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 Srimate SrivanSatakopa Sri Vedanta Desika Yatindra
Mahadesikaya nama:

The Beautiful Book

Countless books have been authored since creation, by countless worthies,
dealing with practically every subject under the Sun. And to each of these
books, its author, with parental pride, has given a name, which he or she
thought suited it best. To each author, his creation, however insignificant
it may appear to others, is indeed a magnum opus deserving of appreciation
and acclaim. However, none has considered his or her book fit enough to be
called "The Beautiful Book". You must have read any number of books-have you
come across one titled simply "The Beautiful Book"? There is indeed one, for
which the venerated author couldn't think of any other name than the
beautiful one mentioned above. Looked at from any angle, it appeared so fine
and striking to him, that try as he might, he couldn't come up with any
other title, which suited the work to a "T". Irrespective of what impressive
names we might give our children, it is their character, conduct and
comportment that ultimately give their names popular acceptance-if a dunce
carries the name "VivEkAnandan", in course of time, people would coin for
him nickname which indicates his true colours, rather than call him by the
given name. So too is the case of any name. That the author-given name of
"The Beautiful Book" (for the work we talked about) has gained popular
acceptance too, is indicative of the book's enchanting and enticing
contents.

The "Sundara KANdam" of Srimad Ramayanam carries an extremely apt name. Sri
Valmiki himself was so impressed by its contents that he could think of no
other name for it than the aforesaid. While other KANdAs of the epic have
been named after the places where the events are enacted (AyOdhyA KANdam,
AraNya KAndam, KishkindhA KANdam) or after the nature of happenings (BAla
KANdam, Yuddha KANdam), this particular portion of the saga is simply named
"Sundara KANdam".

Does this mean that the other parts of the epic are not beautiful? Why
should this particular KANdam be celebrated as the Sundara KANdam?
Why does this specific KANdam command much greater popularity among Rama
bhaktAs than the other parts of the great saga? And if the recital of this
particular KANdam is traditionally held to be capable of fulfilling all of
one's wishes, what could be the special content that it has, which puts it
head and shoulders above the other portions of the epic?

While there are several reasons for this part of Valmiki's magnum opus
getting this "beautiful" sobriquet, the principal ones are the following:-

1. This part of the Epic really contains enthralling descriptions of several
beautiful objects, places and people. Be it the portrayal of Lanka, of the
exalted Pushpaka vimAnam, the AshOka vanikA, the Madhu vanam or of natural
phenomena like the Moonrise, Sri Valmiki excels himself in painting gripping
pen-portraits, with elaborate and enthralling accounts of flora, fauna, the
majesty of nature at its best, the lure and lustre of Lanka etc. Being a
past master at apt similes, the Maharshi's portrayals often appear to be
more glorious than the objects of their adoration, if such a thing were
possible. Here is a simple sample from the 5th Sarga of this KANda, devoted
mainly to the description of the rising Moon over the city of Lanka. Observe
the lilting metre, the thrilling portrayal, the extremely apt similes and
the cumulative effect of unparalleled prettiness and picturesqueness the
entire scenario presents-

"Tata: sa madhyam gatam amsumantam
JyOtsnA vitAnam mahat udvamantam
Dadarsa dheemAn divi BhAnumantam
GoshttE vrisham mattham iva bhramantam"

The huge Silver Orb in the sky, surrounded by a halo of pleasing luminance,
occupying the centre spot among an admiring audience of countless stars
exhibiting their adulation through constant twinkling, looked like a virile
Bull pacing majestically among admiring cows, says Sri Valmiki.

Here is a slew of more similes from the facile pen of the Adikavi, comparing
the resplendent Moon glowing in the bewitching night sky, to a graceful Swan
in a silver cage, to a majestic lion inhabiting a broad cave in the Mandara
mountain and to a victorious centurion ensconced on an imposing elephant-

"HamsO yathA rAjata panjarasttha: simhO yathA Mandara kandarasttha:
VeerO yathA garvita kunjarasttha: ChandrOpi babhrAja tathA ambarasttha:"

What beautiful metre, what incomparable similes, what inimitable portrayals!
Is it any wonder that this forms part of the "Sundara KANdam"? Though it is
extremely tempting to quote one lilting verse after another, which competes
for our attention and adulation, I leave readers to feast themselves on
these gems at their leisure.

However, is it merely due to the gloriously graphic descriptions that this
KANdam is known as the Sundara Kandam, for, equally facile portrayals are to
be found in other parts of the epic too, especially the accounts of Spring,
Autumn and the Monsoon seasons and innumerable other pen-portraits, of which
only Sri Valmiki is capable?

