Week 11 EC Reading Notes: Twenty Jataka Tales Part A

The Monkey-Bridge: From the beginning I'm struck with how articulate the verbs are in these Jatakas- in paragraph one alone: ruled, streamed, bubbling, bore, destroyed, plucked. I can utilize this insight in my own writing by making use of an online thesaurus and doing my best to avoid re-using the same words. The King "played with the little sunrays" and even if he ends up being a villain that sentence alone made me love him a little bit more. I also like how a similar dream sequence is used to heighten the tension- now that I think of it, this is done very frequently in books and movies, probably because of how effective it is. (and because the director/writers can get away with anything by putting it in a dream- they can explore the impact of killing a main character, only to write it off as a terror of the night). Moral Time: "It is not your sword which makes you a king; it is love alone. Forget not that your life is but little to give if in giving you secure the happiness of your people." Beautiful.
The Guilty Dogs: A lesson in justice.
The Tortoise and the Geese: I've read the basic version of this before, with just the Tortoise and the Geese, but this time there was another layer of the Tortoise's untimely demise being used to teach a lesson to an over-talkative king. It's almost meta, to have the moral of the story used inside of the story to teach someone at the same time the tale can be used to learn the lesson of the value of holding your tongue. Also, this one ends with a happy ever after, an ending which evidently never goes out of style.
Banyan Deer: "Jewel eyes, piercing shadows, silver crescents, pearl hoofs" at this point in the class I've encountered many tales describing the Golden Deer, but this one certainly ranks up there in terms of sheer gorgeous imagery from the start. Numberless is a new word. I've read a version of this one before, and again I'm struck by how selfless the leader of the deer was to sacrifice himself for the sake of a mother in the other herd. I'm also surprised still that the King essentially vowed that his entire kingdom would become vegetarians.
The Fairy and the Hare: This story addresses the reader as "My Children", which is simultaneously familiar and warm. It sets a tone of the tale being told by a wise elder or someone similar, and gives the lesson aspect more credibility. I appreciate the lesson in this one: it boils down to selflessness but I felt it was a double of both not getting too caught up in your own achievements and being willing to give all you have (also it cautions against mooching off of other people). I hadn't yet encountered a fairy in a Jataka tale, but enjoyed the inclusion of this one, and also appreciated the friendship of animals which in other stories/situations would feast upon each other instead. Also, this tale had the natural facet of explaining the shape of a moon crater (a rabbit?). I love it when these stories do that- it reminds me of First Peoples' creation myths.
The Golden Feathers: Moral: Don't be greedy! (I'd read this one before).
The Young Parrot: This tale included a single stanza of poetry as an explanation towards the end- it was cute but almost not enough to justify the change to rhyme and back (I thought). The moral of caring for your elders is still present from the last time I encountered this jataka,and the side moral of caring for others/not abandoning your leader maybe deserves more emphasis.
The Empty Lake: This was a short one, but noteworthy because it was written in the form of a story inside a story- fishes are telling a myth inside a myth, and it was an interesting read because of it. This way to start might be a fun diversion from my standard single-layer weekly storytelling.
The Swan Kingdom: I know the intended moral of the story includes an emphasis on the value of loyalty and companionship, but as I was reading it I saw more of a lesson in how better communication could resolve issues before they start- if the King had just gone to the lake and asked to meet the swan instead of setting a trap, he could have avoided traumatizing the entire 60,000.
The Master's Test: This was a good moral: remember that you must always watch yourself.

Image Info: A picture of the author, Noor Inayat Khan, in her British Special Operations Executive uniform.
Source: Wikipedia. Link.

Bibliography: Inayat (Khan), Noor. Twenty Jataka Tales. 1939.

Reading Notes Week 9: Mahabharata: Karmic Revolution Part B

9. Son of the Sun: I appreciate that instead of starting with "here's Kunti's secret", this video starts by establishing who Kunti is in the context of the narrative and THEN talking about her mysterious past. He was known for flying into a rage and cursing people? What a reputation! Her kindness and good friendship gained her the boon of summoning the gods, including the Sun god, who bathed her in his light in an iconic scene and left her with an armored child, one she promptly sent down the river in a basket due to the restraints of social stigma in Ancient India. (The Moses parallels are interesting to me here...there are many Biblical scenarios in the Mahabharata (or maybe many Mahabharatan scenarios in the Bible?).

10. Pandu's Curse: Was Pandu hunting in the woods an aftereffect of PTSD? The switch from two deer making love in the forest to two hermits is kind of disturbing. Pandu's accidental shooting of a deer is somewhat understandable but a human= a truly grave error. Moral: look before you leap.

11. Sons of Pandu: Hmmph sure Yudhi is peaceful and virtuous even when losing everything the family has in a high stakes gambling episode. Bhima breaking the rock he was dropped on as a baby is priceless, a totally humorous scene. Arjuna having archer's eyes is also funny, like parents looking at their kiddos and saying they look like their relatives/super sharp/are going to be a dancer or something. Perhaps a story featuring these moms at a playground, bragging on their kiddos. I hope Pandu learned his lesson!! Don't shoot randos and rape your second wife!!!

12. One Hundred Sons:  "Lump". Her troubled pregnancy is another example of bad omens/foreshadowing- the weather is another common indicator of future success/blessedness of the endeavors of the characters. Of course Kunti and her sons would outshine the demonshildren.

13. Hate and Hurt: These characters continue to make the mistake of loving their children/relatives unequally. If everyone would just say the obligatory parental "Oh I don't have a favorite you're ALL my favorites" so many jealousy problems could have been alleviated. Knocked 'em out with narcotics...oldest trick in the book (see: Aristocats). AH he threw the unconscious Bhima into the lake oh no! Again, a great cliffhanger! Also, the setting interests me in these segments- though the characters reside in a castle, which would seem to be the urban center of the city/country, they often spend time in more lush/natural settings. Maybe it's just the illustrations, but I like the idea of the royal estate/city being spread out comfortably and cleanly over acres of land in a romantic, countryside kind of way. Do the castledwellers have a giant forest in their backyard or are they on the outskirts? The landscaping could also be interesting to explore in a creative retelling later on.

14. The Magic Potion: AHA I'd forgotten the fortuitousness of the venomous snakes negating the negative effects of the narcotics. What if he'd made friends with the sea snakes instead of having to kill them- that seems like a more powerful thing to do. OH nevermind Vasuki and the Naag Lok snakes become his distantly related besties. This is such a kickbutt source of power- far more interesting and deep (haha) than mere divine heritage. I wonder what language they spoke- did Bhima have to learn Parseltongue?:) The underwater kingdom must have been a sight to behold! Love!

15. Drona: Yeah I would SAY you would "distinctly remember" chucking your nephew into a river. "Destiny was bringing them exactly what they needed" nice. Good on Arjuna for being perceptive- what precisely about Drona interested him, I wonder.

16. Drona Trains the Pandavas: The Pandava boys are often characterized by their strengths- I want to write them characterized by their flaws- like, Yudhi is chill and smart, but maybe he comes off as a holier-than-thou lazy bum, you know? Maybe the great horseman is terrible with technology. Perhaps Bhima is super strong (as 1000 elephants), but has a paralyzing phobia of mice! And Arjuna, the perfect warrior, could be the source of the most awkward social interactions the world has ever seen.

17. Ekalavya's Story: I love how the preciseness of the arrows sends Arjuna into an existential crisis lol. "[Drona] buried the part of him that valued fairness and justice". I can't believe he just crippled Ekalavya forever. Are the Pandava brothers all truly the best of the best or are they the best after their proponents scour India, silencing the true best/any potential threats to their invulnerability? This was maybe the saddest of all the chapters. Ekalavya put in the hard work but in the end was too trusting, and it cost him his potentially legendary life.

