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DR C. L. PRABHAKAR

I

Ramayana is invested with many episodes. Each contributed to the smooth run of the plot of the text. Birds and animals are also major characters in this epic. Nature, in general, supported the cause and purpose of Rama, the chief character about whom the whole story is narrated. Among the episodes, the crow episode (Vaayasa Prakarana) deserves our special attention. The author of this epic, viz., sage Valmiki, has set a tradition in the art of poetry and in the event of characterisation. The various objects of nature inspire the life and hope of human beings from time to time.

Valmiki is appreciated because of his able delineation of various characters in the epic. Each character and event contained share in the main sentiment of the epic. Karunarasa which is regarded as the angirasaof this Kavya, is felt by readers automatically in view of the contents of this epic.

When we consider instances wherein birds are involved, we might cite four episodes, viz., 1) Crauncha(Cranes) episode, 2) the Vaayasa(Crow) episode, 3) The Jatayu episode and 4) The Pampaati episode. Chronologically, the crow episode occupied second place, but Valmiki mentioned it as the fast one for the sake of propriety and convenience. The poet is justified also in such a situation.

It is regarded that the crane episode formed the origin for Sanskrit poetic composition (Kaavya), in general and Ramayana in particular. This event moved the mind of Valmiki very much. The Soka(grief) of the female bird became the Sokaof the poet himself. As a result, without his knowledge, the sage cursed the killer (Vyaadha) of that male bird that was engaged in love with its mate.

This episode may be cited below quite briefly: Once sage Valmiki proceeded towards Tamasa river for bathing along with his pupil Bharadwaaja. But on the way he saw a couple of cranes happily engaged in love over a tree. But suddenly a hunter shot the male with an arrow. The male fell and began rolling on the ground suffering the pain of death. The female mate of that bird was crying overpowered by sorrow. Valmiki, himself being a true Sahridaya (connoiseur) cursed the hunter. The mind of the sage was perturbed very much filled with remorse also. Looking at the plight of the poet, Lord Brahma himself visited the sage’s hermitage and impelled him to write the sacred story of Rama in verse. Sage Narada provided a sketch of Rama’s life and the details of the life further were realised by the poet by virtue of Yoga. Herein one can see obviously that this episode was not without any significance.

Wordsworth defined poetry as “a powerful feeling recollected in tranquility.� Ramayana is exactly the same. It is a powerful (sorrow) of the poet recollected in tranquility. It is so because the sage never stopped to remain pensive over the Craunchaepisode.

Further Anandavardhana, a famous Sanskrit poetician, considered this episode to speak about the origin of poetry and a suggestion is underlined that the whole plot of the epic sums up to the death of males and subsequently misery to their respective consorts. For example, the chieftains, viz., Vali and Ravana were killed by Rama, while Tara and Mandodari were put to sorrow respectively. The curse which Valmiki pronounced is an eternal curse to Lord Vishnu himself. As a result Vishnu is blamed and put to the cycle of Avataras.

The descriptions connected with the brother-birds, viz., Jatayu and Pampaati, have also a great significance. The birds, however, belong to a bigger order among birds. Jatayu gave hopes to Rama and Lakshmana by informing some news regarding Sita at a time when they found themselves in utter dismay and confusion. In like manner, at a different situation, Pampaati rejuvenated the hopes of life of Vanaras who had resolved to commit to death, by describing the abode of Ravana and the way to reach Lanka. Thus it is evident that these episodes have a mine of importance in the easy run of the epic.

It may be noted that Valmiki showed a pathway also in the art of literary criticism and story-writing. In fact to a scientific mind it is not always the story that interests him but it is the method behind the depiction of the plot of the text. Under such consideration, Valmiki seems to suggest that nature is grand and it is there to educate man into right behaviour and right knowledge. In the same strain the crow episode is a significant measure. Further this is highly symbolic too. It symbolises a mischievous act and consequent punishment. On the other hand, this crow episode could be a preamble for the forthcoming major agony to which Rama and Sita would be subjected. A poet should suggest that way to make his as a standard composition. Despite Rama’s presence with Sita, Sita was exposed to trouble twice in the epic. Once when Rama was asleep and at another time when Rama was away from Sita. Valmiki indirectly pitches upon the inviolable impact of Fate on characters.

When a hunter, a human being, disturbed the privacy of two birds, in the Crauncha episode, here in the Crow episode, a bird disturbs the privacy of Rama and Sita. Thus Kaakaprakaranain principle pertains to the private situation of Rama and Sita.

II

This episode is mentioned thrice in the Sundarakaanda of Ramayana. In the thirty-seventh canto (slokas 13-38) of the book, Sita at first narrates the incident to Hanuman by way of token (Abhijnaana) to Rama which Hanuman cursorily mentions again in the sixty-fifth canto (sloka 16) of the Sundarakaanda. But on the request of Rama, Hanuman once again describes the same event quite composed in the sixty-seventh canto (slokas 2-18) of Ramayana. It would be a matter of interest if a comparison is made between the narrations of the episode as found in the respective sargas.

