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Home , Drama, Mount Mandara, Ramakien, Theatre, Uthong

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The Influence of the Srisurang Poolthupya** Fellow of the Academy of , on Thai : The Royal Institute, Kingship, , Fine and *

Abstract The epic Ramayana of gave birth to the of Thailand. The story of the Ramayana or the story has been known in Thailand since the 13th century if not earlier. References to the Rama story have been made in inscriptions and literary works. There are also Thai and place names based on the Rama story. The origin of (masked ) which performs exclusively the Ramakien is traced back from the Ayudhya period to the present. The impact of the Ramakien on Thai Culture is quite great. The concept of kingship is influenced by the Ramakien. In literature, there are many versions of the Ramakien, the Thai story of the Ramayana. In fine arts, the Ramakien inspires painting, sculpture, architecture, and handicrafts. In performing arts, there are Khon, Nang Yai, Nang Talung and various kinds of that perform the Ramakien. There are also arts derived from the Ramakien . These are drama, dance, , singing, recitation, choreo- graphy, , -making, setting, and -making. The worshipping of the masters before learning the art or performing is an elaborate ceremony and also an art in itself. The Ramayana or Ramakien is particularly appealing to the because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan () represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai bring into the story the Buddhist philosophy of transitoriness. Nothing is permanent except the law of cause and effect. Though an old story, the Ramakien is still relevant to the present day. The use of force without moral back-ups is destructive as well as futile. Only those who rely on virtue will triumph.

Key words : Ramayana and Thai Culture

* Presented at the 2nd International Ramayana Conference, University of Northern Illinois, July 2005. The spellings of non-English words follow the international rule, not that of the RIT. ** Professor Emeritus

Srisurang Poolthupya 269 The Journal of the Royal Institute of Thailand Vol. 31 No. 1 Jan.-Mar. 2006

The Ramayana in Thailand Only some parts starting from reign of King Ramadhipati II The Rama story which is the punishment of Samanakha (A.D. 1491-1529). In Indrabhisek based on the Indian epic Ramayana (Surpanakha) up to the death of Ceremony of that time there was is known in Thailand as the in the form of a performance of the churning Ramakien (Ramakian). The Rama recitation (Kham Phak) remain of the milk ocean to obtain the story may have been well-known at present.2 Amrita (ambrosia) which gives in Thailand since the 13th century There is also evidence that immortality to the drinkers.4 It if not earlier. In the Sukhothai related to the Ra- was called “Chak Nag Duk Dam- Kingdom, mentions were made makien also existed in the Ayudhya ban” which means the ancient of Ram cave in King Ram Kam- period. Nang Yai or the grand ceremony of pulling naga haeng’s Stone Inscription No. 1, of shadow must have been one (the divine ) which was Rama as the god in the of the first forms of tied to Mount Mandara used for Stone Inscription No.2 from Sri in Ayudhya. Nang Yai at that time churning the cosmic ocean. This Chum temple, and also the very presented many stories including story demonstrates ’s power name of King Ram Kamhaeng the Ramakien. It is believed that who reincarnated as a giant tortoise shows that the Rama story was Nang Yai existed before the reign supporting Mount Mandara. When well-known at that time and of King Maharaj (A.D. 1657- the goddess was born possibly before. 1688)3. For it was King Narai’s from the ceremony, Vishnu took In various literary works of intention to use the existing Nang her to be his consort. The giant the Ayudhya period (A.D. 1351- Yai as the means to instil the tortoise is Vishnu’s second rein- 1767), there are frequent references Buddhist belief among Thai peo- carnation while Rama is Vishnu’s to the Rama story. For example, ple through the story of Samu- seventh reincarnation. Lakshmi the “ten-headed” demon king draghosa Kham Chanda com- also reincarnated as . (Ravana), Rama and Lakshman posed during his reign for Nang The Khon performance in are mentioned in Kloong Prakat Yai . the Ayudhya period was probably Chaeng Nam composed in the It is possible that the Thai of Khon Roong Nok type5 which reign of King Uthong (A.D. 1351- Nang Yai was adapted from the was performed outside the building 1369) who was also called King Javanese because on a built-up for the purpose. Ramadhipati I. Similes and meta- the performers hold the leather It was performed with narrations phors referring to the Rama story figures in front of the screen in the and dialogues only, with no sing- abound. The king’s power in Lilit same way. The narrator (Dalang ing. It was commonly known as Yuan Phai1 is compared to the in Javanese) plays the most im- Khon Nang Rao for the performers might of Rama who subdued portant part in both Nang Yai and sat on a bamboo bar (nang - sit, Ravana. In the Ayudhya version the Javanese shadow play. rao = bar). In the reign of King of Manohra, a drama in , the The masked dance drama or Narai, Monsieur de La Loubère, story of Sita is briefly told. Un- Khon might originate in the French ambassador to Siam, wrote doubtedly, the Ramakien must Ayudhya period from Nang Yai. about the Khon performance in have been composed and become The footworks of Nang Yai which performers wore .6 quite popular in the Kingdom performers who manipulate the So Khon was already known in of Ayudhya. Unfortunately, just leather figures are rather similar King Narai’s reign. fragments of the Ramakien during to those of the Khon performers. The Ramakien which means the Ayudhya period are found. Yet Khon might originate in the the glory of Rama must have

