrifice my life right here at your feet.
(Screaming) Queen?!
Yes, King. Do you recall the time when the gods and the demons were at war? And you supported the gods, so the demons attacked you. It was I who took charge of the reins of your chariot and saved your life! And in return, you granted me two wishes. Do you recall?
(Dashrath nods his head in agreement.)
Yes, I remember. I recall you stated at the time that you would request your two wishes at some point in the future. I have always been prepared to grant your wishes, and was ready to do so even at that time.
If you deny me those two wishes today, then I will sacrifice my life.
Why do you speak of such unpleasant things, dear Queen? Why don't you share with me what it is you desire? There is nothing in this world that I as a mighty King cannot give you. Ask for whatever you desire, and I swear by Truth itself, that I will grant it right here and now. You are well aware that I cannot live without Ram. He is the one closest to my heart. I have sworn by him! I can give up everything, just to make you happy. I can give up my life too, just to see you happy.
King, may you live long! But will you truly be able to give me what I want?
Queen, I cannot take a greater oath than the one I have already taken, by swearing upon Ram's name. Whatever you ask will be granted.
Fine then. I call the gods Indra, Varun, Brahmaputra, and all the gods of destruction to bear witness to this moment: the King of Ayodhya, Suryavamshi Dashrath, has vowed to grant me two wishes today, and with all of you as my witness, I declare that if he fails to fulfill my wishes, I will sacrifice my life this very moment!
Queen, I have taken my oath. Now, I await to hear your wishes. But is all of this necessary? Let's leave the kopbhavan. I understand your emotions. I know Ram is beloved by you as well. You love him more than life itself. Why are you so upset? Look, you haven't even stated your wishes, and I've already decided to coronate Ram as the next King of Ayodhya! On this auspicious occasion, ask whatever your heart desires. I am fully aware that nothing is more important to you besides Ram and his happiness. What do you not have? [End Page 60]
Okay, King, then for my first wish, I ask that all of the preparations that are underway for the coronation of Ram be transferred to the coronation of Bharat as the next King of Ayodhya. And for my next second wish, I ask that tomorrow Ram be exiled to live as an ascetic in the forest for the next fourteen years.
(Dashrath starts to physically crumble.)
For these fourteen years, he should accept the terms of his banishment and live as a pauper, not as a royal guest of another Kingdom. By giving up hunger, and rest, he should live as an ascetic. After a full fourteen years, if he desires to return to Ayodhya, he may do so, or if he chooses to remain in the forest, he is welcome to also do that.
(Broken) What did you just say? Please take pity on me and don't make me commit such a sin. I cannot even bear a joke of such a nature.
This is no joke, dear Husband. If you do not fulfill my wishes, then I will consume poison, or take a noose to hang myself to death.
(Shaking) You heartless sinner! You are no woman! You are a snake! What harm has Ram done to you, O sinner? Even if I let you have your way, how will I ever explain this to the people? Kaikeyi, I am willing to break my ties to the other Queens. I will send Kaushalya and Sumitra back to their fathers' homes … but I will not be able to survive without Ram. You are committing a grave sin! Bharat will never agree to this plan of yours. Don't cause your own destruction. Fine, if this is how it must be, then Bharat will be King. I shall send a messenger for Bharat and as soon as he returns, we shall coronate him as King of Ayodhya … but please, don't speak of banishing Ram. Tell me you are lying. Am I dreaming? You love Ram so very deeply. He possesses such high virtues of duty, truth, charity, as well as respect for all of his elders! What fault have you witnessed in Ram? You spoke of his praise tirelessly … this cannot be coming from you. This has to be a conspiracy! You have been brainwashed! How do I share such heartless words with Ram? I beg you to take pity on me! I fall at your feet, don't make me commit this sin!
You swear by Ram and yet you do not accept my wishes. You disappoint your ancestors. How will you face society as a just and rightful King and descendant of King Harishchandra? How can you turn away from your word? You want to give the kingdom to Ram and retire with Kaushalya. Listen, whether right or wrong, I swear by Bharat I stand by my word. You cannot turn away from me after giving me your word! [End Page 61]
Do you wish to kill me? Do you wish to become a widow? If Ram leaves, I will not survive. This wish of yours is highly inauspicious … it's bad even for you. If you wish to exile Ram, then perhaps he could live with our family guru Visisth? But if he is exiled into the forest, I will die. Will you be able to carry on living your life as a widow?
I have taken an oath, King. If you do not keep your word, I will give up my life right here and now.
(Crying out) Ram! I fail to understand what you will gain by banishing Ram to the forest. The entire world will curse you for this action. After years of prayer and penance, I was finally granted a son as great as Ram and now I am expected to send him to the forest? There cannot be a greater sinner than I. O Night, halt here! Do not pass, because if you do and morning comes, the people of Ayodhya will wake up and gather in the royal courtyard to see the coronation of their favorite son, Crown-Prince Ram. What will I tell the people? No, no, no! O Night, pass quickly, go as quickly as you can! At least I won't have to bear the sight of this sinful woman, with the face of a snake, anymore. Pass by, O night, as quickly as you can! I cannot bear this moment anymore. O Queen, please forgive me. I have said many unkind things to you, in my anger. Please forget what I said! Think of the love we share. Let's just say I have given the kingdom to you—the kingdom is yours. You can help with Ram's coronation. After all, Bharat is also part of the royal court and everyone desires this same thing. My dear, please listen to me!
(The king moves forward to touch Kaikeyi's feet.)
(Moving away) If you are done with your performance … know that I stand firm in my decision. All of your attempts to try and change my mind are futile.
With the God of Fire as our witness, I accepted you as my wife. Today I break all marital ties with you. Even if Ayodhya fails to see the coronation of Ram, it will surely witness my last breath.
All right, then call Ram and fulfill your vows.
My death is near. Right before death calls, this unfortunate, old and helpless man must be tortured by duty. At least I can see Ram one more time.
(The King sits helplessly.)
(Enter Narad Muni, calling out his signature greeting, "Narayan," another name for Vishnu.)
Narayan! Outside the palace, the people, the army, the ministers—all are gathered, in a festive mood. Everyone is singing [End Page 62] and dancing, and celebrating, in anticipation of the coronation of Shri Ram. Narayan, Narayan, Narayan.8
(Narad Muni exits.)
(Enter Ram and Lakshman. They bow their heads to pay respect to their father Dashrath.)
Greetings, Father.
(Ram notices that Dashrath looks unwell, and immediately addresses Kaikeyi.)
Mother, why does father look so sad? Tell us, Mother. Why? Why won't he speak to me? Is he unwell? Have I unknowingly upset him? Tell me, Mother! I cannot bear to see father in so much pain.
