From Maya Sita To Romantic Hanuman: 5 Fascinating Tales From The 300 Ramayanas Across India And Asia

Ramayana is a Hindu epic with hundreds of interpretations, each aligning with a different time period and community. While Maharishi Valmiki's is the first documented narration of the epic tale, poets and authors who came after him referred to his writings and created their own versions, adding fresh perspectives and new narratives.

AK Ramanujan's essay, Three Hundred Ramayanas: Five Examples and Three Thoughts on Translation, explores the multiform tradition of the epic tale across South and Southeast Asia instead of treating Valmiki's text as a fixed original. When one looks beyond the rigidity of the ideas of the "authentic" and the "original", one can truly understand the vastness of the Rama epic and the impact it continues to have across generations.

To discuss some of the most interesting narratives from various interpretations, NDTV spoke with Utkarsh Patel, author and lecturer in Comparative Mythology, Mumbai. With Ranbir Kapoor and Sai Pallavi's Ramayana: Part 1 now in theatres and Diwali around the corner, these lesser-known interpretations of the epic feel especially relevant.

Sita's Perspective In Chandrabati's Ramayana, Undivided Bengal

Born in present-day Bangladesh, Chandrabati is recognised as the first female poet of Bengal. In the 16th century, she retold the Ramayana, and interestingly, her version was narrated from Sita's perspective.

"Unlike the male-authored epics that focus on war, politics, sacrifice and the glorification of Rama's divine heroism, Chandrabati shifts the focus to Sita's perspective, turning the text into a critique of patriarchy and a deep exploration of Sita's suffering," Utkarsh Patel shared.

He said the story is a strong critique of the concept of the ideal king and focuses on female sorrow, introducing new characters and situations that are absent from earlier interpretations.

Chandrabati's Ramayana focuses to Sita's perspective. Photo: World of Ramayana/ Instagram

An Elevated Stature Of Ravana In Kambaramayanam, Tamil Nadu

While most retellings portray Ravana as the embodiment of evil, Kambaramayanam views him through a lens of respect and presents him as a great warrior and king. From the time Valmiki wrote the Ramayana to when Kambar wrote his interpretation, a significant amount of time had passed. As a Bhakti poet, his retelling was also influenced by Vaishnavism.

"But it is also important that Kambar elevated the portrayal of Ravana, presenting him as someone with a strong character. He was extremely erudite, intelligent, masculine, and some texts even describe him as very handsome. He is someone with a very high moral code, to the extent that when he goes to abduct Sita, he does not even touch her but lifts the land beneath her feet. He would not want to touch an unwilling woman, and he was also celebrated for his statecraft and astronomy," the lecturer said.

He further added that the elevation of Ravana allowed poets of the era to highlight his personality and bring out the cultural achievements of the South.

"He is a musician, he plays the veena, and he is devoted to Lord Shiva. This impeccable code of honour elevated him and also created a tragic character, so much so that when Rama kills him, his stature becomes elevated as well," he noted.

Kambaramayanam has an elevated the portrayal of Ravana. Photo: World of Ramayana/ Instagram

Lord Rama Practising Ahimsa In Jain Ramayana By Vimalsuri

According to Jain interpretations of the Ramayana, Lord Rama did not kill Ravana. In fact, he practised ahimsa (non-violence), and it was Lakshman who performed the act. This unique narration is found in Paumachariya by Acharya Vimalsuri, written in the third century.

According to Utkarsh Patel, while Vimalsuri was inspired by the Ramayana, he also wanted to reject ritualism and introduce Jain karma theory.

"In this Ramayana, Paumachariya, which narrates the life of Lord Rama, Acharya Vimalsuri ensured that it reflected Jain teachings, values and ways of life. Violence is shunned here," the expert noted.

Therefore, if Rama killed Ravana, he would have had blood on his hands, which would have prevented him from attaining spiritual enlightenment and moksha. To avoid this, Lakshman is portrayed as the one who kills the King of Lanka.

According to Jain interpretations, Lakshman killed Ravana. Photo: World of Ramayana/ Instagram

Introduction Of Maya Sita In Adhyatma Ramayana And Tulsidas's Ramcharitmanas

One of the most common narratives in Ramayana traditions is that Ravana never abducted the real Sita. Lord Rama always knew what was going to happen; therefore, he worshipped Agni Dev and entrusted Sita to his protection while Maya Sita took her place.

Hence, Lord Rama never asked for an Agni Pariksha after the battle ended. On the contrary, he prayed to Agni Dev to consume Maya Sita and return the original Sita to him.

Utkarsh Patel shared that this interpretation appears in the Adhyatma Ramayana of the 14th century and Tulsidas's Ramcharitmanas in the 16th century. Since Rama is believed to be an incarnation of Lord Vishnu, Sita is regarded as an incarnation of his consort, Lakshmi.

"As an incarnation of the goddess, it became unacceptable that she could be kidnapped by a demon and defiled by the touch of a rakshasa like Ravana. The substitution of the real Sita with Maya Sita was seen as a way to resolve this theological dilemma," the expert noted.

He added that it served as an effective amalgamation of Vaishnavism and the philosophy of Advaita Vedanta.

Maya Sita was introduced to resolve this theological dilemma. Photo: World of Ramayana/ Instagram

Hanuman As A Charming Figure In Southeast Asian Ramayana

In Indian interpretations of the Ramayana, Hanuman is often portrayed as a celibate. However, in Southeast Asian retellings, he is presented as a charming figure with romantic liaisons.

The lecturer noted that in later periods, Hanuman transitioned into a dasya bhakta, a devotee with unwavering devotion to his lord.

"To preserve the absolute purity of a devotee, his celibacy became important. Therefore, he is often portrayed as a brahmachari," he added.

Utkarsh Patel explained that when the Ramayana travelled to Southeast Asia through expanding trade routes people began viewing it as a thrilling epic of kingship, magic and political strategy rather than a rigid religious tradition.

Southeast Asian versions, especially Thai and Javanese, often set aside the monastic ideals associated with Hanuman and transformed him into a charming, colourful, virile, clever and romantic figure. A hero rejecting women was often seen as unnaturally cold and lacking virility. The idea of a celibate Hanuman did not align with local cultural values.

"Hanuman's extensive list of romantic conquests included apsaras and daughters of enemies, which helped portray him as a valiant hero who enjoys life. That's how they looked at it," the expert said.

He added that in several Southeast Asian traditions, kings often trace their bloodlines to mythical figures, gods or powerful spirits. A celibate Hanuman would mean no heirs. Therefore, a version of Hanuman leading a colourful life resonated more strongly with these communities.

Hanuman leading a colourful life resonated more strongly with Southeast Asian communities. Photo: World of Ramayana/ Instagram

The cast of Namit Malhotra's Ramayana includes Sai Pallavi as Sita, Ranbir Kapoor as Lord Rama, Yash as Ravana, Lara Dutta as Kaikeyi, Ravi Dubey as Laxman, Sunny Deol as Lord Hanuman, Kajal Aggarwal as Mandodari, Sheeba Chaddha as Manthara, and Rakul Preet Singh as Surpanakha, among others.

Also Read | Kaikeyi, Mandodari, Urmila: The Tragedies And Sacrifices Of Ramayana's Women Beyond Sita