Indian historians,if there be any, being Secular (?) Anglophiles,are a strange species.
They would accept accept as Gospel the information provided by Greek Historians like Thucydides,others like Plutarch and Edward Gibbon,would brush aside Indian History recorded by Puranas,Ramayana,Mahabharatha,Kalidasa’s Raghuvamsa as myths.
Puranas and Ithihasas,Ramayana and Mahabharatha are dismissed because they are religious texts(?).
Yet they would accept the Bible!
Despite Kalidasa naming Raghuvamsa,meaning the Lineage of Raghu,ancestor of Rama,Raghuvamsa is ignored for history researches!
I shall be presenting information from Raghuvamsa on the Lineage of Raghu and Rama.
I have written with evidence that Manu was a Dravidian and there was no Aryan Invasion.
I have also written on the Ikshvaku Dynasty,the Solar Dynasty,Suryavansha.
Lord Rama’s Sister Shanta was married to Rishyashrunga of Sringeri,presently in Karnataka.
Rama’s ancestor Sibi,a Chola King built the Thiruvellarai Temple,about 10 km from Srirangam,Tamil Nadu in honour of Lord Vishnu as Pundarikaksha.
Details of the temple can be had from this site.
Details of the lineages of Ramayana and Seetha are described in the Bala Kandahar of Valmiki Ramayana.
naabhaagasya bhabhuuva aja ajaat dasharatho abhavat |
asmaat dasharathaat jaatau bhraatarau raama lakSmaNau || 1-70-43
43. naabhaagasya aja bhabhuuva= Naabhaaga’s, Aja, became – son; ajaat dasharathaH abhavat= from Aja, Dasharatha, is manifest; asmaat dasharathaat= from him, from Dasharatha,; bhraatarau raama lakSmaNau jaatau= brothers, Rama, Lakshmana, are born.
“Aja was Naabhaaga’s son and from Aja, this Dasharatha is manifest, and from him, from this Dasharatha, these brothers, Rama and Lakshmana are born… [1-70-43]’
Rama was the son of Dasaratha and therefore the grandson of Aka.
Aja married Indumathi,a Pandyan Princess at her Swayamvara.
The suitor-princes assemble in the hall where Indumati enters with garland in hand fully robed as a selecting bride creating a sensation among the assembled princes. She is chaparoned by her nurse named lady sunanda under whose guidance she passes on from prince to prince until she comes in front of Aja; she looks lovingly at him and puts the garland round his neck much to the chagrin of the rival suitors and to the approval of the populace who express it by vociforous acclamations. – KMG
Notes and commentary of Kishanrao Madhavarao Joglekar on this 6th canto is made available here 1 MB pdf for further reading….
sa tatra ma.mceSu manoj~na veSAn si.mhAsanasthAn upacAravatsu vaimAnikAnA.m marutAm apashyat AkR^iSTa lIlAn nara loka pAlAn
6-1. saH= he that prince aja; tatra= there, in svayamvara maNDapa – the hall of bride’s personal selection of bridegroom; upacAravatsu= rAja upacAra upakaraNa yukteSu – which is having paraphernalia for attending kings; ma.nceSu= on such podium; si.mhAsanasthAn= on thrones – befitting to visiting kings; manoj~na veSAn= charmingly, decorated; vaimAnikAnA.m= those who travel in celestial aircrafts; marutAm= of such gods; AkR^iSTa= Atta = drwan, permeated; lIlAn= saubhAgyAn= [celestials’] magnificence; AkR^iSta vaimAnika marullIlAn – iti arthaH= who have pre-empted the magnificence of gods who travel in celestial aircrafts; nara loka pAlAn= human, world, rulers; sApekshatvAt api gamakatvAt samAsaH= mundane kings who looked ultramundane; apashyat= [prince aja] has seen.