Image Info: A work-in-progress picture of Episode 3 of The Mahabharata: Karmic Revolution.
Source: Epified. Link.

Reading Notes Week 9: Mahabharata: Karmic Revolution Part A

1. Introduction: I love the illustration and perspective this short intro gives: the story spans half a continent and has been told by so many different people through the ages- I kind of want to tell the story of one of these storytellers, incorporating some of their changes and passing them off as my new rendition. I would start with a preface about the re-writer (me, but meta), then write the before/after of the story, and end it with how it changed the Mahabharata for the future- maybe instead of writing a "new" version of a part of the Mahabharata, I could backwrite an "old" version, where I find a spot that looks embellished and unembellish it somehow...hmm..

2. Shantanu the Unfortunate: "The story can be said to begin at many points in the narrative." It is a story of karma..."what goes around comes around". Ooooh resplendent is a great word. The king is love-struck so he did what she asked. I like this- motivation/explanation. The poor king though...I've been focusing on women in my stories but maybe I can take a brief break to explore Shantanu.

3. Devavrata Becomes Bhishma: Davavrat is the long-lost son, and has learned from the very best warrior sage, who also educated him (like Bruce Wayne in Batman Begins haha). Maybe Shantanu goes to see a therapist in a side tale? It was so kind and selfless of the son to make such a vow. Also, Hastinapur is a really cool kingdom name- note to self: future exercise- make up some cool kingdom names with three syllables that don't sound alien. Bhishma- he of the terrible oath. The king felt responsible for ruin upon the kingdom...interesting. Getting to choose your own death is arguably better than being able to create life.

4. Desperation of Bhishma: I wonder what the "capable administrator" part of his half-brothers' education was like! It would be so fun to explore that classroom setting. All of the princesses have A names like in The Little Mermaid lol.

5. Amba's Ruin: Amba, Ambika, and Ambalika. Eldest leaves to meet up with her true love, he's the equivalent of human garbage, then she leaves and makes a serious vow. "with her heart in a thousand pieces" effective. It's understandable why Amba claims Bhishma ruined her life. Also, honestly good for her for, when unable to find a champion, going out to become her own champion. A fight between master and apprentice with P and B...23 days is a crazy long amount of time. Reminds me of a certain showdown on a lava planet between student and mentor. This dynamic is inherently so dramatic and compelling- a great opportunity to explore some feelings in a Story post.

6. Satyavati's Secret: The all-important RECAP moment- maybe I'll try to do more in a forward to set the stage for my Project website stories...it's not something I've tried before. I appreciate the mystery long-lost child archetype in this chapter with the woodlandsy son. The poor widows, though. "In their fears was the future of Hastinapur" I love it what a cliffhangeryish scene-setter.

7. Sons of Vyasa: "uncouth" good vocab. The servant girl, without unnecessarily high standards,  had the most successful union of all. How can Bhishma never notice the rivalry between the throne contenders?! He was their uncle/mentor...but their younger brother did. This begs a story from Vidura's POV with the acknowledgement of his brother's conflict and Bhishma's obliviousness.

8. The Blind Bride: I'm glad the blind kiddo got to be king but it kinds of negates this to have Pandu be secretly in charge in the back. Kudos to Princess Gandhari for being so very selfless. All of Hastinapur was happy for them. Rad. Pandu has two wives and one has a BIG secret. I am enthralled despite knowing this story. I love this format and it's helping me to keep the characters straight better than the longer, name-heavy texts. The pictures really help and they're gorgeously rendered!

Image Info: The cover image for the Introductory Mahabharata Karmic Revolution Video.
Source: YouTube. Link.

EC Reading Notes, Week 8: Dharma Mahabharata, Part G

Jayadratha Kidnaps Draupadi: This chapter begins by clarifying the locations of all  of the major players, especially the ones which would have something to say/do about Draupadi's kidnapping. This sets up her abduction well, and explains why nobody came to her aid when it initially occurs. The description of Draupadi and the colors around are beautiful: bluish curls, etc. "as a jackal approaches a tigress", "shining like a sacrificial fire", Draupadi is a stickler for the rules and I'm amused, "like a pack of wolves entering a lion's den", "her eyes turned crimson" oh sh*t, Indrasena is mentioned here as the Pandava's driver/servant- I'm curious and want to know more about her. Story opportunity? Arjuna shooting arrows two miles is insane!! Jayadratha's poor horses:( The hair-shaving is worse than death thing is very interesting to me- culturally I guess hair is representative of status and prolificness. I'm grateful that Yudhi showed him a small mercy in bidding him a good, constructive farewell: "may your heart grow in virtue" this is true Growth Mindset!!!
The Lake of Death: I continue to enjoy the way these small chapters ground themselves in the larger narrative by starting with a sentence which talks about where/when the characters are. In this one: "As the Pandavas passed their twelfth year in the Kamyaka" is the first thing the reader encounters when opening this chapter. "A famous man lives even after his death, while those who are infamous are as good as dead even though they still breathe" as morals/sayings go in the epics, this was an interesting one...it seemed more self-indulgent than most, and made me think a little differently for sure. I like the living/dead, famous/infamous analogies- they complemented each other well within the framework of the phrase. The formidable weapon is given a name and thereby given additional notability- a nice trick...perhaps in my next Story I'll assign a name to an inanimate object, either for laughs, intimidation factor, or both. "He who sacrifices virtue is himself destroyed" I would think, in a world so magical and fantastic as that of the Mahabharata, the brothers would posess the modicum of common sense necessary to heed the mysterious advice of a nearby lake-dweller regarding the deathly nature of the body of water. "For our thirteenth year we must live incognito" lolol the vocab here amuses me.
Into Virata: Immediate setting: "As the rainy season came and went, Dhaumya determined by astrological calculation that the thirteenth year of exile was about to commence." They choose to go to Virata because the king is *insert laundry list of positive qualities* AND he likes us. And so the brothers become a servant, a cook, an eunuch, a horse-keeper, and a cow farmer. Draupadi becomes a hairdresser/lady in waiting. I wonder what an episode of undercover boss would look like, and would love to write a Story in which they assume other jobs, such as ice cream taster or fast food worker. "Seeing how even the women here are staring at you, I feel there is no man alive who could resist your charms" Nice! 100k cows is crazy excessive for one dude to oversee based off a two minute job interview.
Draupadi Again Insulted: Thank goodness Yudhi's having better luck in the gambling department! The wrestling match was a nice, concise episodic run, good action and good secondary conflict of not wanting to be discovered. Draupadi has a stainless steel code of honor and a sharp tongue to boot. Iconic. I love that the often-villainously typecast rakshasas are of help to the protagonist here- it's a welcome switcheroo. The changing of characters' eyes are often used to indicate a change of mood/disposition throughout these chapters. Perhaps a Story featuring just eyes and the colors they turn/what they represent could be really interesting- a study of the window to the soul. Draupadi serves up some angst in this installment! (favorite husband?) Also, this chapter is so so gory I am shooketh.
The Kurus Attack Virata: This chapter is a wise lesson in the repercussions of the great feats- to quote Lin Manuel Miranda's patriotic Newton paraphrasing: "every action has an equal opposite reaction". "Like a full moon rising in the east, Bhisma, clad in white silks, rose from his seat to address the assembly."  I love that they look for them by looking for a place at peace, with no calamities/disasters, because they know the righteous Pandavas couldn't stand to allow anything less. The big battle is detailed, comprising about half of the chapter. I'm glad musical instruments are given a sense of importance at the end, as entertainers are sent to entertain the troops.

