Ramcharitmanas, written by Goswami Tulsidas in the 16th century, is a shorter but more popular version of the Ramayana, one of the two major Sanskrit epics of ancient India. Despite its smaller size, Ramcharitmanas is considered to be an epic in its own right, with over 12,800 lines of lyrical verse divided into seven chapters.
Tulsidas’s lyrical style and his deep understanding of Hindu religious philosophy have made Ramcharitmanas one of the most beloved and influential works of Hindi literature. The epic explores the complex relationship between the human and divine, and it offers a profound meditation on the nature of love, devotion, and salvation.
Epic Ramcharitmanas
According to literary historians, Tulsidas started writing the Ramcharitmanas in Ayodhya on the day of Ram Navami in the year 1574. An attempt was also made to destroy the manuscript of Tulsidas’s Ramcharitmanas.
Former diplomat of India and keen observer of culture and Indian society Pawan Kumar Verma writes in his book The Greatest Ode to Lord Ram: Tulsidas Ramcharit Manas that Tulsidas gave a copy of the Ramcharitmanas manuscript to each of the nine gems in Akbar’s court and one to Finance Minister Todar Mal for safekeeping.
Ramcharitmanas has the status of a great literary work, but it also has the reputation of a religious book among the Hindus in North India.
Pawan Verma has written that Ramcharitmanas is like the Bible for the Hindus of North India. He also says that Ramcharitmanas is one of the great literary works of the world. Verma has written in his book –
“Ramcharitmanas not only contains brilliant poetry of Tulsidas, but also deep philosophy, intuitive knowledge and above all great devotion.”
Ramcharitmanas is the product of the Bhakti movement. Well-known historian of Hindi literature, Acharya Ramchandra Shukla considers the Bhakti period to be from 1318 to 1643. That means this was the middle period of Indian history. Bhakti period also includes more than half of the Mughal period.
Tulsidas was in the era of Akbar. It is said that Akbar had also asked Tulsidas to join the Navratnas, but he rejected the offer.
Regarding Bhaktikal and Tulsidas, Acharya Ramchandra Shukla has written in his book Goswami Tulsidas, “After the Muslim empire was completely established, there was no longer any independent area where bravery could be transmitted. The country’s attention shifted from effort and might to the power and mercy of God. That was a time of despair in the country, when no other support was visible except God. Sur and Tulsi revived the withering Hindu life by watering it with the goodness of this devotion.”
Acharya Shukla has written, “First, by showing the laughing and playing form of God, Surdas removed the sadness caused by disappointment of Hindus, bringing cheerfulness to life. Later, Tulsidas ji gave a unique spread of hope and strength by showing his auspicious form to the people. Now the Hindu community is not disappointed.”
There can be a debate on how much the despair of Hindus ended because of Tulsi and Surdas, but a section in modern India also feels that in Ramcharitmanas, Tulsidas has established the superiority of Brahmins and humiliated Dalits.
Is Ramcharitmanas anti-women and anti-Dalit?
By quoting some couplets of Tulsidas, the Ramcharitmanas is described as Dalit and anti-women. This couplet is mentioned every day to portray Tulsidas as Dalit and anti-women.
प्रभु भल कीन्ही मोहि सिख दीन्ही। (Lord, no one seduced me.)
मरजादा पुनि तुम्हरी कीन्ही।। (Mardata Puni Is Not Yours)
ढोल, गंवार शूद्र, पशु, नारी। (Drums, uncivilised shudra, animals, woman)
सकल ताड़ना के अधिकारी।। (Officer of gross chastisement)
and the second couplet is – अधम जाति मैं बिद्या पाए, भयउँ जथा अहि दूध पिआए. (A person of low caste after getting education becomes like a snake after being fed milk.)
Ramkatha narrator Akhilesh Shandilya says, “If we see these couplets independently, without considering the context and setting, it will definitely seem that they are against women and Dalits. Those who use these couplets to attack Tulsidas, they ignore the context.”
