B R Chopra Ramayan - Page 12

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scene inspired by br chopra ramayan

sisters of sita meeting ram and his brothers

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scene inspired by br chopra ramayan with slight changes

The Glow Beyond the Fire: The Light Conversation

The golden halls of Mithila glimmered like the heavens themselves that night. Fragrant sandalwood smoke curled into the air, mingling with the soft melody of veenas echoing down the marbled corridors. The newly arrived princes of Ayodhya, still honoured guests in King Janaka’s court, stood gathered in the inner sanctum — where no warriors bore weapons and no ministers whispered counsel.

Here, only warmth reigned.

The air within the palace of Mithila shimmered with the glow of a hundred oil lamps. Golden columns towered above, their carvings kissed by firelight. This was no court of war or politics — it was a sanctum of peace, a space carved out for hearts to speak freely, beyond duty or destiny.

The grand doors opened quietly as Princess Urmila, radiant in crimson and gold, stepped into the chamber, greeted in respect, followed by her cousins. greeted in respect. She took a step forward and spoke with gentle clarity, her voice like a temple bell.

Across the chamber, the four princes of Ayodhya rose respectfully. Ram, tall and serene in yellow and red, gave a slight nod with quiet grace as a symbol of greeting them followed by his brothers.

“May the blessings of Mithila be upon you. I am Urmila, younger sister of Sita jiji and younger daughter of king Siradhvaj. These two are my cousins, Mandavi, clad in violet, slightly elder than me and our youngest, Shrutakirti, whose sari carries the colors of the spring.”

Shrutakirti added. “We two are the daughters of ruler of Shankasya, king Kushadhvaj, younger brother of king Siradhvaj.

“And may the warmth of Ayodhya be yours. I am Ram. Beside me standing my brothers, Lakshman in hues of sky blue, ever attentive and watchful; Bharat, in cream, steady in heart and mind; and Shatrughn, in golden and brown, thoughtful and true.”

Lakshman added, “I am third one in order of birth and elder twin of Shatrughn and we twins are slightly younger than Bharat who is second one in order of birth.

For a moment, the chamber was still — not with silence, but with understanding. Between words and glances, something unspoken stirred: the calm recognition of futures already beginning to entwine.

It was then that Urmila, graceful and confident, stepped forward, greeting the brothers along with her cousins broke the ice, with a smile. “Princes of Ayodhya,” she began, “you know Jiji as the one who made elder prince wear the garland. But allow us, her sisters, to share the Sita jiji we know — the one beyond the swayamvar.”

The princes leaned in, intrigued. Ram’s eyes softened, already familiar with the calm power of his bride.

Mandavi took the tale further. “From childhood, Jiji never raised her voice — not once. And yet, when she spoke, every heart listened. Even the wind seemed to hush to hear her thoughts. She once calmed a wild bull simply by placing her palm on its brow. Not out of strength,” Mandavi said, “but stillness.”

Lakshman asked with a curiosity. “That is no ordinary nature. You speak of her as though she were a sage born in a princess’s robes.”

Shrutakirti laughed gently. “In truth, prince, that is how we see her. Jiji speaks little, but when she does, her words are shaped like prayers — thoughtful, never wasteful. When she enters a room, silence greets her like an old friend. Even our father, Janaka Maharaj, turns student before her calm.”

Ram’s expression did not change, but his eyes grew bright. “And yet,” he said slowly, “she walked toward me today with the strength of the earth itself — as if she knew what her soul had waited for.”

Urmila nodded. “That is her greatest poise — the quiet courage that blooms without the need for show. When our mother fell ill, it was Sita who nursed her each night, weaving medicinal garlands and waking early for prayer, never asking to be thanked.”

Bharat looked amazed. “Was she always like this?”

Mandavi replied, “No. She was playful as a child, full of laughter. But with each passing year, she grew more still. Like a lake that reflects the sky without a ripple.”

Shrutakirti added softly, “Yet she is not distant. No servant in this palace has ever felt small in her presence. She never looks down — not even at ants. Once, I saw her pause an entire wedding procession just to remove a curled leaf from the path of a worm.”

Shatrughn, with a soft smile, said, “Such stillness in action… that is rare. Not born of silence, but of harmony. A soul at peace with itself.”

Urmila smiled. “Yes. That is Sita jiji. She is not just serene — she makes others wish to be serene. Her calm is not escape. It is mastery.”

