"bard" or "actor." The new parts were incorporated before the three recensions which have come down to us arose, but a considerable time must have elapsed between the composition of the original poem and that of the additions. For the tribal hero of the former has in the latter been transformed into a national hero, the moral ideal of the people; and the human hero (like Kṛishṇa in the Mahābhārata) of the five genuine books (excepting a few interpolations) has in the first and last become deified and identified with the god Vishṇu, his divine nature in these additions being always present to the minds of their authors. Here, too, Vālmīki, the composer of the Rāmāyaṇa, appears as a contemporary of Rāma, and is already regarded as a seer. A long interval of time must have been necessary for such transformations as these.
As to the place of its origin, there is good reason for believing that the Rāmāyaṇa arose in Kosala, the country ruled by the race of Ikshvāku in Ayodhyā (Oudh). For we are told in the seventh book (canto 45) that the hermitage of Vālmīki lay on the south bank of the Ganges; the poet must further have been connected with the royal house of Ayodhyā, as the banished Sītā took refuge in his hermitage, where her twin sons were born, brought up, and later learnt the epic from his lips; and lastly, the statement is made in the first book (canto 5) that the Rāmāyaṇa arose in the family of the Ikshvākus. In Ayodhyā, then, there must have been current among the court bards (sūta) a number of epic tales narrating the fortunes of the Ikshvāku hero Rāma. Such legends, we may assume, Vālmīki worked up into a single homogeneous production, which, as the earliest epic of importance conforming to the rules of poetics, justly received