Shandilya says, “The couplet which is mentioned is – ‘अधम जाति मैं बिद्या पाए, भयउँ जथा अहि दूध पिआए’. The context of this couplet is that in the Uttar Kanda of Ramcharitmanas, a dialogue is taking place between Garuda and Kakabhushundi (Kakabhushundi means crow).
Kakabhushundi himself admits that he had acquired so little knowledge that he disobeyed his guru. In fact, in order to humbly accept his arrogance, he is calling himself lowly. The reputation of the crow is nothing compared to that of the Garuda. Kakabhushundi is accepting his deviation and in this sequence he calls himself inferior.
Akhilesh Shandilya says, “This couplet is presented in such a way to make it look like it is anti-Dalit and anti-woman, even though it is taken out of context. It is presented as if Tulsidas himself has said this about Dalits. It is like if I say to my guru that I am not even equal to the dust of your feet, and people start to accuse my guru of being anti-Dalit just because of my caste.”
Late Professor Namvar Singh, a well-known critic of Hindi literature, had also mentioned the Garuda and Kakabhushundi dialogue in one of his lectures.
Namvar Singh had said, “In the form of Garuda and Kakabhushundi dialogue, Tulsidas has explained what is important in knowledge and devotion and what is the relationship between the two.” Garuda and Kakabhushundi were chosen to show why devotion is superior to knowledge and what is shown to both of them in the end is important.
“Garuda was the vehicle of the gods. He was equal to a god. Kakabhushundi is a crow. Where is the crow and where is Garuda? But Tulsidas showed Kakabhushundi as superior because he was a devotee. Even though Kakabhushundi was the smallest (in sense of superiority) of birds. Kakabhushundi wins and Garuda loses. If you want to see the argument of knowledge versus devotion, there can be nothing better than the dialogue between Kakabhushundi and Garuda.”
The line “Dhol, ganwar shudra, pashu, nari, sakal tadna ke adhikari” is often cited to attack Tulsidas and Ramcharitmanas. People even use it to justify violence against women and Dalits in villages. People use this line freely in their own way, but no one gives the context.
Akhilesh Shandilya explains the context of this couplet in Ramcharitmanas, saying, “Rama is on his way to Lanka. The ocean lies in his path. He has been asking the ocean for a way through for three days, but the ocean does not listen. Rama becomes angry and orders Lakshmana to draw his bow. Rama is angry enough to dry up the ocean.” In this anger, Rama says-
विनय न मानत जलधि जड़, गए तीनि दिन बीति। (Humility does not believe the ocean root, gone three days passed.)
बोले राम सकोप तब, भय बिनु होइ न प्रीति।। (Rama spoke angrily then, without fear there is no love.)
Before the arrow could be released, the ocean appeared before Rama and said, “Lord, we are inanimate beings. We do not understand prayers.” In this context, the ocean tells Rama, “Dhol, ganwar, shudra, pashu, nari, sakal tadna ke adhikari.”
Shandilya says, “Here, the ocean is expressing its conditioning. Neither Tulsidas nor Rama is saying this. It is not necessary that every character in a literary work speaks wisely. Any literature grows in the context of its time and society, and its reflection is clearly visible in the work. If a character in Premchand’s work is feudal, it does not mean that Premchand himself is of feudal thinking and his work is feeding this thinking.”
Hemlata Maheshwar, professor of Hindi literature at Jamia Millia Islamia University, says – “If Ramcharitmanas is seen as a religious text, then I see it as follows. If Ramcharitmanas is seen as a literary work then criticism of literature is natural. I criticise Ramcharitmanas as literature because it establishes the superiority of Brahmins. It degrades women and Dalits.”
Professor Hemlata says, “It is not just about one or two cattle of Tulsi. There are many things which deny the dignity of Dalits and women. Like- pujahi vipra sakal guna heena. Shudras do not worship Veda Praveena. That is, even if a Brahmin is full of vices, he should be worshipped, but even if a Shudra is a knower of the Vedas, he should not be worshipped. How can we accept the Ramcharitmanas which contains such things?”
Amritlal Nagar, who wrote the novel “Manas Ka Hans” on the life of Goswami Tulsidas, believes that Tulsidas made compromises with the caste system, but did not completely give up.