Image Info: Battle Pandavas, from Grant Morison's Reimagined Visual Mahabharata Anthology, 18 Days.

Source: Scoop Whoop.com. Link.

Bibliography: Dharma, Krishna. Mahabharata: The Greatest Spiritual Epic of All Time. 2008.

Reading Notes Week 11: Shedlock's Eastern Stories and Legends Part D

The Crow that Thought it Knew: This story illustrates the importance of finding an expert/someone who has what you want, and asking them for help/learning from their methodology. Moral: do not think you know better than your creator. There was also a reappearance of telling things in prose- perhaps in my next story I'll include a few stanzas of updates between characters, as they're cute, rhymey, and feel old-timey.

The Judas Tree: "All have seen the Judas tree---/ What is your perplexity? No one asked the charioteer/ What its form the livelong year!" This was such a curious moral! It encourages total comprehension, underscoring the importance of fully understanding your subject of interest and all of its many forms. And, of course, to be specific in what you ask for.

River-Fish and the Monkey: Multiple straight-forward morals: good deeds may help you in the future. Don't be a trickster. The recurring theme of the benevolence of the gods is also present. I wonder what it must have been like to pull that fish out of the water- it must have been pretty heavy! Also, did the brother think the trickery was unbelievable? His money was mixed in! Or did he split it with his sibling even knowing his wickedness out of the goodness of his heart?

The Dreamer in the Wood: "A man is not black by reason of his outer skin; only can sin make him black." "It was as he had made the moon to rise in the sky" What a setting change! I love the idea of ordinary characters with the power to influence their natural surroundings by the goodness of their deeds. "Hatred grows...Malice brings evil..etc" "Hate turns to anger, etc."- Yoda. Again, selfless, harmonious decisions will get you places with the gods.

The Rice Measure: Be competent at your job! There are more characters in this story, which are juggled differently and effectively by shorter sentences and more use of names, with the occasional designation by occupation. These are good tools for future stories which require additional clarification.

The Poisonous Trees:  I love the description of the What-fruit tree-the story covers all of the bases: sight, taste, smell, and the outside knowledge that ingestion means death. It's a heck of a way to set up an antagonist (though not sentient), and made me curious about what was to come. This tale emphasizes common sense: if it's accessible and not beaten up by nearby tree-climbers, it poses quite a danger. It was a roundabout way to convey that moral and I'd love to concoct a similar tale.

The Well-Trained Elephant: "Exalted station breeds a fool great woe; He proves his own and others' mortal foe." See also: absolute power corrupts absolutely. Writing exercise: (note to self) choose a modern colloquialism and reinterpret it as if it were an old timey rhyming stanza. Re-write, and write a story around it such as this one. I love the image of the elephant standing on one leg on the precipice, stately and majestic.

The Wise Physician: In order to make her cope with and acknowledge her grief, the Buddha opened her eyes to the past griefs of others. It came off as absolute wisdom, and I admire the way the woman was able to see things in a worldly way rather than a self-centric way, even though that little boy was her world. It's really tragic, but when rephrased in the grand tragedy of and inevitability of all things, less so.

Bibliography:

    Shedlock, Marie L. Eastern Stories and Legends. Link.

Image Info: An EBook cover for Marie Shedlock's Eastern Stories and Legends.
Source: Feedbooks. Link.

Reading Notes Week 11: Shedlock's Eastern Stories and Legends, Part C

Hawk and the Osprey: The first paragraph succinctly introduces the setting (a natural lake with a small island), and the main characters (Hawk, She-Hawk, Lion, Osprey, and Tortoise). Coordinating the animals with cardinal directions makes them easier to remember. I love this story's power of friendship ideal. Also, I appreciate the way it has a not-quite epilogue after the climactic action, in which "they discoursed for a long time on the value of friendship". We all need a little help sometimes, and that's where friendship can come in handy.

Grandmother's Golden Dish: "Avaricious". The four sentence structure returns: Introduction of the protagonist, their occupation, the setting, and the antagonist, all in the first paragraph. Oh no how did the entire wealthy family die? Was there a disease? A mysterious curse? The honorable businessman had success because of his kindness and honesty, while the tempestuous, dishonest businessman's demise was brought about by his own trickery and hatred. Moral: be like the Bodisat, not the Devadatta.

The Elephant that Spared Life: "Procured him a wife from a family of equal rank" These rank marriages are constantly brought up- it's like a kind of caste conditioning agenda. The well-intentioned, law abiding citizens inexplicably triumphed, while the slanderous jealous man was made their slave. Classic black/white good and evil villain gets their due story.

How the Antelope was Caught: A great example of how lust and greed can take you places you by nature would never choose to go. Good re-telling potential with feeding a squirrel or ducks or even a human spin with cheesecake or something. Hansel and Gretel has a similar motif.

The Banyan Deer: Selflessness is again the primary moral- the willingness of the King of the Banyan Deer to sacrifice himself for a doe not even of his herd was moving enough to the human King that he promised for his people to become vegetarians. What struck me in this story was the description of the golden deer, with his jewel-like eyes and beautiful antlers. I also thought having two look-alike deer equals discernible through a good deed and a bad one was also interesting- like the villain is but the hero with a different ideology.

The Pupil who Taught his Teacher: So many of these stories start with numbers: 50 carts, 30,000 monkeys, 500 youths, etc. I suppose it lends a sense of credibility? I will try to incorporate this in my next story perhaps. "kith and kin". This story tells youth that, if you follow the rules, you will not die young. If only this were true. I would go so far as to say this tale has the negative impact of inferring that people who die young are sinful:( Setting-wise, this was an easy transition, and the gentle trickery with the bones was an interesting twist.

The Man who Told a Lie: "I must not tell lies"- Harry Potter (Dolores Umbridge). Moral: even if the people do not know, someone will, and you will suffer for your dishonesty. I wonder what these flowers looked like/ who was in charge of gardening them, and am curious about the alluded-to setting of the abode of the Blest.

Bibliography:

    Shedlock, Marie L. Eastern Stories and Legends. Link.

Image Info: A 2017 Japanese Cover for Marie Shedlock's Eastern Stories and Legends.
Source: Ratuken Kobo. Link.

Reading Notes Week 10: Shedlock's Stories and Legends Part B

The Bull That Demanded Fair Treatment: Good for the bull! This was a longer, more dialogue-heavy tale, but I especially appreciated the development and the bull's insistence that he not be addressed as any lower than he deserved. I hope to write a character who so very effectively sticks up for themselves in a similar manner.

The Bull that Proved his Gratitude: I love the portion of this jataka which talks about how the village children played with, around, and even on the bull, riding on his back and pulling on his ears. I felt this was such a cute scene as well as a great sense of the bull's gentle, patient, and funloving nature. This tale is an example of how a general moral/similar story can be retold in a completely different way- certain aspects, such as the feat of strength and good feeding of the animal from childhood, remained the same, but this story incorporated more of the relationship the bull had with others.

The Horse That Held Out to the End: The horse is introduced using many of the five senses for what reads well in terms of introduction: fed rice, golden dish, perfumed stall, crimson curtains, etc. It all paints a great picture of the scene. I wonder what it's like to cook for this horse. Is there a special recipe book? P e r s e v e r a n c e

The Monkey that Saved the Herd: One paragraph intro: main character, what they do, setting, antagonist. Boom. Four sentences. A natural origin story: how the canes became hollow, like straws. The king of the monkeys beseeches Nature, and it occurs. I'm curious how 80,000 monkeys drinking at once didn't drain the lake though.

