Rama (right) seated on the shoulders of Hanuman, battles the demon-king Ravana.

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The Ramayana (Sanskrit: रामायण, Rāmāyaṇa, IPA: [rɑːˈmɑːjəɳə] ^?) is an ancient Sanskrit epic. It is ascribed to the Hindu sage Valmiki and forms an important part of the Hindu canon (smṛti), considered to be itihāsa.^[1] The Ramayana is one of the two great epics of India and Nepal, the other being the Mahabharata.^[2] It depicts the duties of relationships, portraying ideal characters like the ideal father, ideal servant, the ideal brother, the ideal wife and the ideal king.The name Ramayana is a tatpurusha compound of Rāma and ayana ("going, advancing"), translating to "Rama's Journey". The Ramayana consists of 24,000 verses in seven books (kāṇḍas) and 500 cantos (sargas),^[3] and tells the story of Rama (an avatar of the Hindu preserver-God Vishnu), whose wife Sita is abducted by the demon king of Lanka, Ravana. Thematically, the Ramayana explores human values and the concept of dharma.^[4]

Verses in the Ramayana are written in a 32-syllable meter called anustubh. The Ramayana was an important influence on later Sanskrit poetry and Indian life and culture. Like the Mahābhārata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages(Vedas) in narrative allegory, interspersing philosophical and devotional elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman and Ravana are all fundamental to the cultural consciousness of India and Nepal.

There are other versions of the Ramayana, notably Ramavataram in Tamil, the Buddhist (Dasaratha Jataka No. 461) and Jain in India, and also Cambodian, Indonesian, Philippine, Thai, Lao, Burmese and Malay versions of the tale.

Textuality[link]

Traditionally, the Ramayana is ascribed to Valmiki, regarded as India's first poet.^[5] The Indian tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama.^[6] The story's original version in Sanskrit is known as Valmiki Ramayana, dating to approximately the 5th to 4th century B.C.^[7][8] While it is often viewed as a primarily devotional text, the Vaishnava elements appear to be later accretions possibly dating to the 2nd century BC or later.^[8] The main body of the narrative lacks statements of Rama's divinity, and identifications of Rama with Vishnu are rare and subdued even in the later parts of the text.^[9]

According to Indian tradition, and according to the Ramayana itself, the Ramayana belongs to the genre of itihāsa, like the Mahabharata. The definition of itihāsa has varied over time, with one definition being that itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life.^[1] According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.^[10]

In its extant form, Valmiki's Ramayana is an epic poem of some 50,000 lines. The text survives in several thousand partial and complete manuscripts, the oldest of which appears to date from the 11th century A.D.^[11] The text has several regional renderings,^[12] recensions and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern (N) and the southern (S).^[11] Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."^[13]

There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Some still believe they are integral parts of the book in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.^[14][15]

Famous retellings include the Ramayanam of Kamban in Tamil (ca. 11th–12th century), the Saptakanda Ramayana of Madhava Kandali in Assamese (ca. 14th century), Shri Rama Panchali or Krittivasi Ramayan by Krittibas Ojha in Bengali (ca. 15th Century), and Ramacharitamanas by Tulasidas in Awadhi which is an eastern form of Hindi (c. 16th century).^[12]

Period[link]

Some cultural evidence (the presence of sati in the Mahabharata but not in the main body of the Ramayana) suggests that the Ramayana predates the Mahabharata.^[16] However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of North India, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.^[17]

By tradition, the text belongs to the Treta Yuga, second of the four eons (yuga) of Hindu chronology. Rama is said to have been born in the Treta Yuga to King Daśaratha in the Ikshvaku vamsa (clan).^[18]

The names of the characters (Rama, Sita, Dasharatha, Janaka, Vasishta, Vishwamitra) are all known in late Vedic literature, older than the Valmiki Ramayana.^[19] However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki.^[20] According to the modern academic view, Vishnu, who according to Bala Kanda was incarnated as Rama, first came into prominence with the epics themselves and further during the 'Puranic' period of the later 1st millennium CE. There is also a version of Ramayana, known as Ramopakhyana, found in the epic Mahabharata. This version is depicted as a narration to Yudhishtira.^[21]

There is general consensus that books two to six form the oldest portion of the epic while the first book Bala Kanda and the last the Uttara Kanda are later additions.^[22] The author or authors of Bala Kanda and Ayodhya Kanda appear to be familiar with the eastern Gangetic basin region of northern India and the Kosala and Magadha region during the period of the sixteen janapadas as the geographical and geopolitical data is in keeping with what is known about the region. However, when the story moves to the Aranya Kanda and beyond, it seems to turn abruptly into fantasy with its demon-slaying hero and fantastic creatures. The geography of central and South India is increasingly vaguely described. The knowledge of the location of the island of Sri Lanka also lacks detail.^[23] Basing his assumption on these features, the historian H.D. Sankalia has proposed a date of the 4th century BC for the composition of the text.^[24] A. L. Basham, however, is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.^[25]

Characters[link]

Rama seated with Sita, fanned by Lakshmana, while Hanuman pays his respects.

• Rama is one of the protagonists of the tale. Portrayed as the seventh avatar of the God Vishnu, he is the eldest and favorite son of the King of Ayodhya, Dasharatha, and his Queen Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile.

