ASHTANĀYIKAS IN RAMAYANA

International Journal of Recent Advances in Organizational Behaviour and Decision Sciences (IJRAOB) An Online International Research Journal (ISSN: 2311-3197)

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www.globalbizresearch.org

Ashtanāyikas in Ramayana

Rashmi Prasad,

Jain University,

Bangalore, India.

E-mail: [email protected]

Dr. Choodamani Nandagopal,

Dean, Faculty of Humanities and Social Sciences,

Jain University, Bangalore, India.

___________________________________________________

Abstract

This study aims to explore the female characters of Ramayana in the perspective of

Ashtanāyika. Indian tradition defines Ramayana as ‘Mahākāvya’, a category which is akin to

the western types of drama and narrative thinking. Its style is decorative, elaborated with

similes and metaphors, and along with other features of classical Sanskrit poetry. In Indian

epics; karma, dharma, and kāla determine what the hero can do. Curses and boons become a

means to elevate the story to mythic heights. Ramayana of Valmiki displays almost all the

epic features. The variety of characters, the description of events, the simplicity in words, the

values taught in each episode, have indeed added to the popularity of the story. The religious

significance which it has acquired has made it into a sacred book. Characters of different

emotions and sentiments take the story of Ramayana to great heights. The epic quality of

Ramayana is its adaptability to many art forms. The emotional story of Ramayana revolves

around the characters expressing different sentiments and values. Rasa is the basis of art. The

main aim of any art is to evoke rasa in the mind of the onlooker. Through movements, the

artist, the dancer creates the rasa and conveys it to the audience in order to create the right

mood. The study of the woman characters lead Ramayana story from one stage to another.

The difficulties, sorrows, compassion, love and sacrifices along with the mental states or

avasthās of nāyikas with reference to their nāyakas are to be seen and interpreted from the

perspective of women characters. The important female characters of Ramayana play a

pivotal role to the plot and trigger the discussion on the variables of the emotive elements.

The emotional changes they underwent with their nāyakas can be better understood when

seen from the perspective of ashtanāyikas as mentioned by Bharata in his classic text the

Natyashastra.

___________________________________________________________________________

Keywords: Ramayana, Rasas, Nāyakas, Nāyikas, Ashtanāyikas, Natyashastra,

mailto:[email protected]


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1. Introduction

Ramayana has been a constant source of spiritual, cultural and artistic inspiration for

these thousands of years, not only to the people of India but also to the people of South East

Asian Countries. It has enriched the national literature and has also provided themes for every

form of art, drama, music, painting and sculpture. Its heroic characters have helped to mold

the Hindu character; and they have inspired millions of people with deep, tender love, respect

and devotion.

One of the views is that Valmiki wrote Ramayana during the lifetime of Rama. In

Valmiki’s work, Rama is portrayed as a man of great stature and unique qualities but not as

an incarnation of God. The curse given by Valmiki to the hunter on killing one of the love

intoxicated birds, gave rise to a śloka which was highly appreciated by Brahma. From sorrow

sprang a verse and in this meter and rhythm, the story was told. Brahma gave him the vision

to see all that happened, along with the characters, thoughts and looks. Valmiki composed

Ramayana in that meter and told it to his disciples. The tale of the lord and his consort born as

mortals, experiencing human sorrow was sung by the Rishi in words of unique beauty. Thus

was born the holy Ramayana by Valmiki.

Ramayana gives a multidimensional picture of an ideal life. Everyone is brought face to

face with a series of difficult, mysterious and tragic situations, and shown how Rama and the

other prime characters react to the circumstances, upholding the highest values of spiritual life

laid down in the scriptures. Ramayana has been regarded as ‘ādikāvya’ and the poet Valmiki,

‘ādikavi’. The content of Ramayana was seen as a Sanskrit kāvya literature which was soon

adapted to chanting and reciting. The common people have been heavily influenced by it. The

names of the characters have become so popular in the societies of India that a new born is

given a name from the text.