The Mallard that Asked for too Much: Greed and selfishly taking advantage of goodwill will cost you that which you deemed not enough in the first place. Short, simple, and brutally effective. Also, reminiscent of the golden hair plotline in Tangled- once Mother Gothel tried to cut her hair for her own use, it lost its magic age-defying powers, just as the mallard's feathers, when plucked in excess, failed to be golden.

The Merchant who Overcame all Obstacles: A very kinesthetic description of the sand: "so fine that when taken in the closed fist it could not be kept in the hand." Another perseverance lesson, as well as a reminder that mistakes can be redeemed so long as you don't give up hope.

The Elephant that was Honored in Old Age: this jataka would let people know that it is unacceptable to respect their elders, and to correlate honor only with services renders. I also read it as a cautionary tale to know what makes you useful to others. In addition, this story was different because the protagonist had an advocate to do most of the speaking. Generally, the main character speaks for themselves, but I rather liked that the Buddha spoke for the She-Elephant because it was a twist.

The Faithful Friend: The playful image of the dog swinging about on the elephant's trunk is so cute and provides a contrast between happy times of the beginning and the depressed times to follow upon their separation. "The King paid great honor to the Bodisat for knowing the motives even of animals." A good moral to make understanding others a priority.

Bibliography:

    Shedlock, Marie L. Eastern Stories and Legends. Link.

Image Info: The 2018 Spanish cover for Marie Shedlock's Eastern Stories and Legends.
Source: Peter's Books. Link.

Reading Notes Week 10: Shedlock's Eastern Stories and Legends, Part A

The Hare That Ran Away: This tale was reminiscent of the Chicken Little "the sky is falling" story arc. The introduction of the Lion as a Buddha reincarnation gave him some great credibility from the get-go, and further established the symbolic superiority of the Lion in the animal kingdom. There are many morals in this story. Among them: You become what you think, Be cautious about being a blind follower, Be willing to go back and address your mistakes, and Don't be afraid to go against the crowd. Also, double-check rather than flying off the handle at the slightest hint of what you fear. 

The Monkey and the Crocodile: I love how this one starts with "Once upon a time". Note to self: look up the labuja tree. There are again many morals, including a slight theme of avoiding giving away your plan in a villainous monologue and caution against believing people without knowledge of their motivations. The stanzas at the end are cute and sum up the general gist, again I will note that I love "Great is your body, verily, but how much smaller is your wit!" Also, the metaphor of saying the Crocodile felt as sad and miserable as if he had lost a thousand pieces of money, went back sorrowing to the place where he lived" is a very effective way to communicate his emotions in a more material context, vastly more relatable for a non-reptilian audience.

The Spirit that Lived in a Tree: "My own destruction does not touch me so near as the destruction of my children." Setting: "at the hour of midnight adorned in fine splendor, he entered into the magnificent chamber of the King." This reminded me a little of Old Testament tests- the tree was spared because of its willingness to sacrifice itself for its progeny. I wonder what its progeny are like, and whether they will grow to be as big and strong.

The Hare that Was not Afraid to Die: This tale is good to caution the reader against believing in the virtuousness of their actions when they haven't done all they can. The rabbit's selflessness and willingness to die for what he perceived to be a worthy cause were excellent characterization and inspiration for future generations of story-listeners. I want some more info about the squeezing of mountain juice and daubing signs onto the moon though!

The Parrot that Fed his Parents: "Thus was the Parrot both brave and prudent." The general encouragement in this story to care for the old and the young as if repaying a debt is very interesting, especially if taken in a context of general familial structure in India.

The Man who Worked to Give Alms: A beautiful moral: "through giving there cometh knowledge of all things". This also reminds me deeply of Biblical teachings- to give every possession you have in the material world that you may live on spiritually rich. I would like to include a test of some sort in a future story- they seem to keep cropping up!

Bibliography: 

    Shedlock, Marie L. Eastern Stories and Legends. Link.

Image Info: The 2011 cover art for Marie Shedlock's Eastern Stories and Legends.
Source: Amazon.com. Link.

Reading Notes: PDE Mahabharata Part D

This whole initial couple-chapter sequence is a heck of a whirlwind of shots befitting an epic war film. The stage is set with no small amount of foreboding in the beginning. This was very effective because the description was so sensorial. The paragraph detailing the loss of Abhimanyu just about made me cry it was so emotional. Focusing on the impact his death had on his parents and on the tragedy of his being so young shows the reader the high stakes and motivations of the main protagonists going into the rest of the climactic battle.
It's also much gorier than the Ramayana, which was at first disconcerting. It's unapologetically dark and violent, and sets a far-different tone. I've heard that there is nothing more painful for a parent than the loss of their child, and these first few chapters are filled with these losses on both sides. The stakes are so very high. And then there's a scene like the one where Ashwatthaman mumbles to destroy Drona's morale, which comes off as comparatively light, while reinforcing his honorable reputation. (Though I question how he morally justified this trickery- seems like a good ol' fashioned loophole to me). And THEN blood is drunk a chapter after. The mood switch from sentence to sentence is abrupt and therefore exceptionally effective in jarring the reader, unsettling them slightly for the final sequence.
"The pale stars looked down on the dead and the dying."  The funeral sequence is devastating, and I can imagine it with a background of music like Brian Tyler's Into Eternity or the Williams music from Vader's funeral pyre at the conclusion of the original Star Wars trilogy. Ganga emerging from the river to deliver a eulogy was likewise touching and heartbreakingly sad, and adds to the significance of their deaths, as a literal goddess appeared in sorrow for the loss of comparatively insignificant human life. Truly epic in every sense of the word.

Image Info: Arjun Invokes War-Goddess, from Grant Morison's Reimagined Visual Mahabharata Anthology, 18 Days.
Source: Scoop Whoop.com. Link.

Bibliography: PDE Mahabarata. Source: Link.
Arnold
Besant
Devee
Dutt
Ganguli
Kincaid
Macfie
Mackenzie
Nivedita
Seeger
Tagore

Reading Notes: PDE Mahabharata Part C

41. Life in the Forest: A magical copper pot! I wonder about the origins of the pot- where was it made, by whom, with what? Is there a magic copper pot factory in the heavens? Also the montage feeling is strong in this chapter- the visiting shrines, doing devotions, encountering sunshine, shade, flowers, and flash-flooding rains. I love it.

42. Krishna's Visit: "exquisite coppery eyes" beautiful. "Sorry I wasn't there, I was waging a war against demons" as excuses go, definitely not the worst. MORAL: anger is sinful, forgiveness is holiness. "Who can pierce the cloud which covers the doings of the gods" nice imagery. "Virtue is greater than life and prosperity in this world; it is the way to celestial bliss." Then they were all silent and they pondered. Me too. I love how visceral this scene is with so little description.

43. Arjuna and Shiva: Arjuna is going off on his own to find formidable weapons reminds me of Thor and Rocket's side adventure in Infinity War. Able to live on air alone?! Arjuna teach me how!! mind, eyes, words, bow. all equally powerful.

44. Arjuna and Indra: I love that the curse is to be regarded as a bad dancer for a year. Also, that he takes a considerable amount of time to learn how to use the formidable weaponry. I wonder what Patala looks like? the bottom of the Marianas Trench perhaps. Mighty tortoises and demon fish sound pretty intimidating. Demons "smote" their drums. So they're musical demons. Do they have an evil demon marching band? The 10,000 multicolored horses sound like a sight to behold.

45. The Himalayas: Thank Goodness Yudhishthira's getting some skill with dice. His inadequacy in terms of reciprocal cheating has cost the family a lot. Again, a beautifully-described location: "dazzling streamers, beauteous gardens". Moral: good things come to those who wait. I want a better reunion scene! At least five hugs! He was gone five years, goodness! Also a moral: knowledge is power.

