There was once a yaksha called Nandaka, who was a doorman
at Lord Shiva’s palace on Mount Kailāsa. Nandaka was a simple and humble yaksha
with no particular power or skill. Nandaka was also an ugly yaksha. Even
worse, he was nearly bald but for a few tufts of hair at the sides of his head.
Everyday, Nandaka found himself the butt of jokes from angels, nagas and
yakshas, who were seeking audience with Lord Shiva. These various beings
would bully him, tap his bald head and mock his appearance.
'That was how it was every single time!' Nandaka thought in anger
after another bully scuttled into the palace after she mocked his look. He had
enough of these bullies. Nandaka thought they bullied him because he had no
power to retaliate. He then decided to seek his Lord for help.
Nandaka prostrated himself in front of Lord Shiva, bemoaning all
the bullies he had to endure to his Lord. Lord Shiva took pity on Nandaka and
granted him a boon. Nandaka left Lord Shiva with a powerful magic index finger
on his right hand. Nandaka took to his power right away. With his magic finger,
Nandaka terrorized every angel, naga and yaksha. Not a single one
escaped his punishment. He would point his magic finger and repel them all into
far-flung chakravala (domain/realm). Before long, Lord Shiva’s palace
became deserted. No visitor would dare grace its hall.
Eventually the matter reached Lord Shiva. The Lord, quite
understandably, became very anxious.
'Suppose Nandaka went beyond expelling those approaching, suppose
he harmed them? Suppose he turned his finger toward me.' thought Lord Shiva. He
gave Nandaka too great a power. Lord Shiva then sought counsel with Lord
Narayana.
“You cannot take it back. The matter has already gone too far.”
Lord Narayana scolded Shiva “the only thing to do now is to kill him off.”
“Leave the matter to me.” Narayana told Shiva.
Lord Narayana transformed himself into a beautiful young woman as
he walked toward Nandaka’s home. When Nandaka saw the beautiful woman, he
thought she was one of the apsaras (celestial dancers) from the visiting
dance troupe. He was so enchanted by her beauty. He walked to her and broke
into a song.
Nandaka:
Come, O dearest treasure! Approach beloved.
I would like a talk with you.
Where are you going? And where have you come from?
I look at you and I want us to be friends.
Female Narayana:
You have asked me a question;
I must reply - with warmth, with eagerness, with desire.
I am here to look for a husband. If one pleases me, I will take
him on.
Nandaka:
Dear lady, blessed with beauty, you are here looking for a
husband, to live together in harmony.
What kind of a man are you looking for, precious love?
Does a man like me please you?
Female Narayana:
O handsome young man, I am searching for a husband who can dance.
If you can dance well, I can like you, love you and take you as my
husband.
Nandaka:
My treasure, your beauty excels that of all others.
As for dancing the Rae dance,
whatever the measure, I can perform it.
What’s the difficulty? Dance on my lady.
I shall then follow you and so dance correctly.
Being a man of intelligence, I shall learn all the rules from you,
my dear teacher.
Please dance, beautiful lady!
After hearing Nandaka’s willingness to follow the dance, the
female Narayana swayed her body, performing the steps and she twisted her right
index finger around so that it pointed down toward her tight. Nandaka imitated
the movement and pointed his right index finger the same way and promptly fell
down on the spot.
The female Narayana turned herself back into the splendid and all
powerful four-armed Narayana, holding the disc. Narayana grabbed Nandaka’s
head, pressed him down, ready to behead him.
Nandaka was full of gloom and dismay. 'I am beaten by Narayana’s
trickery. I lost my senses' he thought.
In anger, Nandaka spoke "So I have slipped up and let you get the
better of me! What can I do, my Lord, with my two arms? How can I fight you,
with your four arms? If we both had two, I would not accept defeat by you!”
Lord Narayana said “You lose because you have only two arms. Then
off you go and be born with many faces and many arms. I shall then descend and be born as a man. We shall fight each other
again.”
And with those words Lord Narayana killed Nandaka.
In one of his later reincarnations, Nandaka was born as Ravana,
the ten-headed and twenty-armed king of rakshasas (demons), and the lord
of Lanka. Ravana would later abduct Sita, consort of Rama, the seventh
incarnation (avatar) of Lord Narayana. The two would have their rematch in the
Battle of Lanka which you can read in the Sanskrit epic Ramayana or the Khmer
versions, Ramakerti I and II, or view it on the bas-reliefs at Angkor Wat, one
of Cambodia’s temples.
O Nandaka, you have your Lord dip your finger so that it became a
weapon. With the power thus achieved, you pointed your finger at the heavenly
throngs and dispersed them.
You confidently used your finger, without forethought, until all
the heavenly body felt angry with your Lord. Through him, you were consumed
with lusty power. And you lost your life due to that power.