The Influence of the Ramayana on Thai Culture: 270 Kingship, Literature, Fine Arts and Performing Arts «“√ “√√“™∫—≥±‘µ¬ ∂“π ªï∑’Ë ÛÒ ©∫—∫∑’Ë Ò ¡.§.-¡’.§. ÚıÙ˘ become a part of Thai heritage absolute monarchs. Yet absolute Literature since the Ayudhya period. When monarchy in Thailand was not There are many folk tales Ayudhya was sacked by the totally absolute. It was modified based on the Ramakien. Various Burmese, the Thais tried to pre- by the Buddhist concept of towns have folk tales connected serve the Ramakien. Although Dharmaraja who must rule by will the Ramakien. In Lop Buri King of Thonburi (A.D. dharma or righteousness. A king there are many folk tales of this 1767-1782) was busy pushing should possess ten kingly virtues kind. In one tale, Rama returned back the invading Burmese, he such as generosity, self-sacrifice, to Ayudhya after the end of the spared the time to compose a few justice. In addition to Buddhist war. Wishing to reward , episodes of the Ramakien. virtues, the king should strive to Rama shot an arrow and told In the Rattanakosin (Rat- make his rule resemble Ramarajya Hanuman to follow it. The place nakosindra) or period or the ideal reign of Rama regarded where the arrow fell would be (A.D. 1782-present) many versions as the golden age. This explains Hanuman’s city to rule. The arrow of the Ramakien were composed. why many kings has the word Ram fell on Lop Buri where the earth turned white because of the heat of The most notable ones are those as part of their names such as Ram the arrow’s impact. This story composed by King , Rama Khamhaeng, Ramadhipati and explains the white earth which II and Rama VI. The Rama I Ramesvar. Especially the Thai Lop Buri people use for making Ramakien is most important kings of the present Chakri talcum powder. because it is the only version that have long names beginning with In Chainat there is a mountain tells the complete Rama story. The the word “Ramadhipati”. The sixth called Khao Sapaya where Hanu- Rama II Ramakien is generally king of the started man collected a medicinal plant used for stage because the dra- the tradition of calling himself called Sangkoranitrijava. The top matic and exciting episodes were Rama. Thus posthumously the 5 of this mountain is and smooth written especially for Khon per- kings before him became King because Hanuman enlarged his formances. The Rama VI Ra- Rama I, Rama II, Rama III and so body and used his huge tail to makien has some episodes very on. Our present King Bhumibol is sweep the mountain to obtain the close to the Ramayana, regarded as King Rama IX. This wanted plant. for example, in this is not just a mere name. The idea In Saraburi there is a moun- version is a brave warrior whereas behind it is that the king is divine tain where there is a big hole right in Rama I and II versions he is like Rama in the Ramayana and through one side. The tale tells an astrologer, medicine man and the Ramakien and he must strive how Thotsakan (Ravana) carried a coward. He becomes a comic to be as good as Rama, the rein- Sita in his chariot. While he was figure when he acts cowardly, carnation of the god Vishnu. rushing past the mountain, the being scared of his powerful bro- Therefore, the king must use his axle of the chariot wheel hit the thers and nephew.7 absolute power only for the benefit mountain and made a big hole. of his people, not for his own Both Chonburi and Phatta- The Influence of the Ramayana personal gain. Now the Thai King lung claim to be the place where (Ramakien) on Thai Culture: is a constitutional monarch and () fought with the buffalo Kingship his power derives from his de- named Thoraphi (Dundhubi) be- Before the 1932 revolution, dicated work for the benefit of cause the earth around the caves in Thailand or Siam was ruled by the Thai people. both places is red like the buffalo’s