46. Bhima and Hanuman: I LOVE A GOOD CROSSOVER OMG. More hugs, I love it! Also this chapter continues to reinforce the caste system for future generations.

47. Duryodhana and the Gandharvas: dang, Duryodhana's a two-faced drama queen. This was all unfortunate- I would hate to be the messenger...I wonder how stressful that must have been.

48. Karna and Indra square deal. Moral: everything has a cost. Also I as a reader Felt it when he had to cut off his physical armor/earrings. Oof.

49. Jayadratha and Draupadi: Draupadi models here that there are strengths beyond the physical- her network and manipulatory skills sufficiently avenge her honor.

50. Riddles at the Lake: Said Yudhishthira, "Man's unconquered enemy is anger, and his disease is covetousness; he who seeketh after the good of all is holy; he who is selfishly cold is unholy."

The Voice said, "Who are worthy of eternal torment?"

Said Yudhishthira, "He who sayeth unto the brahmin whom he hath asked to his house, I have naught to give; he who declareth the Vedas to be false; he who is rich and yet giveth naught to the poor.

51. The Court of King Virata: I saw the name Durga and immediately thought of the character in the Eragon books haha. "tigers and lions and bears' Oh my!

52. Bhima and Kichaka: This was dark.

53. The Cattle Raid: 

54. Preparations for War: "bright and numerous as the stars were the gems that glittered on the robes of the mighty warriors." "heretofore"

55. Krishna and His Army: I love that they have such a strong relationship.

56. Krishna's Mission to the Kauravas: He tried. I appreciate that he went about trying his darndest to be peaceful instead of immediately starting a war. Krishna as a living flame must be a beautiful sight to behold. I want to find some artwork of this moment.

57. Krishna and Karna: Foreshadowing the great war. 

58. The Armies at Kurukshetra

59. Bhagavad-Gita: It is saddening that this was the fate of the two brothers: destruction.

60. The Battle Begins: All of the senses are covered here (except perhaps taste): drums sounded, dawn was darkened, jackals howled, vultures screamed hungrily, the earth shook, thunder was heard, ...loud noise." Set the stage very effectively.

Image Info: Draupadi, from Grant Morison's Reimagined Visual Mahabharata Anthology, 18 Days.
Source: Scoop Whoop.com. Link.

Bibliography: PDE Mahabarata. Source: Link.
Arnold
Besant
Devee
Dutt
Ganguli
Kincaid
Macfie
Mackenzie
Nivedita
Seeger
Tagore

Reading Notes: PDE Mahabarata Part B

21. The House of Fire- It's a bummer that Prince Vidura can't be king because of his mother...These royals need to learn that ability rather than genetic disposition should determine kingship. Moral: don't judge a book by its cover, be observant rather than flattered. You can see how these epics reinforced the caste system in the way the text totally disregards the significance of the deaths of this poor family in favor of rejoicing that the royal one lived.
22. Bhima and Hidimba: The setting of the banyan tree is beautiful- I hope to include one in my next story. Is the shala tree associated with evil while the banyan is good? The ginger is the villain:( the switch to old english style prose for dialogue is simultaneously disconcerting and humorous, as is the decision to set the knock-down drag-out fight further away in the forest so as not to disturb the sleeping family, tired from a long day of getting carried around I guess.
23. Bhima and Hidimbi: What an unexpected love story! Sister betrays brother, then marries the man she saved. And they name their inexplicably bald child Pothead ahahaha.
24. Bhima and Baka:  This fight scene was very well-written and concise. Also I guess it's his thing to break backs. (Kinda like Bane in the Dark Knight movies, if you ask me).
25. Birth of Draupadi: "Tarry a little time for me." Cute alliteration. I want to know a little more about Draupadi's personality, and I could write about what the bards are performing in the delightful carnival-esque setting outside of the kingdom.
26. Draupadi's Swayamwara: Whoa this is crazy stuff. The god with a supposed sense of humor and her request for restored virginity at the start of all five marriages was amusing. The bow through the golden fish is like Mulan! What if I wrote a short about a woman who crossdressed as a man to be with Draupadi, her secret lesbian lover?! Also poor Kama. "like ponderous wild elephants they advanced."
27. Wife of the Five Pandavas: What a marriage week this must have been! I wonder what it was like for the wedding planner- they probably wanted a drink by the end, ha ha!
28. The Story of Nalayani: this goes below: "the people who suffered from evildoing went before the rajah as children go before a father seeking redress" again, the analogies work well!
29. Indraprastha: These dudes just settled down to get married and now they're on the move again? What about Draupadi? Is there like a custody thing for her to do with all five? Monday here, Tuesday there, every other weekend elsewhere?
30. Arjuna and Ulupi: This answers my above question I guess. TWELVE YEARS is so long! Like, Ramayana long! Dudes! Why?? Annnd then he cheats on her with a gorgeous water powered river goddess. They call it an epic for a reason lol.
31. Arjuna and the Asparas: This was a cool, episodic chapter. The alligator's fearsome set-up was well-done, and the way it changed was reminiscent of the rakshasa Viradha in the Ramayana.
32. Arjuna and Chitra: "My hands are strong to bend the bow, but I have never learnt Cupid's archery." I want to see what kinds of pick-up lines this guy can come up with. Story? Is he/she a woman in the beginning? "barbarian boor" sounds Shakespearean and I love it.
33. Arjuna and Subhadra: They made peace. Yes for girl solidarity!
34. The Burning of the Forest: Ah yes, drunken exploits! Entertaining since the beginning of time. This chapter was a reminder to take motivations into account: it was a trade between Agni and Krishna/Arjuna. The imagery of striking rain from the air is striking and "drunk rivers of fat and marrow" sounds gross.
35. Maya's Palace: What a setting! And the humor of the king wandering around clothes-less, mistaking crystalline water and doors for solid crystal and air is perfect! Such a nice breath of comic relief!
36. The Pandavas Victorious: These births are nuts, and they keep getting wilder! Two moms and a jinxed mango! I'm feeling inspired to write a crazy origin story myself lol. Liberty or death! This brief sentence outlines the stakes. Another broken back. Then tax collecting, rajah edition! "deep and smouldering jealousies." Krishna decapitates Sishupala who to be honest was at least somewhat justified in his hatred of Krishna bc Krishna stole his girl (who may have wanted to be stolen/willingly went with him in which case nevermind).
37. The Gambling Match: a loaded dice is Not skill. The majarajah and og Ramayana king need to listen to their advisors more, in the Ramayana's beginning and in this particular instance. There is an effective aside in this chapter which lets the audience know that Yudhishthira knew he was about to be cheated, but continued on anyway.
38. Draupadi Lost: "If my lord, himself a bondsman, then hath staked his queen and wife, False the stake, for owns a bondsman neither wealth nor other's life." He drags her by her hair...this is so cruel.
39. Draupadi in the Assembly Hall: She's been turned into a slave, Leia-in-The Return of the Jedi-style. That could be a fun Story.
40. The Second Match: Thematic tie-in with the hair and her vow.

Image Info: The cover art for P. B. Kavadi's comic rendering of the Mahabharata.
Source: Link.

