Dr. Shrikaanth K Murthy

drshrikaanth · Post by **drshrikaanth** » 07 May 2006, 23:00

Srkris
Was what you asked a doubt or a criticism?
Meena has already answered you question. As my composition narrates the whole rAmAyaNa succinctly, and also I posted it soon after rAmanavami. I felt it was a good idea to run through the rAmAyaNa. The reposnes have been great from everyone.

drshrikaanth · Post by **drshrikaanth** » 07 May 2006, 23:02

LOL we have posted simultaneously srkris. I would love it if people could post other songs referring to specific incidents in rAmAyaNa that I have mentioned in the suLAdi.

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 01:57

As for the finer points within the khaNDa

cangalu^ mans fickle. cangalasuri clearly conveys the fickleness of SUrpaNakhi's mind:_ although she declares her love for rAma, she quickly runs to lakShmaNa and then back to rAma, revealing what sort of love she had.

lAlasa conveys a sense of greed, craving for what does not rightfully belong to one.

binga meaning false gold(kAge bangAra) immediately tells us that that the golden deer(binga mRgu) was actually no golden deer at all but a result of trickery.

cmlover · Post by **cmlover** » 08 May 2006, 02:15

DRS

the AraNya kANDaM is set in 'misrajAti Jampa tALa' which is =7+1+2 = 10 akSharakaalam. On the other hand the notation posted

R2 , M P P P M D | P | M P ||
tun-ga Rshi ku-Du- ta dhanu

etc.,

The akShara count is 11 consistently. I am totally lost. Pl explain!

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 02:32

CML
Thanks for pointing the error in notation. My apologies.

However, I must say it is not "Consistently" having one extra akShara but that the error is in 2 places. One where you have pointed. Both the errors are due to omitting underline in one place Please correct it thus-

It should be

R2 , M P P P M D | P | M P ||
tun-ga Rshi ku-Du- ta dhanu

The other place where there is error

S* M* G*~ , R* S* N S* P | D , ||
vE- - --riS- - cu^ koN- - -Da-vu~n

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 02:36

I will repost the corrected notation at the end of our discussions. This is to make sure that other errors that may have crept and overlooked by myself are picked up by others. In which case I may have to post several versions asking you all to download again. Please note the correction till I post the corrected version for download later.

kiransurya · Post by **kiransurya** » 08 May 2006, 02:45

DRS/ CML
Thank you for the corrections

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 02:49

Kulkarni
Could you post just 1 or 2 elaborate(!!!) asAvEri renderings? Maybe one MD(kumAraswAminam!) and one of T.

Suji Ram · Post by **Suji Ram** » 08 May 2006, 09:03

http://surasa.net/music/karnatak/contrib/

Found couple of asaveri at this site
several under T's listing

kiransurya · Post by **kiransurya** » 08 May 2006, 13:35

DRS

This is one is not an elaborate one. However, good stuff

DKP-DKJ`s inimitable rendering of Chandram Bhaja maanasa
http://rapidshare.de/files/19913523/Chandram.mp3.html

srinidhi · Post by **srinidhi** » 08 May 2006, 16:08

DRS wrote,

I would love it if people could post other songs referring to specific incidents in rAmAyaNa that I have mentioned in the suLAdi.

Since I found a reference in Thyagaraja's Maa janaki ....

Chhaya Seeta

Now and then, a mildly accusatory comment is heard that Sita is as much to be blamed since it was she who was atttracted by the golden deer and urged Rama to bring it dead or alive....that was the start of all her troubles ...so on and so forth. Why would Sita, embodiment of Lakshmi Herself hanker after a golden deer, that too a maya one?

GOswami Tulsidas answers this

Sunahu priya brat ruchir susila/ main kachu karabi lalit narlila
tumha pavak mahun karahu nivasa/ jo lagi karaun nisachar naasaa
jabahi raam sab kahan bakahani/prabhu pad dharahi hiya anal samani
nija pratibimb raakhi taha seeta/ taisai seel roop subineeta

Rama says " My beloved, you who are steadfast in the vow of fidelity and staunch towards me, the time has come for me to act an interesting lila which will end only with the destruction of the asuras. Till that time I ask you to take refuge in the god of Fire." On hearing Rama's words, Sita immediately, without hesitation, stepped into the blazing fire, Her mind fixed on her Lord's feet. She left behind a "shadow " figure which looked exactly like Her.

