The Two Ends of One Story 

Every autumn, India lights up in celebration. First comes Dussehra, then Diwali — two festivals that seem separate, yet are really two parts of the same story.
Dussehra marks the day of battle, when Rama defeated Ravana and restored the balance of good and evil. Diwali follows as the homecoming, when Rama returned to Ayodhya and the city glowed with the light of welcome.
One celebrates the triumph itself. The other celebrates what follows: peace, hope, and renewal. 

Dussehra: The Moment of Courage 

Dussehra, or Vijayadashami, is the festival of courage and righteousness. Across India, the story takes different forms. In the north, towering effigies of Ravana burn against the night sky, while in the east, Goddess Durga’s victory over Mahishasura fills the air with devotion and pride.

Whether it is Rama or Durga, the message is the same: darkness must be faced before it can be overcome. Dussehra is that confrontation, the moment when courage rises, when good stands firm even in the shadow of fear. 

Diwali: The Return of Light 

Then comes Diwali, glowing with the memory of victory. The battle is over. The diyas are lit, and when Rama returns home, Ayodhya comes alive with celebration. Even today, homes across India sparkle with that same joy. Behind every flicker of a lamp lies a quiet prayer for peace after struggle, for warmth after distance, for light after dark. Diwali becomes a celebration of return, a reminder that joy always finds its way back. 

Between the Two 

Dussehra and Diwali are two breaths of the same rhythm — one exhaled in battle; the other inhaled in peace. Between them lies a pause, a time to reflect on what was lost and what was gained. Together, they tell a single story: victory is not the end, but the beginning of healing and gratitude. The light that shines during Diwali is born from the fire that burns on Dussehra night. 

The Story Within Us 

These festivals remind us that there is more than one way to see the same story. If we look closely, these festivals are not only about gods and demons. They are also about us. Every time we face a challenge, it is our own Dussehra — a fight against doubt, anger, or fear. Every time we rise again, with strength and kindness, it becomes our Diwali. Just as they show two moments in time, they invite us to keep renewing our own perspectives, to find new meanings and fresh hope in what surrounds us. The story repeats itself in our lives: darkness and light, struggle and renewal, fall and return. 

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The end of the monsoon has always been more than a shift in weather. It is a time when the skies open after months of storm, when myths, epics, and festivals converge to give meaning to the retreat of rain. For ancient India, the parting clouds were not just a natural occurrence but a chapter in a cosmic story. 

The Devas, the Asuras, and the Skies 

In Vedic hymns, Indra is praised as the lord of thunder and rain, the one who wields the vajra (thunderbolt). His most famous battle was against Vritra, the serpent-demon who held back the waters of the world. When Indra struck Vritra, the rivers and rains were released. Myths like these offered explanations for the cycle of rain and drought, flood and retreat. 

The end of monsoon, when the clouds scattered and the skies cleared, was often seen as Indra withdrawing after victory, taking his forces of rain back to the heavens. Alongside Indra stood Varuna, the god of oceans and cosmic order (rita). Varuna’s role was to ensure that the waters returned to their rightful places—the seas, rivers, and underground springs—after the season of excess rain. In folk belief, his steadying hand kept the floods from swallowing villages once the storm season was over. 

Natural imagery reinforced these myths. The rolling away of dark clouds was likened to an army in retreat, while the golden sunlight of Sharad (autumn) was seen as the radiance of the gods returning to earth. 

Epics and the Retreat of Rains 

The great epics paid close attention to the rhythm of the seasons. In the Ramayana, Rama waited through the monsoon months in Kishkindha, forging his alliance with the vanaras. Only after the rains ended could his army march towards Lanka and begin the great war. The clear skies marked a time of decisive action—a season of battles where dharma would triumph. 

In the Mahabharata, too, rains dictated the rhythm of war. Armies traditionally rested during the monsoon, when rivers swelled and chariots could not move. The Kurukshetra war began in late autumn, after the rainy season, a detail that reflects how deeply natural cycles shaped even epic storytelling. The departure of the rains was symbolically tied to moments of reckoning, conflict, and eventual renewal. 