Rama and monkey chiefs

• Sita is one of the protagonists and the beloved wife of Rama and the daughter of king Janaka. Rama went to Janakpurdham, current city of Janakpur, Nepal, and got a chance to marry her by lifting a heavy Bow in a competition organized by King Janaka. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatar of Goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by Ravana. She is imprisoned on the island of Lanka until Rama rescues her by defeating the demon king Ravana. Later, she gives birth to Lava and Kusha, the heirs of Rama.
• Hanuman is the tritagonist and a vanara belonging to the kingdom of Kishkindha. He is portrayed as the eleventh avatar of God Shiva (He is also called Rudra) and an ideal bhakta of Rama. He is born as the son of Kesari, a vanara king, and the Goddess Anjana. He plays an important part in locating Sita and in the ensuing battle.
• Lakshmana, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra, and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the God Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.He is believed to live until our modern world.
• Ravana, a rakshasa, is the king of Lanka. After performing severe penance for ten thousand years he received a boon from the creator-God Brahma: he could henceforth not be killed by Gods, demons, or spirits. He is portrayed as a powerful demon king who disturbs the penances of Rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
• Jatayu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of a eagle that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them the direction in which Ravana had gone.
• Dasharatha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
• Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals, and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years. He was married to Mandavi.
• Satrughna is the son of Dasharatha and his third wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
• Sugriva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali - Sugriva’s brother and king of Kishkindha-would be killed by Rama in exchange for Sugriva’s help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali, and fulfils his promise by putting the Vanara forces at Rama’s disposal^[26]
• Indrajit, a son of Ravana who twice defeated Lakshmana in battle, before succumbing to him the third time. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.^[26]
• Kumbhakarna, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana’s army. During the war, he decimated the Vanara army before Rama cut off his limbs and head.^[26]
• Surpanakha, Ravana's demoness sister who fell in love with Rama, and had the magical power to take any form she wanted.
• Vibhishana, a younger brother of Ravana. He was against the kidnapping of Sita, and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war, and he was crowned king after the fall of Ravana.^[26]

Synopsis[link]

The Epic is traditionally divided into several major kāṇḍas or books, that deal chronologically with the major events in the life of Rama—Bāla Kāṇḍa, Ayodhya Kāṇḍa, Araṇya Kāṇḍa, Kishkindha Kāṇḍa, Sundara Kāṇḍa, Yuddha Kāṇḍa, and Uttara Kāṇḍa.^[12] The Bala Kanda describes the birth of Rama, his childhood, and marriage to Sita.^[27] The Ayodhya Kanda describes the preparations for Rama's coronation, and his exile into the forest.^[27] The third part, Aranya Kanda, describes the forest life of Rama, and the kidnapping of Sita by the demon king Ravana.^[27] The fourth book, Kishkindha Kanda, describes the meeting of Hanuman with Rama, the destruction of the vanara king Bali, and the coronation of his younger brother Sugriva on the throne of the kingdom of Kishkindha.^[27] The fifth book is Sundara Kanda, which narrates the heroism of Hanuman, his flight to Lanka, and meeting with Sita.^[27] The sixth book, Yuddha Kanda, describes the battle between Rama's and Ravana's armies.^[27] The last book, Uttara Kanda, describes the birth of Lava and Kusha to Sita, their coronation on the throne of Ayodhya, and Rama's final departure from the world.^[27]

Bala Kanda[link]

The birth of the four sons of Dasharatha

Dasharatha was the king of Ayodhya. He had three queens and they are Kausalya, Kaikeyi and Sumitra. He was childless for a long time and, anxious to produce an heir, he performs a fire sacrifice known as Putra-Kameshti Yagya.^[28] As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, and Lakshmana and Shatrughna are born to Sumitra.^[29][30] These sons are endowed, to various degrees, with the essence of the God Vishnu; Vishnu had opted to be born into mortality in order to combat the demon Ravana, who was oppressing the Gods, and who could only be destroyed by a mortal.^[31] The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons, who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra, and proceed to destroy the demons.^[32]

Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of God". The child was named Sita, the Sanskrit word for furrow.^[33] Sita grew up to be a girl of unparalleled beauty and charm. When Sita was of marriageable age, the king decided to have a swayamvara which included a contest. The king was in possession of an immensely heavy bow, presented to him by the God Shiva: whoever could wield the bow could marry Sita. The sage Vishwamitra attends the swayamvara with Rama and Lakshmana. Only Rama wields the bow and breaks it. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.^[32]

Ayodhya Kanda[link]

Bharata asks for Rama's paduka (footwear)

After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support.^[34][35] On the eve of the great event, Kaikeyi—her jealousy aroused by Manthara, a wicked maidservant—claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands.^[36] Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterizes him throughout the story.^[37] He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me."^[38] After Rama's departure, king Dasharatha, unable to bear the grief, passes away.^[39] Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals, and keeps them on the throne, while he rules as Rama's regent.^[36][39]

Aranya Kanda[link]

Ravana fights Jatayu as he carries off the kidnapped Sita, painting by Raja Ravi Varma.