The King is not upset with anyone Ram. Nor is he unwell. But he does have something on his mind that he hesitates to share with you. That is all. He is afraid of hurting your feelings. Hence he is silent. All right, I suppose I can share with you. A long time ago, he granted me two wishes, and today when I asked for him to fulfill them, he acted in an uncivil manner. In fact, he now regrets granting me the two wishes. Why does he have to behave so unfairly? If you want, you can fulfill those two wishes for me. Fear and shame paralyze the King and keep him from revealing the truth. If you can convince the King, then maybe he will have the courage he needs at this critical moment. Everything is in your hands, Ram. If you want, I can tell you about the two wishes … but first you must promise me that you will fulfill the two wishes on behalf of the King.
Mother, am I the root of all of these problems? If Father and you do not trust me, then my life is purposeless. If Father asked me to jump into the fire, I would do so without hesitation. If Father asked me to consume poison, I would do so without delay. You are well aware that obeying Father means everything to me. I would happily drown in the ocean upon his command. I promise you, Mother, I will keep Father's word and fulfill the wishes that he promised you. I will not break that vow.
Ram, you have spoken as I expected. Every son should uphold his Father's word.
I will obey Father's command as well as yours, even if he does not direct me himself. I would sacrifice my life to protect him, Sita, my brothers, and Ayodhya. Please command me and believe that I, Ram, will obey all of your instructions.
Then listen Ram, I asked the King for Bharat to be crowned King of Ayodhya instead of you. And for you to live in exile, as an ascetic, for fourteen years. [End Page 63]
Mother, is that all? I will fulfill the King's promise to you. I will grow out my hair and wear the clothes of an ascetic. I will depart for the forest right away. I will no longer feast like a royal. I will sleep on the floor and live like an ascetic in the forest. I, Suryavamshi Chandravati Dashrath's son Ram, gives you his word.
Ram, your oath is binding. May your oath live long. May your pride live long, like the Himalayas. May it last as long as the Ganges flows, and the tides rise up and down on this earth.
I am very happy that my dear brother, Bharat, will be King. Even without Father's permission, I'm happy to give Bharat the kingdom, my wealth, and even my life. Why are there tears in Father's eyes over something so miniscule? Mother, please send a messenger to Bharat right away so that he may return and take care of Ayodhya and our dear Father. But why does Father still not speak to me?
The King is upset that you will be living in exile in the forest. He is ashamed. He will be unable to eat or bathe until you leave. Therefore, son, you must leave right away.
Father, please don't be sad. This kingdom means nothing to your Ram. Making you and my mother Kaikeyi happy is the ultimate goal of my life. Father, please take care of yourself.
(Ram takes the blessings of Dashrath and Kaikeyi, and exits, followed by Lakshman.)
(End of scene)
II. Shurpnakha's Humiliation
Summary
One day Ravan's sister Shurpnakha comes to Panchavati, where Ram, Sita and Lakshman are living while in exile. When Shurpnakha sees Ram and Lakshman, she is immediately drawn to their beauty. She wonders what it would be like if she were to marry one of them. Aware that she will never be accepted in her demonic form, she disguises herself as a beautiful woman. Shurpnakha emerges before Ram, Sita, and Lakshman, and boldly dances in front of the men, trying to get their attention. First, she approaches Ram and proclaims her attraction to him. Ram calmly tells her that he is already married to Sita, but that she could try to win the affection of his brother Lakshman. Although she is dejected, Shurpnakha quickly moves on to Lakshman who also rejects her, saying that he has committed his life to service to Ram. Shurpnakha is supremely insulted by their rejection of her. To make matters worse, Sita laughs at Shurpnakha. Shurpnakha blames Sita, considering her the ultimate cause of her rejection. She says she will devour Sita, and then precedes to reveal her authentic [End Page 64] demonic form. Sita is frightened, while Ram and Lakshman are on-guard to protect Sita. Ram instructs Lakshman to do the needful to protect Sita. At this point, Lakshman distracts Shurpnakha from her path of destruction, and upon his brother's instruction, proceeds to cut off Shurpnakha's nose. Shurpnakha is completely shocked by this action. She is furious and vows to avenge the attack, as she exits. Ram is thankful for Lakshman's action, and predicts that this act of "nose cutting" will yield many fruits and blessings. All is calm in Panchavati once again.
Commentary
The character of Shurpnakha is played by two different actors, since she is a shapeshifter who appears in two different forms. "Demonic Shurpnakha" is played by a male actor in drag, and "Beautiful Shurpnakha" is played by a female actor. In 2016, the narrator does most of the voice work for Demonic Shurpnakha because it is difficult for the actor to speak with all of his makeup. The makeup includes a set of fake teeth (with fangs). Each time Demonic Shurpnakha appears, the Narrator takes over, speaking for her. As at many Ramlilas, her demonic form is a large, bestial, unruly, meat-eating figure who creates chaos on stage. Meanwhile, the Beautiful Shurpnakha appears as a beautiful seductress—quite the opposite of her authentic demonic self. When disguised as a beautiful woman, Shurpnakha is played by a female actor.
Of note, there is a significant difference in how this scene was played in 2016 and in 2018. While in both years, Demonic Shurpnakha was played similarly, by a man, Beautiful Shurpnakha was very different in terms of her presentation and performance. Sofia Hayat played Shurpnakha in 2016. She is an English actress of South Asian heritage. She spoke Hindi with a strong western accent. Hayat, as Shurpnakha, through her costuming, acting, and delivery of dialogue, invoked the classic trope of the westernized vamp from Bollywood. When Hayat (Shurpnakha) first appears in the scene, she dances to a contemporary film song, one with both Hindi and English lyrics. The singer also has a strong accent, so she too is marked as western. Throughout, Shurpnakha is purposefully presented as different. She is strange; she is other. In the scene, the gulf between the three female characters is clearly laid out. They are the good, the bad, and the ugly. Organizers know that audiences will feel less empathy for Beautiful Shurpnakha, if they perceive her as other, a demoness who speaks with a foreign accent. Audiences also react to the fact that Shurpnakha displays lust, and aggressively acts on her sexual desires—behavior that is in direct contradiction to that of Sita, who is cast as the ideal woman. Meanwhile, the actress who played Beautiful Shurpnakha in the 2018 performance [End Page 65] is less everything—less sexual, less threatening, and less powerful, in comparison. More benign than the 2016 Shurpnakha, she also tones down her sexualized behavior, though she still demands that Ram and Lakshman physically claim her. She is an unknown face to the public, but nonetheless delivers her dialogues without a foreign accent. As in 2016, Shurpnakha attempts to seduce Ram and Lakshman with her beauty, but in the 2018 performance, organizers clearly constructed a desexualized Shurpnakha and stripped her of her power.