2. Objective

The objective of the present paper is:

To explore the classification of the eight nāyikas with reference to the women characters

of Ramayana and to analyse the portrayal of ashtanāyika characteristics with reference to

female characters in Ramayana like Sita, Urmila, Mandodari, Shoorpanaka, Kaikeyi and such

others who provide a wide scope for research.

3. Research Questions

A preliminary and brief study of the above aspects lead to some doubts in the reader and

these can be formulated broadly into the following questions.


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Are the ashtanāyikas depicted in the epic Ramayana? If so, are the female characters

portrayed from the perspectives of ashtanāyika?

What is the significance of these female characters with reference to the context of the

story of Ramayana?

The present study aims at making a detailed study to investigate and answer these

questions, with examples from the epic.

4. Ramayana and Dance

Ramayana is filled with noble thoughts, noble sentiments, noble characters, not one of

whom is spared the experience of pain. Ramayana is full of sufferings of the different

characters. Ramayana is often considered as a sad story, at the same time like a Greek

tragedy; it is the very meeting of expressive art. The rasa or sentiment behind a character is

better understood by the onlooker with the help of arts as they convey the message more

effectively. Ramayana is an epic, a story, with lots of episodes in it, which perhaps can be

more effectively conveyed through the performing arts like dance, drama and music.

Dance is an art form that blends the lyrical and narrative manners, conveying them

through mime and gesture expressed within the musical pattern of footwork. Dance enhances

the beauty of the narrative aspect of Ramayana. Dance revolves around the sentiments and

emotions. Abhinaya is a medium of expression. The lyrics are given meaning and expression

suitable for the spectators to understand it. The movement of the whole body with gestures of

limbs, hands, eyes, eyebrows, etc., forms an important element of dance. Ramayana is an

emotional story which gives ample scope for expressing the emotions through dance. The

character classification gives a wide scope for a dancer to bring out the emotive elements. The

word nāyika first appeared in Nātyashāstra of Bharata. According to Bharata of Natyashastra,

the nāyika is a female leading character in a drama who leads her audience to a desired

emotional state of association with the story. The nāyika brightens the principal character of

the story through manifold performance. The term nāyika need not be applicable only to the

main female character but may refer to any female character in the story. It is the male

character who determines the heroine’s emotions which find expression as certain mental

states. Essential laying expectation, hope and separation derived out of love are the basis for

the classification of nāyikas. Bharata refers to woman as the root cause of all happiness or

sorrow and recommends that treatment given to her should be graceful. He classifies the

nāyikas based different factors. The classification has been made based on social status,

sentiments, age, temperament, behavioural actions and modesty.

The eight-fold classification made by Bharata called “Ashtanāyika” refers not to types of

heroines but to the situations in which a woman may be placed in relation to her lover. The

eight nāyikas are mainly divided into two classes as sambhoga where heroine is united with


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her lover and other vipralamba where the heroine is not united with her lover. The eight

nāyikas are as follows:

Vāsakasajja, Virahotkantitha, svādhinapatika, Kalahantarita, Khanditha, Vipralabdha,

Proshithabhartrka and Abhisārika.

Vāsakasajja is a nāyika dressed up carefully to receive the lover, Virahotkantitha, a

nāyika who is distressed due to separation, Svādhinapatika, a nāyika who has total control

over her husband, Kalahantarita, a nāyika who is temporarily separated due to quarrel,

Khanditha, a nayika who is offended by her lover, Vipralabdha, a nāyika who is rejected by

her lover, Proshithabhartrka, a nāyika whose husband is away on a sojourn and Abhisārika, a

nāyika who approaches the lover on her own.

5. Ramayana and Literature

It is referred to as kavya-itihasa, a poetic history. The description of nature and the

variety of life is given with dignity, which pleases and inspires the people (Lal, 1981). Along

with Valmiki’s Ramayana there are hundreds of different versions of the story in India and

Southeast Asia and beyond. As Tulsidas said ‘it is impossible to keep an account of the

Ramakathas in this world, A.K. Ramanujan lists eleven Indian languages and ten south and

south East Asian languages. There are the Adhyatma Ramayana, Adbhuta Ramayana,

Ramacharitamanas of Tulsidas, Kamba Ramayana, Iramavataram, Kalidasa’s Raghuvamsha

all in poetry form. In addition to the vernacular versions of Ramayana there are many tribal

Ramayanas as well.