Festivals of Transition 

As the monsoon retreated, festivals marked the shift from storm to clarity. 

Sharad Navratri (September–October): Nine nights of worship, ending in the victory of the goddess Durga over Mahishasura. The timing reflects a cosmic renewal after the cleansing rains. 

Dussehra (Vijayadashami): Celebrated at the end of Navratri, it recalls Rama’s victory over Ravana, linking the festival directly with the post-monsoon return of clarity and light. 

Diwali: The festival of lights, celebrated a few weeks later, marks Rama’s return to Ayodhya after fourteen years of exile. Lamps are lit not only to welcome him, but also to mark the joy of harvests ripening after the rains. 

Together, these festivals mirror the natural journey: from turbulence to triumph, from cleansing rains to abundant harvests. 

Songs, Folklore, and Beliefs 

The retreat of the monsoon has always been sung into memory. In the folk songs of North India, the clouds are imagined as weary travellers making their way back home, while the clear autumn moon is celebrated as a symbol of purity and peace. The Toda people of the Nilgiris tell of two divine beings, Kaarsh and Kawntaiahh, who brought the south-west monsoon to their land. Their very breaths created storms and rain, and the swirling mists around sacred peaks still mark the onset and retreat of the season. Such myths root the monsoon deeply in local landscapes, making weather itself a divine presence.  

In Maharashtra, ballads tell of Indra’s return to his heavenly palace, leaving behind a refreshed and fertile land. Even classical music echoes this change of season: while monsoon ragas like Megh Malhar are sung to invite rain, autumnal ragas such as Durga and Bhairav celebrate the calm clarity of retreating skies. Across regions, the end of the rains inspire art, ritual, and devotion—transforming a natural shift into a sacred story. 

The monsoon’s departure has never been just about weather. It was a reminder that all things, even the heaviest clouds, will pass, making way for new beginnings. Ancient India read the skies as a sacred text, where every season told a story. And just as our ancestors found meaning in the shifting clouds, we too can learn from nature’s lesson: change is not to be feared but welcomed, for with every ending, comes the promise of renewal. 

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Hanuman, the vanara son of Kesari and Anjana, is a beloved deity from the Ramayana. He is a lot of things – a chiranjeevi, a poet, a singer, a yogi, and so much more, but he is best known for being Rama’s most ardent devotee. His might and cleverness have no match, but there are many more qualities of Hanuman that one can learn from. 

Humble 

Humility came to Hanuman in the form of a curse. After he was blessed by the gods with many powers as a child, Hanuman started using them to prank and trouble people. Once, he disturbed the penance of some sages at a hermitage. Wrathful, a sage cursed Hanuman to forget his powers until someone reminded him of them. 

While the curse was unfortunate, it went on to show that even without his powers, Hanuman was beloved by all. Even after he was reminded of his powers, Hanuman never prided himself on them thereafter. In the Mahabharata, we see Hanuman teach the same lesson of humility to his brother, Bheema. 

Devoted 

Among the many blessings he received, one was that Surya, the Sun God, became Hanuman’s guru. Even though he is famous for his strength, Hanuman was equally brilliant at studies. After completing his education, Hanuman asked Surya what he wanted as Guru Dakshina. To this, the sun god asked Hanuman to take care of his son, Sugreeva. 

Hanuman agreed, and soon became a close aide of Sugreeva. Through good and bad times, he was always there beside Surya’s beloved son, and later became the chief minister of Sugreeva’s court. While we remember Hanuman as the greatest devotee of Rama, he was just as devoted to his parents, his guru, and his friends.

Observant 

When he reached Lanka, Hanuman had to find Sita, whom he had never seen before. He shapeshifted to not be noticed and went around looking for a woman that matched the description he had heard from Rama. At some point, he found a very beautiful woman, who was sleeping in royal robes inside the palace. 

While the woman’s beauty was beyond words, Hanuman realised that Rama’s Sita would never be comfortable or sleep peacefully in Ravana’s palace. He kept searching until he found Sita in the Ashoka Vatika, looking distraught and tired, surrounded by guards. 