Note:
There are two versions of Khmer Ramayana. The first one, known as
Ramakerti, was composed in the 15th and 16th centuries. This early version
included the story of Hanuman and Sovann Macha, which is a purely Khmer
creation. You won’t find it in the Valmiki’s epic. Ramakerti II, better known
as Reamker, was composed between the late 17th and 18th centuries. This second
version included the above story, The Yaksha with the Magic Finger.
Here's my attempt of reading out the duet
Here's my attempt of reading out the duet
Hello author! I really enjoy your writing! By the way, I want to see the reference of the note saying:
ReplyDelete"There are two versions of Khmer Ramayana. The first one, known as Ramakerti, was composed in the 15th and 16th centuries. This early version included the story of Hanuman and Sovann Macha, which is a purely Khmer creation." I find this is a nice reference for Reamker!
The Traditional Literature of Cambodia: A Preliminary Guide by Judith M. Jacob.
DeleteMs. Jacob also wrote numerous scholarly articles about traditional Khmer literature.
If you're more partial to French, you can check the works of M. Roeské.
As for the above story, it came from Gatilok, a collection of short passages taken from various epics and verse-novels, compiled by Suttantaprija Ind.
And thank you for stopping by.
Thanks alot for yr detail. I would like to have a verification from you! So, the story of Hanuman contact with Sovan Machha is from the 15th-16th century Ramakerti or we can find in this book >>> The Traditional Literature of Cambodia: A Preliminary Guide by Judith M. Jacob.??
ReplyDeleteSorry to disturb you and I am appreciate yr respond!
Sadly, Judith M. Jacob mentioned only bits and pieces in her writings. The Buddhist Institute in Phnom Penh published both the 15th century and 18th century versions of the Khmer Ramayana, with citation and all. So you might want to check the institute’s publications. As far as I know, only one version was translated into French. The name of the translator escaped me. And I’m traveling right now, so I don’t have access to my book. By the way, one way to tell which version is older is by looking at the metres used in the composition. The new version employed a lot of modern syllable-metres, while the older one used only pre-Angkorian and Angkorian metres. If you have any more questions, don’t hesitate to ask.
DeleteAnd you can find the story of Hanuman and Sovann Macha in the Buddhist Institute's publication of the first Khmer Ramayana.
DeleteI need to make sure the part I asked is in the book. Just made sure before purchasing the book. This reference "Story of Human and Sovann Machha was dates 15-16th century" is important bcz lemme wrote ថៃបានអះអាងថាឈុតហនុមានជួបជាមួយសុវណ្ណមច្ឆាបង្កើតឡើងដោយស្តេចគេនៅចុងសវទី១៨ ហើយគេចោទយើងថាខ្មែរបានចម្លងឈុតហ្នឹងពីគេ ហ្ចឹងហើយទើបខ្ញុំចង់បានឯកសារហ្នឹងដើម្បីទុកជាភុស្តតាង និងបញ្ចូលក្នុងវីគីផេឌា។ បើបងទំនេរជួយចែករំលែកឯកសារផង if u can't read tell me!
ReplyDeleteIf you are looking for a western source, you won’t find it in that book. There might be some mentions in French publications, but I can’t be sure about that (it’s been quite awhile since I read anything pertaining to the Ramayana). Instead, you need the Buddhist Institute's publication of Ramakerti I. You should also check Khmer textbooks. By the way, Khmer mask theatre has been performing Ramayana play, including the Hanuman and Sovann Macha scene, since the Angkorian Era. I would treat whatever Thai sources said about Khmer/Thai shared culture or literature with a heavy dose of skepticism.
DeleteI almost forgot, but one Khmer poetry textbook, Khmer Poetry by Ly Somony, cited that the story of Hanuman and Sovann Macha was composed back in the Angkorian period.
DeleteThis is the book. The author also gives sources for the claim.
Deletehttp://www.elibraryofcambodia.org/kam-nab-khmer-ebook/
Thank so much yr help & detail! I appreciate it!
DeleteIf you are fluent in Khmer, you should get a copy of both Ramakerti I & II and do a language comparison. The language in Hanuman and Sovann Macha and Ramakerti I was clearly Early Middle Khmer. It still heavily retained the characteristics of Angkorian Old Khmer. I read Lpoek Nokor Vatt, and I could understand it quite well. And that one was composed in 1620. But when I tried Ramakerti I, the language was so archaic, I couldn’t understand most of what I’ve read. I said 15th to 16th centuries, but it’s probably a century older than that. If I had to guess, I’d say the story was composed around the transitional period, from Old Khmer to Middle Khmer. As for Ramakerti II, the language used already exhibited the characteristics of Modern Khmer, it’s probably from the mid-1800s and later.
DeleteHappy reading!
Thank you so much again from heart! I'll try to get a copy of it!
ReplyDelete