The Ramakien

Hanuman receives more than he has bargained for when he is transported to 18th century Ayutthaya in the Ramakien (Glory of Rama), the Thai’s own version of the Ramayana epic. Although versions reached the 13th-century Sukothai kingdom and shadow puppets performed the drama, the written Thai versions were not compiled till after the fall of Ayutthaya in the 18th century.

Thereafter work began under King Rama I (1736– 1809), and the walls of Wat Phra Kaew (Temple of the Emerald Buddha) were decorated with murals of the entire epic, with verses describing the murals inscribed in stone on the balcony columns. The feature of the balcony are its gates guarded by 5-metre tall giants called yakshis.

King Rama II (1766–1824) carried on working on the script, adapting it into Khon drama performed by costumed and masked dancers as well as a chorus. The Hindu mythology of the epic provided the Thai version with a creation myth and opportunity to include Thai indigenous animistic beliefs.

As expected, the names were changed. Rama became Phra Ram, Sita was Nang Sida while Ravana ended up as the unfamiliar Thotsakan. What then of Hanuman? Well, he remained his usual exuberant self retaining his name, though he had the bonus of having a larger role to play in the Ramakien – for he is now equipped with crown and armour, has crystal teeth, diamond fur and is consequently, downright flirtatious!