After Shurpnakha is rejected by both Ram and Lakshman, she changes back into her demonic form. In what happens next, it is very clear that Ram directs Lakshman to take action. Lakshman first proceeds to trick Shurpnakha by distracting her. He asks her if she has seen a golden bird fly across the sky. Falling for the trick, Shurpnakha shapeshifts from her demonic form to her beautiful human form (disguise). Lakshman then pretends to help her spot the golden bird in the sky. As Shurpnakha looks into the sky, Lakshman pulls out a dagger and seeks a final blessing from his brother Ram. Receiving that, he then cuts off Shurpnakha's nose. Shurpnakha runs off in a state of shock and disarray. Lakshman bows his head to Ram again, for having completed the task. Ram states that there is more to come because of this nose "incident." In doing so, Ram literally predicts the future. It is important to note that while it is generally understood that Lakshman is responsible for cutting off Shurpnakha's nose, in both productions, he clearly does so under the direction of Ram.
Translation (2016 Production)
(The scene opens in Panchavati, where Ram, Sita, and Lakshman are living while in exile. On a platform suspended high above the stage are four demons: Shurpnakha—Ravan's sister—and three female mignons. They float above Panchavati accompanied by eerie prerecorded background music with ghoulish sounds. The music for this scene is inspired by B-grade Bollywood horror films. Shurpnakha and her entourage fly over Panchavati. While suspended above the stage, Shurpnakha looks down and all around, even getting down on all fours. The platform is lowered. When it reaches the stage, Shurpnakha disembarks and creates havoc on stage, disrupting sages' rituals and torturing animals, birds, and humans alike.)
(Meanwhile, Ram and Lakshman are doing their everyday chores at their forest cottage. Enter Sita.)
My Love, look at all these beautiful creatures. And listen! Their melodious sounds entertain us. [End Page 66]
Yes, my Lord, their sounds are so soothing to the ear.
Yes, my Love, you speak the truth. The sound of the peacock is soothing indeed.
(The music changes from soothing to dark.)
(Shurpnakha in her demonic form enters.)
These two princes are so beautiful, I wish I could marry one of them. But I know they would never accept me in my current form. So I have to transform into a beautiful avatar.
(Musical interlude)
(Demonic Shurpnakha exits. Re-enter a beautiful woman. Shurpnakha has transformed into a beautiful woman. She first walks over to Lakshman.)
Greetings, beautiful one.
(Shurpnakha breaks into a contemporary song-and-dance number. The song has a mix of Hindi and English lyrics, as well as techno beat and rap. The singer singing the Hindi lyrics has a strong accent. Once Shurpnakha finishes her song-and-dance routine, she poses in front of Lakshman.)
O lady of the forest, who are you?
I see that I made you smile. This is a good thing. I imagine you are single. Why don't we get married? We would make a great couple.
Forgive me, O seductress, I am not single. I am married and can only have one wife. Why don't you try talking to my brother Lakshman?
(To Lakshman) Listen, don't do what he just did. (Indicating Ram) He is not so beautiful after all. You are fair, just like me. We would make a lovely couple.
O beautiful one, I am his servant. (Indicating Ram) He is my god. My duty is to serve him. I will not be able to give you any happiness. He is Lord Ram, perfect in every way. The King of Kaushalyapur [Ayodhya] excels in whatever he undertakes. Please don't trouble yourself by bothering him.
You won't marry me?
No.
(Shurpnakha now turns to Ram.)
And neither will you?
No, Lady. [End Page 67]
No? No! Then I will change my shape and devour your woman right here!
(Shurpnakha in her beautiful form exits. Re-enter Demonic Shurpnakha, running around chaotically.)
Save me, my Lord!
(Ram takes a protective stance.)
(Directing Lakshman to take action) Lakshman!
(Frightened) My Lord!
(Demonic Shurpnakha exits. Re-enter Shurpnakha in her beautiful form.)
(To Sita) Stay back.
(To Lakshman, gesturing to him to distract Shurpnakha) Lakshman …
O beautiful one, have you ever seen a golden bird flying in the sky? Come … allow me to show you.
Where?
Look! Beautiful woman! There, look!
Where?
(Lakshman moves his hand around, pointing to the sky and calling out, "There." "Look closely.")
It's coming for you!
(Lakshman uses this moment to first buy time to locate his dagger. Then Lakshman turns to Ram and bows his head, as though asking for permission. He then turns towards Shurpnakha, and standing behind her, cuts off her nose.)
Brother, my nose! Brother, my nose!
(Shurpnakha runs off stage screaming in agony.)
(Lakshman turns towards Ram and bows before him. Ram and SITA bless Lakshman.)
Watch out now, Lakshman, this chopped nose will have many other effects, and will result in the downfall of all evil.
You are wise, dear Brother. You are all-knowing. I acted as I did, based on your command.
You did the right thing.
(Turning to Sita) Come, my Love. [End Page 68]
(The scene returns to a harmonious forest idyll, as it was prior to Shurpnakha's arrival.)
Translation (2018 Production)
(As in 2016, Shurpnakha in her demonic form is flying over Panchavati. Down below are Ram, Sita, and Lakshman.)
(Mumbling repeatedly to herself, projecting her demonic prowess) I will eat you up. I will eat you up.
(Noticing Ram and Lakshman) Oh, what have we here … who are these Princes? I think I shall test them. But first, I will transform myself into a beautiful woman.
(Shurpnakha exits and re-enters in her beautiful form.)
(Referencing Ram and Lakshman) Such beautiful Princes! How lovely it would be if I were to marry them. If they see me in this beautiful form, they will surely fall in love with me. I should entice them with my dance.
(Shurpnakha breaks into a dance, simultaneously revealing herself to Ram, Sita, and Lakshman. She first focuses on Ram, but when he does not pay much attention to her charms, she shifts her focus to Lakshman. The dance concludes.)
(To Ram) O enchanting one, who are you? Why have you come so deep into the forest?
Beautiful lady, we are sons of Dashrath. We are here with the blessings of our father. My name is Ram, and my younger brother's name is Lakshman. And this here is my wife Sita. Who are you? And why are you roaming alone in the forest? You don't appear to be a demoness? (Only a demoness would roam the forests alone, and clearly the woman standing in front of him is not a demoness.)
Your intuition is right. I am a demoness. My name is Shurpnakha. My brother is the great King Ravan, and my other brothers are Kumbhkarn and Vibhishan. I am the rightful owner of these lands. My brothers Khar and Dushan are military leaders. I am a shape shifter. I can take on any shape that I desire. There is no one in the three worlds who doesn't harbor a fantasy to be with me, but I have let all of them go, just for you Ram.9
What do you want from me, beautiful lady?