Bibliography: PDE Mahabarata. Source: Link.
Arnold
Besant
Devee
Dutt
Ganguli
Kincaid
Macfie
Mackenzie
Nivedita
Seeger
Tagore

Reading Notes: PDE Mahabarata Part A

1. Vyasa and Ganesha: I'm so intrigued by the notion of exploring the story of the storyteller. You kind of don't think about it, but a story needs to be passed down to survive. Maybe a brief character study of the narrator for next Thursday? Hmm...his semen just casually falls out of his flying car? Is this safe driving? Of course the king snags the dude for himself. Poor Satyavati- fishy smell is no bueno- glad she could work through it with borderline prostitution I guess?
2. King Shantanu and Ganga: These are some crazy deals being struck- I'll cast you into the river to drown if you give me an eighth of your power? How do they divvy that up? Like, hmm I'll collect all of the magical energy in my pancreas and bequeath it unto you, dear River Goddess. LOTUSES. I know this was love at first sight, but what if King Shanty maybe noticed qualities other than her skinniness/prettiness. Talk to her dude. Looks aren't everything. Check for the crazy eyes. HECK yes I love that she demands to be treated like an equal you go, Ganga. Dang, good for him for lasting through seven kiddos before questioning her sanity out loud. A good one-shot would be of the first time she chucks an infant into the torrential river.
3. King Shantanu and Satyavati: Literary device: flashback, but with extra detail. Oof fishdad is trying to drive a hard bargain.
4. Devavrata's Vow: whoa what a guy. The flowers falling and the name "Terrible" are quite a contrast indeed. Can the kingdom just be ruled by who's best for it? Three years of war is not something to gloss over.
5. Bhishma at the Swayamvara: AH true love is at stake. A secret affair! The plot thickens! This is an example of the reader knowing something many of the characters do not. I love the imagery of the variety of prince's banners arrayed in front of the three maidens. A patchwork of regional culture. "Never had there been an archer like Bhisma" I felt this could have been set up better- perhaps a one-shot about his continuous practice of archery instead of wooing women.
6. Amba: This king is TRASH. I love that her motivations are crystal clear, though. Her priorities are: 1. Revenge on Bhishma. I wish she didn't have to turn into a man to do it though- perhaps my story for this week can be a warrior training montage for Amba, who refuses Shiva's offer to become a man and insists she'll do it herself.
7. Dhritarashtra and Pandu: dang this must be a seriously scraggly dude. When other people's negative reactions towards you manifest physically in their children you know you have issues. What must it have been like to meet this secluded mountain man with the knowledge that you are to give birth to his children?
8. Kunti and Her Son: "she ministered unto him faithfully by serving food at any hour he desired" Hey I'm craving pizza rolls. Ok babe brb. Write a one-shot about the making of celestial earrings? "The child had the eyes of a lion" very striking description. It's crazy that she would give up a baby Moses-style rather than live as a single mom. I'm so glad he went to a loving home!!
9. Pandu and His Wives: Swayamvara. Deer play an important role in that Ramayana scene as well. Dang this was like XXX. Like the Ramayana, death is rarely used as a verb: "gave up the ghost" is used here for the brahmin.
10. The Sons of Pandu: Five total demigod sons seems almost excessive- what a power pack, honestly. What qualities in the moms were so attractive to the gods? Was this so common that many people wandered India with mythical parentage?
11. Gandhari and Dhirarashtra: HECk yes blind king is ruling despite his disability. And his wife using a blindfold to be on his level?! Legend. (Literally). Also, a hundred kids?! Extreme. "Duryodhana's death was ill-omened." I love how this sets the foreshadowing up- I've previously underestimated the power of italics, and hope to use this method in a future story. The folly of parents, to love too much. Parental favor hecks things up on an individual and familial level.
12. Pandavas and Kauravas: These boys must have had so much fun growing up together in the grand palace- the cattle-branding sounds like it was quite the adventure. "with the bearing of young lions" "and could behold the whole universe as if it were a plum in the palms of their hands". This really sets up how powerful these lowly-at-first-glance hermits truly are. Putting something as vast as the universe into the context of fruit really puts things into perspective.
13. Bhima and the Nagas: Describes the aftereffects of poison as "fell into a big swoon". The poisons COUNTERACT?! what a lucky dog!! Two wrongs do, in this case, make a right. The city of serpents in the underworld sounds like such an interesting setting. Would it be dark? Warm? Crowded? I want to know more.
14. Drona: Prudent. Preceptor. Both a warrior and a scholar, emphasizing the importance of both for success. A kid named because he cried like a horse- many characters are named after features/actions. Perhaps a short story OC could be named in this fashion. It is so saddening that he believed their friendship was weaker than social status. Upset.
15. Drona Trains the Princess: YES princess training. This was too glossed over. I want more deets! Perhaps a supplemental short story can help.
16. Ekalavya: It is a recurring theme in this story to justify separation by social class. Here it happens when the highwayman/cattle-lifting descendant want to learn archery and is turned away. Good for him for learning on his own, but it's a shame his earnestness cost him (note: prevailing qualities come at a price?). He cheerfully severed his own thumb?! Also it's cool that it became custom in the region to draw a bow that way. I love when stories explain origins of characteristics and mannerisms.
17. The Contest Ooo yes the return of the PDE rhyme scheme. "girded loins". "ponderous maces". Of course there has to be a tournament.
18. The Arrival of Karna: Gentle trash-talk. Serious, but respectful. Adds to characterization. "His eyes flashed fire" shows emotion without dialogue. Good skill to use. This must have been so terrible for their mom, goodness.
19. Drona's Revenge: Oof using your students to do your dirty work:( This has to go against some sort of warriors code. "consumeth". elephants as big as mountains. Glad to see them friends again, but the road there seemed rather excessive. Perhaps this makes it seem more epic for the reader- like anything worth having comes at a price/is worth fighting for?
20. Duryodhana's Jealousy: "Added fuel to the flames of Prince Duryodhana's hatred." Later his revenge is- get this- fire. Also what a cliffhanger. I really hope they don't die! Spacing out the plotting and making the audience wait for any resolution is so effective from a storytelling standpoint.

Image Info: Famous artwork rendering the Mahabharata. Found on the DNA India website.
Source: Link.

Bibliography: PDE Mahabarata. Source: Link.
Arnold
Besant
Devee
Dutt
Ganguli
Kincaid
Macfie
Mackenzie
Nivedita
Seeger
Tagore

   

Reading Notes: Sita Sings the Blues: Part B

The break-up sequence has such beautiful, breathtaking collage art. So much work went into it and it's so awesome of Nina Paley to allow public access.

The brief Laundromat background was really fun- perhaps an ordinary place like a Laundromat or a McDonalds or something would be fun to write in (McDonalds are everywhere- I'm sure the jungles of Ancient India had them too).

Animated pregnant Sita is so cute.

Post-breakup Nina is an excellent parallel for devastated post-exiled Sita.

Sita's jazz number with the peacocks where she sings about being blue is so applicable and innovative in the context of the story. The movie poster I selected for this post's accompanying image describes the Ramayana as "The Greatest Break-up Story Ever Told", and I love how this is dramatized throughout the sequence. 

"Duty first, Sita last". The lyrics and accompanying music to Sita's boys' singing of the Ramayana is ingenious, and shows how fun it could be to write the events of the epic poem into a different, more concise poem for comic relief. 

Again, I'm just digging how well the jazz/blues numbers fit in the story. 

I want to know more about the orange-robed, beard-clad side character with the violin! 

Mother Earth reappears from the very beginning, her presence-though wordless- ties in a small sense of continuity from start to finish, and the slo-mo into a brief battle scene pause and recap are all very effective story devices. In the next action scene I write I may take from this and incorporate a pause where the positions of every character are briefly recapped- this both updates the reader on events and increases the sense of dramatic tension.

Whoa glad Rama could muster a single tear for the woman he needlessly scorned for years and years.

HECK YES he's rubbing her feet now I DIG IT.

"Everything else, unless otherwise specified: Nina Paley". Beautiful. The humor in this film was so top-notch. I loved the modern take on the Ramayana and seeing Nina's story- especially the end connection that she, the inside character, would go on in her narrative to make the movie being watched. Fun!