Respectful 

Had it been up to him, Hanuman could have brought Sita back from Lanka in a heartbeat. But he realised that this was not his battle, it was Rama’s. Sita wished to be rescued by her husband, and he could not disrespect her wishes or go against his lord’s instructions to find Sita and relay his message. 

In a modern world, one might wonder if Hanuman could have prevented a war had he gone against everyone’s wishes and rescued Sita himself. But Hanuman trusted his lord to do the right thing and respected Sita’s wishes, even though that meant watching her suffer. 

Strong 

Hanuman is considered to be the god of self-discipline and strength. He is supremely strong, being able to uproot mountains and jump high and far. He is the deity worshipped at akhadas and gymnasiums, by wrestlers and bodybuilders across India. But it is not just physical strength that Hanuman is famous for. 

After giving Rama’s message to Sita, Hanuman gets caught by Lanka’s guards. He fearlessly faces the asura king Ravana, and breaks their morale by setting their city on fire. He does not lose heart when Rama’s army realises that the asura army is stronger in numbers. He is quick to think on his feet and brings the entire mountain instead of trying to find the Sanjeevani herb to save Lakshmana. 

He is a yogi, a singer, a musician, and is well-versed in martial arts. Hanuman truly embodies that strength comes not just from your body, but also your mind and knowledge. 

Hanuman is an exemplary son, friend, brother, student and devotee. These lessons from his life are timeless, just like the tale of Ramayana, where Hanuman’s heroism finds no match.

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The Indian epics – Ramayana and Mahabharata – are both fascinating studies of human behaviour. They are full of myriad characters with unique personalities and motivations, all trying to navigate through concepts like duty, honour, love, morality, loyalty and courage. Unlike a lot of other modern and ancient literature however, the epics focus equally on men as well as women, allowing both genders the same level of complexity, thus giving us some of the most well-rounded, balanced, and interesting female characters.  

Women in the Epics  

Often women like Sita, Savitri, Sati and Anasuya are named as ideals of purity and chastity. They are seen to be women with excellent moral fibre, women who choose death over dishonour to their husbands and families, women for whom duty and sacrifice come above all else. However, the epics also contain female characters that have shades of grey. They are intelligent, confident and duty-bound, but they also display pride, rage and thirst for revenge.  

Ahalya Draupadi Kunti Tara Mandodari tatha  

Panchakanya smaranityam mahapataka nashaka 

This age-old Sanskrit verse is an ode to five such complex women from the epics. Literally translated, the verse means “One should forever remember the five virgins, Ahalya, Draupadi, Kunti, Mandodari and Tara, who are destroyers of great sin.”  

The Virgins 

At first glance, these five women don’t appear to be ‘chaste’ or ‘virgins’ in the traditional sense of the word. After all, all these women had relations with more than one man and some of them have also had to bear shame, abuse and punishment because of that. So why does this verse laud them? If these women were unchaste, then why do married women often chant this verse every day during their morning prayers?  

To answer these questions, we must examine our understanding of words like ‘chaste’ or ‘virgin’. In the traditional sense, a chaste woman would refer to someone who puts her husband above all else. She is devoted to only one man, never even entertaining the thought of loving another. She obeys her husband even if that means going against her own wishes. She is ready to sacrifice everything, even her life, to this end. Sita walking through fire to prove her chastity or Savitri following Yama to win back her husband’s life, can be seen as classic examples.  

However, there is another way of looking at the word ‘virgin’. A virgin could mean to be a woman who belongs to no man. She is essentially self-contained in the spiritual sense. She is a woman that no man can control or shame or ‘sully’, because she allows no one that power over herself, not even her husband. In that way, she is like the ‘pure’ spiritual ascetics, who always remain true only to themselves, dependent on no one, come what may.  