Srisurang Poolthupya 271 The Journal of the Royal Institute of Thailand Vol. 31 No. 1 Jan.-Mar. 2006

blood. All the folk tales above the news of Sita. Hanuman and woodcarvings of different prove the popularity of the Ra- happened to arrive with the news characters in the Ramakien, the makien as well as the imaginative while Rama was bathing in the favorites are demons, monkeys, of the local people who try river, wearing just a loin cloth Nang Suphannamatcha (half- to explain the outstanding phe- which he gave to Hanuman as maiden, half fish ) and of nomena of their town or city by promised. As Hanuman acted course, Rama, Sita and Lakshman. referring to the Ramakien. beyond Rama’s order, burning Lintels and other architectural parts There are more than 10 ver- , Rama was displeased with of the temples and palaces often sions of the Ramakien existing in him. So there is a simile “ill-fated made use of the Ramakien motifs. Thai literary forms, a few of which like Hanuman.” An ungrateful son Supporting figures in stupa already referred to in the history is called “Thoraphi” because the structures, pavilions and altars are of the Ramakien. Most of them buffalo Thoraphi killed his own quite often Ramakien characters are written in various verse forms, father. The expression “amorous such as demons or monkeys. Huge rich in imageries, similes and demon” (Chao Chu Yak) conjures demon statues such as Ravana and metaphors, a source of inspiration up the image of Thotsakan who his relatives and friends become for poets and writers of every ge- tried to use force to obtain Sita’s part of the architectural designs, for neration. Thai customs, traditions, love. they stand guard at the temple gates philosophy, belief and all kinds or doorways such as in the Temple of knowledge are so much inter- of Dawn (), the Temple woven into the Ramakien that it The Ramakien inspires pain- of the and Wat has become important not only in ters, sculptors and architects to Pho. the field of literature but also in express their artistic expressions. the fields of history, geography, The Ramakien is one of the favorite Performing Arts sociology and anthropology. The themes because it challenges the Khon and Nang Yai in the Ramakien in regional dialects are skill and imagination with its Bangkok period perform the Ra- Horaman and Brahmachakra various characters and scenes. makien exclusively. Nang Talung in Northern Thailand (Lanna), Mural paintings or frescoes often performs the Ramakien and also Phalak Phalam and Phra Ram depict the Ramakien, especially in other stories. Khon is considered Jataka from Northeastern Thai- temples and palaces. There are the most artistic of the performing land and . The study of these mural paintings of the whole story arts and the most difficult to learn. texts helps the understanding of of Ramakien along the galleries There are many kinds of Khon Thai regional culture. of the Temple of the Emerald Bud- according to the forms of the stage There are similes, metaphors dha. In (Bodhi Temple) and special effects used. and expressions that derive from nearby, various scenes of the Ra- Khon Klang Plaeng is his- the Ramakien. For example, Ha- makien are depicted both in pain- torically the oldest kind. It is an numan in the Ramakien served tings and bas-reliefs. On old Tri- open-air performance staged on Rama faithfully and performed pitaka cabinets, Ramakien scenes the lawn or any open space. It is difficult tasks but Hanuman of- are often depicted. In modern buil- suitable for performing battle epi- ten incurred Rama’s displeasure. dings such as big hotels and banks, sodes. Perhaps due to a big space, Once Rama promised to reward depictions of the Ramakien can it requires 2 or more. Hanuman whatever he was wear- also be found in the galleries. There are only recitation or re- ing when Hanuman brought him There are numerous sculptures citative voice and dialogue but no