Rama, Sita and Lakshmana journeyed southward along the banks of river Godavari, where they built cottages and lived off the land. At the Panchavati forest they are visited by a rakshasa woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and, failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organizes an attack against the princes. Rama annihilates Khara and his demons.^[40]

When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the play of the demons, is unable to dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time Sita hears Rama calling out to her; afraid for his life she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible, and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. Finally with the coast clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and then forcibly carried away by the evil Ravana.^[40][41]

Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses.^[39] Rama and Lakshmana learn about Sita's abduction from Jatayu, and immediately set out to save her.^[42] During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.^[43][44]

Kishkindha Kanda[link]

Ravana is meeting Sita at Ashokavana. Hanuman is seen on the tree.

The Kishkindha Kanda is set in the monkey citadel Kishkindha. Rama and Lakshmana meet Hanuman, the greatest of monkey heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha.^[45] Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita.^[46] However Sugriva soon forgets his promise and spends his time in debauchery. The clever monkey Queen, Tara, aunt of Sugriva, calmly intervenes to prevent an enraged Lakshmana from destroying the monkey citadel. She then eloquently convinces Sugriva to honor his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west.^[47] The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati that Sita was taken to Lanka.^[47][48]

Sundara Kanda[link]

The Sundara Kanda forms the heart of Valmiki's Ramayana^[49] and consists of a detailed, vivid account of Hanuman's adventures.^[45] After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the ocean to Lanka. Here, Hanuman explores the demon's city and spies on Ravana. He locates Sita in Ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses, reluctant to allow herself to be touched by a male other than her husband. She says that Rama himself must come and avenge the insult of her abduction.^[45]

Hanuman then wreaks havoc in Lanka by destroying trees and buildings, and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and, leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.^[45][50]

Lanka Kanda[link]

The War of Lanka by Sahibdin.It depicts the monkey army of the protagonist Rama (top left, blue figure) fighting the demon-king of the king of Lanka, Ravana in order to save Rama's kidnapped wife Sita. The painting depicts multiple events in the battle against the three-headed demon general Trisiras, in bottom left – Trisiras is beheaded by the monkey-companion of Rama – Hanuman.

This book describes the battle between the army of Rama constructed with the help of Sugriv and Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The monkeys named "Nal" and "Neel" construct a floating bridge (known as Rama Setu) across the ocean, and the princes and their army cross over to Lanka. A lengthy battle ensues and Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.^[51]

On meeting Sita, Rama asks her to undergo agni pariksha (test of fire) to prove her purity, since she had stayed at the demon's palace. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity.^[52] The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas.^[53] The above version is from Valmiki Ramayana. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed.^[51] This is the beginning of Ram Rajya, which implies an ideal state with good morals.

Uttara Kanda[link]

Sita in the Hermitage of Valmiki

The Uttara Kanda is regarded to be a later addition to the original story by Valmiki.^[12] and concerns the final years of Rama, Sita, and Rama's brothers. After being crowned king, many years passed pleasantly with Sita. However, despite the Agni Pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya.^[54] Rama yields to public opinion and banishes Sita to the forest, where sage Valmiki provides shelter in his ashrama (hermitage). Here she gives birth to twin boys, Lava and Kusha, who became pupils of Valmiki and are brought up in ignorance of their identity.

Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grievous, and Valmiki produces Sita. Sita calls upon the Earth, her mother, to receive her and as the ground opens, she vanishes into it.^[54][55] Rama then learns that Lava and Kusha are his children. Later a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.^[52]

Influence on culture and art[link]

A Ramlila actor wears the traditional attire of Ravana

One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and Southeast Asia. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 13th century, the Telugu-language Molla Ramayana, 14th century Kannada poet Narahari's Torave Ramayan, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.

The Ramayana became popular in Southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.

Variant versions[link]

The epic story of Ramayana was adopted by several cultures across Asia. Shown here is a Thai historic artwork depicting the battle which took place between Rama and Ravana.

As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in North India differs in important respects from that preserved in South India and the rest of South-East Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam, and Maldives.^{[citation needed]} Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.^[56]

India[link]

The 7th century CE "Bhatti's Poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.^[57]

There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century AD, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulasidas in 1576, an epic Awadhi (a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti. It is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittivas in the 14th century, in Oriya by Balarama Das in the 16th century, in Marathi by Sridhara in the 18th century, in Maithili by Chanda Jha in 19th century, a Telugu version by Ranganatha in the 15th century, a Torave Ramayana in Kannada by the 16th century poet Narahari and in the 20th century Rashtrakavi Kuvempu's Sri Ramayana Darshnam, Saptakanda Ramayana in Assamese by the 14th century poet Madhava Kandali and Adhyathma Ramayanam Kilippattu, a Malayalam version by Tunccattu Ezhuttaccan in the 16th century.

There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the Goddess Kali.