The translations of the original text have been made into many Indian languages, with

some differences in the story line. Sanskrit alone contains more than twenty-five narratives.

The sequence of the episodes were the same but the style differed from the original (A.K.

Ramanujan, 2004: 24). Kalidasa owes his work Raghuvamsha to Valmiki’s Ramayana. The

prākrit poets used the themes of Ramayana in their poems as Paumacariya and Setubandha.

The vernacular versions are many in number. In Ceylon too, long before 6th century a king by

name Kumaradasa used this epic to write Janakiharana. There were simultaneously a number

of versions of Ramayana in Javenese and Balinese during the 9th and 10th century. It has

been written in Persian, Thai, Cambodian, Laotian, Tibetan, Chinese, French and Sinhalese

languages. During the 18th cen Ramakein appeared in Thai language too (Srinivas Shastry

K.S, 1972: 28). There are a few differences between the narratives of these poets and writers.

Kuvempu in his ‘Ramyana Darshanam’ has tried to highlight and give importance to the

characters who have been given less importance by Valmiki in the original Ramayana. His

portrayal of characters and their finer modifications provide us a look at the key characters

from a different perspective.


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According to A.K Ramanujan, in technique, Kamban is more dramatic than Valmiki.

Kamban Ramayana has a very great influence on other languages also, in Andhra, Ramayana

is played as drama, and in Kerala it is a part of temple ritual. Thai Ramakein is based on

Kamban Ramayana and has the names of the characters in Tamil. Tulsidas, in his

Rāmacharitamānas has narrated the story of Rama as a means to propagate the concept of

worshipping Rama.

The story in Adhyatma Ramayana begins with the theory of Rama’s divinity and not with

the life story of Rama but its path of bhakti and jnāna māga (Baij Nath, 2005: Introduction).

The Jain narratives have Rama story which is no lengthier than that of Hindus. The characters

are consistently drawn and many of their scenes are full of deep sorrow.

The major differences observed in the different texts of Ramayana are, the opening of the

story and the ending. It opens with a story about Valmiki himself but, ends differently

according to the narrative. The incidents explained by Valmiki become a parable for other

poets. This beginning incident gives the work of an aesthetic self-awareness.

6. Women Characters in Ramayana

Characterization of the characters in Ramayana has been done differently by different

writers. The basic story being that of Valmiki, it has been undoubtedly the most authentic

primary source to all the writers. The characters have a different outlook a different behavior

towards the situations faced. All the emotions can be seen in the lead female characters while

they try to attain their personal targets. A woman is the strength on which the concepts of

society and culture rest. It is observed that women play an important role in epics and these

epics also depict women characters in varied dimensions. Characters portray emotions with

reference to the situations attached to it and the sentiments of Indian culture are enriched in

Ramayana. The characters are brought from all sections of society. Each woman character is

responsible in one way or the other for the upliftment of the men characters and even for their

victory or failure. In spite of all the sufferings and hardships, the women remain stable and

uphold the ideals of life. Characters like Sita, Kausalya, Sumitra, Sabari and Mandodari have

ideal values embodied in them and they stand for their righteousness, competence, firmness

and faith.

The present paper focuses on the relationship of nāyaka and nāyika in the story. Valmiki

was a sage, hence has not highlighted romantic sentiment to focus on the śringāra rasa.

Though we can see glimpses of it, more importance was given to the sentiment of karuna.

The very basis of the epic stands on pathos. In order to understand the female characters of

the epic and relate them to the concept of ashtanāyikas it is important to know the

relationships of nāyikas with their nāyakas. It is evident from many literary sources that a

nāyika need not have to be the heroine of the plot, but can be any lady who takes the story


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ahead with an important role to play. Based on their relations with the nāyakas we can

analyse the salient features they share as an ashtanāyika. The concept of ashtanāyika as such

has not been portrayed in the epic, however, here an attempt is made to explore the characters

and compare their similarities with that of ashtanāyikas. The women characters chosen for the

study are as follows: Sita, Kausalya, Kaikeyi, Urmila, Mandodari, Ahalya.

