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<p>The last book of the <i>Vālmīki Rāmāyaṇa</i>, the <i>Uttarakāṇḍa</i>, seems to present a rupture in character from the text’s earlier volumes. This article examines the framing narratives of the <i>Rāmāyaṇa</i> for how they might inform its interpretation. Scholars have long noted internal discrepancies in the text, most often explained as sediments of historical accretion. Such a line of interpretation, however, potentially misses a secondary drama embedded in the opening frames. The frame stories draw attention to the poet Vālmīki as a <i>literary character</i>, one who is also an interested party engaged with events related in his composition.</p>

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Vālmīki’s Paradise Lost: Framing the Ādikāvya

  • 期刊论文

  • 发表日期：

    2025年9月22日

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  • Arti Dhand

摘要

The last book of the Vālmīki Rāmāyaṇa, the Uttarakāṇḍa, seems to present a rupture in character from the text’s earlier volumes. This article examines the framing narratives of the Rāmāyaṇa for how they might inform its interpretation. Scholars have long noted internal discrepancies in the text, most often explained as sediments of historical accretion. Such a line of interpretation, however, potentially misses a secondary drama embedded in the opening frames. The frame stories draw attention to the poet Vālmīki as a literary character, one who is also an interested party engaged with events related in his composition.