Draupadi and Kunti  

Ahalya, Mandodari and Tara belong to the Ramayana, while Kunti and Draupadi are from the Mahabharata. Kunti, the mother of the Pandavas, and Draupadi, their shared wife, both have massive roles to play in the way the Mahabharata plays out. Both are shown as intelligent, shrewd women with a deep understanding of the human mind. They were the guides to the Pandavas, providing advice, support and help throughout their journey, allowing them to fulfil their destiny. Both women also bear heavy burdens. They go through immense loss, sorrow and suffering but show strength and resilience that far surpasses the men around them. 

Kunti, whose boon allows her to beget children from various gods, has a son, Karna, before her marriage. Her action is born out of curiosity and the courage to explore outside the bounds of traditional taboos around unmarried mothers. She is however, forced to abandon her first son – a decision that causes her much pain throughout her life. After her marriage to Pandu, she bears him three sons, all from different gods, as per his desire. She is generous enough to share her boon with Madri, Pandu’s other wife. When Pandu and Madri die, she does not crumble. She becomes the strong matriarch that her sons need and fights tooth and nail to ensure they get their rightful place in the court of Hastinapur.  

Draupadi, born to avenge her father’s insult at the hands of Drona, has a life full of suffering caused by the actions of others. She is made the common wife of the Pandavas against her wishes, and faces insults about this all her life. She is staked in a game of dice like chattel by her husband, who is supposed to protect her. She is disrobed and publicly insulted in a roomful of men who watch on, unable to help her. That is where she learns not to depend on men or her husbands to protect her. She channels her rage and grief into a weapon meant to spur on her husbands in their journey. She ensures her honour is restored and assumes her rightful place as the queen of Hastinapur in the end. 

Kunti and Draupadi are perfect examples of autonomous women, bound to no man. They are extraordinary in their abilities and are aware that they must shape their own destinies, rather than depend upon others. While doing so, they are more than simply wives or mothers or daughters, they are their own women.  

Ahalya, Mandodari and Tara 

Ahalya, the beautiful wife of Sage Gautama, was cursed when she was seduced by Indra, who came to her disguised as her husband. While different versions of this story exist, most agree that she recognised Indra, but followed her instinct and curiosity and allowed herself to be seduced. Hers is a unique case of a married woman having a liaison with another man, without it being adultery or rape.  

On the face of it, Ahalya can be seen as an immoral woman. But when one analyses further, one sees that she represents a primal, unbound, female energy that instinctually responds to Indra’s masculine energy. Married to an old sage, Ahalya is never given the opportunity to actualise her beauty and youth. By giving in to Indra, she allows herself to rise beyond her roles as mother and wife and becomes a lover – a woman. Throughout all, she remains true to herself, her instincts and her deepest feminine urges, making her an extraordinary woman.  

Tara, the wife of Vali and Mandodari, the wife of Ravana are similar in a lot of aspects. Both are married to strong, powerful men. However, they are confident, intelligent women who act as counsellors to their husbands, preventing tragedies and ensuring their kingdoms run smoothly. However, when their husbands don’t listen to their advice, it leads to Ravana and Vali both perishing due to Rama. Upon losing their husbands, these women don’t collapse. Tara marries her brother-in-law Sugriva, to ensure her son, Angada’s place on the throne. Mandodari marries Ravana’s youngest brother, Vibhishana, and rules by his side to keep the peace in her beloved Lanka. Tara and Mandodari are true queens. They refuse to be their husband’s shadow and do what is best for themselves and their kingdoms, showing their unparalleled determination and strength.  

Panchakanya as Shakti 

These five kanyas, while not chaste in the traditional sense, are true virgins in the spiritual sense. They are not bound to any man and are manifestations of feminine power. They go beyond their earthly roles of being mothers and wives and excel at being individuals, always true to themselves. While their autonomy, strength and intelligence are awe-inspiring, they also have to contend with loneliness, grief and suffering because of their extraordinary natures. Their ferocity in remaining true to their humanistic core makes these five maidens true representations of Shakti in our epics, and worthy of veneration.  

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The terms asura and rakshasa are associated with destruction and violence throughout Indian mythology. In the epics, like the Mahabharata and the Ramayana, they are seen as demonic figures – monstrous in form and nature. However, a closer look reveals that not all asuras were the same. A lot of the asuras were not only talented and skilled at various crafts and warfare, but they were also great devotees of gods and had virtues like loyalty, selflessness and even righteousness. 