The Influence of the Ramayana on Thai Culture: 272 Kingship, Literature, Fine Arts and Performing Arts «“√ “√√“™∫—≥±‘µ¬ ∂“π ªï∑’Ë ÛÒ ©∫—∫∑’Ë Ò ¡.§.-¡’.§. ÚıÙ˘ singing. The staging is similar to to be performed since the Ayu- Khon Sod is the folk version “Chak Nag Duk Damban” of the dhya period. The characters who of Khon. In some areas, it is called Ayudhya period.8 can fly actually float in the air Nang Sod because the characters Khon Rong Nok or Khon by the use of pulleys. The sing their own parts and use the Nang Rao is performed on a attaches a big strong string with resembling those of the raised platform with a long big a hook behind his back and he shadow play or Nang Talung. bamboo bar for the royal male will be pulled up in the air to give Their dancing gestures also re- characters to sit on while royal the impression of flying. The semble Nang Talung. The masks female characters sit on a large acrobatic skill is needed. Apart are not worn completely like those bench. There is usually a roof from this, it is the same as Khon of Khon performers but they are above this kind of stage. There Na Jaw. worn perched on top of the head are two orchestras, one on the Khon Chak means the mo- above the eyebrows so that they left and one on the right of the dern Khon performance which is can recite and speak for them- stage. Like Khon Klang Plaeng, performed in a theatre with settings selves while the other kinds of there are only the recitation and (chak) and modern stage tech- Khon characters never recite nor dialogue. niques. There are dancing, singing, speak except for the comic cha- Khon Na Jaw is adapted recitation and dialogue. There is racters who also wear their masks from Nang Yai or the grand sha- only one at one side perched on top of the head. The dow play. There is a white screen below the stage. word “Sod” means “simultaneous” like in Nang Yai. The performers Khon Na Fai is the outdoor or “in the flesh” for the characters perform in front of the screen. performance of Khon in front of are men in the flesh who recite, Formerly Khon Na Jaw was played the cremation site at the temple. sing or speak their own parts alternately with Nang Yai. Later, In the old days, a well-to-do family without waiting for the narrator as people prefer watching Khon would provide a Khon Na Fai at or chorus to do for them. only, Nang Yai is not performed the funeral of the deceased one. The art of Khon performance with it. The dialogue, recitation This practice is rare now. The gives rise to various art forms: and music of Khon Na Jaw are performance usually resembles In the field of performing similar to those of Nang Yai. that of Khon Rong Nai except for arts, it is believed that Khon gives There is only one orchestra and the fact that it is not performed birth to at least 4 forms of pup- no singing. inside a theatre. The episode petry or “Hun” in Thai. Khon Rong Nai is performed chosen is often a short one with Hun Yai or large full figure inside a theatre. It brings in the few characters because of the puppets are dressed up exactly art of Lakhon Nai to mix with limited space and time. When the like the Khon characters, they are Khon. Therefore, it incorporates cremation ceremony is over, the one tall and have hidden dancing, singing of the Lakhon performance may be continued mechanisms to make them move with the recitation and dialogue on a highly raised open-air stage, through various strings inside the that are typical of Khon. There are playing a longer episode that may body parts and the pole in the big benches for royal characters last the whole night to honor the middle of the body. The mecha- to sit, characters and deceased person. This later per- nisms enable the Hun Yai to dance, monkeys sit on one side and the formance is not called Khon Na make finger movements, roll the demons on the other. Fai because the “Fai” or fire of the eyes and so on. The costumes can Khon Chak Rok is believed funeral pyre is already burnt out. be changed and the masks can