Of the eight nāyikas Sita portrays the characteristics of Virahotkantitha nāyika. A

virahotkantitha nāyika is one who waits for her beloved eagerly for the union with the pain of

separation. Vipralamba śringāra, is being projected while Sita is in the captive. The viraha or

separation experienced by Sita in Lanka gives ample evidence to prove her character as a

Virahotkantita nāyika. Kausalya can be classified under Vipralabdha nāyika, one who is

deceived of her beloved. The fact that Dasharatha deceived her for long years can be seen

when Dasharatha is grief stricken at the departure of his sons and daughter-in-law. We can

consider that Kaikeyi portrays the characters of a Swādhinapatika nāyika (a nāyika who has

control over her beloved and gets things done with her charm and beauty). She can also be

considered as portraying the character of a khandita nāyika (one who is upset for her beloved

being favorable to another woman). When we go through the character of Urmila, we can find

similarities with the character of Proshitabhartrka nāyika (one who is waiting for her beloved

eagerly who has gone on a sojourn). She can also be considered as Virahotkantitha nāyika as

she is undergoing the pangs of separation from her beloved.

When we go through the character of Mandodari we can categorise her as Vipralabdha

nāyika (one who is deceived by her beloved). Though she is the chief queen of the demons

she is not given the pleasures of a queen, she is never disheartened with Ravana’s character.

Ahalya can be compared to the characteristics of vipralabdha nāyika. She is considered as

one of the panchakanyas who is of the uttama kind. She can be portrayed as virahotkantitha

nāyika as she waits for her beloved in separation. These women characters portray the

ashtanāyikas based on the situations aptly.

7. Conclusion

Each woman character has a unique characteristic which makes a person think about her

in a different way. Every woman in Ramayana has a significant role to play in the context of

the entire story. The characteristics of these women, by themselves have a wide scope for

study. They give us an overall picture of the situations which were prevalent during the time.

As we study the characters in detail, we observe them from different perspectives. This study

has attempted to explore these women characters, the emotions they have gone through in

various situations and explored them from the perspective of ashtanāyikas.

The situations experienced by the characters give ample scope to portray them in a

specific nāyaka or nāyikabheda. According to Nātyashāstra, the hero and heroine become the


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nāyaka and nāyika of the plot. The characterization is planned based on the rules laid down

by Bharata, in drama and dance. The psychological changes the nāyikas undergo with or

without their beloved are used as evidences to portray the female characters under

ashtanāyika bheda. The women characters studied as a part of the research have been

examined in detail keeping in mind the concept of ashtanāyika. The present study on women

characters of Ramayana helps one to know and understand the emotions and sentiments

behind such less emphasized characters and allows viewing them from a different perspective.


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NĀYIKABHEDA:

Sahityadarpana Bhasabhusana Rasamanjari Kavyalankara Dasharupaka Bhoja Natyadarpana Kamasutra Bhāvaprakula

Main Classification Svakiya

Parakiya

Samanya

Sadharana

Svakiya

Parakiya

Samanya

Sadharana

Dharma

Dasha

Avastha

Guna

Atmiya

Parakiya

Sarvaguna

Svakiya

Parakiya

Sadharana

Nāyika

Pratināyika

Upanāyika

Ananyanāyika

Kulasa

Divya

Ksatriya

Paryakamni

Maiden

Wife

Hetaira

Svakiya

Anya

Sadharana

Sub Classification 1 Mugdha

Madhya

Proudha

Pragalbha

Mugdha

Madhya

Proudha

Pragalbha

Mugdha

Madhya

Proudha

Mugdha

Madhya

Proudha

Ten types of

Nāyikas

Padmini

Citrini

Shankini

Hastini

Sub Classification 2 Dhira

Adhira

Dhiradhira

Dhira

Adhira

Dhiradhira

Sub Classification 3 Jyesta

Kanishta

384 nāyika

Classification of nāyikabheda according to various texts


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