It is this Chhaya Sita who is attracted by the Maya deer, who is kidnapped by Ravana ,etc.

This incident has been mentioned by Thyagaraja in his kriti "Maa Janaki"
"kaankaegi yaagna meeraka maayakaar????""

INcidently, Tulsidas's words here come in handy while explaining the "Agni Pareeksha" (though the manas itself makes no mention of it) , but I will not go into it now.

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 16:24

Thanks Srinidhi
I actually meant songs as in "Sung" LOL. There are hundreds of songs with reference to incidents of rAmAyaNa. If we end up posting each of those lyrics and discussing here, it wil be a rAmAyaNa thread only

sItA leaving behind her chAyA is found in the adbhuta rAmAyaNa and not in vAlmIki.

coolkarni · Post by **coolkarni** » 08 May 2006, 17:19

http://rapidshare.de/files/19921501/DKJ ... i.mp3.html
http://rapidshare.de/files/19922008/07- ... i.mp3.html
http://rapidshare.de/files/19922334/08- ... i.mp3.html
http://rapidshare.de/files/19923054/TNS ... i.mp3.html
http://rapidshare.de/files/19923962/VOL ... a.mp3.html

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 18:49

Thanks coolkarni.

cmlover · Post by **cmlover** » 08 May 2006, 23:21

A humble attempt
http://rapidshare.de/files/19954257/AsaverMid.WAV.html

drshrikaanth · Post by **drshrikaanth** » 08 May 2006, 23:38

CML
The asAvEri MIDi file has a gay abandon about it. Sounds so bright and sprightly. No sugestion of the asAvEri bhAva at all. This only shows how much gamakas can change the character of a swara/rAga. No doubt gamakas are the life of CM. ALso, the Sruti seems different(rather like madhyama Sruti).

cmlover · Post by **cmlover** » 08 May 2006, 23:52

DRS
Total agreement. Gamaka is the life of CM. Simple notes can never capture the spirit of CM. This is a pure transcription of notes. That is why I am encouuraging youngsters to take an interest and develop softwares that will capture the spirit of CM

cmlover · Post by **cmlover** » 09 May 2006, 00:40

DRS

Here is the 'machine' attempt to introduce gamakam through 'pitchbend' into the notes:
http://rapidshare.de/files/19961067/Asa ... d.wav.html
The instrument is Trumpet which does sound a bit harsh. You have to pardon the hiccoughs but I think at least the raga bhava is trying to come out while the plain notes one is just listless. If a good CM trained Programmer fixes these hiccoughs I think we may have a fairly good CM MIDI machine. Also there is a need to carNaTify the MIDI Instruments. You have to pardon my enthusiasm

VK

are you there?

vasanthakokilam · Post by **vasanthakokilam** » 09 May 2006, 01:04

CML, that is starting to sound more like CM. I do not have a very good idea of Asaveri to tell how close it is. It is indeed a tough job you are attempting. Having attempted a simple gamaka with Arun's tool and gotten only 'baby crying' sounds so far, you have already gotten a lot out of using pitch bend.

Suji Ram · Post by **Suji Ram** » 09 May 2006, 01:06

CML,
I appreciate your enthusiasm

Listening to it I felt :cheesy:

Wish CM was as easy as learning this way , I wouldn't have to blister my fingers

cmlover · Post by **cmlover** » 09 May 2006, 01:19

Suji
Ideally it is possible to create (as I have said elsewhere) using AI a computer program that will analyze Vocalists in real-time and accompany them on 'Instruments'. Like in the movie Jagathalaprathaapan (acting PUC (1942)). That may put accompanists out of job (a pessimistic vieww) or liberate them (to create CM independently). If you like we can discuss it under the Technical section

Suji Ram · Post by **Suji Ram** » 09 May 2006, 01:45

Suji
If you like we can discuss it under the Technical section

CML,
I will catch up with your discussion there. I am waiting for a MIDI cable to arrive, then I will post a piece I play on keyboard for you to "fiddle" with.