One can see a difference between Sita’s and Hanuman’s way of narrations. Sita appeared filled with emotion (grief) and therefore the style seems to be powerful, comparatively. This episode seems to have originally taken place just at the beginning of Sitaramavanavasa, especially in a location where Chitrakuta mountain and river Mandakini inspired the couple.

A textual comparison may be noted below. There is not very much repetition in style although the details of the episode are the same in the Ramayana. In general, Valmiki is an established writer noted for novelty and freshness in the language and style always.

Verses 38.28 = 67.10. Here there is replacement of one word only, i.e., sutah(67.10) in place of putrah. Likewise verses 38.29 = 67.11 and 38.33 = 67.12, etc., deserve our attention since these are very much similar. There are a few verses where part of the verses are mutually common. However, the chief expression “Vidadaara stanaantare� is commonly repeated in both the sargas. Likewise there are a few more examples in these verses. These observations show that the style of the poet principally abounded in variety, free from monotony and repetition. Repetition is of course, a mode of style which is common even to Vedic Samhitas and the successive literature further.

It is mentioned earlier that the verses at thirty-eighth canto reveal feelings of emotion. Incidentally this piece refers to the crow and its food and other habits. Sita showed her knowledge of crow in this section. There are several expressions which refer to the food. A crow eats bali(that is offered outside the fire) and in seizing that food away the bird is terrible. The term �grdhna� stands for that. A crow is described to be fast in flight in sky matching the speed even that of wind itself. It is a bird known for best wings (pakshi) and best among the flying birds. The bird is twice born (dvijah). There is a reference to the sharp nails of the bird. The sixty-seventh sarga adds to say a crow to be khagah, meaning its aerial travel.

The above details, in other words, contribute to imagine what a crow was in the times of sage Valmiki. Moreover the description points out the crow that attacked Sita was an extraordinary one.

Here it may be said that that crow was not in any way a demon as per the notion in the tradition. As per the epic, it was not Kakaasurabut it was only a Kaka. Valmiki simply identifies the bird to be just the son of Sakra (Indra) who came to earth (dharataam gatah). It is clear that there is no scope to tell the purpose behind the deliberate mischief of the crow unto Sita. Of late a poet-musician conjectured the crow’s behaviour to be quite natural because, the bird mistook the foot-finger of Sita to be a piece of flesh. Indeed such a conjecture adds to heighten the beautiful complexion of Sita.

Valmiki’s silence in respect of the motive of the crow’s behaviour gave scope to the imagination of later poets who projected their own reasons in their respective versions of this episode. But it is an understanding that among all the versions of Rama’s story, Valmiki’s was always regarded as authentic and real.

III

Following is “The Crow Episode� is brief:

Once Sita and Rama had their sweet time on the slopes of Chitrakuta mountain under a beautiful nature-setting. At that time, being tired, Rama slept on the lap of Sita. A crow approached Sita repeatedly. But Sita drove the bird away with a lump of mud. Again after sometime while Rama was fast asleep, that crow rashly attacked Sita and caused an injury round her breasts with its pointed nails. Out of pain and agony, Sita woke her lord up. Rama immediately found a crow with blood stains on nails lurking about the area. Rama was enraged and charged, with a Mantra of Brahmaastra, a blade of Darbha grass plucking out from his seat (Prastara). That grass became Brahma missile and chased the crow. The crow who was the son of Sakra belonging to celestial region roamed all about the regions seeking shelter and protection from Rama’s arrow. Everybody including his father, great seers and others refused to stand by against Rama’s missile. The crow being thus disappointed, quite tired, helplessly sought shelter and protection falling on the feet of Rama only. Rama pardoned the crow but relieved the crow of its right eye and spared the crow’s life with that missile. As a rule, his missiles never turn futile. The crow returned happily to its abode thanking Rama and his father Dasaratha.

The above is the version as narrated by Sita to Hanuman. Indirectly by this narration Sita charged (Sun. 38-39) Rama with an allegation that he kept silent all the while over the foe who lifted his wife herself away. But Hanuman, being intelligent (buddhimataam varishthah) immediately answered Sita substantiating Rama and Lakshmana that they did not know about Ravana.

Sixty-seventh canto which contains the narration of the same episode by Hanuman to Rama repeats the story verbatim and there is no significant difference between these cantos as was already mentioned. The difference could be: Sita was emotional while Hanuman was composed while narrating this crow episode as was mentioned.

IV

Hereunder let us consider the propriety and significance of the crow episode. It is always the technique behind the story building that matters rather than the story.

The episode could be an obscene situation. It contains the mention of the solitary love situation between Sita and Rama. Secondly the breast of a noble man’s wife and its injury by a crow, etc., are mentioned. In view of this, one may look at the episode with raised brows. Sita felt deeply that episode to be worth the abhijnaana. Valmiki narrated this episode in full-length and the poet becomes justified in so depicting.