Srisurang Poolthupya 273 The Journal of the Royal Institute of Thailand Vol. 31 No. 1 Jan.-Mar. 2006

also be removed. These puppets nipulate each puppet: one holding it is a mere puppet. Lakhon Lek or Hun Yai are real works of art. the pole in the middle of the puppet is almost like Hun Lakhon Lek Hun Yai was performed in the body and manipulating the head except that the latter shows the Ayudhya period, possibly from and the right hand, one manipu- manipulators on stage while the the reign of King Baromakot lating the left hand and the third former has the manipulator hidden (A.D. 1733-1748)9 if not earlier. one manipulating the feet. The behind the screen. As these Hun Yai are quite three artists’ feet also dance to the Nowadays Hun Krabok and difficult and expensive to make music. In this way, the puppet Lakhon Lek are rarely performed and the movements are not as can dance exactly like the Khon but they are revived in academic beautiful as the Khon performers character while the can institutions such as colleges and that they try to imitate, the Hun see and admire the skill of the universities as courses in the Yai performance is not popular. artists manipulating the puppets. theatre arts curriculum or as extra- No private performing troupe Hun Krabok is another kind curricular activities. Now the use performs this kind of . of puppet. It is so called because of plastic poles instead of bamboo It was only performed as part of it uses a small bamboo trunk, makes the puppets lighter and the entertainment for a royal which is called Krabok in Thai, more manageable. They are also celebration in Ayudhya and early to hold the puppet. Hun Krabok performed for tourists interested Bangkok periods. As they are also originated during the reign in Thai arts. presented during royal functions, of King Rama V. It is only a half- they are also called Hun Luang figure puppet showing the head, Arts derived from various forms as “Luang” means “royal”. Now hands and but no feet. of the performing arts “Hun Luang” is no longer per- The can control its It can be seen from above that formed. movements much better than the Ramakien performance gives During the reign of King Hun Yai and Hun Lek. The pup- rise to various arts: drama, dance, Rama V, Hun Chin from China peteer uses his hands to mani- music, singing and recitation, came into fashion.10 It inspired pulate the puppet behind a semi- choreography, the making of cos- the creation of a new Hun of the transparent screen. He also speaks tumes, various kinds of puppets, same size as Hun Chin which is the puppet’s part. Hun Krabok leather puppets for shadow plays, only one foot tall. It has also the performs the Ramakien as well stage set, special effects and tech- same mechanisms as Hun Yai as other classical . niques. and the difference is only in the Lakhon Lek is another kind The dancing, music, tunes, size. This new Hun or puppet of puppet. It has a full figure with singing and recitation must is smaller, therefore it is called supple moving joints. It needs two combine and compliment one Hun Lek as “Lek” means “small”. to three to manipulate another. Besides the masks and It is used for performing the each character. Apart from the costumes which differentiate one Ramakien and other kinds of bamboo trunk, this Lakhon Lek character from another, the dance dramas. Hun Lek, now called figure also has small sticks movements of human characters, Hun Lakhon Lek is at present attached to the hands and feet of demons and monkeys are dis- perfected by a troupe called Jo the puppet. While the sticks help tinctive. Masks or headdresses Louis. The Thai artist-teacher make movements more lifelike with high pointed tops signify Sakhon Yangkheosod, nick-named and smooth, the audience who can royalty or kingship. Each mask Jo Louis, has three artists to ma- see the sticks cannot forget that is different in its details such as

