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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  

 



[Non-text portions of this message have been removed]




 
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