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The Ramayana from Sita’s Point of View: Four Retellings to Explore

There is no single definitive Ramayana from Sita’s perspective. Compare four retellings by narrator, form, and tradition.
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There is no single definitive “Ramayana from Sita’s point of view.” For a retelling narrated directly by Sita, start with Samhita Arni and Moyna Chitrakar’s graphic book Sita’s Ramayana. Amit Majmudar’s Sitayana, Devdutt Pattanaik’s illustrated retelling, and the Bengali performance-oriented Chandrabati’s Ramayan offer different ways to bring Sita’s experience into focus.

What does “the Ramayana from Sita’s point of view” mean?

It can mean a story narrated by Sita, a retelling that gives her experience particular weight, or a work that reconsiders how she is portrayed. Those approaches are not interchangeable: a first-person narrator controls the telling, while a multi-perspective narrative can shift among characters, and a later interpretation may examine Sita’s role without making her the sole narrator.

Ramayana stories have circulated in many regional and linguistic traditions and through performance as well as written forms. Scholarship on retellings also examines how versions can alter the story’s treatment of gender. It is therefore more accurate to speak of Sita-centered retellings than to imply there is one authoritative version from her perspective. Oxford Academic’s The Ramayana Revisited surveys these varied approaches.

Which Sita-centered retellings should you consider?

Work Form and perspective What distinguishes it
Sita’s Ramayana Graphic retelling narrated by Sita Created by Samhita Arni and Patua artist Moyna Chitrakar; Tara Books describes its visual approach as a reworking of traditional scroll form.
Sitayana Prose retelling with multiple perspectives Amit Majmudar’s version foregrounds Sita’s resistance while moving beyond a single viewpoint.
Sita: An Illustrated Retelling of the Ramayana Illustrated retelling and interpretation Devdutt Pattanaik draws attention to different oral, visual, and written retellings and considers Sita’s life, relationships, and roles.
Chandrabati’s Ramayan Bengali lyrical retelling associated with performance A distinct tradition linked to performance before a rural audience, especially women.

Sita’s Ramayana: the closest match to a Sita-narrated story

If you want a retelling explicitly told by Sita, this graphic book is the clearest fit. Its creators are author Samhita Arni and Patua artist Moyna Chitrakar. Tara Books presents the book’s visual form as a reworking of traditional scroll storytelling. See Tara Books’ description of Sita’s Ramayana.

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Sitayana: Sita foregrounded in a multi-perspective novel

Amit Majmudar’s Sitayana makes Sita’s resistance central, but Penguin Random House India describes it as using multiple perspectives rather than a single, continuous Sita narration. Its formats include a 256-page paperback and an audio edition; check the publisher listing for edition details. See Penguin Random House India’s Sitayana listing.

Pattanaik’s Sita: an illustrated interpretive retelling

Sita: An Illustrated Retelling of the Ramayana is useful if you want a retelling attentive to the variety of ways the epic has been told and pictured. Its approach considers Sita’s life, relationships, and roles rather than presenting it simply as a first-person narrative. See Penguin Random House India’s listing for Pattanaik’s Sita.

Chandrabati’s Ramayan: a Bengali tradition beyond current commercial retellings

Chandrabati’s work broadens the comparison beyond contemporary publisher-led books. The University of Chicago Press distributor describes it as a Bengali lyrical retelling associated with performance for a rural audience, especially women. That performance context makes it a different kind of encounter with Sita-centered storytelling. Read the University of Chicago Press distributor’s page for Chandrabati’s Ramayan.

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How does Sita’s portrayal change across versions?

Retellings do not merely change who speaks; they can change which qualities and choices define Sita. An Oxford Academic chapter discusses her prominent modern association with wifely devotion and self-sacrifice, while asking what remains recognizable as portrayals shift. That is a question for comparison, not a reason to treat one characterization as the final or universal Sita. Read Oxford Academic’s chapter, “When Does Sītā Cease to Be Sītā?”

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When comparing versions, notice who controls the narration, whether the story stays close to Sita or moves among characters, and what medium and tradition shape the telling. A graphic narrative, a multi-perspective novel, an illustrated interpretation, and performance-oriented verse can each foreground different aspects without being the same kind of “Sita’s version.”

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Which one should you read first?

  • Choose Sita’s Ramayana for the most direct match to a Ramayana narrated by Sita, and for a graphic form shaped by Patua scroll art.
  • Choose Sitayana for a prose retelling that foregrounds Sita’s resistance while drawing on multiple perspectives.
  • Choose Pattanaik’s Sita for an illustrated interpretation that engages with the variety of Ramayana tellings and Sita’s changing roles.
  • Explore Chandrabati’s Ramayan to encounter a Bengali, performance-associated tradition rather than only modern commercial retellings.

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