สำนักงานราชบัณทิตยสภา

97  The Journal of the Royal Institute of Thailand Volume IV - 2012 Srisurang Poolthupya well over seventy literary works. He was consequently bestowed the title “Somdet Phra Maha Dhiraraj Chao” which means “The Great Scholar King”. by the Thai people. His promotion of Khon and drama in general is still very bene fi cial to the Thai performing arts and the preservation of Thai heritage to this day. The Ramakien and Khon Performance Although Nang, or the shadow play, also performs the Ramakien, it performs other dramas as well. The scope of Nang is rather limited as it uses leather fi gures already drawn up in fi xed positions. Performers can only show their excellence in moving around the stage and in the recitations that accompany the movement. On the other hand, Khon or masked dance drama can show limitless art forms such as dancing, singing, acting, mask-making, costume-making, stage props, accompanying music and many other special effects. Above all, Khon makes the Ramakien literature come alive, well appreciated, entertaining as well as offering deep Buddhist moral thoughts and practical guidance on how to lead a worthy life. The Ramakien, though based on the Indian Ramayana, has become part of the Thai heritage since the Ayutthaya (Ayudhya) period 1351-1767. Some of the Ramakien Kham Phak, or Dialogues, used as recitations in Khon performances survive from the Ayutthaya period, for example, the episodes of Sammanakha up to the fall of Kumbhakarna (Sathirakoses, 1972: 250). There are also other literary works connected with the Ramakien such as the long poem Bali Teaches His Younger Brother , attributed to King Narai Maharaj of Ayutthaya (Plueng Na Nagara, 1974: 114-115). King Taksin of Thonburi also composed many episodes of the Ramakien in Klon verse form which were divided into four volumes. King Rama I composed, in Klon verse form, the complete story of the Ramakien, including the episodes not found in the Indian epic Ramayana, such as the Episode of the Floating Maiden (Nang Loi), and that of the Second Wedding between Rama and Sita, Presided by Lord Shiva on Mount Krailas (Kailasa), his heavenly abode. King Rama II also composed many episodes which are lauded as dramatic and suitable for Khon performances. King Rama III commissioned fi ve poets to write Khlong verses, describing the reliefs depicting the story of the Ramakien in the Chetuphon (Jetuvana) Temple. King Rama IV composed the Episode of Rama in Exile in Klon verse form. King Rama V composed 224 of the Khlong