Image Info: Movie Poster for Sita Sings the Blues.
Source: Link.

Bibliography:
Paley, Nina. Sita Sings the Blues. 2008. Link.

Reading Notes: Sita Sings the Blues: Part A

The introduction portion does an excellent job of setting up the scope of the characters amidst a celestial background, as well as showing how Sita, despite being as beautifully animated as Rama, is stuck rubbing the knots out of his feet. The music is beautiful.
The transition to Present Day is well done: In future stories, I plan to use a simple tag in between transitions (e.g. Honolulu, 1998).
I love the contrast between animation style and background.
The cat provides so much humor to the scene- in my writing perhaps I'll add an animal sidekick for a moment or two of comic relief.
The arguing of the narrators is reminiscent of the three muses of Hercules. Perhaps adding an omnipresent narrator could spice a story up.
The movie does a great job of visually associating characters with names, so that the reader understands who is who as the story goes on.
"Brave boy, embodiment of an ideal man" to "Don't let the door hit your a** on the way out" LOL
"I cannot live without you" into the first jazz number. I love the incorporation of music! The animals flying in time and the upbeat nature of the song make watching it so much fun. Maybe in future stories I can choose a specific song to write to.
The duality of Ravana's character is presented in that "he's a good king" but also the villain.
"Big round fat juicy LOTUSES".
The second musical number with the background dancing butterflies is so cute!
"Your a** is grass" and the following use of sound effects to underscore how emphatic Sita is in her devotion to Rama is hilarious.
The following song's showing of the passage of time is creative and ingenious. In a story I hope to try new ways showing time going by. In a similar way the passage of distance is shown, with the Indiana Jones-esque airplane flight.
"Ooo There's Knocking at my Door" in conjunction with the rakshasa battle and blood going everywhere also makes for a funny scene.
Gosh the cinematography with Rama's arrow was NICE.
In the next jazz number, a lot of time is given to the background monkeys- a reminder to look into side character backstories as well?
The beautiful rainbow is a reminder to give some acknowledgement to the settings of stories.
The intermission is a well-timed break to give the audience a moment to breathe.

Image Info: Cover photo for Sita Sings the Blues DVD.
Source: Link.

Bibliography:Paley, Nina. Sita Sings the Blues. 2008. Link.

Reading Notes: Ramayana, Part D

The Bridge: serenely vs weltering billows. Like in The Incredibles- "I'd like to help you, but I can't...I'd like to tell you that the phone number you're looking for is 7428975938- but I can't. Sorry" the ocean says he can't be forded b/c ancient law but gives them a contact for a bridge. 

Rama Attacks: Foreshadowing of war/big event: raining blood, earth shook. "wrought, as it were, of mind rather than matter". Sita knows when she's being fooled! Positive! Counterfeit.

Indrajit: This chapter does an excellent sensory job, sharing sights, sounds, and smells, which tend to be forgotten when writing stories. To keep from reiterating "Rama and Lakshmana", they were referred to as "the brothers" and "the sons of Dasharatha". Useful. This chapter was perhaps the lowest point in the epic: the protagonists appear slain, their army is beaten, and Sita remains in the villainous clutches of the foul vulture, but help from an ally appears as a light in the dark, and everyone's hope/vitality is restored. Their cause is so noble that death cannot harm them.

Kumbhakarna: "He's retired now, but in his former days he *casually* terrorized the universe." He defeated INDRA?! What a track record. Flaming arrows are the weapons of choice, it seems.

Hanuman and the Mountain: No time is wasted on the search for the herbs: he thinks outside of the conventional story box and just grabs the entire mountain. This is really cool. The Brahma-weapon...sounds like it was maybe "forged in the heart of a dying star". The bears are called upon. "Heart-shaped herb?"

Lakshmana and Indrajit: Family member of protagonist vs antagonist fam. When Ravana is ineffective trying to physically get Rama's head, he goes for mentally getting inside his head, perhaps an even greater battlefield than the one of the past few chapters.

Ravana's Lament: I love that one of Ravana's many art-depicted weapons is a book. Humanizing him: he weeps for his lost son and is kept from killing a woman, as it would "pollute his fame". Also girl power: rakshasa "dames" still protect Sita even though she is human because she is a woman too. 

Ravana and Lakshmana: "The love of a wife or friend is easily won, bfut the love of a faithful brother is rarely found in this world of illusions." 

Indra's Chariot:"Gods assist the brave and true!" Steeds celestial- what's their story? Also how are the gods watching this conflict? On a big heavenly tv or in cushy armchairs in the clouds? What if their satellite dish stops working? 

Battle of Rama and Ravana: The sun, greater than all. I love the imagery of the gods appearing to watch in person. (perhaps the tv wan't exciting enough).

Ravana's Death: Though the head and heart are equals, the heart was targeted for Ravana's ultimate death (parallel with his son dying being a crucial blow?). Dang it's raining flowers again this happens quite a bit. It says celestial music was played and I immediately thought of the song Celebrate! by Kool & the Gang.

Mandodari's Lament: To quote Hamilton and paraphrase Newton: Every action has an equal opposite reaction. The death of Ravana does impact on others: particularly his eldest wife. "Nations perish for a righteous woman's woe." 

Sita and Rama: He doesn't want to see her until she's taken a bath?!?! w. o. w. dude it's been months I thought she was important to you ok. He RENOUNCES HER WTF

Sita Tested: I dunno if she's bluffing (at the beginning) but I applaud this she's taking zero craps from her husband today.

Pushpaka: I like the style of backwards remembering storytelling- sort of abbreviated/listy because of the full scope of it (humorous). It's different from the rest and kind of epiloguey.

Rama and Bharata: AHA the classic time crunch for Rama to return in time for Bharata not to uphold his suicidal vow. 

Rama Crowned King: ethereal. Beautiful, fancy spectacle. Worth the wait? Seemed too short.

Valmiki's Heritage: I am SO UPSET he sent her away. Of course mystery children oldest trick in the book. Again, what's the horse's story?

Sita Departs:

Rama Departs:

Bibliography:

      Ramayana:

• M. Dutt. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20MNDutt
• R. Dutt. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Dutt
• Gould. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Gould
• Griffith. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Griffith
• Hodgson. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Hodgson
• Mackenzie. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Mackenzie
• Nivedita. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Nivedita
• Oman. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Oman
• Richardson. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20
• Ryder http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Ryder

Image Info: An older Hindu religious painting/artwork depicting Rama proposing to Sita.
Source: Pinterest. Link.

Reading Notes: Ramayana, Part C

Sugriva and Hanuman: The beggar trope is utilized almost immediately. Disguised as a beggar, the side character presses the protagonists for information. Extolled. Sugriva given credibility as "high-souled, heroic, and virtuous". Sugriva and Rama have in common exile and loss of a wife.
Sugriva's Story:This section begins with a bit of a description: "Whereupon this best of monkeys told Rama how it had come to pass that Vali, his elder brother, should have behaved so badly.' I liked this method of preface and intend to use it in storytelling at some point this semester. This chapter also shows how there can be multiple sides to every story.
Sugriva and Vali: Good characterization of Rama:
"To his foes resistless Rama is a lightning from above,
To his friends a tree of shelter, soul of tenderness and love,
"Dearer than his love of glory is his love to heal and bless,
Dearer than the crown and empire is his hermit's holy dress

