The Rejection of Sita in Ramayana‑Based Plays

The article examines the rejection of Sita in Ramayana-based plays up to the 17th century, focusing on how dramatists adapted Valmiki's narrative to align with the conventions of Sanskrit drama. The main argument is that while Valmiki presented a realistic and tragic portrayal of Rama as a human being who rejected Sita due to public scrutiny and possessiveness, later dramatists modified this narrative to uphold the ideal of a noble, virtuous hero. The conflict between love and duty in Valmiki's work was well-known and provided effective dramatic material, but the concept of Sanskrit drama demanded a hero of flawless character. Consequently, playwrights introduced various changes to soften Rama's harshness or omit the rejection entirely. The evidence discussed includes multiple plays and works. Valmiki's Ramayana depicts three rejections of Sita: at Lanka, in Ayodhya, and during the Horse Sacrifice. Bhasa's Pratimana and Abhisheka follow Valmiki in the rejection incident but depict only the rejection at Lanka, where Rama uses harsh words yet accepts Sita after her fire ordeal to convince the people. Kalidasa's works, such as Raghuvamsa and Kumarasambhavam, omit Rama's harsh speech after the Lanka victory and hush up the fire ordeal incident. Bhavabhuti's Uttararamacarita and Mahaviracarita, and Dignaga's Kundamala, focus on the conflict, with the latter two being optimistic about true love and rejecting Valmiki's tragic end. The Hanumannataka, As'caryacudamari by S'aktibhadra, AnarghaiSghava by Murari, Balaramayana, Ullagharaghava by Somadeva, Prasannaraghava by Jayadeva, Adbhutadarpana by Mahadeva, and Jdiiakiparinaya by Ramabhadra are also discussed, showing various techniques like invented boons, magic shows, and hurried endings to manage the rejection incident. The sources mentioned include Valmiki's Ramayana, the Vsimiki - RSmayaria Critical Edition, and various plays by Bhasa, Kalidasa, Bhavabhuti, Dignaga, Jayadeva, and others. The author, Chitra P. Shukla, argues that the shift from Valmiki's realism to the idealized hero of Sanskrit drama governed these adaptations. Most dramatists preferred the heroic sentiment and depicted war incidents, making the rejection of Sita a minor incident, while only a few, like Bhavabhuti and Dignaga, depicted profound and sublime love, providing a sublime and aesthetic experience. The Ramayana remains an inexhaustible source for modern Indian literature.

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