The story of Rama has been told many times, in many languages, ever since Valmiki's account of it shaped itself about two thousand years ago. The reader would, therefore expect to find a manifest justification for one more book, beyond that of the author's subjective satisfaction in handling the great story.

What this book offers is a comparative study of Ramayanam as told by the adikavi, Valmiki, and as rendered by Kamban, the first poet to re-tell the epic in a regional language, viz., Tamil. Kamban came nearly ten centuries after Valmiki: his language, Tamil, endowed him with an inheritance that was rich and felicitous, yet distinct from Sanskrit. Thus, commonality as well as individuality can be discerned in every page, as the; two poets are held side by side. While Valmiki is the source and inspiration for Kamban, the difference in the cultural milieu that influenced the two poets is reflected in the many little points of linguistic and literary excellence that enrich the narrative, in either language.

However, what has been a desideratum is a comparative view of the two classics; although translations in English are available of Valmiki in full and of Kamban in parts, a critical appreciation of the two is something which the earnest reader does not have. This work has its genesis in the belief that a binocular view of Valmiki and Kamban can open up unseen vistas of literary gratification _x0096_ belief which I had occasion to test in my book Kavya Ramayanam' that came out in Tamil. The response which that book has evoked has been such as to reiterate the importance of bilingual studies. The growing interest in Ramayana studies in the countries of S.E. Asia also warrants the assumption that a study of this kind can stimulate further interest in the literary aspect of the two classics in Sanskrit and Tamil.

Literature is, indeed the aspect on which the focus is held; for it is as an epic poem that Valmiki gave his work to the world and that works is held as primeval in Indian literature. If succeeding generations fostered the divinity of Rama, it was a consequence of the custom by which ruling chief sought to identify themselves with Rama, leading to the notion of deva-raja, which spread even beyond the shores of India. To reinforce the image of Rama as an avatara of Visnu was to raise themselves in the eyes of their subjects. Kamban's epic which belongs to the tenth century A. D. retains, in adequate measure, the vitality of human characterization that is manifest in Valmiki; with an occasional reference in extolling terms to the divinity of Rama, Kamban achieves a portrait with a multi-dimensional effect without detriment to the human aspect.

Rama, as an incarnation of Visnu, stands deified in the temples of India: as one who embodies some of the noblest of human virtues, Rama is enshrined in the hearts of millions of human beings in Asia. Held in esteem as an exemplar of moral power, Rama bolds sway in countries such as Thailand and Indonesia, establishing, beyond set notions, the ennobling experience of nobility of character in its universal aspect. Humanity owes that experience to the creative genius of Valmiki.

How that genius came to him in a flash is, by itself, a story of literary significance. For, it was when Valmiki reacted with compassion towards an innocent bird unjustly killed by a cruel hunter that his speech acquired a poetic quality: Valmiki the saint became Valmiki the poet instantly. It was in that mood and in such newly-endowed gift of expression that Valmiki was led to undertake the task of telling the story of Rama, in epic style. Tradition has it that it was Brahma who ordained Valmiki to do so: but, perhaps, there is equal significance in the studied use of the Sanskrit words soka and sloka to describe how sorrow {on seeing the plight of the injured bird} gave rise to poetry, worthy of the great task. The word kavi, which denotes a poet, as well as a sage, is also derived etymologically from the verb ku which means the wailing cry of a bird.

Chastened by a distressing experience that evoked compassion, blessed by the Creator, and inspired by the blossoming of the poetic genius that lay dormant, Valmiki became uniquely gifted. What he achieved there from was the creation of unique characters _x0096_ Rama, Sita and Ravana _x0096_ each unique; in all the literature of India they remain without parallel.

Rama, the hero, is a prince of valour and nobility, born to rule. But he grows into a man with commitment to dharma, thanks to his tutelage under Vasistha and Viswamitra in early life. In all situations, whether it be in joy or sorrow, in triumph or in failure, whether it be in the palace or in the forest, Rama sees himself as impelled by dharma. The result is the evolution of an unusual personality _x0096_ a royal hero, obsessed by unworldly principles; in his detachment of life, Rama is perceived as close to Lord Buddha.

Ravana, the anti-hero, is also unique in his own way. Born is Visravas, a Brahmin of great spiritual power, Ravana learns the discipline of taopasya (penance) which leads to his acquisition of superhuman power, both physical and spiritual. The influence of his tribal mother, Kaikasi, reflects itself in his ambition, cunning and ruggedness. The results is unbridled arrogance. Winning boon after boon from the gods through penance, moving from victory to victory in war with demons and deities, capturing woman after woman by means of pelf and lure, Ravana lets his ego soaraloft until it becomes necessary for it to be brought down by a 'mere man', as he perceives Rama.

Sita the central figure, enters the story as a charming girl on the eve of her marriage; born to web ad life a life of regal splendour, she find herself overtaken by events that test her resources, again and again. As she goes through them _x0096_ banishment from Ayodhya, abduction in Dandakaranya, and imprisonment in Lanka _x0096_ she is seen to grow into a woman of steel; every course in adversity brings out a new hidden strength within. The acme of hers is when the fall of Ravana brings her face to face with a hostile husband; instead of the triumphant hero she longed to be reunited with. Her final vindication is an attestation of what feminine power can attain, when imbued with quality, implied in the word maha-bhaga, which described Sita as a young bride.

Such distinct individuality of character is unraveled in the course of a story that is rich in dramatic moments and sudden turns, in which individuality as well as strength seem to be frequently under test and trial. The banishment of Rama on the very day he was to take the crown, consequent upon a sudden change of heart in his step-mother Kaikeyi, who was really fond of him, is the beginning of such quirks of fortune that fall to the lotof of the main characters. The chance arrival of Surpanakha near the precincts of Rama's cottage in Dandakaranya, which eventually leads to Ravana's abduction of Sita, is another.

Among the other features that embellish the epic, one is the interplay of cultures as obtaining in different societies _x0096_ the value-based aristocracy of Ayodhya, the forest-welling clan of vanaras and the ruggedly mighty raksasas. Another is the juxtaposition of fraternal affinity as manifest in Rama's family, with the running feud between Sugriva and vail, and the strongly differing loyalties that are exhibited by Ravana's brothers. By far the most significant element in the story is the transformation of Ravana, from arrogance to abject surrender, in the face of the moral power which Sita is able to invoke. The manner of in which the rude chieftain brings innocent Sita as prisoner in lonely Lanka, while she trembles in fear and wails in grief, only to result gradually in reversal of roles as Ravana begs for love, placing his head at her feet, while the spurns his offers and rebukes him firmly, would conform to the Greek concept of peripeteia, a sudden turn in character or situation, Ravana's death a the hands of Rama seems but a formal disposal of an unbending man whose defeat has already taken place at the hands of Sita.