To delve into these ‘noble’ asuras, we must first dispel this mist and recognise their unique identity, not merely as ‘villains’, but as a distinct group with their own complex history, lineage, and qualities. Through the course of this article, we will see unexpected facets of these mythical beings, revealing many virtues hidden beneath the imposing faces and fearsome roars.  

Kumbhakarna 

Kumbhakarna, the younger brother of King Ravana, stood out not only for his immense size and insatiable appetite but also for being a virtuous and formidable warrior. While the Ramayana revolves around characters like Rama, Sita, Ravana, and Hanuman, Kumbhakarna holds a unique place in this epic. 

According to the Bhagavad Purana, Kumbhakarna is believed to be the incarnation of Vijaya, a gatekeeper deity, along with his brother Jaya. The two brothers faced punishment for their misconduct while guarding Vishnu’s abode. They were granted three lifetimes as Vishnu’s adversaries, cursed to die at his hands before being welcomed back to Vaikuntha. In their second incarnation, Jaya became Ravana, and Vijaya took the form of Kumbhakarna. 

Ravana, humiliated by Rama and his army, sought aid during the war from Kumbhakarna. However, a divine boon from Brahma made waking Kumbhakarna a daunting task. Legend has it that he was roused only when a thousand elephants trod upon his colossal frame. Upon awakening, Kumbhakarna learned of what Ravana had done and, despite his best efforts to persuade Ravana to reconsider, Kumbhakarna’s advice fell on deaf ears due to Ravana’s pride. Driven by loyalty, Kumbhakarna reluctantly joined Ravana’s army, demonstrating his prowess on the battlefield by single-handedly defeating thousands of Vanaras. Kumbhakarna’s dedication to his brother, even in the face of his own reservations, exemplifies his familial loyalty. Even though he had his arms severed by powerful divine weapons during the confrontation with Rama, he continued to fight valiantly. Some versions of the Ramayana even depict him recognizing the divinity of Rama. 

Ultimately, this powerful warrior met his demise at the hands of Rama, while dutifully serving his brother. Additionally, his attempt to counsel Ravana against the impending conflict, showcases a deep understanding of divine truths and underscores his moral compass. All these qualities make Kumbhakarna a figure worthy of re-evaluation and respect, adding a nuanced layer to the epic narrative of the Ramayana. 

Maya  

Maya, the king of a demonic race called the Danavas, is renowned for his architectural prowess. Among his many creations, he is particularly known for building the Palace of Illusions in the Mahabharata.  

Indraprastha, the kingdom established by the Pandavas, began as the untamed forest named Khandavaprastha, situated along the banks of the Yamuna river. When Arjuna set fire to the forest to clear the land, Mayasura, who was visiting a friend there, found himself trapped. It was in this dire moment that Arjuna extended a benevolent hand, rescuing Mayasura from the fiery inferno. This selfless act forged an unbreakable bond, and the grateful Mayasura pledged to build the Pandavas a beautiful home.  

Thus, from the ashes of Khandava forest, rose the city of Indraprastha. Described by Veda Vyasa as a paradise, it became a model of organised governance. Constructed by Mayasura in just five years, the Indraprastha Palace, also known as the Maya Sabha, boasted sweeping lines, grand rooms made of crystal and gems, and an opulent design. The palace had floors made of reflective crystals, giving the illusion of pools, and clear still-water pools that resembled floors.  

Unaware of this illusion, a visiting Duryodhana who was filled with envy over the luxurious palace, walked through it, mistaking one of the pools for the floor. As he fell into it, the mishap sparked laughter and ridicule from Draupadi and her maids. Enraged by the humiliation, Duryodhana’s anger flared, escalating the tension that paved the way for the infamous game of dice and, ultimately, the Kurukshetra war. Hence, Mayasura’s structures were not only renowned for their beauty, but also, settings that held narrative significance.  