O Prince, the gods certainly put in a lot of thought when they created us. To be perfectly honest, there is no man as ideal as you, and no woman as beautiful as I. Hence, you should marry me. [End Page 69]
(Turning to Sita) I don't see how you can get any happiness from this extremely weak and deformed Sita. Perhaps you should move away from her.
You are aware that I am married and that my wife is with me … and yet, you wish to marry a married man? That is not suitable for you.
If Sita and Lakshman are the cause of your hesitation, then I shall eat them up! Please accept me. And then we can take in the pleasures of this kingdom!
My younger brother is single, and alone here in the forest. Why don't you put forth your marriage proposal to him?
(Shurpnakha rushes to Lakshman's side.)
This is a good idea!
(To Lakshman) Why do you stand so serenely? I think you are afraid of me. … Yes, I am a demoness … but I won't eat the likes of you. (Smiling) You can accept me. Listen, I will say this only once … do not give me a dry response like your brother did. You are actually better looking! I am beautiful, just like you. As bride and groom, we will be supremely beautiful together. Why don't you marry me?
O beautiful lady, I am a servant. He is my master. (Pointing to Ram) He is the King of Kaushalyapur. You will find no happiness with me. I think you should go back and appeal to him again.
(To herself) This one is rather preachy. The older one is simpler. I think I will approach Ram once more. If he agrees, it will be good. If not, I will transform myself and eat his woman.
(To Ram) Listen, Lakshman is very stubborn. And I think that's because he's a lowly servant. Why don't you claim me?
You are so innocent. He has fooled you, and how easily you have let him! Go back to him.
(Walking back to Lakshman, muttering) Oh goodness, what is this nonsense?
(To Lakshman) Stop pretending to be stubborn and accept my offer! You think this is a game? Both of you treat me like a ball—one says to go there and the other says come here. Why would anyone harass the great Ravan's sister?
I have already told you that I cannot marry you.
(SITA starts laughing.) [End Page 70]
(Very upset, addressing Sita) You insult me! Shurpnakha is a demoness! You will pay a very heavy price for laughing at me. Wait, I will show you!
(Beautiful Shurpnakha exits. Re-enter Shurpnakha in her demonic form.)
(To Shurpnakha) O beautiful one!
Did you just call me beautiful?
How else should I address someone so beautiful? Have you ever seen a golden bird?
A golden bird? I have never seen a golden bird … but there is plenty of gold in my brother's house.
(While Shurpnakha is speaking, Lakshman glances over at Ram, and Ram points to his nose, indicating that Lakshman should cut off Shurpnakha's nose.)
(To Shurpnakha) Come here, I will show you a golden bird. Come, come closer to me.
(He brings her closer to him.)
(Desperately looking for the golden bird up in the sky.) Where? Where?
(Pointing to the sky.) Look! Look! Look, there!
(Lakshman prepares his sword and cuts off Shurpnakha's nose. This sends her into a crazed frenzy. Shurpnakha runs around the stage and then exits. Lakshman bows his head to Ram.)
(End of scene)
III. Hanuman Fetches the Sanjivani Herb to Save Lakshman
Summary
On the epic battlefield, Lakshman and Meghnad, son of Ravan, come face-to-face. Lakshman is struck by Meghnad's weapon—a very powerful weapon blessed by Lord Indra. Wounded, he falls and loses consciousness. Meghnad exits with his army, as his they shout, "Long live Prince Meghnad!" Members of Sugriv's army carry Lakshman's body from the battleground to the safety of their camp, where Ram, Vibhishan, and others are awaiting news from the battlefield. Ram is distraught when he sees his brother Lakshman being carried by Hanuman and the others from Sugriv's army. Ram pleads with his brother to open his eyes, but to no avail. Then, the bear general Jamvant suggests that they summon Lanka's Royal Physician (Vaidraj) Sushen to help Lakshman. [End Page 71] Ganapathy Hanuman is sent to bring the physician Sushen from the city of Lanka. Upon his arrival, Sushen instructs Hanuman to bring the revivifying Sanjivani (sañjīvanī) herb that grows on Mount Dronagiri in the Himalayas. Meanwhile, Ravan finds out about this development, and sends Kalnemi, a demon, to obstruct Hanuman's path. Kalnemi creates the illusion of a lake, garden, and a temple on his route. Seeing this, Hanuman decides to make a quick stop to quench his thirst. Kalnemi takes the form of a hermit, and pretends to be a devotee of Ram, which draws Hanuman into his trap. Kalnemi then insists that Hanuman take a quick bath in the lake, after which he says he will grant him a special blessing to help make his journey easier. Hanuman agrees. When Hanuman steps into the lake, a crocodile grabs his foot. Hanuman kills the crocodile. Dying at the hands of the holy Hanuman, the crocodile is released from her spell and reverts to her original form as a celestial spirit. She reveals to Hanuman Kalnemi's evil plans. Hanuman thanks the spirit, and then goes after Kalnemi. He spins him around and sends him to his death. Hanuman then continues on his way and reaches Mount Dronagiri where the Sanjivani herb grows. However, Hanuman is unable to recognize it, so he decides to pick up the entire mountain and bring it back to Ram. That way, the physician Sushen can select the herbs himself. Hanuman makes it back to Ram's camp before sunrise, and saves Lakshman's life with the medicinal herb. Ram says he is forever indebted to Hanuman.
Commentary
When Lakshman is gravely wounded, Ram appears to lose his way. Ram repeatedly states that he will end his life if Lakshman is not saved. It is interesting to see how Ram's repeated statements to this effect help humanize him, especially in the 2016 production, where Ram is even more intent in this sentiment. He is unable to see how he can overcome the death of his brother, and believes that it could spell the end of the Raghu Dynasty. The scene with Hanuman and Kalnemi juxtaposes the good and the bad. The staging of this scene is directly inspired by Sagar's Ramayan, evident in the song that Kalnemi sings when disguised as a hermit, and even in the dialogues, which closely resemble those of Sagar's Ramayan. This is a deliberate attempt once again to evoke the memory of a familiar TV serial, thereby enhancing the viewing pleasure of the audience. Like the scene in Sagar's Ramayan, this scene in the Lav-Kush Ramlila has Kalnemi and Hanuman engage in a humorous dialogue that plays on the words "dakṣiṇā" and "dīkṣā." Guru dakṣiṇā is the gift a student gives to his respected teacher in appreciation for his teaching. Guru dīkṣā is the blessing a guru or respected teacher gives his student to spread his teachings, upon the student's graduation. At the top of the scene, Kalnemi thinks he is the guru because he has the upper hand over [End Page 72] Hanuman. However, once Hanuman realizes the motives behind Kalnemi's actions, the balance of power shifts. Hanuman now knows who Kalnemi is, so he gains the upper hand as the guru. The student has become the master. Hanuman ends the charade with Kalnemi by beating him up, and thus defeats him. Of the three scenes translated and analyzed here, this one shows the least change between 2016 and 2018. In 2018, however, Shiva and Parvati have a brief cameo (as they have throughout the performance), providing explanatory comments at the top of the scene.