DRS,
just finished with dhanyasi and vasanta.. will post after I finish with the rest.

drshrikaanth · Post by **drshrikaanth** » 09 May 2006, 03:22

CML
The second version is much better inspite of the hiccoughs- it gives a distinct feel of asAvEri.

drshrikaanth · Post by **drshrikaanth** » 09 May 2006, 07:38

Word for word meanings of kiShkindA kANDa
rAga- mOhana; (triSra jAti) tripuTa tALa

anuju- younger brother; saumitri oDane- with lakShmaNa(son of sumitrA);
mOhana- attractive/alluring; supampeku^- to the good pampa lake; vandavu~n- he who came;
ravitanuju- son of sun(sUrya)/sugrIva; sakhana^NTu^ oppi- accepting him as a friend; avande- his;
tammayyana- elder brother; kondavu~n- He who slayed;
ka^Du- this is a pun meaning cruel as well as spoilt/"About to be destroyed"; danuju- rAkShasa i.e rAvaNa; maDadiya- wife;
kaddu- abducting; muccinataNNu- because of hiding;
kodi kodi vendavu~n- him who boiled with rage/grief/anguish;
pavanatanuju- hanumanta(son of the wind-God); jananiku^- to mother;
sUcipiya- to show/indicate; gurutAha- as a token/sign;
unguru- finger ring; tandavu~n- him who gave; ivu~n- this man.

drshrikaanth · Post by **drshrikaanth** » 09 May 2006, 07:40

ciTTeswara

P , G | P G~ G~ R || S , D# | P# D# S R ||
G , P | D~ S* D~ P || D~ D~ P | P G~ G~ R ||
G G P P D P- | D S*- D G* R* G* S* R*- ||
G* , G* R* S* D- | S* , D P- P , G R ||

cmlover · Post by **cmlover** » 09 May 2006, 07:59

DRS

Just a comment based on the language use. Is it not 'tisra jAti' ?
'tri' = three which is declined in the feminine as 'tis^Ri' (Pan 7.2.99). Since it is declined only in plural you get 'tisraH' (bahuvacanam strIlingam).

drshrikaanth · Post by **drshrikaanth** » 09 May 2006, 15:45

CML
Perhaps it is not to be derived as sanskrit although "tri" is samskRta. The tchnical CM term is triSra only and said commonly as tiSRa and not tisra. In fact "tisra" is wrong and gives an entirely different meaning in kannaDa. It means illwill/friction/bone of contention e.g avaribbara madhye EnO tisra means "There is some friction/ill will between those two people".

rshankar · Post by **rshankar** » 09 May 2006, 19:19

DRS,
Is this OK for a running meaning?

HE (rAma) is none other than the one who arrived at the banks of the beautiful pampA with his younger brother and pledged eternal friendship to sugrIva, and destroyed his older brother (vAlI) as a forewarning to the wicked rAvaNA who had kidnapped his (rAmA's) wife. He is the one who, in the depths of despair, gave the son of vAyu (hanumAn) his ring as a token to establish his (hanumAn's) bona-fides, were he to find mother sItA.

tyAgarAjA's ada mODi galadE is thought to be in response to the events that occured in this kAnDa....

Ravi

drshrikaanth · Post by **drshrikaanth** » 09 May 2006, 19:25

Exemplary Ravi.
ADa mODi galade refers to the first meeting between rAma and hanuma. As per the imperial protocol, rAMa himself does not talk to hanumanta but asks lakShmaNa to do the talking. tyAgarAja questions rAma as to whether he is doint the same with him too out of hauteur.

Here we may also recall SabarI mOkSha at the end of last kANDa- T sang "entani n varNintu Sabari bhAgyamu" in mukhAri.

cmlover · Post by **cmlover** » 09 May 2006, 23:48

DRS

Here is the attempt on Mohanam
http://rapidshare.de/files/20038061/Moh ... W.wav.html

The CW stands for CakeWalk. The hiccoughs are still there. Some are due to the attack detection which is characteristic of WM (clean notes!). Also the program indicated that there are two voices meaning both you and Sahana. It got confused as to who to pick and hence some of the hiccoughs. I tried a little bit to smooth the pitchbend which is extremely time consuming! I trust the raga bhava is still there

drshrikaanth · Post by **drshrikaanth** » 10 May 2006, 00:22

CML
Indeed there seems to have been a confusion of which voice to choose. mOhana is clearly discernible albeit with a western lilt. I could hear the sounds of bands and 21-gun salute intially. :cheesy:

drshrikaanth · Post by **drshrikaanth** » 10 May 2006, 07:51

Story of kiShkindA kANDa- part 1
rAma and sugrIva become friends.