Mappillapattu—a genre of song popular among the Muslims belonging to Kerala and Lakshadweep—has incorporated some episodes from the Ramayana into its songs. These songs, known as Mappila Ramayana, have been handed down from one generation to the next orally.^[56] In Mappila Ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `Laman' in many places. The language and the imagery projected in the Mappilapattu are in accordance with the social fabric of the earlier Muslim community.^[56]

Buddhist version[link]

In the Buddhist variant of Ramayana, Dasaratha was the king of Benares and not Ayodhya. According to Romila Thapar: "Rama, Sita and Lakshmana were the siblings born to the first wife of Dasaratha. To protect his children from his second wife, the king sent the three in exile to the Himalayas. Twelve years later,the trio came back to the kingdom with Rama and Sita ruling as consorts. The abduction of Sita did not find a place in this version."^[58]

Jain version[link]

Jain version of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padma or Rama), Hemacandra’s Trisastisalakapurusa Caritra (hagiography of 63 illustrious persons), Sanghadasa’s Vasudevahindi and Uttarapurana by Gunabhadara.^[59] According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and Prativasudeva. Rama, Lakshmana and Ravana are the eighth Baladeva, Vasudeva, and Prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the Jinacharitra (lives of the Jinas) by Acharya Bhadrabahu (3–4th century BCE).^[60]

In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version.^[61] In the end, Rama who lead an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell.^[62] However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.^[63]

The Jain versions has some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma, and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna.^[64] Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queens: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in Heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future Tirthankara of next half ascending time cycle and Sita will be his Ganadhara.^[65]

In Nepal[link]

Two versions of Ramayana are present in Nepal. One is written by Siddhidas Mahaju in Nepal Bhasa. The other one is written by Bhanubhakta Acharya. The Nepal Bhasa version by Siddhidas Mahaju marks a great point in the renaissance of Nepal Bhasa, whereas Bhanubhakta Acharya's version is the first epic of Nepali.^{[citation needed]}

Southeast Asian versions[link]

Hanuman discover Shinta in her captive in Lanka depicted in Balinese dance.

Lakshmana, Rama and Shinta during their exile in Dandaka Forest depicted in Javanese dance.

Many other Asian cultures have adapted the Ramayana, resulting in other national epics. In Indonesia, Kakawin Ramayana is an old Javanese rendering; Yogesvara Ramayana is attributed to the scribe Yogesvara circa 9th century CE, who was employed in the court of the Medang in Central Java. It has 2774 stanzas in manipravala style, a mixture of Sanskrit and Kawi language. The most influential version of the Ramayana is the Ravanavadham of Bhatti, popularly known as Bhattikavya. The Javanese Ramayana differs markedly from the original Hindu prototype. The 9th century Javanese Kakawin Ramayana has become the reference of Ramayana in the neighboring island of Bali. The bas reliefs of Ramayana and Krishnayana scenes is carved on balustrades wall of 9th century Prambanan temples in Yogyakarta. In Indonesia, Ramayana has been integrated into local culture especially those of Javanese, Balinese and Sundanese, and has become the source of moral and spiritual guidance as well as aesthetic expression and also entertainment. Cultural performances such as Wayang shadow puppet and traditional dances often took their story from Ramayana. In Bali as well as in Java, the dances based on the episode of Ramayana often performed in temples such as Prambanan in Java and Pura in Bali.

Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma.^[66] In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.^{[citation needed]}

The Thai retelling of the tale, the Ramakien, is popularly expressed in traditional regional dance theatre.

Rama (Yama) and Sita (Me Thida) in the Burmese version of the Ramayana, Yama Zatdaw

The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer Literature since the Funan era. It adapts the Hindu concepts to Buddhist themes and shows the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theatre known as Lakhorn Luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor wat.

Thailand's popular national epic Ramakien (Thai: รามเกียรติ์, from Sanskrit rāmakīrti, "Glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari (Thotsakan and Montho). Vibhisana (Phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, who, later, is picked by Janaka (Chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.

Other Southeast Asian adaptations include Ramakavaca of Bali (Indonesia), Maharadya Lawana and Darangen of Mindanao (Philippines), and the Yama Zatdaw of Myanmar.

Theological significance[link]

Deities Sita (far right), Rama (center), Lakshmana (far left) and Hanuman (below seated) at Bhaktivedanta Manor, Watford, England.

Rama, the hero of the Ramayana, is one of most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace his journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.

According to Hindu tradition, Rama is an incarnation (Avatar) of the God Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.

Arshia Sattar states that the central theme of the Ramayana, as well as the Mahabharata, is respectively Ram's and Krishna's hidden divinity and its progressive revelation.^[67]

See also[link]

• Genealogy of Rama
• Versions of Ramayana

Footnotes[link]

References[link]

• Valmiki's Ramayana illustrated with Indian miniatures from the 16th to the 19th century, 2012, Editions Diane de Selliers, ISBN :9782903656768

Further reading[link]

Original text (Sanskrit)

• GRETIL etext (input by Muneo Tokunaga)
• रामायण (Devanagari version on Wikisource)

Translations

• Valmiki Ramayana translated by Ralph T. H. Griffith (1870–1874) ( Project Gutenberg )
• The Ramayana condensed into English verse by R.C. Dutt (1899) at archive.org
• Prose translation of the complete Ramayana by M. N. Dutt (1891–1894): Balakandam, Ayodhya Kandam, Aranya Kandam, Kishkindha Kandam, Sundara Kandam, Yuddha Kandam, Uttara Kandam
• Rāma the Steadfast: an early form of the Rāmāyaṇa translated by J. L. Brockington and Mary Brockington. Penguin, 2006. ISBN 0-14-044744-X.
• Geet Ramayan literally 'Ramayan in verse' in Marathi by G. D. Madgulkar

