Ramayana — Ayodhya Kanda, Sarga 15, Shloka 40
अभिषेकसज्जा तथा सुमन्त्रस्य प्रेषणम्
Coronation Preparations and Sumantra’s Commission
महाकवाटविहितं वितर्दिशतशोभितम्।।2.15.32।।काञ्चनप्रतिमैकाग्रं मणिविद्रुमतोरणम्। शारदाभ्रघनप्रख्यं दीप्तं मेरुगुहोपमम्।।2.15.33।।मणिभिर्वरमाल्यानां समुहद्भिरलंकृतम्।मुक्तामणिभिराकीर्णं चन्दनागरूधूपितम्।।2.15.34।।गन्धान्मनोज्ञान् विसृजद्दार्दुरं शिखरं यथा।सारसैश्च मयूरैश्च विनदद्भिर्विराजितम्।।2.15.35।।सुकृतेहामृगाकीर्णं सुकीर्णं भक्तिभिस्तथा।मनश्चक्षुश्च भूतानामाददत्तिग्मतेजसा।।2.15.36।।चन्द्रभास्करसङ्काशं कुबेरभवनोपमम्।महेन्द्रधामप्रतिमं नानापक्षिसमाकुलम्।।2.15.37।।मेरुशृङ्गसमं सूतो रामवेश्म ददर्श ह।उपस्थितैःसमाकीर्णं जनैरञ्जलिकारिभिः।।2.15.38।।उपादाय समाक्रान्तैस्तथा जानपदैर्जनैः।रामाभिषेकसुमुखैरुन्मुखैस्समलंकृतम्।।2.15.39।।महामेघसमप्रख्यमुदग्रं सुविभूषितम्।नानारत्नसमाकीर्णं कुब्जकैरातकावृतम्।।2.15.40।।
mahākavāṭavihitaṃ vitardiśataśobhitam || 2.15.32 ||
kāñcanapratimaikāgraṃ maṇividrumatōraṇam |
śāradābhraghanaprakhyaṃ dīptaṃ mēruguhōpamam || 2.15.33 ||
maṇibhir varamālyānāṃ samūhadbhir alaṅkṛtam |
muktāmaṇibhir ākīrṇaṃ candanāgarudhūpitam || 2.15.34 ||
gandhān manojñān visṛjad dārduraṃ śikharaṃ yathā |
sārasaiś ca mayūraiś ca vinadadbhir virājitam || 2.15.35 ||
sukṛtēhāmṛgākīrṇaṃ sukīrṇaṃ bhaktibhis tathā |
manaś cakṣuś ca bhūtānām ādadat tigma-tejasā || 2.15.36 ||
candrabhāskarasaṅkāśaṃ kubērabhavanōpamam |
mahēndradhāmapratimaṃ nānāpakṣisamākulam || 2.15.37 ||
mēruśṛṅgasamaṃ sūto rāmavēśma dadarśa ha |
upasthitaiḥ samākīrṇaṃ janair añjalikāribhiḥ || 2.15.38 ||
upādāya samākrāntais tathā jānapadair janaiḥ |
rāmābhiṣēkasumukhair unmukhaiḥ samalaṅkṛtam || 2.15.39 ||
mahāmēghasamaprakhyam udagraṃ suvibhūṣitam |
nānāratnasamākīrṇaṃ kubjakairātakāvṛtam || 2.15.40 ||
ورأى سومانترَا قصر راما: موثَّقًا بأبواب مزدوجة عظيمة، مزدانًا بمئات الشرفات والممرات؛ تتوِّجه تماثيل من ذهب، وتعلوه أقواس من الجواهر والمرجان. كان يلمع كالسحب الكثيفة في الخريف، ويتلألأ ككهفٍ في جبل ميرو. مُزيَّنًا بأكاليل فاخرة وجواهر، منثورًا باللآلئ، مُعطَّرًا بخشب الصندل والعود، ناشرًا عبيرًا يبهج القلوب كقمة داردورا. وتزيده نداءات طيور السارَسا وصيحات الطواويس بهاءً، وهو مملوء بنقوش دقيقة وزينة غنية، يأسر عيون الكائنات وقلوبها ببريقه النافذ. متألقًا كالقمر والشمس، شبيهًا بمسكن كُبيرا ومماثلًا لدار مهيندرا، يعجّ بطيور شتّى. شامخًا كقمة ميرو، مكتظًّا بالناس الواقفين بأكفٍّ مضمومة، وبأهل القرى يحملون الهدايا، ووجوههم مرفوعة شوقًا لتتويج راما. عاليًا بهيًّا كسحابة عظيمة، مزدانًا وزاخرًا بالجواهر، وكان كذلك مزدحمًا بالحدباء وبالكيراتا، الصيادين.
The charioteer (Sumantra) beheld Rama's palace closed with two heavy-panelled doors. Adorned with hundreds of galleries, it had a peak mounted with golden idols. The arches were studded with different gems and corals. Bright like dense autumnal cloud, it shone like the cave of mount Meru. It was ornamented with excellent garlands and precious diamonds. Pearls were strewn around. Decorated with sandal and aloe wood, it emitted, like the peak of mount Dardura, captivating fragrance৷৷ Sarasas and peacocks were singing sweetly. The palace was full of skilfully carved images of deer and other embellishments. It attracted the minds and the eyes of all living beings with brilliant splendour. Resplendent like the Sun and the Moon, it looked like the abode of Kubera and a reflected image of the abode of Mahendra. It was crowded with birds of various kinds. In height it was equal to the peak of mount Meru. Villagers thronged the palace with gifts, eagerly waiting with folded hands to see the spectacle of Rama's coronation. Lofty, it looked like a vast cloud. Well-decked and filled with various gems, it was crowded with hunchbacks and kiratas (hunters) too.
FAQs
The palace imagery supports the Ramayana’s dharmic ideal of kingship: prosperity, beauty, and public order are presented as the outward signs of a righteous succession, welcomed by the people in a spirit of reverence and social harmony.
Sumantra arrives at Rāma’s residence and observes its grandeur and the crowds gathered with offerings and folded hands, anticipating the coronation.
Lokānurāga (public goodwill) toward a dharmic ruler, and śraddhā (reverent anticipation) shown by the assembled people awaiting Rāma’s abhiṣeka.