Viewing the pampA lake, rAma visualises it as sItA and pines for her. sugrIva, who has taken refuge in the RShyamUka mountain, chances upon them and is stricken with terror as he thinks they might be men sent by vAli to finish him off. He runs to his comrades and tells them his fears. hanumanta calms him. sugrIva sends hanumanta in the disguise of an ascetic to talk to the brothers and find out their intentions for coming there. In the guise of an ascetic, hanuma talks to them in a very skilled manner but fails to evoke any response from them. Thus frustrated, he reveals his true form and identity. In keeping with the imperial protocol wherin a king will not directly speak to a messenger, rAma delegates the talking to lakShmaNa. rAma praises the refined manner of hanumanta's speech to lakShmaNa. Gretat man that he is, rAma seeks refuge in sugrIva!

hanumanta carries the 2 on his shoulders to where sugrIva is. He advises sugrIva to forge friendship with rAma. The 2 then shake hands, embrace and swear friendship keeping fire as witness. rAma gives his word to eliminate vAli and give the kingdom of kiShlkinda to sugrIva. In his turn, sugrIva promises to spare no efforts in seeking sItA. He also tells rAma that the had spotted sItA being carried by rAvaNa and her resisting the abduction. They then bring the bundle of ornaments that sItA threw down to sugrIva while thus being carrid forcibly by rAVaNa. Seeing the jewels, rAMa's grief multiplies manifold and he cries in anguish. sugrIva tells rAma to take control of himself and narrates his own story of banishment from his kingdom and of his wife, rumA being taken by force by his brother vAli.

Once vAli is challenged by mAyAvi, the brother of dundubhi who was earlier slayed by the mighty and brave vAli. Incensed, vAli, followed by sugrIva chases mAyAvi to a cave in the forest. mAyAvi enters the cave hastily. vAli follows him, commanding sugrIva to keep guard at the entrance. A year passes by with no sign of vAli. At the end of the year, sugrIva hears the cries of mAyAVi but no sound whatsoever of vAli. He also sees blood and foam gushing out of the cave entrance in torrents. Fearing that vAli is dead, sugrIva rolls a colossal boulder and seals off the entrance to prevent mAyAvi from coming out. Then, quickly performing the final rites, grief-stricken sugrIva returns to kiShkinda where his fellows urge him to take the reins in his hand.

But it so happens that vAli is very much alive and kicking(literally) and has managed to kick away the boulder blocking the entrance of the cave. He is infuriated as he thinks sugrIva deliberately closed the cave off so that vAli would never return and he could have the kingdom all to himself. sugrIva's explanations, show of respect and pleas for forgiveness fall on deaf ears. Irascible vALi chase away sugrIva and his band of suppporters and also takes his wife rumA. sugrIva and his supportes retreat to mount RShyamUka where they are safe as vAli cannot enter the vicinity owing to a curse on him by sage matanga.

drshrikaanth · Post by **drshrikaanth** » 10 May 2006, 23:32

Story of kiShkindA kANDa- part 2

dundubhi, the brother of mAyAvi is a demon in the form of a buffalo. He has obtained a boon from brahma and becomes intoxicated with pride about this. He thinks he has no equal in might. Itching for a fight, he first challenges the Lord of the oceans to a duel. The ocean Lord, disinclined to get into a fight, humbly says he is no match for dundubhi and directs him to go to himavAn, the Lord of the mountains for a fit fight. Pawing the ground and bellowing, he reaches himavAn and challenges him. himavAn too is in no mood for a fight and gently slips out saying he would not be the right match. Instead, he redirects dundubhi to the mighty and invincible vAli, the Lord of vAnaras in kiShkindA.

