Compared to the western epics, the Ramayana and Mahabharata are more complete story of Hindu, religious, cultural and social imagination and more exact narration of evolutionary rise of man. In this book, William Buck has succeeded better than anyone else in conveying the spirit of the original.The task of presenting a faithful image of the original text, its metaphysical nuances as well as its chronological sequence the world`s largest epic in a small book is a stupendous task.Mainly as a narration, the version of William Buck will serve as an interesting and complete tale to the English speaking reader. Valmiki was called the Adikavi or first poet of Sanskrit literature and some of his remarkable talent shines forth in the English rendering. The reader will find pleasure in reading it aloud to himself or the others.

Borrowing from Sanghadasa's Jaina version of the Ramayana, Mandodari-one of the least known characters of the Hindu epic-is finally given a voice. Considered to be one of the most beautiful apsaras, she was married off to the mighty Ravana, the legendary king of Lanka. In her story, she speaks about her struggles after her marriage, her insecurities and her pious nature that challenged her husband's growing aspirations. She narrates the rise of Ravana's power and the blunders he made that ultimately caused the downfall of Lanka. Despite her husband's faults, Mandodari loved him and advised him to follow the path of righteousness. Ravana's defeat in a thirteen-day war turned him into a villain. But what if he were the real hero on his side of the war? What if his downfall was a result of scheming to push him out of power? This is Mandodari's story.

The ancient Hindu epic poem The Ramayana tells of the journey of Rama, an incarnation of God, to set free his wife Sita from the demon Ravana. This divine story, here set forth in dramatic form, encapsulates the rise of humanity from animal to God. It was produced at the Birmingham Rep in 2000, and at the RNT in 2001.

The Ramayana, one of the two pre-eminent Hindu epics, has played a foundational role in many aspects of India's arts and social norms. For centuries, people learned this narrative by watching, listening, and participating in enactments of it. Although the Ramayana's first extant telling in Sanskrit dates back to ancient times, the story has continued to be retold and rethought through the centuries in many of India's regional languages, such as Hindi, Tamil, and Bengali. The narrative has provided the basis for enactments of its episodes in recitation, musical renditions, dance, and avant-garde performances. This volume introduces non-specialists to the Ramayana's major themes and complexities, as well as to the highly nuanced terms in Indian languages used to represent theater and performance. Two introductions orient readers to the history of Ramayana texts by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as to the dramaturgy and aesthetics of their enactments. The contributed essays provide context-specific analyses of diverse Ramayana performance traditions and the narratives from which they draw. The essays are clustered around the shared themes of the politics of caste and gender; the representation of the anti-hero; contemporary re-interpretations of traditional narratives; and the presence of Ramayana discourse in daily life.

In eternal dusk a ravaged Mandodari sits waiting... sitting there, alone a thousand years… scarred and naked without a shred of clothing, no defense against the elements, animal or man - questioning fate - challenging the ultimate. Her body filled with scars stand testimony to her suffering. Her desolate surroundings echo death and destruction. What were the sins committed by her to warrant such a punishment? Was it the hand of God or man? Would her silence reveal the answer? For the first time, after a thousand years Mandodari breaks her silence… She opens up with the secrets of her life. Was it a regular childhood she had? An ordinary husband? Was an ordinary life possible with Ravana, the great Lord of Lankapuri as her husband? Oh! Ravana – the name that brings loath and fear. Who was he? Did he really have ten heads? Was he the jealous, lustful and selfish one as history says? Is Ravana really an evil demon as he is being portrayed? Was Ravana a loser, just because he didn’t win the war? Was it an ethical war? Why was he murdered? Was it fair dragging Mandodari naked and molesting her in front of the whole army? Who was to blame, Rama or Ravana? Or was it her karma? Who decides karma? Is it always right? It is only Mandodari, who can explain… Enough! The questions of a thousand years will be answered now. History will be re-written. This story is not Ramayana. It is Ravanayana . . . Yes, it is Mandodari’s Ravanayana. . .

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The volume contains thirty contributions to the theme of the classical Indian epic Ramayana. These are revised and occasionally enlarged versions of papers read at the International Ramanaya Conference, held at the University of Leuven in July 1991 to celebrate the 150th anniversary of Sanskrit and Indological studies in Leuven and in Belgium. The annotated papers, in English, have been grouped in three chapters: 1. Valmiki's Ramayana and Sanskrit epic literature; 2. International impact: translations and adaptations, reception of Sanskrit language and literature in the scholarly world; 3. Universal human values in Ramayana. The index of names, titles and key words will prove useful for reference and occasional cross-reference.