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Photo: R. Shivaji Rao

Researcher: Paula Richman.

“I’ve just been to Srirangam to meet short story writer Kumudini’s family. She’s one of my favourite authors in Tamil. She has lectured on the Ramayana in different parts of India, and has found folk stories and songs about the Ramayana, that have a local flavour. In Assamese folklore, for example, Sita and Surpanaka are good weavers. It is so probably because Assamese women are traditionally good at weaving. Telugu folk songs speak of Kousalya’s morning sickness and baby Rama’s bath — things that women can relate to. Usually at the end of a lecture, I have a question and answer session. And I’ve gathered Ramayana stories from the audience during these sessions,” says Richman.

Richman lectured on modern re-telling of the Ramayana, at the Indian School of Folklore. She started her lecture with a Telugu folk song titled, ‘Lakshmana’s Laugh.’ This song explains how, in order to guard Sita and Rama round the clock, Lakshmana prays to the Goddess of Sleep that he be relieved of the need to sleep. The Goddess agrees, but on one condition. The moment Lakshmana returns to Ayodhya, he would have to start sleeping again.

When Lakshmana returns to Ayodhya, the Goddess appears before him in the palace hall, and says, “The deal’s over. You start sleeping from tonight.” Lakshmana bursts out laughing. Now, only Lakshmana can see the Goddess. So every person there wonders if Lakshmana is laughing at him for some reason. This is a self-reflective folk song, because each character in the story reflects on himself. A modern example of self-reflectivity would be a short story by Ambai, in which Sita writes her version of the Ramayana, and calls it Sitayanam. Stories have a better appeal when they incorporate local customs and traditions. Richman says there is a Tamil folk song which is about the various dishes the pregnant wives of Dasaratha crave for. One of them wants murukku, one wants idlis, and another wants dosais! Idlis in Ayodhya? A deft touch! Women in Tamil Nadu can relate to pregnant women who crave for certain dishes. Writer Pudhumaipithan contemporises Rama in one of his stories where a grandson of Rama is named Bharata. The story is set in the 1900s and Bharata is Gandhi! The allegorical touch is further strengthened when the writer dwells on the Imperial powers discovering the culinary delights of India, and each wanting a monopoly over Indian food. Thus the humble dosai becomes expensive!

One night Rama waits for Sita, who is busy cleaning the kitchen. When she finishes, she massages the feet of her mother-in-law. Rama keeps asking her to come up to their room, but Sita continues to massage Kousalya’s feet. When Sita finally goes up, an angry Rama shuts the door, and locks her out. “You have time for others, but not me,” he says angrily. Thus goes a Telugu folk song! These are marital tensions that any couple could face.

Do these modern retellings matter? “They’re important because, as A.K.Ramanujan said, they show how both folk stories and modern short stories improvise in order to make the epic contemporary,” says Paula Richman.

Why the special interest in the ‘Ramayana?’ “Many reasons,” she says. “One of them is the portrayal of Sita as a strong woman who faces difficulties unflinchingly. When Rama banishes her, she brings up her children all by herself. The world’s earliest example of a single parent!”

Richman has compiled translations of the ‘Ramayana’ stories from the four South Indian languages. The anthology was 10 years in the making, and she was helped by 16 translators. “In March 2008, Oberlin College will have an exhibition of Mithila paintings. My students will show visitors round and explain the significance of the Ramayana to them,” Richman adds.

Anything else about India that she finds particularly interesting? “Carnatic music! In 1976 I heard M.S.Subbulakshmi sing at the Woodlands Hotel, and was mesmerised. When I retire, maybe I’ll study Carnatic music!” Paula Richman has been visiting Chennai since 1976. Can she speak Tamil? “Yes, but not the colloquial tongue. I am more familiar with chaste Tamil!” she says!

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