Vali's wife attempts to dissuade him fighting with his brother but in his pride he fails to listen.
Vali's Death: "Like the sun and moon in conflict" sets the stage well for two evenly-matched yet different foes, epicizes the conflict. Rama only wins by a covert poisoned dart. Kinda sneaky/dishonorable.
King Sugriva: To me, Sugriva crying over the death of his brother (with which he was directly involved) was reminiscent of Gamora's tears over her adoptive father Thanos after stabbing him in the recent Infinity War movie. It gives characters more depth to show the emotional fallout of their actions. Succession is immediate: no power vacuum here.
The Rainy Season: Trapped and impatient in the forest outside the city, Rama experiences a bout of seasonal depression, lamenting over the loss of Sita and fantasizing about their reunion. This fantasy in particular illustrates how deeply he feels her loss.
The Armies: The king forgot his promises to Rama after getting what he wanted, but of course when threatened sends four armies out in the four cardinal directions. I love the romanticized notion that all of the corners of the earth will be searched if they but look north, south, east, and west.
Sampati: The monkeys wait at the ocean looking at the limitless expanse and mourning their failure when (trope) a helpful neighbor overhears and gives them what they need to continue their quest.
Sampati and Jatayu: The intro to this was super interesting because though he talks about the inconceivable scope of the general universe, he goes on to talk about how a tiny, insignificant amount was the world to him. It's a tale of closeness and sacrifice.Resplendent. 
Hanuman's Leap: "The boon of choosing his own death." I also found this interesting, as one wouldn't typically associate a positive gift with the negative concept of death.To preface Hanuman's extraordinary deed a brief history of his extraordinary background was provided which both generates anticipation and gives credibility. Moral of the story: mind and body are needed to accomplish big things, COMMIT. Impetus.
Hanuman in Lanka: How cool setting-wise that Hanuman compares the city of Lanka to the shape of a woman. Sita's characterizing devotion helps in the search for her. Embraced each other.
The Ashoka Grove: Alliteration: peerless princess, loved and lost, saintly Sita, cruel..crossed.
Sita and Ravana: The artwork depicting Ravana with a donkey head due to his stubbornness had me considering giving characters animal aspects to represent integral traits in future stories. Ugh she cries again oof.
Hanuman and Sita: Ring was a nice touch. Grr she could escape now but for modesty.
Hanuman Captured: Overdoing something is what causes it to fail (moral?). If he hadn't vindictively gone around setting things on fire he could have already been on his merry way.
Hanuman and Ravana: The Pirate's Code! Parlay!
The Burning of Lanka: "saved by her own virtue" even the villains adhere to a strict code of conduct, interestingly enough. They're not complete anarchists.
Ravana's Court: Holds council for what to do next. Meanwhile the protagonists set up camp and plan.
Vibhishana: Impious

Bibliography:

      Ramayana:

• M. Dutt. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20MNDutt
• R. Dutt. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Dutt
• Gould. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Gould
• Griffith. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Griffith
• Hodgson. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Hodgson
• Mackenzie. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Mackenzie
• Nivedita. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Nivedita
• Oman. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Oman
• Richardson. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20
• Ryder http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Ryder

Image Info: The title screen on the Metropolitan Museum of Art's webpage on the Ramayana.
Source: https://www.metmuseum.org/exhibitions/listings/2010/epic-india

Reading Notes: Ramayana, Part B

Ramayana Notes Part B:

• Bharata Returns: I love the contrast of having the unmoved mother and the tearful young man. The villain only survives because she is a woman and her murder would not entreat the men to the protagonist.
• Dasharatha's Funeral: What better way to express the sadness and calamity of the King's death than by saying even the celestial body of the sun is visibly saddened. "sallow countenance". "bewailed". Comparison of Rama the king to the Lion the king of the beasts. Animal-swap retelling? "The city appeareth unto me like the night deprived of the moon." ascetic. This chapter has been very diligent on expressing elements of every sense, especially smell (sandalwood). Also sound (music, wailing).
• Rama and Bharata: It really speaks to Rama's character that he refuses to return despite his father's death (reminiscent of the scene in Thor where Loki says his first act as king cannot be to undo his father's last). What if Rama wasn't so strong and gave in? Whoa this got existential. A good man is distinguished from an evil man by his deeds.
• The Sandals: Symbolic golden sandals.
• Anasuya: "pure-souled pious princess" great alliteration! 
• Viradha: damsel in distress (Sita). Conflict! Beast immediately recognizable via numerous negative traits: frightful/deformed/disgusting/dreadful/misshapen/horrible/besmeared/piercing. Still irritating that Sita's only character traits are her devotion to Rama and her "transcendentally beauteous" nature. "Tremble from fear like a plantain tree shaken by the wind." The brothers shower blazing arrows, the rakshasa yawns- comic relief. Story Idea: what if Sita's being a badass in the background and ends up kicking his butt instead of the boys. Again, instead of "died", other verbage: "attained heaven". 
•  Agastya: The three "biggies" are mentioned as gifts are bestowed: Vishnu, Brahma, Indra. Sita is a "pale and drooping blossom" UGH she is a strong woman I'm sure. Too bad this story roots all of her positive qualities in her relation to a man. This story would NOT pass the Bechdel Test.
• Shurpanakha and Rama: Wow A the og woman isn't good enough and B the other woman is playing the part of an evil temptress. There is NO element of sisters before misters in this tale.
• Lakshmana and Shurpanakha: Again, Rama's fighting Sita's battles. 
• Battle with Khara: Foreshadowing: "evil were the omens...jackals howling and birds screaming, blood-red sky".  UGH Sita's reappearance is just to kiss Rama in a nauseating fairy tale kiss. The feminist in me is frustrated.
• Shurpanakha and Ravana: voluptuous. tawny. "Like some mawkish saint tasting celestial beatitude". Sita has graduated to being both Rama and Lakshmana's weak spot. The wind caught up the sound and spoke.
• Ravana and Maricha: the motivation is explained- Ravana intimidates Maricha until he agrees out of fear. The deer is created and the description of it is decadent and beautiful, as the creature must be.
• The Golden Deer: Wow Sita's first words in over a dozen chapters are to ask Rama to carry out a favor for her.
• The Chase: Lakshmana insults Sita and all women and she responds with tears. Lordy this woman needs a 21st century makeover. She says she is nothing without a man, threatening suicide if Rama doesn't survive. 
• Ravana and Sita: I'm enjoying the mythology of Rakshasas- their shapeshifting is really cool (and reminiscent of Marvel's Skrull aliens). 
• Jatayu and Ravana: Like in Narnia, the trees/other nature elements can be used to the protagonist's aid as resources/communicators. Ravana has a grudge-match with a vulture. Sita, still unable to do anything to help her situation, drops the equivalent of breadcrumbs for Rama.
• Sita in Lanka: beautiful backdrop contrasts against melancholy mood. Also, CONSENT
• Rama and Jatayu: I'm glad that Rama's borderline toxic masculinity complex isn't so strong as to prevent his tears upon the loss of his love. Rama addresses the chaos and suffering that seems to follow him, feeling guilty and responsible. 
• Kabandha: imprisoned in a demon's body, he is freed and then offers information in the form of a miniquest: to find the ape chief on Rhishyamukha.
• Shabari: a noble, pious woman and a location that may or not be stuck in a time loop- never aging, just waiting.
  

  

  Image Info: Bharata falling to his feet to greet and beg Rama for his return.
  Source: https://www.hariome.com/why-rama-refused-to-come-back-from-forest-after-the-death-of-dasaratha/

Bibliography:
      Ramayana:

• M. Dutt. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20MNDutt
• R. Dutt. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Dutt
• Gould. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Gould
• Griffith. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Griffith
• Hodgson. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Hodgson
• Mackenzie. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Mackenzie
• Nivedita. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Nivedita
• Oman. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Oman
• Richardson. http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20
• Ryder http://ouocblog.blogspot.com/search/label/PDE%20Ramayana%3A%20Ryder