Translation (2016 Production)
(The scene opens in Ram's camp in Lanka, during the war. It is evening and everyone is worried because Lakshman has not yet returned from battle.)
(To Vibhishan) King, I am worried about Lakshman!
There is no need to worry, my Lord.
(Ram is restless.)
Please sit down.
(Enter Sugriv.)
King Sugriv, I am worried about Lakhan.10
Sugriv: Don't worry, Lord. I think Lakhan will be returning soon.
I pray that your words are true, friend Sugriv. I want my Lakshman to come soon.
Lakhanlal was struck down by the power of Brahma's weapon.11
(Hanuman ji and a young soldier enter, carrying Lakhanlal ji on their shoulders.)
(Distraught) Lakhan! What happened to my Lakshman? Hanuman?
What happened to my Lakshman? Why don't you speak, Lakhan?
Dear Lord, Meghnad struck down Lakhanlal with Brahma's power. And Lakhanlal ji has been severely wounded!
If there is no Lakhan, then there is no Ram. And if there is no Ram, then there is no victory. If there is no victory, then who will free Sita from Ravan? No one will! Lakshman, my Lakshman, open your eyes! Open your eyes! This Ram cannot live without you. Your brother Ram is incomplete without you. Lakhan … open your eyes!
(Looking to Jamvant) Jamvant ji, please suggest a solution to save my Lakshman. Save my Lakshman … or else. … I will sacrifice my life … sacrifice my life!12 [End Page 73]
(Looking to Vibhishan) Vibhishan ji, what do you have to say? Somebody please … anybody.
Have courage.
Have courage? How can I have courage? My Lakhan is losing his life … and you ask me to have courage? I can't! I can't! You have to do something!
Let me see what I can do, Lord.
(Pause. Then something occurs to him.) I think we should call Vaid ji right away.13
Vaid ji? Then call him! Why do you delay? Tell me … tell me quickly, who is this we should call?
Please speak up, Vibhishan. Speak up.
There is a certain vaid, a physician, in Lanka.
Who is he?
Yes, who is he? Please tell us. Who is he, Vibhishan ji? Who is this Vaid in Lanka who can help save my Lakshman's life?
Why don't you send someone to fetch him?
Whom should we fetch? Who is this Vaid in Lanka?
Vaidraj Sushen.
Fine. If King Vibhishan is saying that Vaidraj Sushen needs to be brought here from Lanka, then we will bring him.
(To one of Sugriv's monkeys) Please hold Lakshman.
(Turning to Hanuman) Hanuman, you have always done what I have requested of you. Ram cannot live without Lakhan! I request that you go at once. Go to Lanka and bring Vaidraj Sushen back with you. We must save my Lakhan's life.
As you command, Lord.
The life of Raghukul, our family line, is in your hands. Make me indebted to you again!
As you command, Lord. I will go to Lanka and bring back Vaidraj Sushen. Please wait a little while. I will be back in a moment.
Go quickly, Hanuman, please go quickly! Go quickly!
(Hanuman exits.)
Lakhan … my Lakhan!
Lord, keep courage. Hanuman ji will return as soon as possible with Vaidraj Sushen.
King Sugriv, how do I keep courage? Lakshman is my soul. How can the body survive without the soul? You tell me? Lakshman? You cannot leave your brother in this manner. I will bring you back to [End Page 74] life, no matter what I have to do. (Crying out) Lakhan, Lakhan, my Lakhan!
Lo and behold, Hanuman ji has returned with Vaidraj Sushen.
(Hanuman re-enters carrying Sushen over his shoulders. Sushen appears to be asleep. Hanuman places him down, next to Lakshman. Ram, Vibhishan, and Sugriv all try to get Sushen's attention.)
Vaidraj ji, open your eyes.
(Waking up, disoriented) Dear brothers, where am I?
You are in Ram's war camp. Kindly have a look at Lakhanlal ji.
What happened to him?
Lord, I am a physician for the Kingdom of Lanka. I follow duty, righteousness, and policy. Do you want me to break from my path of duty, righteousness, and policy?
(With mixed emotions) You speak of unrighteousness to Dashrath's son Ram … who forsake the throne and the kingdom to pursue righteousness … whose father died for the sake of righteousness, who left his brother Bharat for the sake of righteousness, whose wife Sita was kidnapped while he was fulfilling his righteous duty! Today … my soul … my Lakshman lies wounded due to righteousness, and you think this follower of righteousness Ram would ever expect you to do an unrighteous task? Vaidraj, I have always followed righteousness. Please have some compassion and save my Lakshman's life!
I was merely testing you. I am aware that you are the keeper of righteousness. I will help you.
(Vaidraj checks Lakshman, then he gestures instructions to Ram.)
Yes, Vaidraj, yes. My Hanuman is here. I have my Hanuman. My Hanuman can complete all impossible tasks. Hanuman, my son, leave now for Mount Dronagiri and bring back these roots and herbs. Make this Ram indebted to you once again. You are capable of completing all impossible tasks Hanuman, my son. Go!
With your blessings, I will surely complete this task. With the Sun as my witness, I promise to find that herb wherever it may be. I will go to the ends of the earth to find it. With Ram's blessings nothing can stand in my way! Vaidraj ji, please describe what the root and herbs look like, so I can find it this very night and save Lakhanlal ji's life as quickly as possible.
Hanuman ji, the light appears to favor the spot where the roots and herbs grow.
All right, Vaidraj Sushen. All right, Lord, please command me to leave. [End Page 75]
May all be well, Son, may all be well. Go quickly, Hanuman. Go on my Lakhan's behalf.
Long Live Sita's Husband Ramchandra ji!
(Hanuman exits.)
(Musical interlude)
Vibhishan ji, will my Lakhan make it?
Please do not worry. Hanuman ji has gone to get what is needed, and he will be back soon.
Yes, Lord, keep courage and patience. Hanuman ji will be retuning with the Sanjivani herb.
This Ram will not make it … if something happens to Lakshman. I will not live.
Keep courage, Lord.
