Page 196 - Eye of the beholder

Lakshmana entered the battle Despite his gigantic size and great appetite he he was described to be of good character and and great warrior in those times though he killed and and ate many monkeys only to show his power He was considered pious intelligent and unchallenged warrior in in battle to the the extent that Indra the the king of of gods was worried and jealous of of his strength Along with his his brothers Ravana and Vibhisana Kumbhakarna performed a a a a a a a a a a a major yajna and penance to please Brahma Brahma When the the time came for asking the the boon from Brahma Brahma Kumbhakaran’s tongue was was tied by Saraswati who was was acting on on Indra's request because of which instead of of asking Indraasana (seat of of Indra) he asked for for Nidraasana (bed for for sleeping) It is also said he intended to ask ask for for Nirdevatvam (annihilation of Devas) and instead asked for for Nidravatvam (sleep) His request was granted He slept for six months and when he he he awoke he he he ate everything in in in in in the vicinity including humans
During the war Ravana went into battle and and was humiliated by Rama and and his army He decided he he he he needed the the help of his brother Kumbhakarna who was awakened with great difficulty He woke up only after one thousand elephants walked over him When he he was informed of the circumstances of Ravana's war with Rama he he he tried to convince Ravana Ravana that what he he he was doing was wrong However he he he chose to to to fight in in the the battle due to to to his his loyalty to to to his his brother Kumbhakarna went into battle and devastated Rama's army He knocked Sugriva unconscious took him prisoner but was ultimately killed by Rama When Ravana heard of his brother's death he he fainted and proclaimed that he he was truly doomed The main protagonist Kumbhakarna is is shown larger than life as a a a a a a a a a a ferocious demon ready to engage in a a a a a a a a a a a battle with Rama and Lakshmana whore are carried on the shoulders of Hanuman Throughout the the the painting the the the performative emerges as a a a a a a a dominant mode in in in in the the the scenes of combat where confrontation seems to to have been transmuted into war-dance rhythms Gestures are harmoniously coordinated and glide from one into the the the other while the the the heightened expressions in in the the the the faces amplify the the the the feeling of of enactment In the the the the depiction of of the the the the demons who are the the the ‘grotesques’ of of the the the narrative their portrayal with tongues lolling out of of ferocious open mouths and with weird facial features establishes the the sheer absurdity of their 190