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Why Whitewash the Rākṣasa Siblings?

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Why Whitewash the Rākṣasa Siblings? Why do some filmmakers feel the need to invent new characterizations while retelling Vālmīki Rāmāyaṇa? The recently released Ramayana reportedly portrays Rāvaṇa as a compassionate ruler, an oppressed man who rises against injustice, and someone chivalrous toward women. His abduction of Sītā is presented primarily as revenge for his sister Śūrpaṇakhā's humiliation. Having not yet watched the film, I am relying on the reviews of Śrī Dushyant Sridhar and others for these descriptions. But what does Vālmīki Rāmāyaṇa actually tell us about these two Rākṣasa siblings? 1. Rāvaṇa Was Himself an Oppressor The initial description of Rāvaṇa in Bālakāṇḍa emphasizes his ambition to dominate the three worlds and his oppression of numerous communities. Bālakāṇḍa 1.15.9 ऋषीन्यक्षान्सगन्धर्वानसुरान्ब्राह्मणांस्तथा । अतिक्रामति दुर्धर्षो वरदानेन मोहितः ॥ ṛṣīn yakṣān sagandharvān asurān brāhmaṇāṃs tathā | atikrāmati durdharṣo varadānena mohitaḥ || Meani...
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A Cautionary Note: Reverence can survive while understanding as per sampradāya may diminish.....

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  A Cautionary Note: Reverence can survive while understanding as per sampradāya may diminish due to negligence.... Reflections prompted by the discussions on the cinematic adaptation of Śrīmad Rāmāyaṇa November 5, 2026 A Preliminary Disclaimer At the outset, I must confess something rather amusing. I have not yet watched Namit Malhotra's Ramayana . So this is not a review of the movie from a moviegoer's perspective. These are reflections of a student of our sampradāya, prompted by the contrasting perspectives of those who approach the film as cinema and those who examine it through their understanding of Vālmīki Rāmāyaṇa. These discussions have led me to reflect on a concern that goes well beyond this particular film: Can a civilization continue to revere its Itihāsas while gradually losing familiarity with the sampradāya through which their dhārmic vision has traditionally been understood? I cannot recall The Odyssey (the movie released in July/August 2026) being subjected t...
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Mahātmā's sannidhi.

The greatness of a Mahātmā is often experienced through their sannidhi. During the period of a Mahātmā's upāsanā, a particular kalā may have been especially prominent. As their jñānam becomes firmly established, vedāntavijñānasuniścitārthāḥ, that very kalā may become profoundly manifest in their sannidhi. In some Mahātmās' sannidhi, we experience extraordinary peace. There is a palpable śāntikalā. Simply being in their presence brings a deep sense of śānti. In others, we experience tremendous joy. They may have been naturally cheerful, humorous, and full of laughter. Their hāsyakalā is so prominent that everyone around them becomes happy and joyful. In some Mahātmās' sannidhi, we experience absolute fearlessness, abhayam. அவர்களுடைய சந்நிதியில் இருந்தாலே நமக்கு ரக்ஷணம். Their very presence gives us an extraordinary sense of protection and security. That is their abhayakalā. In others, there is a remarkable jñānakalā. The moment we enter their sannidhi, śāstra-jñānam seems t...
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Why Should a Vedāntin Care About the Ten Prāṇas?

  Why Should a Vedāntin Care About the Ten Prā ṇ as? A recent discussion began with a very reasonable question. While reading Laghu Vāsudeva Mananam , one encounters not merely the familiar five prā ṇ as, prā ṇ a, apāna, vyāna, udāna and samāna, but also the five subsidiary prā ṇ as, nāga, kūrma, k ṛ kara, devadatta and dhanañjaya. The question was essentially this: for a serious Vedānta student, is this level of detail really necessary? If a vedānta student already understands that prā ṇ a belongs to anātman, why spend mental cycles remembering which prā ṇ a performs which function? Is this not somewhat “out of syllabus”? It is a fair question.  My response (after deep consideration which I put forth in this blog) is that the value of this material is not in memorizing a physiological taxonomy. Its value is in becoming sufficiently familiar with the field of the prā ṇ amaya kośa so that when our ātma-anātma-viveka concerning it is assimilated, we will never fall into t...
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Śrī Sāmbāṣṭakam

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Śrī Sāmbāṣṭakam श्रीसाम्बाष्टकम् Composed by Jagadguru Śrī Śrī  Chandraśekhara Bhāratī Mahāsvāmī जगद्गुरु श्रीचन्द्रशेखरभारती महास्वामी 34th Jagadguru Śaṅkarācārya of Śṛṅgeri Śāradā Pīṭham santaḥ putrāḥ suhṛda uta vā satkalatraṃ sugehaṃ vittādhīśapratimavasumān bobhavītu prakāmam | kīrticchaṭā vā āśāsvāstām amṛtakiraṇaspardhi sarvaṃ vyarthaṃ maraṇasamaye sāmba ekaḥ sahāyaḥ || 1 || santaḥ = virtuous; putrāḥ = sons; suhṛdaḥ = friends; uta vā = or indeed; sat-kalatram = a good/noble wife; su-geham = a fine house; vitta-adhīśa-pratima-vasumān = possessing wealth comparable to the lord of wealth, Kubera; bobhavītu = may he possess abundantly; prakāmam = to his heart’s content; kīrti-cchaṭā = splendor of fame; āśāsu = in all directions; āstām = may there be; amṛta-kiraṇa-spardhi = rivaling the rays of the moon; maraṇa-samaye = at the time of death; sāmbaḥ = Sāmba, Śiva with Ambā; ekaḥ = alone; sahāyaḥ = helper/support. Anvaya: Santaḥ putrāḥ, suhṛdaḥ, satkalatraṃ s...
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