This episode throws light upon the character of Rama and also the sentiment of the epic. The Kaka incident is but a piece of sorrow. Here the crow and the human couple were put to grief and tension howsoever. This episode served a great purpose too. It inspired Rama for immediate action and reminded him the intensity of love that he had been showing unto Sita. It may be remarked that war between Rama and Ravana came into being due to on one hand, Rama was in grief that Sita was stolen and on the other, Ravana desired to preserve Sita for himself. Thus Sita was an object of inspiration on either side. It is like Helen of Trojan war. Sita herself proclaimed this episode to be the best among the events which would tickle Rama’s conscience and serve as a rejuvenation to the heroic spiritedness of Rama. This episode reaches Rama through Hanuman, the trusted envoy of Rama and Sugriva.

It is a well-known fact that ordinarily it is not possible to see through the significance of certain episodes appropriately as described by eminent poets, like Valmiki. But still an attempt is shown below to count the few points of significance.

A crow is the ugliest and the meanest among birds. It is highly inauspicious too. It is hardly regarded with respect. When such a petty bird troubled Sita, Rama did not tolerate. He employed a powerful missile. In Telugu there is a saying stating “employing a Brahma missile over a sparrow.� Probably that is true in most of the other languages too The origin of that saying seems to be found due to this crow episode. In view of Rama’s brisk response unto that offended crow, it becomes a paradox how Rama tolerated long the mischief of Ravana.

Sita, having narrated this episode, implored Hanuman to inform Rama all that definitely and thus help her. She picked up this episode only for she knew well the personality of Rama (idam sreshtam abhijnaanam�).

The character of Rama becomes very much revealed due to this Kaakaprakarana. The infallibility of the missile of Rama and it never missing its aim, etc., are established through this instance. Moreover the sensitivity of Rama especially when his lady-love is injured is revealed herein. The poet, however, leaves to the imagination of Sahridayas to calculate themselves the amount of anger which Rama should get when his dear wife was abducted ultimately byRavana. Hereby the poetic skill of the poet becomes very much evident. Between the crow and the demon chief Ravana, the two rivals to Rama one can see a great contrast. The relevant force which Rama should employ at the demon becomes suggestive in this episode. In addition to this the epithet to Rama, viz., Dhanusmataam sreshtah becomes established even through this incident. The irresistible strength of Rama up to the end was but due to the Sokaout of the offended love unto his own consort. At another context, Valmiki’s description of Rama was unique even in speech (raamo dvirana bhasate).

Further the crow episode contains a suggestion regarding the behaviour among heroes like gods, seers and other great men. That crow, that sought for protection and shelter other than Rama being scared of the missile of Rama himself, had to resort to Rama only for shelter. This fact of the episode establishes a tradition that none should interfere when a hero is punishing a real sinner. This law is true for all classes of beings. Rather it was a Dharma of a hero. This epic provides another episode to reaffirm this principle.

The crow episode suggests a moral that sinners would be punished definitely. The punishment suggested through this event is death to anyone who disturbs the privacy of couples (Mithunam). The crow was to be killed but the punishment got reduced because it accepted its folly and sought for protection from Rama himself.

Several morals and other relevant lessons are passed on to readers by poets by making animals as our instructors. This is exclusively an Indian method popularly utilised in works like Panchatantra and Hitopadesa. The method of making use of birds and animals could be traced to this epic and this episode would be an example for that.

This episode would further be a suggestion to Hanuman to try for saving Ravana by suggesting the demon chief to seek shelter with Rama surrendering Sita.

Kaakaprakarana mentions the crow to be the son of Indra. In view of this it is difficult exactly to reason the purpose behind the mischief namely inflicting breast injury to Sita. Nevertheless, it is possible to see the traditional reasoning for the crows having vision in one eye while the other standing dull (Kaana). That way this episode is an explanation for such a traditional belief.

In the manner above one can see a great propriety and significance in the crow episode. Normally great minds depict only when they are to suggest something useful to mankind.

V

This crow episode is widely quoted and narrated whenever the story of Rama is re-described. It could be so because that was the only abhijnaanamentioned by Sita. Instances in literary compositions wherein such abhijnaanaswere employed are several. For example, Kalidasa derived inspiration from Valmiki and absorbed that poet’s methodology in his works. In this connection “Abhijnaana Shaakuntala� and “Meghasandesha� are good examples. Mallinatha, commentator of “Meghasandesha�, clearly stated that Kalidasa kept in mind the “Hanumat Sandesha� of Sita unto Rama and accordingly the “Meghasandesha� was composed by the poet. Nobody can stand on one’s own shoulders.

Before it is concluded it may be said that the bird episodes in general formed a novel approach introduced by Valmiki in the Sanskrit Kavya. The crow episode in particular is undoubtedly highly significant.