External links[link]

Wikisource has original text related to this article: Ramayana

Wikimedia Commons has media related to: Ramayana

• Illustrated manuscript by Maharana Jagat Singh at British Library
• Google recreates the Ramayana in HTML5

[edit] Translations (English)

• An excellent verse translation by Ralph T. H. Griffith at the Project Gutenberg (English)
• A very good condensed verse translation by Romesh Chunder Dutt sponsored by the Liberty Fund (English)
• Word to Word Translation of Valmiki Ramayanam with Sanskrit Text and Audio
• Online book: Rāmāyaṇa - Retold by Kṛṣṇa Dharma
• Site with Valmiki Ramayana Text with Meaning (Sanskrit)/(English)
• Ramacharita manas (Tulsidas' Ramayana) (Hindi)/(English)
• Complete Valmiki Ramayanam in Telugu (Telugu)
• 1, 2.1, 2.2, 3, 4, 5, 6, 7.1, 7.2: Detailed summaries of each book of the Ramayana, University of Lethbridge.
• The Sankshepa Ramayana in Hindi and English translation with grammatical information. University of Hyderabad.

Research articles[link]

• Siddhinathananda, Swami. "The Role of the Ramayana in Indian Cultural Lore". Vedanta Kesari. http://www.eng.vedanta.ru/library/vedanta_kesari/ramayana.php. 

Other[link]

• Map of India during Ramayana and Mahabharata

v t e Hindu deities and texts Gods Deva Ganesha Brahma Vishnu Shiva Rama Krishna Murugan Hanuman Indra Surya more Goddesses Adi parashakti Devi Saraswati Lakshmi Sati Parvati Durga Shakti Kali Sita Radha Mahavidya Navadurga Matrikas more Texts Vedas Upanishads Puranas Ramayana Mahabharata Bhagavad Gita more Hinduism Hindu mythology

Ravindra Jain (born 28 February 1944) is an Indian music composer and lyricist.^[1] He won the Filmfare Best Music Director Award in 1985.

Early life[link]

Ravindra Jain was born blind in a village called Lohariya (situated in district Banswara of Rajasthan, India) to well-known Sanskrit scholar and Ayurvedacharya, Pandit Indramani Jain and mother Kiran Jain. Jain and his family hail from Aligarh. He is the third child among seven brothers and a sister. Ravindra Jain's elder siblings are Pandit Mahendra Kumar Jain, a renowned Ayurvedic physician and D.K. Jain, director of the Times Group and a famous judge. Jain's younger brother is Manindra Jain who runs a successful construction and real estate business in/around the New Delhi region. Jain's another brother Engi. Tarun Kumar Jain was AE at Harduaganj Thermal Power Station , Kasimpur Power House ,(Aligarh).

Jain started singing at a very young age, reciting Jain bhajans and poetry by famous Jain poets such as Pandit Dyanantraiji, Pandit Budhjanji, etc. at nearby Jain temples. It was Ravindra Jain's parents that first decided to teach him music. Jain received basic training under Pandit G.L. Jain, Pandit Janardhan Sharma, and Pandit Nathu Ram. Later, he went to Calcutta and ultimately landed in Mumbai where he would compose music for films and television.^[2]

Career[link]

Ravindra Jain is one of the most notable of the Hindi music directors who started his career in the early 1970s, composing for hit films such as Chor Machaye Shor (1974), Geet Gaata Chal (1975), Chitchor (1976) and Ankhiyon Ke Jharokhon Se (1978). Along with composing music, he also wrote the lyrics for many of his famous songs. Ravindra Jain's father died during the recording sessions of the film Saudagar, however, Jain did not leave the studio until the recordings were finalized giving utmost importance to his work.

Singing and music career[link]

One of his most famous songs is Ankhiyon Ke Jharokhon Se (Ankhiyon Ke Jharokhon Se). He was also given a big break by Raj Kapoor, for whom, he composed many super hit tunes in Ram Teri Ganga Maili and Heena, directed by Raj Kapoor's son, Randhir Kapoor. Jain also rendered beautiful music to many of Rajshri Productions' features starting in the 1980s and continuing well into the 2000s (decade). Ravindra Jain also composed for a few non-Hindi films including Sujatha, Sukham Sukhakaram(Malayalam); Mahara Pihar Sansara (Haryanvi); Chadi Jawani Budhe Nu (Punjabi); Ganga se Naata ba Hamaar, Ganga Maiya Bhar de Achalwa Hamaar, Gaon Desh, Gaon aaja Pardesi (Bhojpuri); Harishchandra Shaibya, unreleased Dristi, Bhaalobeshe Radha (Bengali); and Brahmarishi Vishwamitra (Telugu).