The Influence of the Ramayana on Thai Culture: 274 Kingship, Literature, Fine Arts and Performing Arts «“√ “√√“™∫—≥±‘µ¬ ∂“π ªï∑’Ë ÛÒ ©∫—∫∑’Ë Ò ¡.§.-¡’.§. ÚıÙ˘ the eyes and mouth, the color, leather puppets disappeared or shipping ceremony starts off by the top or peak of the crown. A remain damaged. Many were sold placing the Nang figures of Na- demon differently from to foreign collectors. The few rayana, , and in front a man or a monkey. As the mask remaining are mostly preserved of the screen.11 Each figure is can not show emotions or moods, by the monks of Khanon temple garlanded and the head of the and does not allow a character to in Ratchaburi province. However, troupe lights 3 candles to begin speak, the dance gestures, musical the art of making leather puppet the worship. tunes and songs must convey the is still alive and promoted in feelings and moods instead. Real Thailand by H.M. the Queen. The reasons for the appeal of human gestures are convention- the Ramakien alized into dance gestures which, The art involved in the worship The Rama story is a very once understood by the audience, of the master appealing story in itself. More become effective dramatically. In connection with the per- than a story of love and sacrifice, Each tune of music has its mean- formances and studies of Khon, it presents the image of an ideal ing; hearing the music, the au- Nang and Hun which present the king Rama who symbolizes the dience knows what is happening. episodes from the Ramakien, the force of virtue or dharma while For example, one tune means ceremony of worshipping the Thotsakan (Ravana) symbolizes the character is weeping, another masters or Wai Khru must be per- the force of evil. In the long strug- means he is transforming himself formed. The masters or teachers gle between the two, Rama even- from a demon into a deer or a of old must be worshipped pro- tually wins. The Ramakien is, human being. perly and asked for blessings. therefore, the symbol of victory The costumes of Khon and There are special verses for in- of the good over the evil. Rama Hun may look too rich with its vocation, special offerings and is also the symbol of good king- gold and glitters. This is neces- dances for the masters. Neither ship, of sacred power of the king sary especially in the olden days performers nor students dare whom everyone must obey, serve, when spotlights had not yet been perform or learn without taking and show absolute loyalty. The invented. In the glow of oil lamps part in the Wai Khru ceremony absolute devotion and loyalty of and burning torches, the costumes first. This shows the ancient Rama’s brothers and generals are needed to be bright and glittering Thai tradition of obedience and stressed, so is Sita’s faithfulness to be seen properly from the far- gratitude to their art teachers. in spite of her long stay in Lanka. thest audience. The tradition helps preserve the The performance of Rama- The carved coloured leather invaluable art and culture of kien instils many ideals and much puppets used for Nang Yai are a Thailand. knowledge while it entertains: combined art of painting, por- In the ceremony, the impor- moral obligation, bravery, grati- traiture and graphic design. The tant masks or all the masks must tude, the Buddhist philosophy of leather figures become alive both be displayed. Those of the sages transitoriness and Buddhist law in front and behind the screen. () and Birap (a benign of cause and effect, war strategy, The play between light and demon) are especially sacred. discipline and many other virtues colours is very artistic. It is a Food, flowers and incense sticks necessary for a nation. The Ra- pity that the conservation work are offered to the masters repre- makien is one of the most success- started rather late in the last sented by the Khon masks. In ful form of moral and political edu- century. Some old and invaluable Nang Yai performance, the wor- cation for the courtiers, officials