Ghatotkacha 

Ghatotkacha, from the Mahabharata, is the son of Bheema and Hidimbi. When the Pandavas were living out their exile in the forest, a rakshasi named Hidimbi crossed paths with Bheema and they fell in love and got married later. Their son, Ghatotkacha, was half-human and half-demon. Despite her own brother seeing Bheema as an enemy, Hidimbi’s choice to marry him reflects a desire to take charge of her own destiny by gracefully assuming the role of a single mother and raising her son.  

Ghatotkacha inherited both human and rakshasa qualities, making him a formidable warrior. During the Kurukshetra war, he readily came to help his father. His proficiency in magic turned the tide of the war in favour of the Pandavas during critical moments. He could change his form and size at will, growing to gigantic proportions that dwarfed even buildings, or shrink to become tiny and invisible. This ability often proved advantageous in battle, intimidating enemies and allowing him to navigate difficult terrain. He also had the power to levitate and soar through the air with ease, which he used while helping Vatsala, the daughter of Balarama, leave her palace to meet her husband, Abhimanyu.  

He was also skilled at creating illusions to deceive his enemies. During the battle, he created a magical mountain from which came a stream of weapons. He could conjure up mirages, cast spells, and even made a dark cloud which rained down stones during the war. His immense strength could send trees flying at his enemies, and he could duplicate himself to confuse and tackle them. In the end, Ghatotkacha sacrificed his life to deploy the potent “Rakshasa Astra” against the Kaurava forces. This selfless act, born out of his commitment to the Pandavas’ cause, showcases his valour and willingness to prioritise the greater good.  

The temple in Champawat, Uttarakhand, associated with the site where Ghatotkacha’s head is believed to have fallen, adds a local touch to the Mahabharata narrative. The presence of a Ghatotkacha Temple in the Dieng Temples complex in Central Java, Indonesia, further illustrates the spread of Hindu mythology beyond the Indian subcontinent. Also, nestled amidst a sacred cedar forest near the town of Dungri, at the lush base of the Himalayan mountains, the Hidimba Devi Temple stands as a sacred sanctuary to Ghatotkacha’s mother, Hidimbi, who is revered as a deity there. A short distance away from this temple, a shrine has been dedicated to Ghatotkacha as well.  

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The Uttara Kand in Valmiki’s Ramayana tells us the story of the twins’ naming. When Sita gave birth to her sons in Valmiki’s ashram, the other sages asked Valmiki to protect them from evil spirits, as was the custom in those days.

Valmiki then took Kusha grass and cut (lava) it into two parts. He then instructed that the elder child be cleaned with the upper part and be named Kusha, and the younger child be cleaned with the lower part and be called Lava. That is how Lava and Kusha got their names.

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In Hinduism, the cycle of life and death is endless until one attains moksha (liberation from birth). However, there are some people who do not follow the same cycle. These are the Chiranjeevis. The Sanskrit word ‘chiranjeevi’ means immortal. Different texts mention either seven or eight such beings. This article explores how all of them attained immortality.  

Parashurama

Parashurama is the sixth reincarnation of Vishnu. After his family was mistreated by Kshatriyas, he made it his mission to rid the earth of them. Trained by Shiva himself,  Parashurama was brave, knowledgeable and devoted. Shiva gave him his axe, the Parashu, which led to him being called Parusharama, meaning ‘Rama with an axe’. Parashurama was a skilled teacher who taught Bheeshma, Drona and Karna. In fact, it is said that he was granted immortality by Shiva in order to train Kalki, the last reincarnation of Vishnu. He has met both Rama and Krishna, making him one of the few Dashavatars who has interacted with the others. 

Ashwatthama

Ashwatthama, the son of Drona, was born with a powerful gem on his forehead. This gem eliminated hunger, thirst, disease, and fear of any weapons, rakshasas, nagas and even gods, making Ashwatthama invincible. During  the Kurukshetra War, Ashwatthama’s father, Drona, and his friend, Duryodhana, were killed. Full of rage and grief, he went to seek revenge on the Pandavas. In the darkness, believing Draupadi’s five sons to be the Pandavas, he killed them instead and as a result, a furious battle ensued. He then tried to kill the unborn child of Uttara (Abhimanyu’s wife and Arjuna’s daughter-in-law), to end the Pandava lineage. However, before that could happen, Krishna took away his gem, condemning him to a life of endless suffering. It is believed that he still wanders the earth, filled with sickness and misery, his immortality being a curse instead of a boon.