During the 1980s and 1990s, Ravindra Jain widely composed for most mythological movies including Navaratri, Gopal Krishna, Jai Karoli Maa, Har Har Gange, Durgaa Maa, Badrinath Dham, Solah Shukrawar, Raja Harishchandra, Bolo he Chakradhari, Brahmarishi Vishwamitra in Telugu, Shanivrat Mahima and Jai Shakumbhari Maa. In 2006, he composed music for the Hindi film Vivah directed by Sooraj R. Barjatya and its spin-off sequel Ek Vivaah Aisa Bhi directed by Kaushik Ghatak, both of which were produced by Rajshri Productions. In 2008, Ravindra Jain composed music for director Gufi Paintal's debut film Shri Chaitanya Mahaprabhu with upcoming composer Surya RajKamal. He was chosen to compose for Rajshri Productions's Ankhiyon Ke Jharokhon Se sequel Jaana Pehchana (2011) and upcoming Satish Kaushik-directed biopic Tansen. Upcoming 2012 projects include Baromas and Barbareek- Sheesh Danee Mahayoddha based on Barbarika.

Association with Yesudas[link]

Jain is credited for bringing south Indian singing sensation Dr. K. J. Yesudas to Hindi movies, in singing in many of his movies in the 1970s and 1980s. Together they sung some memorable songs like 'Oo goriya re' (Naiyya), 'Beeti hui raat ki' (Ayyash), and 'Gori tera gaon' (Chitchor). It is said that Jain was so fascinated by the way Yesudas sang his songs that Yesudas' face was the first he wanted to see if he ever received his vision. Jain has worked on songs after his liaison with Yesudas, but he has failed to attain the pinnacle of glory he achieved with the master singer during the 1970s. Jain has described Yesudas as the 'Voice Of India' ^[3]

Private albums[link]

Malayalam

In 1989, Ravindra Jain composed the music under Dr. K. J. Yesudas's production house Tharangini Audios for the Malayalam album Aavani Poochhendu. This is Jain's only Malayalam work other than the two feature films listed above.^[4][5]

Jain Albums

Ravindra Jain has written and composed many popular Jain bhajans. Some of the memorable songs remain fresh even to this day. Some of his notable songs are Mastakabhishek (1982), first sung at the occasion of MahaMastakabhishek of Lord Bahubali pilgrimage in Shravanabelagola (Karnataka); Bahubali Bhagwaan ki Aarti Utaaro Milke (1982); and Jai Jinendra bolo. Currently, Jain is working on bhajan albums for famous Jain pilgrimage centers in India in conjunction with Akshay Jain of Gwalior, son of a renowned North Indian poet and lyricist.

Ghazals

Jain composed music for ghazals as well, for example, in singer Suresh Wadkar's album The Morning Sun, Prime Minister Atal Bihari Vajpayee's live recording of Qadam Milakar Chalna Hoga: Svarna Jayanti Sangeet Sandhya and singer Pravin Khan's album Deedaar (2011).

Television career[link]

Ravindra Jain also composed music for many television serials, mainly under the banner of Sagar Films (Pvt. Ltd.), throughout the 1980s, 1990s, and 2000s (decade). Ravindra Jain provided bhajans and songs for many of Ramanand Sagar's popular TV serials, beginning with Dada Dadi ki Kahaniyaan, then moving on to one of the two Indian epics Ramayan (TV series) and its follow up Luv Kush. Along with two South Indian composers, K.V. Mahadevan and K. Pukazhenti, Ravindra Jain composed 2 to 3 semi-classical songs for later episodes of Bollywood actress Hema Malini's TV Serial Noopur and the complete soundtrack for the show Women of India- Urvashi. Hema Malini continued collaborating with Ravindra Jain as composer for her dance ballets--Mahalakshmi, Durga, Nritya Malika, Ramayan, Krishna Balram, and Radha Krishna.

Jain continued his collaboration with Ramanand Sagar in TV serials such as Shri Krishna, Alif Laila, Itihaas ki Prem Kahaniyaan based on historical love stories of India, Tilism-E-Hoshruba, Jai Ganga Maiya, Jai Mahalaxmi, Shree Brahma Vishnu Mahesh, Sai Baba, Jai Maa Durga, and Dharti Ka Veer Yodha Prithviraj Chauhan (for which an original soundtrack was released). Ravindra Jain also provided excellent music for producer/director Sanjay Khan on TV serials Jai Hanuman and Maha Kavya Mahabharat also called Sanjay Khan's Mahabharat. In 2008, Jain composed for Sagar Arts's remake of Ramayan (2008 TV series) (with an original soundtrack release), Mahima Shani Dev ki on NDTV Imagine, and Dheeraj Kumar's serial Jai Maa Vaishno Devi on Channel 9X. In 2009, Jain composed the title song for Sagar Arts's new TV serial on Colors (India TV channel) called Sarvopari Shree Swaminarayan Bhagwan. Next, Jain composed for the currently airing religious series Bharat ke Mahaan Sant. In July 2011, Jain composed for Imagine TV's new mythological series Dwarkadheesh - Bhagwaan Shree Krishn, based on the Hindu god Krishna's adult life. Currently, Jain is composing music for Zee TV's Shobha Somnath Ki along with composer Surya RajKamal and Kumar Gautam's directorial venture Sankat Mochan Hanuman which started airing on November 1, 2011 on DD National.

Jain has been featured as Mahaguru in the Indian music reality show Sa Re Ga Ma Pa Challenge 2009, a judge on Indian music reality show Performer, and today devotes his time composing and participating in Kavi Sammelans, Mushairaas, and various literary, cultural, social, political, and religious activities.