Ram remained quiet for a moment, then spoke in reverence, his voice almost a whisper:

> “To win such a heart is not victory. It is responsibility. I pray I am worthy of the stillness you describe. I will not disturb its peace — only protect it, even if the world should burn.”

There was silence in the chamber, and then a soft breeze drifted in from the garden. Jasmine and tulsi filled the air. At that moment, Sita entered — her form silhouetted by the temple flame behind her, eyes tranquil as a starlit pond.

The sisters turned, stepping back to let her join Ram. She said nothing, but simply looked at him — a gaze steady, gentle, and sure.

And Ram smiled.

He had seen her strength in the arena of kings, but tonight, he saw the deeper fire — the fire that needed no proving.

The fire of serenity.

a scene inspired by br chopra ramayan

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sisters of sita are emotional as ram lakshman and sita leave for exile

a scene inspired by br chopra ramayan

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Dasharath and his queens, Kaushalya, Sumitra, Kaikeyi

sentence formation and image credits to chat gpt

credit of information to google and various versions of ramayan and folk tales

The Unsung Heroines : Active in Backdrop

Urmila

Urmila, daughter of king Siradhvaj (Janak) and queen Sunayana, and younger sister of Sita, was the wife of Lakshman, woman of extraordinary resolve and character. A scholar and a gifted artist, she embodied both intellect and devotion.

When Lakshman came to inform her that he was leaving for the forest to serve Ram and Sita, Urmila requested to accompany him. But Lakshman explained that his sole focus in the forest would be to serve his brother and sister-in-law, and he could not afford any distraction—not even from his beloved wife. Understanding the depth of his commitment, Urmila made the ultimate sacrifice: she chose to stay behind, so Lakshman could fulfill his duty without worry. She even made him promise that he would not think of her during those years, allowing him to remain undistracted in his service.

According to few legends, before he left, she lit a diya (lamp) for him—a small flame that she vowed to keep burning for the next fourteen years. It was her symbol of hope, love, and unwavering strength, glowing through the darkness of separation.

And so, she lived those fourteen years in quiet sacrifice. Each night, she lit that diya and prayed for her husband’s well-being, never letting it extinguish. But her sacrifice wasn’t just emotional—it was mystical too

Throughout those fourteen years, Urmila led a life of deep austerity, she herself was living like a hermitess within the palace. Her silent penance, filled with unwavering love and sacrifice, was a powerful spiritual force. It is said that this very strength gave Lakshman the power to defeat Indrajit (Meghnad), who was otherwise invincible due to the spiritual might of his own wife’s devotion.

When Lakshman fell unconscious during battle, Hanuman flew to fetch the Sanjivani herb. While returning with the entire mountain, he was briefly intercepted by Bharat, who, unaware of Hanuman’s mission, mistook him for a threat. Upon learning the truth, Bharat was concerned and quickly sent word to Kaushalya, Sumitra, and Urmila.

Hearing the news, Urmila remained composed. Without a trace of fear, she said, “My husband’s heart is anchored in the name of his eldest brother. If he sleeps, it must be peacefully. Whatever pain exists belongs to his brother. No harm will come to him. He will be safe.” Her faith was unshakable.

In one lesser-known version of the Ramayana, after Ram returns to Ayodhya, Sita gently reminds him that Lakshman, deserves to reunite with his wife as well. When Lakshman visits Urmila’s chamber after fourteen years, she doesn’t recognize him at first and thinks a stranger has entered. She warns him, speaking of the consequences if her family finds out. In her words, she refers to her loved ones only by relationship, not by name, in keeping with the modesty of the times.

Only when Lakshman gently reveals his identity does Urmila realize the truth. Overcome with emotion, they embrace. Later, they seek blessings from the elder queens and Rama-Sita. In a quiet moment of intimacy, Lakshman lovingly braids Urmila’s hair while she asks him about everything that happened in the forest—especially how such a mighty warrior like him allowed Sita to be abducted. Lakshman recounts the tale of the golden deer and the fateful moment when Sita, in anger, insisted he leave her side.

Urmila had spent those fourteen years not in sorrow, but in silent service—caring for the mothers of Ayodhya and capturing sacred moments in her art. Among her many works was a painting of Ram and Sita’s wedding, a labor of love that sustained her spirit.