Vibhishana

Vibhishana was Ravana’s brother and an asura. However, during the war, he defected to Rama’s side because of his righteousness. Some legends say that after the war, Rama granted him immortality to oversee the asuras and guide them along the path of righteousness. Others believe that it was Brahma who granted him immortality. When Brahma allegedly appeared in front of Vibhishana to grant him a boon, the latter asked for his mind to never stray from his conscience and that he always stay truthful. Impressed by this, Brahma bestowed upon him the gift of immortality. 

Mahabali

Mahabali was an asura king who captured the three worlds, defeating the devas. When they prayed to Vishnu, he took the form of a poor dwarf, Vamana, and asked the charitable king for three pieces of land measured by his stride. Mahabali agreed and suddenly, Vamana grew to an enormous size, covering the earth and heaven with his first two steps. When the humble Mahabali offered his own head for the third step, Vishnu, impressed by his gesture, crowned him the king of the underworld. Mahabali asked to be able to visit his subjects once every year, and so Vishnu made him immortal. Legends say that he might become the next king of heaven, taking Indra’s place. To this day, the festival of Onam in Kerala is a celebration of his annual return. 

Hanuman

Hanuman is the son of the wind god, Vayu, and his tales are recounted in the Ramayana, the Mahabharata and the Puranas. He is known for his devotion to Rama. According to some, when Rama was about to offer himself to River Sarayu, his last instruction was that Hanuman stay on earth till the end of this era to spread the Ramayana. This made him immortal. Other stories say that he was struck by Indra for trying to eat the sun as a child, and when revived, granted immortality by the devas. Some legends also speculate that he was granted  immortality by Sita as a token of gratitude, and for his devotion. 

Kripa

In the Mahabharata, Kripa was Drona’s brother-in-law and Ashwatthama’s uncle. He taught the Pandavas and the Kauravas, when they were growing up, and was considered a great teacher by all the princes. Unlike Drona, he was a fair and impartial guru, in whose eyes all his students were the same. Due to this nature, he was given the title ‘Acharya’ meaning ‘teacher’ or ‘guru’, and blessed with immortality. 

Veda Vyasa

Born as Krishna Dwaipayana, Veda Vyasa (literally translated as ‘splitter of the Vedas’)  is a sage and scholar who compiled the Vedas into four books. He is also known for writing the Mahabharata, the Upanishads, and the Puranas, all of which are important scriptures in Hinduism. Guru Purnima, a festival dedicated to honour teachers, is also known as Vyasa Purnima because it falls on his birthday. Some legends say that Vyasa was granted immortality so he could share his vast knowledge with the world. Other legends say that he was born an adult and has been immortal since. 

Markandeya

Some sources believe that Markandeya is the eighth Chiranjeevi. When his parents prayed to Shiva for a son, they were given the option of either having a pious child who would not live long, or a wicked child who would enjoy a long life. They chose the former and Markendeya was born — the ideal son, who destined to die at sixteen. He grew up to be a staunch devotee of Shiva, performing severe austerities and worshipping the Lingam. When the time came for Markandeya’s death, his devotion to Shiva protected him from dying. When Yama came to take his life, Shiva emerged from the Lingam, defeating Yama, and reviving Markandeya. He was then made immortal, remaining sixteen forever. 

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During his exile, Rama once saw Agni, the fire god, in his dream. Agni told him that Ravana would carry Sita away, and it was Rama’s destiny to kill the evil asura king. He had a plan to keep Sita safe by replacing her with a phantom Sita. Without anyone’s knowledge, Sita entered the fire and was replaced by Mayasita. The unsuspecting Ravana carried Mayasita away. When the war was over, Agni returned the real Sita to Rama.