For his collection of shayaris titled Ujaalon Ka Silsila in Urdu, Jain was presented with the Sahitya Award (Uttar Pradesh Hindi-Urdu Sahitya Award Committee) in Lucknow on June 6, 1997 by Romesh Bhandari, Governor of Uttar Pradesh. Ravindra Jain has also received many other prestigious awards such as Raaseshwar, Sur Singer, Filmfare Award, Swami Haridas Award, Youth National Award, Ashirwad, Adhar Shila, Uptron, Priyadarshini Award, Jaycees, Lions, Indigo '90, Rotary, Bengal Film Journalists' Association Awards, Uttar Pradesh Film Patrakar Sangh Award, Sangeet Gyaneshwar Award, Almost Faqir, Sangeet Samrat, and other honours by many national, international, socio-cultural and film institutions.

Ravindra Jain co-authored his autobiography titled Sunehre Pal and is referred to as by his close family and friends.

Personal life[link]

Ravindra Jain met his mother-in-law, Mrs. Nirmala Jain, in Delhi while attending a promotion event for the film Saudagar. Soon after, Nirmala Jain's daughter, Divya Jain, insisted upon only marrying Ravindra Jain or nobody else. Ravindra Jain is married to poetess Divya Jain and they have a son named Aayushman Jain.[1]

Political affiliation[link]

Ravindra Jain joined Congress party in 2004.^[6]

Filmography[link]

Music director

• Barbareek- Sheesh Danee Mahayoddha (2012)
• Jaana Pehchana (September 16, 2011) (Released)
• Ek Vivaah Aisa Bhi (November 7, 2008) (Released)
• Vivah (November 10, 2006) (Released)
• Bhaggmati - The Queen Of Fortunes (August 26, 2005) (Released)
• Kalyug Ka Avtar (October 6, 1995) (Released)
• Paramveer Chakra (1995) (Released)
• Beta Ho To Aisa (1994) (Released)
• Jaan Pe Khelkar (1993) (Released)
• Meri Aan (1993) (Released)
• Henna (June 28, 1991) (Released)
• Yeh Aag Kab Bujhegi (April 19, 1991) (Released)
• Kaarnaama (1990) (Released)
• Jungbaaz (June 16, 1989) (Released)
• Paap Ko Jala Kar Raakh Kar Doonga (September 23, 1988) (Released)
• Marte Dam Tak (July 17, 1987) (Released)
• Pratighaat (April 10, 1987) (Released)
• Ram Teri Ganga Maili (August 16, 1985) (Released)
• Nadiya Ke Paar (1982) (Released)
• Ayaash (1982) (Released)
• Insaaf Ka Tarazu (November 11, 1980) (Released)
• Naiyya (1980) (Released)
• Maan Abhimaan (1980) (Released)
• Yeh Kaisa Insaaf (1980) (Released)
• Pratishodh (1980) (Released)
• Hum Tere Aashiq Hain (November 30, 1979) (Released)
• Radha Aur Seeta (August 10, 1979) (Released)
• Gopal Krishna (July 6, 1979) (Released)
• Aatish (February 23, 1979) (Released)
• Sunayana (1979) (Released)
• Naiya (1979) (Released)
• Mera Rakshak (August 18, 1978) (Released)
• Ankhiyon Ke Jharokhon Se (1978) (Released)
• Sarkari Mehmaan (1978) (Released)
• Paheli (1977) (Released)
• Maha Badmaash (1977) (Released)
• Kotwal Saheb (1977) (Released)
• Dulhan Wohi Jo Piya Man Bhaaye (1977) (Released)
• Ram Bharose (1977) (Released)
• Safed Haathi (1977) (Released)
• Fakira (September 6, 1976) (Released)
• Tapasya (1976) (Released)
• Chitchor (1976) (Released)
• Salakhen (1976) (Released)
• Do Jasoos (1975) (Released)
• Geet Gata Chal (1975) (Released)
• Chor Machaye Shor (March 22, 1974) (Released)
• Shatranj Ke Mohre (1974) (Released)
• Lori (Unreleased)
• Saudagar (October 26, 1973) (Released)

Awards and nominations[link]

• Won- Filmfare Award for Best Music Director for Ram Teri Ganga Maili(1985)
• Nomination- Filmfare Award for Best Music Director for Chitchor (1976)
• Nomination- Filmfare Award for Best Music Director for Ankhiyon Ke Jharokhon Se (1978)
• Nomination- Filmfare Award for Best Lyricist for "Ankhiyon Ke Jharokhon Se" in Ankhiyon Ke Jharokhon Se(1978)
• Nomination- Filmfare Award for Best Lyricist for "Main Hoon Khushrang" in Henna (film) (1991)

References[link]

Sudhir Phadke (Marathi: सुधीर फडके pronunciation (help·info), 25 July 1919 - 29 July 2002) was an accomplished Marathi singer-composer from India. He was regarded as an icon of the Marathi film industry and Marathi Sugam Sangeet (light music) for five decades. Apart from Marathi, Phadke sang and composed songs in several Hindi films as well.

