Reading Notes: PDE Ramayana, Part B
Significant plot progression of the Ramayana thus far seems to be linked to a series of bad choices made by female characters. Beginning with Donald A. Mackenzie's relation of Manthara's influence on Kaikeyi to banish Rama, the theme continues with Surpanakha's instigation of Sita's kidnapping. While this is happening, Sita herself contributes to her own folly by shaming Lakshmana into chasing after Rama following the death of Maricha, leaving herself alone and undefended when Ravana arrives. With the exception of Shabari, the wise woman waiting in the shrine untouched by time, the female characters portrayed so far are responsible for the majority of the conflicts described.
Seen from Ravana's point of view, his actions are not so morally reprehensible, at least not at first. His sister Surpanakha has been permanently disfigured, and his brother Khara is killed. These alone are more than justifiable reasons to offensively pursue the holy outcasts. The loyalty of the Rakshasas to one another could stem from more than simply the pursuit of family honor restoration. Ravana is initially portrayed as resting peacefully within his kingdom when his sister storms in raging about two disrespectful mortals who have killed their brother, as related by Frederika Richardson Macdonald's Ramayana. His actions are those of retribution, not those of instigation. Portrayed as the great evil force within this epic, he functions well as a nemesis for Rama, but his sister Surpanakha bears the ultimate responsibility for the catalyzing events pitting both Ravana and Rama against each other.
With that said, only Manthara stands out to me as truly evil. Deliberate plotting to prevent Rama's ascension represents a more evil act than that of Surpanakha wanting Rama for herself. Surpanakha's embarrassment, following Rama's rejection and Lakshmana's teasing, is a motive bereft of forethought or planned malice; a sharp contrast to Manthara's long-nursed hatred of Rama. The character motivations for each of these women could provide a wealth of story ideas.
Kecak Ramayana in Bali, a dance recreating the battle from the Ramayana
Image Source: Flickr
Seen from Ravana's point of view, his actions are not so morally reprehensible, at least not at first. His sister Surpanakha has been permanently disfigured, and his brother Khara is killed. These alone are more than justifiable reasons to offensively pursue the holy outcasts. The loyalty of the Rakshasas to one another could stem from more than simply the pursuit of family honor restoration. Ravana is initially portrayed as resting peacefully within his kingdom when his sister storms in raging about two disrespectful mortals who have killed their brother, as related by Frederika Richardson Macdonald's Ramayana. His actions are those of retribution, not those of instigation. Portrayed as the great evil force within this epic, he functions well as a nemesis for Rama, but his sister Surpanakha bears the ultimate responsibility for the catalyzing events pitting both Ravana and Rama against each other.
With that said, only Manthara stands out to me as truly evil. Deliberate plotting to prevent Rama's ascension represents a more evil act than that of Surpanakha wanting Rama for herself. Surpanakha's embarrassment, following Rama's rejection and Lakshmana's teasing, is a motive bereft of forethought or planned malice; a sharp contrast to Manthara's long-nursed hatred of Rama. The character motivations for each of these women could provide a wealth of story ideas.
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