Without any further delay, sundubhi arrives at the gates of kiShkindA after sunset and challenges vAli haughtily. vAli is annoyed by this disturbance but, being a mighty warrior, he takes the challenge. He simply grabs hold of dundubhi by the horns, swings him around, thrashes him to the ground and kills him. Having done this, he kicks the carcass to the distance of a yOjana away. Unfortunately for him, the carcass falls in the hermitage of matanga and spurts blood on the sage. matanga is enraged and curses vAli that if he stepped on the hermitage or anywhere within a yOjaana, he would immediately be dead. This is why sugrIva and his comrades take refuge in the hermitage on RShyamUka mountain.

sugrIva first tests rAma's capabilities to ascertain if he really can kill vAli. He asks rAma to kick the bones of dundubhi. rAma smilingly flicks the heap pf bones to a distance of 10 yOjanas with just a flick of his big toe! sugrIva then says that when vAli used to kick it, the carcass was full with flesh and wet but that it has now dried up and is hence easy to kick. He then asks rAma to shoot an arrow through a sAla tree. rAma shoots an arrow that pierces not just one sAla tree but an entire row of 7 sAla trees and the mountain behind and then bounces back to his quiver! sugrIva is delighted.

rAma tells sugrIva to go to kiShkindA and challenge vAli for a duel, assuring him that he would fell vAli with an arrow. sugrIva is encouraged and challenges vAli. vAli comes out and quickly outdoes sugrIva and chasess him back to the mountain. sugrIva is nonplussed as to why rAma has not kept his word and querstions rAma. rAma says that he could not differentiate between the 2 brothers as they looked identical in form, demeanour and valour. To distinguish the 2, he makes lakShmaNa garland sugrIva with a creeper and goads sugrIva to challenge vAli again that day and promises to slay vAli before sunset.

As sugrIva challenges vAli and is duelling with vAli a second time, rAma shoots an arrow at vAli from behind the bushes and slays him. vAli questions rAma whwther it was right on his part to shoot from hiding, when he was neither fighting vAli nor did he have cause for enmity. rAma gives fitting replies saying vAli had strayed from the path of righteousness by banishing his brother and forcibly taking his wife. rAma also says that the whole world belongs to the ikShvAkus and that he was the representative of bharata and as such had the duty to restore righteousness. vAli is convinced, bestows sugrIva kiShkindA and asks him to care for angada as his own son.

rAma consoles grieving tAra, angada and sugrIva and tells the vAnaras to crown sugrIva. rAma himself does not enter the city precincts as he is in exile. He happily tells sugrIva to settle down for 3 months after which he should keep his side of the deal to seek out sItA. rAma and lakShmaNa retreat to the banks of the river tungabhadrA on mount prasavana.

rshankar · Post by **rshankar** » 11 May 2006, 00:19

DRS,
A question that has always bothered me: is this matanga muni who curses vAlI, the same as the matanga muni from whom pArvatI derives the name mAtangI ('mAtA, maragadashyAmA, mAtangI madashAlinI, kuryAt kaTAksham kalyANI, kadamba vanavAsinI, jaya matanga kanyE, jaya nIlOtphaladyutE' from the shyAmaLA danDakam)?
Thanks.
Ravi

cmlover · Post by **cmlover** » 11 May 2006, 22:15

Shankar

Apparently there were two mAtanga munis. One was a brahmarishi. The other was a chanDaaLa who through penance became a saint and shakri was born to him as his daughter for his devotion. She was hence named mAtangi. The word mAtangi is also used to denote an untouchable woman which is the sense inwhich Banbhatta uses in his famous kAdambari!
I am unable to ascertain whichmAtanga was involved here!

kiransurya · Post by **kiransurya** » 12 May 2006, 00:38

CML/DRS
Wouldnt "Maathangi" also mean a woman who who is of royal descent
( I mean as in Maathanga mukham for Ganesha because of elephant faced. ~for Sakthi as she has gait and behaviour like an elephnant)
Hope Iam making some sense here..

drshrikaanth · Post by **drshrikaanth** » 12 May 2006, 01:39

Ravi
I think it was the brahmaRShi involved here.