Phadke was affectionately known as Babuji (an honorary title given to respected gentlemen in India).

Brief biography[link]

Sudhir Phadke was born in Kolhapur on 25 July 1919. His birth name was Ram Phadke, but he later changed his name to 'Sudhir' when he composed a song for HMV. Phadke acquired his primary tutelage in vocal classical music from the late Vamanrao Padhye in Kolhapur. After beginning his career with HMV in 1941, he joined the Prabhat Film Company as music director in 1946. During his long career, he composed music for many Marathi and Hindi films. He was also an immaculate playback singer. Phadke married his fellow singer Lalita Deulkar. Their son Shridhar Phadke (born 1950) is also a composer and singer.

Geet Ramayana, based on poet G D Madgulkar's verses, is one of Phadke's most popular works. The programme ran on All India Radio for a year, 1954-55. Stage performances of the program continue to draw huge crowds even today. Phadke set to music all 56 songs, and they were sung by different singers for radio (Manik Varma, lalita Deulkar, Lata Mangeshkar, Phadke himself, Vasantrao Deshpande, Ram Phatak, et al.). All 56 songs were also recorded in Phadke's own voice.

In last days of his life, Phadke was involved in producing a Hindi film on the life of the Indian freedom fighter Vinayak Damodar Savarkar. The movie Veer Savarkar was funded by public donations. Sudhir Phadke last sang and composed music for this movie.

He was also actively involved with Goa Freedom Movement and in post freedom fight of India Phadke was connected with Rashtriya Swayamsevak Sangh for over 60 years.^[1] He was the main inspiration and founder member of India Heritage Foundation in the United States.

Filmography[link]

Sudhir Phadke has 111 films to his credit as a music director, 21 of which are in Hindi. He extensively worked with famous Indian singers such as Asha Bhosle and Lata Mangeshkar.

As a composer[link]

(Partial filmography)^[2][3]

• Gokul (1946)
• Aage Badho (1947)
• Sita Swayamwar (1948)
• Apraadhi (1949)
• Bheem (1949)
• Maya Baazar (1949)
• Ram Pratiggya (1949)
• Sant Janabai (1949)
• Shri Krishna Darshan (1950)
• Maalti Madhav (1951)
• Murli Wala (1951)
• Pehli Taarikh (1954)
• Ratna Ghar(1954)
• Shevgyachya Shenga (1955)
• Devghar (1956)
• Sajni (1956)
• Gaj Gauri (1958)
• Gokul Ka Chor (1959)
• Bhabhi Ki Chudiyan (1961)
• Pyar Ki Jeet (1962)
• Ekati (1968)
• Aadhar (1969)
• Daraar (1971)
• Sher Shivaji (1981)
• Sher Shivaji (1987)
• Rukmini Swayamwar
• Aamhi jaato amuchchya gaava (Marathi)
• Pudhcha Paaul (Marathi)
• Jagaachya paathivar (Marathi)
• Suvasini (Marathi)
• Prapanch (Marathi)
• Mumbaicha jawai (Marathi original of Basu Chatterjee Hindi language film Piya ka ghar)
• Veer Savarkar (Hindi)

Popular songs[link]

[edit] Geet Ramayan (Marathi: गीत रामायण )

Composed and renditioned 'Geet Ramayan', 56 songs written by Madgulkar. Geet Ramayan, collection of songs is summary of Indian epic of Ramayana in chronological sequence. The first of Geet Ramayan by Sudhir Phadke was broadcast by All India Radio Pune on Sunday the April 1, 1955 on the auspicious day of Raam Navami (celebration of the birth of Lord Rama). From 1 April 1955 for 56 weeks, every Sunday a new song of Geet Ramayana was broadcast. It was one of the most popular programs of that time. Geet Ramayan has been translated in 9 Indian languages Assamese, Bengali, English, Hindi, Kannada, Konkani, Sindhi, Telugu and Oriya.

As a composer[link]

• Jyoti kalash chalke (Bhabhi ki Chudiyan), a song based on Raga Bhupali sung by Lata Mangeshkar

• "Pehli Tarikh", sung by Kishor Kumar the song is till date played on All India Radio on 1st of every month.

• Maratha Sphurti Geet the regimental song of Maratha Light Infantry, was composed and arranged for the military band by Sudhir Phadke. The lyrics were written by G. D. Madgulkar.

Other major creations of Phadke include: Ashi pakhare yeti, Dev devharyat nahi, Daav mandun mandun modu nako, Vikat ghetla shyam, Tujhe geet ganyasathi sur labhu de, Toch chandrama nabhaat.

Awards[link]

Phadke won numerous awards, including:

• Rashtrapati Award in 1963 for Ha Maaza Marga Ekala.
• Sangeet Natak Academic Award in 1991
• Sahyadri Swara Ratna Puraskar in April 2002, an award presented by DD Sahyadri

Death[link]

He died in Mumbai on 29 July 2002 at 10.30 AM after suffering a brain hemorrhage. His body was kept at Veer Savarkar Memorial at Dadar in central Mumbai, where many admirers came to pay their last tributes.

A Flyover which goes over the railway line and Dahisar river in the Mumbai suburb between Borivali and Dahisar connecting east and west was named after him.

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