Srisurang Poolthupya 275 The Journal of the Royal Institute of Thailand Vol. 31 No. 1 Jan.-Mar. 2006

and the common people before as destructive and futile. For the 10 Ibid., p. 47. the arrival of formal education powerful but evil Thotsakan or 11 Pa-ob Posakrisna, op.cit., p. 19. from the West. Ravana will finally fall while a The Khon performance is mere human-being who relies Bibliography associated with the state celebra- on virtue like Rama will always tions and ceremonies as well as survive. Anumanrajadhon, Phraya. The Complete any grand occasions. The dance Works of Professor Phraya Anu- and costumes are elaborate and Footnotes manrajadhon, I. Bangkok : refined. It is only performed from Krom Silpakorn, 1988. time to time. Therefore, whenever 1 Composed in the reign of King Ba- Damrongrajanubhab, Krom Phraya. a Khon performance is presented, romatrailokanath (A.D. 1448-1488) Tamnan Lakhon Inao. Bangkok : people flock to see it and enjoy 2 Anumanrajadhon, Phraya, The Klang Vidya, 1964. the rare . Complete Works of Professor Jumsai, M.L. Manit. Ramayana Thai. As the Rama story is also Phraya Anumanrajadhon, Book I Bangkok : Chalermnit, 1970. well-known to other countries in (Bangkok : Krom Silpakorn, 1988), Komolabutr, Sant T.(tr.) The Kingdom Southeast Asia, it serves as the p. 197. of Siam by M. de La Loubère, common background of culture 3 Pa-ob Posakrisna, Wannakam 3 vols. Bangkok : Kaona Press, and the common ground among Prakob Kanlen Nang Yai Wat 1967. the Southeast Asian countries to Khanon Changwat Ratchaburi Leesuwan, Wiboon. Moradok Thai. build up understanding and (Bangkok : Ministry of Education, Bangkok : Panaya, 1978. friendship through literary and 1990), p. 5. Phromsuthirak, Maneepin. “Influence dramatic activities. Most of all, 4 Krom Phraya Damrongrajanubhab, of the Ramakien on .” the Ramakien links Thailand to Tamnan Lakhon Inao (Bangkok : Special Exhibition of the Rama- India which is the ancient and Klang Vidya, 1964), p. 12. kien in Thai Arts and Culture. main source of Thai culture. The 5 King Rama VI, Bor Kerd Rama- Bangkok : Thailand Cultural Center, Ramakien helps the Thai people kien (Bangkok : Silpabannakan, 1991. understand and appreciate the 1970), p. 210. Poolthupya, Srisurang and Bankloy, greatness of the Ramayana of 6 Sant T. Komolbutr (tr.) The King- Sumalaya. Tua Lakhon Nai Ra- India. dom of Siam by M. de La Loubère, makien. Bangkok : Odeon Book In the past, many Thai kings 2 vols, vol. I (Bangkok : Kaona Store Press, 1982. and poets tried their hand at Press, 1967), p. 217. Posakrisna, Khunying Pa-ob., Wannakam composing the Ramakien in 7 Anumanrajadhon, Phraya, op.cit, Prakob Kanlen Nang Yai Wat various verse forms. As the ideals pp. 202-204. Khanon Changwat Ratchaburi. expressed in the Ramakien are 8 Maneepin Phromsuthirak, “Influence Bangkok : Ministry of Education, immortal, they still inspire mo- of the Ramakien on the Arts,” Special 1990. dern poets, writers, dramatists and Exhibition of the Ramakien in Thai Rama I, King. Ramakien. 11 vols. artists. The message in the Ra- Arts and Culture (Bangkok : Thai- Bangkok : Gurusabha Press, 1964. makien can be studied and applied land Cultural Center, 1991), p. 78. Rama VI, King. Bor Kerd Ramakien. in the modern society. The use 9Wiboon Leesuwan, Moradok Thai Bangkok : Silpabannakan, 1970. of force should be denounced (Bangkok : Panaya, 1978), p.58.

The Influence of the Ramayana on Thai Culture: 276 Kingship, Literature, Fine Arts and Performing Arts «“√ “√√“™∫—≥±‘µ¬ ∂“π ªï∑’Ë ÛÒ ©∫—∫∑’Ë Ò ¡.§.-¡’.§. ÚıÙ˘

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