In the preface to his novel “Manas ka Hans,” Nagar writes, “As social organisers, everyone has to make some practical compromises. Tulsi and Gandhi of our time also made some compromises with the caste system, but despite that, their democratic perspective is clear. Tulsi may have promoted the caste system, but he was not afraid to criticise the uncultured Kurmi Brahmins, Kshatriyas, etc. Tulsi’s life was full of struggle, rebellion, and dedication. From this perspective, he is still an inspiration.”
The period of composition
Besides the Ramcharitmanas, Tulsidas wrote many great works of literature in Awadhi and Braja languages, including the Barvai Ramayan, Parvati Mangal, Gitavali, Sahitya Ratna, and Vinaya Patrika. In addition to these, four more works are popularly believed to be his, namely the Hanuman Chalisa, Hanuman Ashtak, Hanuman Bahuk, and Tulsi Satsai. Of these, the Hanuman Chalisa is the most famous, and is recited by millions of Hindus on a daily basis.
Professor Ashish Tripathi of the Hindi Department of Banaras Hindu University says, “Ramcharitmanas is not traditionless. It did not stand in the air. Major literature has been written in almost all Indian languages in the Bhakti period. Bhakti poetry and scriptures are not one. Devotional poets are not religious gurus. The consciousness emerging from Bhakti poetry is generally a human and progressive consciousness, even though it remains within the limits of feudalism.”
Professor Ashish Tripathi says, “The relationship that the Bhakti movement establishes with God is different from the Vedic literature. In Vedic literature, there was a mediator between God and the devotee. Communication with God was through a Brahmin. The Bhakti movement has ended this. After the Bhakti movement, the role of the mediator between God and the devotee ended. It got rid of the caste bond. Anyone of any caste can become a devotee.
The worshipper himself became a devotee. It was still believed that God speaks only in Sanskrit. After the Bhakti movement, God started speaking in Awadhi, Braj, Tamil, Telugu. Now the language of the devotee became important. God also started talking in the language of the devotee. This was a very revolutionary change.”
Professor Tripathi says, “The early phase of the Bhakti movement came in the course of the development of feudalism. In the early stages, the Bhakti movement remained with this system. The arrival of capitalism after feudalism was a progressive social system. Feudalism is not always a negative term.
It has been a sequence in human development. Later it becomes an obstacle. It is because of the Bhakti movement that the oppressed Dalits oppose feudalism.”
Professor Ashish Tripathi says, “No poet of the Bhakti movement is either revolutionary or status quo. People consider Kabir to be a revolutionary. But Kabir opposes the power of religion. He opposes social division.
He opposes Brahminical power. But Kabir does not say anything about the kings and feudal lords in his time. Kabir remains silent about the state power and supports patriarchy.”
In the end
The Ramcharitmanas is a complex and multifaceted work that has been the subject of much debate and discussion. On the one hand, it is revered as a sacred text by millions of Hindus around the world. On the other hand, it has been criticised for its portrayal of women and Dalits.
Despite its critics, the Ramcharitmanas remains one of the most popular and influential works of Hindi literature. It is a testament to Tulsidas’s genius that he was able to create a work that is both spiritually uplifting and culturally significant.
In conclusion, the Ramcharitmanas is a complex and nuanced work that has something to offer everyone. It is a work of great literary merit, as well as a deeply spiritual text. Whether you read it for its religious significance or its cultural value, the Ramcharitmanas is sure to leave a lasting impression.
I would like to add that it is important to read the Ramcharitmanas in its historical context. Tulsidas was writing in a time when the caste system was deeply ingrained in Indian society. While we may disagree with some of his views on caste and gender, it is important to remember that he was a product of his time.
The Ramcharitmanas is also a work of fiction. It is not meant to be taken literally at all times. Tulsidas uses allegory and symbolism to convey his message. It is important to read the text carefully and thoughtfully, and to consider the different layers of meaning.
Ultimately, the Ramcharitmanas is a work that is open to interpretation. There is no one right way to read it. Each reader will find their own meaning in the text.