Kiran
mAtanga means elephant and hence gaNapati is called (panca)mAtanga mukha. I dont think it is connected to any royal descent here. I have discussed "mAtangI" in detail in the oDeyar thread. Please do a search and read it.

kiransurya · Post by **kiransurya** » 12 May 2006, 01:41

Cheers DRS...

drshrikaanth · Post by **drshrikaanth** » 12 May 2006, 01:48

Friends
I may not be able to post for a day or two as Iam out of station.

kiransurya · Post by **kiransurya** » 12 May 2006, 01:51

Have fun..

cmlover · Post by **cmlover** » 12 May 2006, 02:58

DRS

Too bad you are taking a break after Sugriva has gained his kingdom. During the break you will find that in the lap of luxury he has forgotten his side of the bargain.

But then the good Maaruti is there to jog his memory. And may that Anjaneya bless you with success in all your endeavours!

ninjathegreat · Post by **ninjathegreat** » 12 May 2006, 06:50

DRS sir,

do you have/know of any song that talks of the any of the individial battles of the Bharatha War - Abhimanyu's death, Satyaki-Bhurisravas, and the sort... other than Oothukkadu's Kalinga Narthanam, are there any other carnatic songs that are based on heroics in the mahabharata? They are so wonderfully described in the text, that I can't help but fell the emotions can be captured in carnatic music beautifully...

P.S. I've joined in this topic very late - it's been a wicked semester...

Cheers
Ninja

cmlover · Post by **cmlover** » 13 May 2006, 02:05

YOUR ATTENTION PLEASE

This Ramayana thread is the pinnacle of excellence in CM (in classicism). Since we are also covering the whole of Ramayana it is only fitting that we celebrate the Rama PaTTabhiShEkam fittingly! Some of us are making some plans. If you want to participate with us in the grande finale please e-mail me privately ASAP at

[email protected]

so that I can keep you informed of the details.

Thank you!

Suji Ram · Post by **Suji Ram** » 13 May 2006, 04:26

DRS,
Could you please explain asaveri a bit.
I see that you have R2 in some places and R1 in others which is characteristic of asaveri.
In one of your lines in the notation I think it should be R2 instead of R as the one below,.

RRMPDP
halubi jompa
I feel it should be R2R2MPDP as per your rendition and when I tried it. Please let me know.

kiransurya · Post by **kiransurya** » 13 May 2006, 23:03

please e-mail me privately ASAP at

[email protected]

so that I can keep you informed of the details[quote]

Done..

drshrikaanth · Post by **drshrikaanth** » 14 May 2006, 08:32

Story of kiShkindA kANDa- part 3
The search for sItA begins

sugrIva is ecstatic at having obtained kiShkindA as well as tArA for himself and spends all his time in drink, revelry and lust. When the accorded time of 3 monthd elapses, hanuma dutifully reminds him of his word to rAma. Heeding this, sugrIva orders nIla to marshall all vAnara forces within a fortnight. But he forgets to keep rAma posted of the developments. On mount prasavana, rAma is pining for sItA, his senses haunted, daunted and taunted by the seasons. rAma becomes despondent, impatient and infuriated at sugrIva's delay. He berates sugrIva as 4 months have passed wih no sign of sugrIva keeping his side of the deal. He sends lakShmaNa to kiShkindA to remind sugrIva and if necessary, to threaten him.

Irate lakShmaNa leaves for kiShkindA. On seeing his rage, the vAnaras guarding the city are unnerved and run to sugrIva and inform him of lakShmaNa's arrival. lakShmaNa also sends a terse and scathing message to sugrIva through angada. sugrIva is inebriated and uncomprehending on hearing the message. His ministers advise him to honour his word to rAma. hanuma gently chides sugrIva and advises him to approach lakShmaNa supplicatingly and seek his pardon. lakShmaNa is invited in. As he walks through the palace chambers, he is annoyed and embarrassed by the presence of so many women and twangs his bow string to show his annoyance. sugrIva is terror-stricken and tactically asks tAra, who is adept in matters of strategy, to first approach lakShmaNa and calm him. tAra concurs and comes to meet lakShmaNa. Seeing a woman, lakShmaNa cools down quickly. tAra further appeases him by her conciliatory tone and placating words. She takes him to sugrIva's chamber.

sugrIva, still surrounded by his bevy of wives, meets lakShmaNa with folded palms. lakShmaNa, as is his nature, speaks hot and threatening words. tara informs him of the arranements already being done to marshall the monkey forces. Hearing this and sugrIva's apologies, lakShmaNa, gentleman that he is, apologises in turn for his hasty words. sugrIva gives swift orders for vAnaras from all over the world to be ordered to come thither forthwith. He then leaves with lakShmaNa to meet rAma and update him of arrangements.

