Dr.R.Nagaswamy
#6B8E23
The Concept of Hanumān
Three Sanskrit verses, recited daily by devotees reading the Rāmāyana, summarise the concept of Hanumān. The verses rendered into English read: I salute the lord of monkeys, the dear son of Añjana, the great hero, the destroyer of Aksha, the terror to the City of Lanka, and the one who removed the suffering of Sītā.
añjanā nandanam vīram
jānaki śoka nāsanam
kapīsam akṣa hanthāram
vandhe laṅka bhayankaram
I salute the Ambassador of Rāmā who is swift like the moving wind, who has conquered his senses, foremost amongst the intellectuals, the son of Vāyu and the most outstanding among the monkeys.
mano javam, māruta tulya vegam
jitendriyam buddhi matām variṣṭham
vātātmajam vānara yūtha mukhyam
śrī rāma dūtam śirasā namāmi
Wherever the name of Rāmā uttered, there, folding his hands above his head and tears of joy filling his eyes, stands Hanumān. Him I salute.
yatra yatra ragunātha kīrtanam
tatra tatra kṛtamastānjalim
bāspavāri paripūrna locanam
mārutim namata rākṣasāntakam
In the great garland of Rāmāyana, Hanumān is the Jewel - "Rāmāyana Mahāmālāratnam".
goṣpadī kṛta vārasim
masakī kṛta rākṣasam
rāmāyana mahāmāla ratnam
vande anilātmajam
It appears that the Indian mind visualised "The Perfect Man", not in the image of a man, but in the image of Hanumān, the monkey. Ever since sage Vālmiki introduced Hanumān in Rāmāyana, his image has grown through the centuries and is reflected predominantly in our sculptural representations. No wonder the Indian people yielded their hearts so thoroughly to him. He was great in every sense of the word. He performed great deeds of valour, of physical strength, which no other living creature of the time could have performed. Deeds which required the greatest strength, the greatest will power, fell to his lot and he performed them with admirable thoroughness of execution.
It is proposed to study the concept of Hanumān in three stages first as introduced by sage Vālmiki, almost 2,000 years ago, second as portrayed by Kamban, the greatest of Tamil poets, 1,000 years later, and third as visualised by the people of Vijayanagar, 500 years later, in about 14th century A.D.
Hanumān is first introduced by Vālmiki appearing in human form before Rāmā and Lakshmana as an outstanding scholar and a master of the Vedās. After listening to Hanumān's speech, Rāmā himself says, "One who has not! learned the Rig Vedā, one who ha not mastered the Yajur Vedā, and one who has not studied the Sama Vedā cannot speak in such chaste language". "Although he spoke much and spoke long he has not made a single error. He seems to be a great master of elocution. His speech wins my heart completely and delights my very soul".
na an ṛgveda vinītasya na 'yajurveda dhāriṇaḥ
na 'sāma veda viduṣaḥ śakyam evam vibhāṣitum
The sage Vālmiki reveals the greatness of Hanumān through the mouths of every great character in the Rāmāyana - Rāmā, Sīta, Lakshmana, Vāli, Vibhishana, Indrajit, Rāvaṇa and Bharata. He received the admiration of one and all, of men and women, of friends and foes alike.
Hanumān is portrayed as the supporter of Dharma - the vehicle carrying the very Lord Rāmā and Lakshmana on his shoulders. Though he performed great feats, he never thought the achievements were his own. He is a character of complete self effacement - a total surrender to the cause of his actions.
Hanumān is depicted as a mighty hero in the epic. When Vāli was about to die, he told Rāmā, "O Rāmā you never gave me a chance to catch the Rākshasās including Rāvaṇa with my tail and roll them in front of you. Now I am dying. It doesn't matter. If you want to achieve even greater things here is Hanumān who can do it for you."
Among the Rākshasās, Indrajit was a mighty fighter greater than even his father Ravana. When he saw the destructions caused to the Chaitya Prasada, and his brother Akshakumara and the five commanders killed by Hanumān, he exclaimed, "All these devastations by a single monkey!" What will happen if Rāmā lands in Lanka with the battalion of monkeys! Indrajit saw Hanumān as an unparalleled hero. So did Ravana.
As a devotee Hanumān is foremost. He asked Rāmā only one thing in life, "Please give me this blessing that my affection for you should never diminish. Do not allow me to think of anything else. I want to live so long as your great name is preserved amongst the sons of men. Let me be for ever and for ever your devotee."
As a great warrior, a great scholar, a sincere friend, minister, ambassador, as one wedded to truth and righteousness, a servant and outstanding devotee, Hanumān exhibits the traits that no other Indian creature does. Vālmiki's power of visualisation has made Hanumān the monkey to be adored and worshipped by the Indian people, on par with Lord Rāmā. Yet in Vālmiki's Rāmāyana, Hanumān remains; within the human level. He is not raised to the level of a god.
Almost 1,000 years later appeared Kamban, the greatest Tamil poet who rendered the Rāmāyana in excellent Tamil poetry. Kamban, according to competent authorities, lived in the 9th century A.D., in the reign of the Chōḻas who ushered in an era of prosperity and peace. A poet of eminence, Kamban elevates the image of Hanumān to greater heights than Vālmiki.
One or two instances could be cited here. According to Vaimiki, when Sīta first sees Hanumān in the Aśoka Vana, she suspects him to be Rāvaṇa and states, "You are the very same Rāvaṇa, who appeared before me in the guise of a sanyāsin, at Janasthāna. Why do you appear before me now as a monkey and torment me?".