In the hall of swayamvara prince aja has seen other princes and kings who have come as suitors of princess indumati sitting on befitting thrones placed on a stepped podia, where apparatus required for the comforts of visiting kings, like fanning instruments, refreshment liquors etc are provided, and those mundane princes have decorating themselves charmingly and looked ultra mundane as though they have preempted the magnificence of celestials whose wont is to travel in aircrafts. [6-1]..
netra vrajAH paura janasya tasmin vihAya sarvAn nR^ipatIn nipetuH mada utkaTe recita puSpa vR^ikshA ga.mdha dvipe vanya iva dvirephAH
6-7. paura janasya= of city, people; netra= eyes; vrajAH= hosts of [eyes]; sarvAn nR^ipatIn vihAya= all, kings, on leaving off – refraining to gaze at other kings; tasmin= on him, on prince aja; mada utkaTe= ichor, on temples – ruttish elephants with ichor oozing on temples; vanya= in forest – wild elephant; ga.ndha dvipe= on smelly, elephant; recita puSpa vR^ikshA= that are left off – leaving trees, flowered, trees; dvirephAH iva= honeybees, as with; nipetuH= fell – eye fell on prince aja like honeybees.
Refraining from gazing at all the other suitor princes, the host of eyes of city dwelling hosts fell on prince aja, as with honeybees refraining from the flowered trees on which they are so far hovering for nectar fall upon a wild elephant when it nears with strong smelling ichor oozing on its temples. [6-7]
Here the swarm of honeybees – u.mA; host of eyes of people – u.me; leaving one place to go to the other – anugAmidharma; leaving off all kings – bimba; leaving off flowered trees – pratibimba. There is no adhika visheShaNatva doSha in this upama…
sA cUrNa gaura.m raghunandanasya dhAtrI karAbhyA.m karabha upama UrUH Asa~njayAmAsa yathA pradesha.m kaNThe guNa.m mUrtam iva anurAgam
6-83. karabha= kara pradesha visheSaH – from wrist to the tip of small finger of a hand, a hand sized; upama=similar to; UrUH= one having that much thighs – slender thighed indumati; sA= she – indumati; cUrNa gaura.m= with kumkum powder, which became red; guNa.m= usually means a thread, here a thread to which flowers are knotted – garland; mUrtam anurAgam iva= embodiment, of [her] love, as though; dhAtrI karAbhyA.m= with nurse sunanda‘s, hands; raghunandanasya kaNThe= around Raghu’s legatee – prince aja‘s, neck; yathA pradesha.m= in correct position; Asa~njayAmAsa= garlanded; na tu sva karrabhyAm – anaucityAt – The princess did not garland him with her own hands as it would be indecorous. So indumati used the hands of sunanda to garland prince aja.
Then that princess with slender-thighs indumati caused the bridal-garland, which is already reddened with auspicious kumkum powder, to be properly placed by the hands of her nurse sunanda around the neck of raghu’s son, prince aja, and then that reddish garland looked the very embodiment of her blushing love towards him. [6-83]
This is disputed as ‘kalpita upama’ and ‘utpreksha’.
tayA srajA ma~Ngala puShpa mayyA vishAla vakShasthala lambayA saH ama.msta kaNTha arpita bAhu pAshA.m vidarbha rAja avarajA.m vareNyaH
84. vareNyaH saH [prince ajaH]= worthy to be chosen, he, that prince aja; ma~Ngala puShpa mayyA= which is with auspicious, flowers, full of; vishAla vakShasthala lambayA= on braod, chest, danglinng; tayA srajA= by that, garland; vidarbha rAja avarajA.m= vidarbha’s, king’s, sister – indumati; kaNTha arpita= around neck, dedicated; bAhu pAshA.m= arms, loop of; ama.msta= felt.
By that garland of auspicious flowers looped around his broad chest that worthy prince aja felt as if princess indumati had whorled her delicate arms around his neck. [6-84]
Citation and reference with eternal thanks to,
Treasure chest of Sanatana Sharma.