Crores upon crores of vAnaras collect from all over . rAma is gladdened and heartened. sugrIva then gives orders for the search of sItA, giving them exactly a month to return with news, be it of success or of failure. He orders vinata and 1 lakh vAnaras to go easterly in search of vaidEhi.
suShENa and company are sent westward while Satabali is commanded to proceed to the north. And to the south, he send forth angada and a group that consist of mighty vAnaras such as hanuma, nIla as well as jAmbavanta. While giving orders, sugrIva's intmate and extensive knowledge of the geography of the world, gained during his fleeing from vAli, comes handy while giving intsructions. sugrIva reposes special confidence in hanuma. rAma follows suit and gives hanuma his ring to show to sItA as proof of coming from rAma. This ring, given to rAma by janaka, has his name inscribed on it.

drshrikaanth · Post by **drshrikaanth** » 14 May 2006, 09:10

Story of kiShkindA kANDa- part 4
Southward ho!

The vAnaras take leave and search for maithili in every nook and cranny. But the search parties that have gone to the north, east and west return empty-handed. All hopes are now pinned on the search party that has gone southerly. This party, fatigued and thirsty from their meticulous
search for sItA, eneter a cave seeking water and refreshments. This cave, built by maya, and near the shores of the sea is now the abode of swayamprabhA, a saintly lady. She lets them eat and drink to their hearts'and bellies' content. She blesses them and sends them on their way.

But it has so happened that while inside the cave, the given time of one month has elapsed without the knowledge of the vAnaras. Fearing sugrIva's wrath if they return, they decide to give up their lives on the shores of the ocean. hanuma tries to deter them from this foolhardy enterprise. But angada is scared stiff of sugriva to return and sits on a fast unto death. As they are doing this, sampAti, an old eagle with scorched wings comes out of his cave-dwelling on ount mahEndra and eyes the monkeys with an intent of preying on them. But on hearing the vAnaras mumbling about jaTAyu who is his brother, his ears prick up. He tells the vAnaras to carry him down ad tell him more. The monkeys do as asked and tell him how rAma was exiled, sItA was abducted and jaTAyu killed while defending sItA.

Hearing these and may other details, sampAti shed tears for his dead brother and tells his own story. He says that his wings were burnt by the scorching sun when the brothers had flown too close to the sun in their hot-blooded youth and he had protected his brother by covering him with his wings. He recalls being blessed by sage niSAkara that he would regrow his wings when rendered service to rAma by rendering assistance to those vAnaras searching for sItA. He the tells of seeing sItA being abducted by rAvaNa. He furnishes many details about rAvaNa, the ruler of lankA, son of viSravasa and brother of kubEra. He also tells how far lankA is acroos the see and of its extent. Even as he is tellin them all this, his wings are rejuvenated and he flies away, wishing them success.

The monkeys regain their high spirits as they now know where to locate sItA. But they start wavering when they see the expanse of the sea stretching a 100 yOjanas between them and the object of their mission. jAmbavanta then goads hanumanta on and inspires him by reminding him of his divine birth and his valorous deeds as a child. Thus reminded of his prowess and capabilities, hanumanta spiritedly rises to the occasion and assures all that he will undoubtedly succeed in his venture. He assumes a huge form and ascend mount mahEndra to use it as a spring board to
launch him on his flight to lankA.

End of kiShkindA kANDa

meena · Post by **meena** » 14 May 2006, 21:38

Thanku DRS

Story of rAmAyaNa narrated by DRS -UPDATED word doc:

http://rapidshare.de/files/20445984/rAm ... S.doc.html

cmlover · Post by **cmlover** » 14 May 2006, 23:29

well done meena!
Thanks! Nice formatting like a monograph! Can we add some nice pictures too!

meena · Post by **meena** » 15 May 2006, 00:05

Thanks cml

Good idea, sure we could add pics etc.
If DRS/u or others have any pics that u would like to share u can add to the word doc and update.

'The final copy' we can edit to DRS preference.