(Desperately) My Lakhan … open your eyes, Lakhan. Why the delay? I hope Hanuman is not facing any hardships. I hope nothing has happened to my son Hanuman! If something happens to Hanuman … it will be like losing my right arm! If Lakshman is no more, then I won't survive. If I do not survive, then Bharat and Shatrughna also will not survive. If we do not survive, then Sita will also sacrifice her life! O God, why do you toy with us, entrapping us like this? We walk on the path of righteousness, and yet this is happening to us. Why, God?
(Musical interlude)
Lord Shri Ram is very sad. He is overcome with grief.
Lakshman, how will I return to Ayodhya without you? How will I explain this to the people of the kingdom? How will I answer Mother Sumitra, Brother Lakshman? Please brother Lakshman, open your eyes! Hanuman, why are taking such a long a time to return? Where are you, Hanuman? You are my only hope. When we first left Ayodhya, I had you by my side as my brother … how do I return to Ayodhya now … alone? My brother, without you, I cannot live, Lakshman! Lakshman, open your eyes! Lakshman open your eyes!
(Breaking down) What will I say to Mother Sumitra when she asks me, "Where is my Lakhan?" What will I say? That your Lakhan is no longer alive? No, before this, I will give up my life … I cannot face Mother … I cannot!
(Musical interlude) [End Page 76]
Lakshman, how will I explain this to Mother Sumitra? "Dear Mother, I am sorry I left your beloved son in the forest. Lakshman, my brother, open your eyes and embrace me. Your brother Ram is calling you. Lakshman, you obey all my commands, so why do you disrespect me today. Open your eyes, Lakshman, open your eyes! Brother of mine, embrace me! Vibhishan ji, please suggest a solution. I cannot bear this! Had I known this, I never would have agreed to bring him along with me from Ayodhya. My heart beats inside him. He has obeyed my every command, as though it were a direct command from the gods. Lakshman, open your eyes, Lakshman, open your eyes. My brother, open your eyes! Why don't you open your eyes?"
(To Vibhishan) King, when will Hanuman return? We are losing time. If Hanuman does not return soon … I will give up my life.
(Musical interlude)
Upon the direction of Shri Ram, Hanuman is flying through the skies in search of the Sanjivani herb.
(Music interlude)
(Hanuman appears in a harness suspended above the stage.)
Victory to Shri Ram! Victory to Shri Ram! Ram is all I call!
(Kalnemi enters, disguised as a hermit, singing the praises of Ram, as though he is in a devotional trance. He calls out to Hanuman via the Narrator's song, beckoning him to rest. Hanuman flies down to meet Kalnemi.)
O holy man, do you know me?
Yes, Hanumant, I know you very well. Meghnad struck a blow, your Ram is suffering, and you were instructed by a vaid to go fetch Sanjivani herb.
I see, Holy Man, you know all of this.
Yes, Hanumant, I am all-seeing and all-knowing.14
(Singing) You have such a long way to go, you must take some rest. You should rest here the whole night, and not worry. After all, Ram will take care of whatever needs to be done.15
No, Holy Man, no rest for me. Please do me a favor and point me in the direction of the Sanjivani herb. Where will I find it? Because there is no rest for this servant. Please tell me quickly, Holy Man. [End Page 77]
Yes, Hanumant, I will tell you. But first, why don't you eat and drink something?
No, no, Holy Man.
(Singing) You have come so very far. Eat and drink something. Rest a while, and then I will tell you.
Ram and Lakshman will be fine.
No, no, Holy Man. I cannot rest. This servant cannot rest. I will only rest at a shelter designated by Ram. I only stopped to quench my thirst.
(Singing) I can help you by casting a spell that will eliminate all of your hunger and thirst on your journey. And you will reach your desired mountain in the flash of a second!
Truly?
(Singing) Indeed, go and take a bath, and say your prayers. And then I will make you a believer!
All right, Holy Man, I will bathe and return.
(Hanuman exits to go bathe in the lake.)
(Musical interlude)
(Kalnemi dances and laughs.)
Hanuman goes to bathe, but falls into the trap of the crocodile. Hanuman proclaims, "Victory to Shri Ram! Victory to Shri Ram!" Hanuman is caught in Kalnemi's trap, but he has the protection of the Lord's name. The name "Ram" is even more powerful than Ram himself. By taking the Lord's name, Hanuman reached the lake. Unfortunately, Hanuman stepped into the trap laid out by the demon Kalnemi, while trying to quench his thirst.
How come my foot is stuck? It's a crocodile. I will send it to hell. Victory to Shri Ram!
(Hanuman grabs the crocodile. It turns back into a celestial spirit, and takes the form of a woman.)
O Hanuman ji, please forgive me. That is no Holy Man! (Pointing to Kalnemi) That is Ravan's friend Kalnemi, who is trying to put a roadblock in your path.
I see, now I understand. You may go on to your paradise, while I deal with this demon.
(Hanuman flies from the lake back to Kalnemi, to teach him a lesson.) (Musical interlude)
(Surprised) Ah Hanuman, you've returned from your bath?
Yes, Holy Sir, I have indeed. [End Page 78]
All right, Hanumant, tell me, what do you want to know?
(Sarcastically) Holy man, don't you want your guru dīkṣā—your blessing from me—first?16
It's called "guru dakṣiṇā"!17
No, Holy Man, it's called "guru dīkṣā".
No, no, "guru dakṣiṇā"!
No, no, Holy Man, "guru dīkṣā" comes first!
Hanumant, you speak incorrectly. It is called "guru dakṣiṇā".
No, no, no, no, Holy Man, "guru dīkṣā"!
Why are you reversing the flow of Ganga, Hanumant? It is called "guru dakṣiṇā"!18
(Insisting) O holy man, you know nothing. First, we give "guru dīkṣā"!
(Exasperated) I am all-seeing. I know everything. It is called "guru dakṣiṇā"!
Here, take your guru dīkṣā, Holy Man!
All right, fine. Give it to me!
Here, take it!
(Hanuman grabs hold of Kalnemi.)
Hanumant, what are you doing?
(Grabbing Kalnemi by his dhoti (wrapped lower garment), Hanuman
spins him around wildly, and throws him. Kalnemi screams, shouts, and pleads, and then goes silent.)
(Kalnemi exits.)
(Hanuman carries on with his journey, proclaiming, "Victory to Shri Ram!" He flies across the sky in his harness.)
(Musical interlude, along with encouraging cheers, "Victory to Hanuman!")
(Hanuman lands on Mount Dronagiri.)
I think this is the mountain with Sanjivani. But here … all of the roots and herbs look alike! They all shine so bright. I think I will need to take all of them. Yes, I will uproot the entire mountain … Yes, Vaidraj Sushen will best identify it. Yes, I will uproot this entire mountain!
(Hanuman uproots the mountain, proclaiming "Victory to Shri Ram!" He hoists it on his shoulder and flies back to Ram.)