2. This Kandam is almost exclusively about the exploits of an extremely
beautiful person ("Sundara:")-none other than Sri Hanuman. It is beyond
dispute that Sri AnjanEya is extremely handsome, virile and strikingly
attractive. "KAnchanAdri kamanIya vigraham" says the PArAyaNa slOka, telling
us that the VAnara veera possessed glorious good looks and shone like a
veritable Golden Mountain, with his gigantic physique and commanding
personality. When we go through Sundara KANdam, we find it to be one long
and continuous saga of Sri Hanuman's adventures and exploits, in the service
of His Lord and Master, Sri Rama. The KANda begins with a vivid account of
Hanuman's launch into the long, difficult and hurdle-filled flight across
the ocean to Lanka, a feat none else would even contemplate, leave alone
attempt. What follow are enthralling accounts of the MahAkapi's rigorous
search for Sri Sita, his timely arrival on the scene to prevent Sri Mythily
from taking Her life and to extend assurances of imminent rescue by Sri
Raghava, his vanquishing the minions, ministers and sons of Ravana in a
patently unequal battle, his challenge to the demoniac king and departure to
Kishkindha to convey the good news to the Prince of Ayodhya, leaving Lanka
engulfed in flames.

Thus, from commencement to conclusion, this KANda is verily monopolised by
the "Sundara", Sri Hanuman, who is on centre stage, throughout.

3. What could be more beautiful than tales of the Lord and accounts of His
handsomeness, valour, majesty, generosity and boundless compassion? Anything
incorporating such a narrative definitely deserves the name "Beautiful Book"
. The Sundara Kanda contains several such descriptions of Sri Raghava's
glorious physical and psychological traits. The 31st Sarga contains a
detailed account of the IkshvAku Vamsam and Sri Rama's glorious guNAs, the
35th a mouth-watering description of His matchless physical beauty, the 51st
again a narrative of the Prince's valour, prowess and compassion. With the
recurring theme of Bhagavat divya mangaLa vigaraha varNanam and Bhagavat
guNa anubhavam, there is little wonder that this portion of the epic is
known as the Sundara Kanda.

4. Whether it be in physique or in character, could anyone hope to equal Sri
Mythily, the epitome of womanly virtue and seemliness?
She is thus a real "Sundari", beautiful beyond imagination and looking as if
She was put together by the Divine Architect, using up all the stock of
beauty on hand-"DEva mAyEva nirmitA". It was a divine beauty, such as only
the Divine Consort could possess. If we come to think of it, this Kandam
devotes a major portion of its content to this "Sundari", Her travails
amidst the rAkshasIs of AshOka vanikA, Her encounters with the dastardly
Ravana, Her compassionate advice even to Her abductor to perform Sharanagati
at the Lord's lotus feet, Her oscillation between hope and despair, Her
meeting with Maruti and the consequent reassurance gained about imminent
rescue by Her beloved and Her prayers for the safe return of Sri Hanuman to
KishkindhA. Though the entire Srimad Ramayana is but a saga of Sita ("SItAyA
's charitam mahat"), yet the Sundara Kanda brings out the depth of Piratti's
character in all its glory, the glory of gold, which glitters all the more,
when
Passed through fire.

To conclude, we can't do better than to enjoy a verse of one of the erudite
commentators on Srimad Ramayana, viz., Tilaka, who, instead of enumerating
the beautiful things in this Kandam, queries us as to what is there in the
Sundara Kanda, which is not Sundaram (beautiful). Everything about this
Kanda is indeed beautiful-
1)the city of Lanka, which forms the picturesque backdrop for the momentous
events of this Kanda,
2)the magnificent story narrated in the Kanda, with its numerous twists and
turns, affording full scope for display of the nava rasAs, 3) the incredible
beauty of Sri Janaki Devi, who forms the focal point of the narrative-
indeed everything about the Sundara Kandam is beautiful beyond depiction.
Here is the beautiful verse from the "Tilakam", a commentary on the great
epic-

"SundarE sundarI LankA, sundarE SundarI kathA
SundarE sundarI SitA sundarE kim na sundaram?

SundarE SundarIm SitAm akshatAm MarutE: mukhAt
ShrutvA hrishta: tathaivAstu sa Rama: satatam hridi".

Srimate Sri LakshmINrismha divya paduka sevaka SrivanSatakopa Sri Narayana
Yatindra Mahadesikaya nama:
dasan, sadagopan






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