Published online by Cambridge University Press: 29 February 2024
After Brahminism gained a strong footing in post-Mauryan South Asia—a footing typified by the codification of varṇadharma—the next great South Asian empire, the Guptas, crafted their own schematic for an imperial religion. With the Guptas came an imperially sponsored Vaiṣṇavism marked by a burgeoning temple culture that involved elaborate structures and public spaces that provided the public with a new kind of access to religion (Willis, 2009). The Guptas’ presentation of Vaiṣṇavism opened Viṣṇu worship up to an unprecedented level of popularity, which extended to Viṣṇu's various incarnations (avatāras), including Rāma. Naturally, a text that frames Rāma as both divine figure and avatāra of Viṣṇu as well as a hero in his own right was bound to benefit from the momentum of the religious movement spearheaded by the Guptas. The story of the Rāmāyaṇa, then, saw a rejuvenated life in this new era of South Asian history.
The story of Rāma was, at this point, still largely defined by Vālmīki's Rāmāyaṇa. As interest in the story grew, critical perspectives on this quintessential Rāma text began to emerge. In the world of the VR, it is Rāma's responsibility as king to maintain the prevailing social order by which his kingdom is to be governed and mete out the necessary punishments when that order is violated. The text's Śambūka episode exemplifies both a violation by a member of Ayodhyā's society and the proper response to it, carried out by the king himself. Be that as it may, Rāma's unquestioningly swift action against Śambūka placed him in a role of enforcer that is at odds with the compassionate image of Rāma that pervades a great deal of the epic. The difficulty in reconciling these two seemingly conflicting images of Rāma created a troubling puzzle for later authors who lived in a world where Rāma's divinity and the idealism it represented were becoming increasingly accepted. How could they reframe Rāma's involvement in Śambūka's death to better suit the changing expectations of their audience without abandoning the issue of Rāma upholding Ayodhyā's social structures?
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