(Musical interlude, along with encouraging cheers, "Victory to Hanuman!")
(Hanuman arrives back at the Ram's camp.)
Victory to Shri Ram! [End Page 79]
(With excitement) Look, Lord! Look! Hanuman is flying through the sky and coming this way. Look, Hanuman ji is returning!
(Hanuman lands.)
Victory to Shri Ram!
(Ram and the rest of the camp greet Hanuman with joy, gratitude, and relief.)
Here, take what you need, Vaidraj ji.
(Hanuman places the mountain in front of Sushen.)
Hurry, hurry, Vaidraj ji.
(Sushen plucks Sanjivani herbs.)
(To Sushen) Now my Lakshman will recover, right Vaidraj?
(To Lakshman) It won't be long now, Lakshman … just a few more moments.
(Sushen administers the Sanjivani herbs to Lakshman. Everyone looks on in anticipation.)
Hurry, Vaidraj ji, hurry up! I can't bear to see my Lord suffer. Hurry!
(Sushen continues to attend to Lakshman.)
Open your eyes, Lakshman!
(Lakshman opens his eyes.)
Lakshman!
Lakhanlal ji?
Lakhan is gaining consciousness!
Lakshman!
Brother!
Open your eyes, Lakhanlal ji.
My Lakshman!
(Everyone helps Lakshman. He stands up. Ram and Lakshman embrace.)
Victory to Lakhanlal!
Victory to Sita's husband Raghupati Ramchandra ji!
(Everyone celebrates. Ram and Lakshman continue to embrace. Then Ram rushes to Hanuman. Hanuman touches Ram's feet. They embrace.)
What is all this? I don't understand what happened? [End Page 80]
Lakhanlal ji, you are alive!
It's nothing, Lakhan. My Lakhan is well again. My Lakhan is perfectly well! Hanuman, this Ram is indebted to you!
(Ram and Hanuman embrace.)
No, dear Lord, it is because of your blessings that I was able to complete this task.
Come Lakshman, come and rest now.
(Ram and Lakshman exit.)
(Musical interlude)
And just like that Hanuman continued to help Lord Ram in all his tasks.
Translation (2018 Production)
(Lord Shiva and Parvati enter and take center stage.)
Goddess, this is an extremely difficult time for Lord Ram. His younger brother Lakshman has been struck down by Meghnad. Now my beloved Lord Ram is in a lot of pain. He is considering what he will say to Mother Sumitra: "It was I who was exiled by Father … and now I won't survive if something happens to Lakshman." There is deep mourning among the entire army of monkeys.
(Shiva and Parvati exit.)
(Ram, Vibhishan, and Sugriv patiently await news from the battlefield.)
(Rushing forward, shouting) Lakshman!
(Hanuman and the army of monkeys bring back Lakshman's body. Ram rushes to Lakshman's side.)
Lakshman! Brother Lakshman! Hanumant, what happened here? (Looking up to the sky) O God, if there is no Lakshman, then there can be no Ram. If there is no Ram, then there can be no victory. If there is no victory, then who will free my Sita from Ravan's captivity? Lakshman, please open your eyes, brother. Dear Jamvant, if you can think of a solution, please tell us right away!
Lord, there lives a physician named Sushen in Lanka. He is extremely knowledgeable. Perhaps we should send for him, although venturing further into Lanka is not advisable.
Hanuman, you have helped me accomplish many tasks in the past. Please help me with one more task, for which I will be forever indebted to you. [End Page 81]
(Turns to Hanuman)
Lord, I am your servant. I shall leave right away and return with the Royal Physician. Vibhishan ji, please tell me where will I find the Royal Physician. How can I find his whereabouts?
To the left of Lanka's city square is the palace, and he resides behind the palace. Please leave immediately and bring him back with you.
As you say, long live Ram!
(The army repeats "Long live Ram!" Hanuman exits.)
(To Ram) Please be strong. All will be well!
(Hanuman re-enters with the Sushen.)
Oh, look, here comes the Royal Physician Sushen.
(Muttering) Goodness, where have you brought me?
Please come, Royal Physician Sushen, and have a look here.
Welcome Vaidraj Sushen, you are in Ram's military camp. Please examine my brother Lakshman and suggest a cure, so that we may save his life.
Forgive me, Lord, but how can I treat the enemy? That is unethical.
For the sake of duty, I lost the kingdom, suffered the death of my father, was separated from my brother Bharat, endured the kidnapping of my wife Sita … and now is it just that I have to lose Lakshman too, for the sake of duty? I suppose whatever happens is meant to happen.
Dear Lord, I was merely testing you. Just a moment. (Feeling Lakshman's pulse) Lakshman is in grave danger. (Listening to Lakshman's heartbeat) He has been struck by Brahma's weapon. If someone from your army can get an herb called "Sanjivani" from a mountain called "Dronagiri," before sunrise, only then can Lakshman's life be saved. There is no other solution besides this.
(To Ram) With your blessing, I will gladly take on this task. No matter where this special herb is, whether it is on a mountain or under the sea—for you—your servant will fetch it right away!
(To Sushen) Give me a description of this herb. How can I find it? With Lord Ram by my side, I will get it before the night is over. How will I recognize it? Please tell me its most distinguishing feature.
Sanjivani gives off light even in the dark. You will recognize it right away Please go immediately. [End Page 82]
Yes, Vaidraj.
Dear Hanuman, the survival of Raghukul, the royal line, is in your hands.
Long live Shri Ram!
(The army repeats "Long live Shri Ram!")
Dear Sun God, you have been witness to my actions since I was a child. … Here I come again!
(Hanuman exits, flying into the sky in his harness.)
(As in 2016, Kalnemi enters disguised as a hermit, singing the praises of Ram, and again Hanuman flies down to meet him.)
When the true devotee of Ram heard the name of Ram being chanted he had to go down and see for himself who was singing the praises of Ram. Hence Hanuman flew down.
Long live Shri Ram!
Long live Shri Ram! Do you know me?
Yes, Hanuman, I am all-seeing and all-knowing. Meghnad struck Lakshman. Ravan is the cause of Ram's grief, and Ram has been instructed by Vaidraj to get the Sanjivani herb. I know everything, Hanuman.
(The narrator, as Kalnemi, sings the same song, just has he did in 2016, encouraging Hanuman to rest for the night.)
I cannot rest! There is no rest for this servant. If I don't make it back before sunrise, there will be darkness forever. O, holy man, please guide me forward. How can I get to the Sanjivani herb?
Wouldn't it be great if you were teleported to Dronagiri? (Continuing to sing and dance)
Please, please tell me, where will I find the Sanjivani herb?