According to another beautiful legend, Lakshman vowed to never sleep during Ram’s exile so he could serve him without any distraction, Nidra Devi, the goddess of sleep, appeared before him. He requested her to grant him sleeplessness for the next 14 years. She agreed—but on one condition: someone else must bear his share of sleep. He requested her to give his share of sleep to his wife till he returns telling his wife about his request. Without hesitation, Urmila offered to take it upon herself. From that moment on, Urmila entered a divine slumber—not out of weakness, but as a cosmic offering, a form of yogic sleep (Yoganidra). In that sacred stillness, she held space for Lakshmana’s wakefulness. Her sleep was not unconsciousness—it was tapasya, silent and powerful. She woke up only when he returned.

According to another story, before leaving for exile, Sita, gave a boon to her, that she can do three works simultaneously during the exile period.

Lakshman and Urmila had two sons, Angad and Chandraketu who became rulers of Angadiya and Chandrakanta respectively.

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Mandavi

Mandavi, elder daughter daughter of king Kushadhwaj and queen Chandrabhaga, cousin to Sita, was the wife of Bharat. When Bharat chose to live apart in Nandigram, worshipping the feet of Ram as his king and master, Mandavi supported him fully. She, too, led a simple life of reflection and spiritual discipline, like a hermitess within the palace. She served the three queen mothers—Kaushalya, Sumitra, and Kaikeyi—with quiet devotion, and stood beside her husband in every sense—his anchor and strength in silence.

Bharat and Mandavi had two sons, Taksh and Pushkal who became rulers of Takshshila and Pushkalavati respectively.

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Shrutakirti

Shrutakirti was the younger daughter of king Kushadhwaja, King Janaka’s brother, and queen Chandrabhaga, Sita’s cousin. She was married to Shatrughn, the youngest son of King Dasharath.

While Bharat chose to live in self-imposed exile at Nandigram, it was Shatrughn who stayed in Ayodhya, managing the affairs of the kingdom. Every day, he listened to the concerns of the people, handled administrative matters, and ensured the city functioned smoothly. Each night, he would travel to Nandigram and give a full account of the day to Bharat. Despite carrying such a huge responsibility, his name is rarely mentioned in most retellings of the Ramayana. Although he governed the kingdom on Bharat’s behalf, his deep humility prevented him from ever offering advice to his elder brother.

Shrutakirti, was a woman of exceptional grace and wisdom. She waited each night to meet her husband, not just to see him, but to understand his worries and offer him quiet comfort and thoughtful counsel. True to her name, she absorbed only what was noble and kind, and in turn, spoke words that were uplifting, never causing harm or hurt. Her presence brought peace, and her speech carried gentleness and goodness.

Later, Shatrughn ruled over Mathura, along with Shrutakirti, who gave him suitable advice on difficult matters.

Shatrughn and Shrutakirti had two sons, Subahu and Shatrughati who became rulers of Mathura and Vidisha respectively.

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The Bond of the Four Sisters

The love and unity between Sita, Urmila, Mandavi, and Shrutakirti was deep and unbreakable. They were not just sisters by birth or marriage—they were bound by mutual respect, shared values, and unwavering support for one another.

When Ram decided to send Sita into exile while she was pregnant, the three sisters—Urmila, Mandavi, and Shrutakirti—could not stay silent. They approached him, one after another, pleading with him to reconsider. They knew Sita’s purity and innocence, and they could not understand how she could be punished when she had done no wrong.

In the end, Shrutakirti spoke from the heart:

> “We were born in the same family. We married into the same family. Sita’s pain is not hers alone—it is ours too. If you choose to send her into exile, then send us all. We will not let her suffer alone.”

This moment revealed not only their loyalty and love for Sita, but also their strength and unity as women, as sisters, and as dharmic pillars of the royal household.

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scene inspired by br chopra ramayan

Kaushalya with Urmila Mandavi Bharat

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scene inspired by br chopra ramayan

Kaushalya with Urmila Mandavi Bharat

Nice Pictures And Story

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scene inspired by br chopra ramayan

Emotional scene of Lakshman Urmila

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scene inspired by br chopra ramayan

Lakshman and Urmila sharing an emotional hug

they didn't show shrutakirti in the last scene

might be the actress was unavailable

but they could have taken the lady who was present in role of maid

they could have done her makeover and make her a body double for character of shrutakirti

in one of the earlier scenes as well

a body double was used for the character of shrutakirti