Mayasita, now abandoned by Rama, was at a loss. Rama and Agni told her to practice penance. So, she prayed to Shiva and, pleased by her devotion, he appeared before her. In her desire for a husband, Mayasita said “give me a husband” five times. Shiva granted her a boon, and said that in her next birth she would have five husbands. Thus, emerging from the fire one more time, Mayasita, born as Draupadi, got the five Pandavas as her husband.

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Rama and Dasharatha 

In the Ramayana, Rama was the first son of King Dasharatha of Ayodhya. Considering his eldest’s son’s capabilities and popularity among his people, Dasharatha decided to make Rama the king of Ayodhya. However, fate had other plans. Kaikeyi, one of Dasharatha’s three wives, became insecure about the future of her own son, Bharata. Under the influence of her handmaiden and advisor, Manthara, Kaikeyi took a drastic step. In their youth, Kaikeyi had once saved Dasharatha’s life and in exchange he had granted her two boons. Kaikeyi was reminded of these boons and asked Dasharatha to make Bharata the king instead. She also asked that Rama be exiled for fourteen years. Bound by his promise to his wife, Dasharatha had no choice but to make Bharata the king. However, Dasharatha pleaded with Rama to go against his wishes and not go into exile.  Despite appeals from his father, brothers and other courtiers, Rama resolved to leave Ayodhya, all to uphold his father’s word and honour. His sacrifice for his father is why Rama is known foremost as a devoted son, and then as a dutiful king.  

Puru and Yayati 

Puru was the youngest son of King Yayati and his second wife, Sharmishtha. Yayati had married Sharmistha in secret, without informing his first wife, Devayani. When Devayani’s father, Sage Shukracharya, came to know about the king’s secret marriage, he cursed Yayati and caused him to lose his youth. The king was deeply distressed and refused to accept his punishment. He begged his sons to take on the effect of the curse, asking for their youth in return for his old age. All of them, except Puru, refused. Despite being a young and able prince with a shining future, Puru sacrificed his own youth for his father and Yayati ruled his kingdom for thousand years, while Puru lived as an old man. His supreme sacrifice proved Puru to be the most dutiful son and Yayati made him his heir. Puru then ruled the kingdom after his father retired to the forest with his wives. Puru went on to become the ancestor to both, the Pandavas and the Kauravas. 

Bheeshma and Shantanu 

In the Mahabharata, Devavrata was the son of King Shantanu of Hastinapur and Ganga. He was raised alone by his mother, Ganga, after her separation from the king. After Devavrata reached adulthood, Ganga returned her son to King Shantanu, and he was proclaimed as the heir by the king. Soon, Shantanu fell in love with Satyavati, the daughter of a fisherman, and desired to marry her. However, Satyavati’s father put forward a condition for the marriage. He asked the king to proclaim the sons born to his daughter as heirs instead of Devavrata. Shantanu refused to accept this condition and left the place in anger and sadness. In the following days, Devavrata found out about all that had passed. Wanting his father’s happiness above all else, he took a drastic step. Devavrata met with Satyavati’s father and promised him that neither he nor his descendants would ever claim the throne of Hastinapur. To ensure that his promise is never broken, he further swore to never have children and remain unmarried all his life. As soon as he took this vow, the gods blessed Devavrata from above and declared that he should be known as ‘Bheeshma’ meaning ‘the one who took a terrible oath’. Those familiar with the Mahabharata would agree that Bheeshma’s extreme sacrifice for his father changed the course of the epic and had far-reaching consequences down the generations.  

The Significance of the Sacrifice 

Duty towards one’s parents, especially one’s father, is paramount in our culture. To the modern reader, Rama, Puru, and Bheeshma’s decisions might seem strange. The idea that a son could sacrifice his kingdom, his youth, or his future, without a second thought, only to please his father, is inconceivable. However, devoted sons are a common theme across most stories from our mythology. It is their supreme sacrifices for their fathers that have cemented these men as the most selfless and noble characters in Indian epics, making their stories immortal and memorable.

By Srinidhi Murthy

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