Kamban cannot conceive of Hanumān being suspected by anyone and least of all by Sīta. He creates a different picture. Sīta beholding Hanumān at the outset categorically states that the person standing before her is certainly not a Rākshasā. He is one who has conquered his senses and might even be a god. He is indeed a person of noble feeling. What if he be a Rākshasā, a god or merely a monkey! Reaching this place he brings her the name of her Lord and ignites hope of survival. Addressing Hanumān, Sīta says, "You have given me solace not only in this world but also in the other world. To me you are the primordial mother and father and an incarnation of grace. (Ammai aay appan aayattane arolin vaazhave Immaie marumaitaanum nallhinai Isaiyodu enraal).
arakkaṉē āka vēṟu ōr amaraṉē āka aṉṟik
kurakku iṉam attu oruvaṉētāṉ ākuka koṭumai āka
irakkamē āka vantu iṅku empirāṉ nāmam colli
urukkiṉaṉ uṇarvait tantāṉ uyir itiṉ utavi uṇṭō?
mummaiām ulakam tanta mutalvaṟkum mutalvaṉ tūtu āyc
cemmaiyāl uyir tantāykkuc ceyal eṉṉāl eḷiyatu uṇṭē?
ammaiāy appaṉāy attaṉē! aruḷiṉ vāḻvē!
immaiyē maṟumai tāṉum nalkiṉai icaiyōṭu eṉṟāḷ
"What can I give you in return? Even if I had the three worlds to present to you, they would not be equal to the help rendered by you. I only pray that you live for ever in this world." No nobler expression could be conceived than this, that too coming from Sīta, : imprisoned in Asoka Vanam, tortured physically and mentally by the Rākshasās and remaining a picture of suffering. Hanumān was the symbol of hope for suffering humanity.
At the end, after, the Pattabhisheka, Rāmā distributed presents to all those who helped him in the battle. Finally he turned towards Hanumān and said, "What present can I give you? I can do only one thing. I give unto thee my own self." On hearing this Hanumān the great hero, with modesty and bashfulness, head slightly bent mid hands in front of his mouth, stood by the side of his master in humility. That is the reason why of all the forms of Hanumān, the Chola artists of the 9th, 10th and 11th centuries A.D. portrayed Hanumān standing in humility. Almost all the bronzes of Hanumān so far known, depict him in this manner This in all probability is a result of Kamban's imagery.
It also reflects the taste of the society in those times. The peaceful aid prosperous age of the Cholas, allowed the people to adore this particular image of Hanumān as the visual presentation of all that Hanumān stood for. In the superlative bronzes Rāmā, Lakshmana and Sīta, belonging to the. 10th century A.D., Hanumān is invariably figured as a humble devotee. No image of Hanumān it the Chola age as a dashing hero has come down to us.
From about the 14th century AD., a tremendous change is perceived in the concept of Hanumān. The Vijayanagar days witnessed the great challenge to Hindu faith, Islam posing the threat. While in the North the Hindu traditions were badly shattered, the South accepted the challenge and the Vijayanagar rulers resisted the onslaught, though there was panic and fear witnessed even in the remote villages throughout the country. The one image, to which the age could turn for instilling courage, bravery and, at the same time, sobriety, was Hanumān. Hanumān, an actor in the Rāmā Katha crossed the frontiers of the Rāmā story and became an independent god. His images were carved in impressive proportions and installed in independent temples. Of all the aspects of his character, it was his war-like trait that received adoration. Hanumān as Vīra Anjaneya was portrayed extensively in sculpture, on coins and on flags.
The common people believed in the efficacy of Anjaneya worship, in Mantra, in Yantra and in all forms of Upāsanās. The profound faith in Anjaneya grew enthusiastically. In the 16th and 17th centuries, monolithic images of Hanumān reaching over 20 feet in height, were carved, as seen in Suchīndram in the extreme South and Nāmakkal in Salem District, to cite a few examples. Even a formless stone, or a pebble was sufficient to be invoked, as Anjaneya.
Other forms of Hanumān also began to appear. Hanumān appears seated below the feet of Rāmā holding a palm-leaf, reading the scripture, and Rāmā interpreting the reading as "Para Brahma Tattva", symbolising the fact that the Supreme reality could be realised with the help, and through the image of Hanumān. The portrayal occurs in 17th century sculptures, bronzes and paintings. Hanumān as an exponent of music, particularly Veena also assume significance in the 17th century. He is portrayed carrying a Veena on his shoulder. But these forms attracted only the sophisticated thinkers.
For the common people Vīra Anjaneya was the real Hanumān. His temples are found everywhere, perhaps in every village. Indian people throughout the ages have laid great emphasis on control of the senses - Indriya nigraha - and observance of celibacy - Brahmacharya. They adored learning and mastery of language, and literature, dexterity and civilised diplomacy in all dealings with men and matters, heroism and valour to fight for the cause of Dharma, devotion and service and above all humility. All the qualities that could be conceived as great virtues, were found in Hanumān.
There seems to be no other creation in the whole field of Indian thought, which combined all the lofty ideals that the country stood for. In the Indian tradition, Hanumān is designated as Chiranjīvi the long-living. Indeed, he is the one name that lives in every Indian heart.
Born as the son of one of the elements, Vāyu, introduced by Vālmiki in the form of a monkey, nay, as a super animal, appearing as a man perfect in all fields of activities, Hanumān is raised to the status of God-hood, a benevolent God of hope, intellect, courage and devotion. It is not his form but the concept that receives admiration and adoration.
R. Nagaswamy