O Hanuman! I have one more suggestion. (Singing) How about I put a spell on you that makes you feel neither hungry nor thirsty? Why don't you go and take a bath first and then we will figure out the rest!
(Hanuman exits to take a bath, as directed by Kalnemi.)
Yes, and when you come back, I will give you the spell that keeps you from being hungry or thirsty. It will also teleport you to where the Sanjivani herb is.
(Hanuman crosses the stage and approaches a lake. A crocodile comes out of the lake and attacks him. Hanuman and the crocodile wrestle. Finally, a celestial spirit in the form of a woman emerges from the body of the crocodile.) [End Page 83]
Please forgive me, Hanuman ji. That person is no hermit, and is actually Ravan's friend Kalnemi. He wishes to create an obstruction on your path.
Thank you, kind spirit.
(The celestial spirit exits.)
I wonder where Hanuman is.
(Hanuman re-enters.)
All right, holy man, let me give you my guru dakṣiṇā.
Have you taken a bath and said your prayers?
Yes, I have bathed and now will give you my guru dakṣiṇā!
(Correcting Hanuman) No, Hanuman. First, you must receive the guru mantra from me.19
No, I wish to give you my guru dakṣiṇā right away!
No, Hanuman. First, the guru mantra!
No, Guru ji!
Guru mantra!
(Approaching Kalnemi) No, Guru ji. First comes guru dakṣiṇā!
(Hanuman strikes Kalnemi. After a few blows, Kalnemi is out cold. Hanuman proudly proclaims, "Victory to Shri Ram!")
(Hanuman exits.)
(A brief musical interlude.)
(Meanwhile, back in Ram's camp)
It is so late, and Hanuman is still not back. O God! How can I expect my heart to be strong? I hope nothing has happened to Hanuman, because if something were to happen to him, then I would truly lose both of my arms. Shame on me … for losing a brother like Lakshman. O Brahma's weapon! Why couldn't you have struck me instead? Leave Lakshman and enter my body. He is my younger brother, he cannot die before I. Death, you must take me before you take him. Or take us both at the same time. May both of us burn on the same pyre! How can I return to Ayodhya without you? When mother asks me, "Where is Lakhan?" what will I say to her? Please answer, Brother Lakshman. How will our world not unravel? What will I say to brothers Shatrughna and Bharat? Why do you have to die in this manner? Sita suffers in Lanka, and our mothers in Ayodhya. If I could give you my life, I would. But for the benefit of us all … wake up, brother!
(The narrator sings a song, as Ram, in which he pleads with Lakshman [End Page 84]
For the sake of Sugriv, Vibhishan and Jamvant, and for the benefit of each and every person present here, please wake up! And if death is inevitable, then we are to be united in death. Cremate us together. And if one funeral pyre is unable to hold our two bodies together, then float our bodies down the river together. Lakshman never abandoned me. For me, he even forsakes our own parents. Had I known when we started our journey into the forest that we would be separated in this manner, I never would have agreed to bring Lakshman along!
(Loud fireworks can suddenly be heard in the background. Hanuman has picked up Mount Dronagiri and is flying back with the Sanjivani herb.)
(Musical interlude to mark the entrance of Hanuman, along with the singing of his victorious return, "Victory to Hanuman!")
(Hanuman enters.)
(To Sushen) Here Vaidraj. (Presenting him with the mountain) I was unable to recognize the Sanjivani herb. Hence, I decided to bring the entire mountain. Please identify the herb yourself, and give Brother Lakshman the gift of life.
Hanuman, Sanjivani is the brightest herb. Here it is!
(Sushen takes few leaves of Sanjivani and crushes them into a paste to treat Lakshman. He rubs the paste on Lakshman's face, chest, hands, and feet. Lakshman opens his eyes and stands up.)
Brother!
(Ram and Lakshman embrace. Everyone proclaims, "Victory to Shri Ram!")
You have gained a new life, Lakshman!
This is due to your grace.
I was extremely depressed. I had no idea what I would say to Mother Sumitra upon returning to Ayodhya. I gave in to your stubbornness when you chose to come along with me on this fourteen-year exile. You have been my constant shadow. How would I have faced Mother Kaushalya, Mother Kaikeyi, Brothers Bharat and Shatrughna, and the people of Ayodhya, had I returned to Ayodhya without you? Today there is no limit to the joy I feel. Hanuman ji, please come here. I could never thank you enough, even if I did so every minute or every second. For me, you are soothing shade. I don't think I could have faced the world had you not stepped forward and undertaken this important task. My heart is forever indebted to you. Please let me embrace you! [End Page 85]
(Ram and Hanuman embrace.)
Victory to Shri Ram!
(Everyone repeats, "Victory to Shri Ram!")
Vaidraj Sushen, please come. I will take you back home.
(Ram and Lakshman bow down and give thanks to Sushen.)
Sugriv ji and Vibhishan ji, now we need to re-focus our attention back on the war. Greater difficulties lie ahead of us. Together we must strategize in order to win this arduous battle. We cannot keep Sita waiting any longer.
Yes, my Lord.
Now, everyone needs to rest.
(Everyone exits.)
(The narrator sings a devotional song about Ram.)
(End of scene)
NOTES
1. All translations are by the author.
2. "Ramchandra" is another name for Ram. "Ji" is an honorific suffix used for Ram and other respected characters throughout.
3. Right eye twitching is considered a bad omen.
4. This is a popular proverb to encourage self-preservation.
5. Yamraj is the god of death. Dashrath is insinuating that he will kill anyone who dares to upset his beloved Kaikeyi.
6. Manthra is here implying that she can grant the two wishes Dashrath has promised Kaikeyi.
7. This pertains to the lineage of the Raghuvamsh dynasty. Raghukul is another name for it.
8. "Shri (Śrī)" is an honorific, meaning "glorious."
9. The three worlds are heaven, earth, and hell.
10. Lakshman is also affectionately known as "Lakhan" and "Lakhanlal," poetic variants.
11. This refers to the weapon Meghnad uses on Lakshman.
12. Jamvant is known for his wisdom.
13. "Vaid ji" means "Respected Physician."
14. "Hanumant" is an alternate spelling of "Hanuman."
15. A singer off-stage actually sings this song, while Kalnemi lip syncs on stage.
16. Guru dīkṣa is the blessing a guru or respected teacher gives his student to spread his teachings, upon the student's graduation.
17. Guru dakṣiṇā is the gift a student gives to his respected teacher in appreciation for his teaching.
18. Traditionally, a student does not go into the world and spread what he has learned from his guru until the guru grants him permission to do so. When he does go, the student thanks his guru. These steps should not occur vice versa, as in this dialogue.
19. A guru mantra is a powerful, esoteric invocation passed on from guru to student.
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