Rāmanāṭakam
The story of Rama, the ideal hero of Hindu tradition, has been retold in countless languages and forms across India. In Tamil literature, while Kamban’s Ramayanam (12th century) occupies the position of a classical poetic epic, the Rāmanāṭakam of Arunachala Kavi (1711–1779) represents a devotional and performative retelling of the Ramayana. More than a mere play, Rāmanāṭakam is a unique fusion of drama, music, and bhakti, which became an integral part of temple culture, Carnatic music, and popular devotion in Tamil Nadu.
The Author – Arunachala Kavi
Arunachala Kavi was born in Tillaiyadi near Mayiladuthurai in the 18th century. Though he had training in Tamil and Sanskrit, he was not primarily a poet or musician by profession. He is remembered as a bhakta whose compositions reflected a deep devotional surrender to Rama. Legend says that with divine grace he composed the Rāmanāṭakam almost spontaneously when encouraged by temple priests and musicians.
Unlike Kamban, who wrote a vast epic with lofty poetic grandeur, Arunachala Kavi chose a musical-drama format so that Rama’s story could be sung, enacted, and enjoyed by ordinary people in temple courtyards and village gatherings.
The work is divided into acts (aṅkams), corresponding to important episodes in the Ramayana:
1. Rama’s birth and early life
2. Marriage with Sita
3. Exile into the forest
4. Abduction of Sita by Ravana
5. Hanuman’s heroic journey to Lanka
6. The great war and Ravana’s defeat
7. Rama’s coronation
Instead of highly elaborate similes and long descriptions (as in Kamban), Arunachala Kavi uses direct, simple, and lyrical Tamil. His verses are usually set to Carnatic ragas, making them suitable for singing. Many of these compositions—such as En pallikondeer ayyā (in rāga Mohanam), Yarukagilum bhayama (in rāga Sahana), and Andhāro megalai (in rāga Surati)—have become immortal pieces in Carnatic music concerts.
Performance Tradition
The Rāmanāṭakam was not meant for reading alone—it was designed for stage and temple performance. A typical enactment involved:
A lead singer who recited the verses.
Musicians with instruments like the mridangam and nagaswaram.
Actors who gestured and enacted the dialogues.
Audience participation in the form of responses, clapping, and devotional fervor.
This made it closer to Bhajana Sampradāya traditions than to Sanskrit classical theatre. The audience was not passive; they experienced Rama’s life emotionally, with tears, laughter, and devotion.
Bhakti over Poetic Ornamentation: Kamban aimed to display poetic mastery; Arunachala Kavi sought to ignite devotion.
Accessibility: The language was simple Tamil, so even common folk could understand and join.
Moral and Spiritual Lessons: The work emphasized dharma, humility, devotion, and Rama’s compassion.
Integration with Music: Many songs from Rāmanāṭakam survive as standard Carnatic kritis, giving the work a permanent place in South Indian classical tradition.
Feature Kamban’s Ramayanam Arunachala Kavi’s Rāmanāṭakam
Period 12th century 18th century
Genre Epic poetry (kāvya) Musical drama (nāṭakam)
Language High Tamil with heavy use of similes and imagery Simple Tamil, direct and lyrical
Purpose Literary excellence, philosophical depth Popular devotion, music and performance
Influence Classical Tamil literature Carnatic music, bhajana traditions
The Rāmanāṭakam has had a lasting impact:
Its songs are performed even today in Carnatic concerts.
It contributed to the Rama Bhakti movement in Tamil Nadu.
It bridged the gap between temple rituals, art, and literature.
It influenced later devotional theatre forms, including Harikatha and Namasankeerthanam.
The Rāmanāṭakam of Arunachala Kavi stands as a shining example of how great epics like the Ramayana have been reshaped in different times and cultural contexts. While Kamban’s Ramayanam appealed to the scholar and the poet, Rāmanāṭakam touched the heart of the common devotee. By combining bhakti, drama, and music, it made the story of Rama a living experience. Even today, when a Carnatic musician sings one of Arunachala Kavi’s songs, the devotional spirit of Rāmanāṭakam lives on.
Famous Songs from Rāmanāṭakam and Their Rāgas
Arunachala Kavi’s Rāmanāṭakam is unique because its verses were set to Carnatic music, and many of them have survived as kritis sung even today in concerts. Some of the most famous include:
1. “En pallikondeer ayyā” – Rāga Mohanam
A song sung in praise of Lord Rama, asking why He reclines on a couch when the devotee’s heart longs for Him. This piece combines simplicity with musical beauty and is a staple in bhajan and concert traditions.
2. “Yārukagilum bhayama” – Rāga Sahana
Hanuman’s fearless proclamation that he has nothing to fear, as he carries Rama’s name in his heart. The gentle raga Sahana makes it both moving and devotional.
3. “Andhāro megalai” – Rāga Sūrati
Sung when Rama sets out for the forest. The song describes the atmosphere and emotions of Ayodhya, where the sky is filled with dark clouds, symbolizing sorrow.
4. “Indru poi nālai vāraai” – Rāga Kalyāṇi
Kaikeyi’s manipulative demand to Rama, urging him to leave immediately so that Bharata can ascend the throne. A dramatic piece filled with pathos and emotional power.
5. “Sītā kalyāna vaibhogamē” – Rāga Śaṅkarābharaṇam
Perhaps the most popular of all, this song celebrates the divine wedding of Rama and Sita. It is still sung at weddings across Tamil Nadu and Andhra Pradesh, carrying the blessings of the epic into family life.
6. “Kanden Seethaiyai” – Rāga Vasanta
Hanuman’s joyful declaration after finding Sita in Lanka. The raga Vasanta enhances the mood of relief and happiness.
7. “Ananda rama ananda” – Rāga Kambhoji
A jubilant composition sung after Rama’s coronation. The grandeur of Kambhoji elevates the celebratory spirit of the scene.
These songs have been performed by leading Carnatic musicians such as M. S. Subbulakshmi, D. K. Pattammal, and Sanjay Subrahmanyan.
They show how Rāmanāṭakam crossed from the stage into concert platforms, temples, and homes.
They embody the blending of literature, devotion, and music—a true hallmark of Arunachala Kavi’s genius.
No comments:
Post a Comment