Ramayana, Epic of Rama, Prince of India

Epilogue by the Translator - 165
and traditions of a [184] great historical war between the Kurus and the
Panchalas; the Ramayana grew out of the recollections of the golden age of the
Kosalas and the Videhas. The characters of the Maha-bharata are characters of
flesh and blood, with the virtues and crimes of great actors in the historic world;
the characters of the Ramayana are more often the ideals of manly devotion to
truth, and of womanly faithfulness and love in domestic life. The poet of the
Maha-bharata relies on the real or supposed incidents of a war handed down
from generation to generation in songs and ballads, and weaves them into an
immortal work of art; the poet of the Ramayana conjures up the memories of a
golden age, constructs lofty ideals of piety and faith, and describes with infinite
pathos domestic scenes and domestic affections which endear the work to
modern Hindus. As a heroic poem the Maha-bharata stands on a higher level; as
a poem delineating the softer emotions of our everyday life the Ramayana sends
its roots deeper into the hearts and minds of the million in India.
These remarks will be probably made clearer by a comparison of what may he
considered parallel passages in the two great Epics. In heroic description, the
bridal of Sita is poor and commonplace, compared with the bridal of Draupadi
with all the bustle and tumult of a real contest among warlike suitors. The
rivalry between Rama and Ravan, between Lakshman and Indrajit, is feeble in
comparison with the life-long jealousy and hatred which animated Arjun and
Karna, Bhima and Duryodhan. Sita’s protest and defiance, spoken to Ravan
when he carried her away, lack the fire and the spirit of Draupadi’s appeal on
the occasion when she was insulted in court. The Council of War held by Ravan
is a poor affair in comparison with the Council of War held by Yudhisthir in the
Matsya kingdom. And Bibhishan’s final appeal for peace and Ravan’s scornful
reply will scarcely compare with the sublime eloquence with which Krishna
implored the old monarch of the Kurus not to plunge into a disastrous war, and
the deep determination with which Duryodhan replied:–
“Town nor village, mart nor hamlet, help us righteous Gods in heaven,
Spot that needle’s point can cover shall not unto them be given!”
[185] In the whole of the Ramayana there is no character with the fiery
determination and the deep-seated hatred for the foe which inspire Karna or
Arjun, Bhima or Duryodhan. And in the unending battles waged by Rama and
his allies there is no incident so stirring, so animated, so thrilling, as the fall of
Abhimanyu, the vengeance of Arjun, the final contest between Arjun and Karna,
or the final contest between Bhima and Duryodhan. The whole tenor of the
Ramayana is subdued and calm, pacific and pious; the whole tenor of the Mahabharata
is warlike and spirited.
And yet, without rivalling the heroic grandeur of the Maha-bharata, the
Ramayana is immeasurably superior in its delineation of those softer and
perhaps deeper emotions which enter into our everyday life, and hold the world