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Shloka 17

पुष्पकविमानवर्णनम्

Description of the Pushpaka Vimana and Ravana’s Inner Palace

विद्रुमेण विचित्रेण मणिभिश्च महाघनैः।निस्तुलाभिश्च मुक्ताभिस्तलेनाभिविराजितम्।।5.9.17।।

vidrumeṇa vicitreṇa maṇibhiś ca mahāghanaiḥ |

nistulābhiś ca muktābhis talenābhivirājitam ||5.9.17||

Seine Fläche leuchtete strahlend, geschmückt mit bunt schimmernder Koralle, überaus kostbaren Edelsteinen und unvergleichlichen Perlen.

विद्रुमेणwith coral
विद्रुमेण:
Karana (करण)
TypeNoun
Rootविद्रुम (प्रातिपदिक)
Formपुंलिङ्ग/नपुंसकलिङ्ग (usage varies), तृतीया (Instrumental/करण), एकवचन
विचित्रेणvariegated/ornate
विचित्रेण:
Karana (करण)
TypeAdjective
Rootविचित्र (प्रातिपदिक)
Formनपुंसकलिङ्ग/पुंलिङ्ग (agreeing with विद्रुमेण), तृतीया, एकवचन; विशेषण
मणिभिःwith gems
मणिभिः:
Karana (करण)
TypeNoun
Rootमणि (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया (Instrumental/करण), बहुवचन
and
:
Samuccaya (समुच्चय)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चय-अव्यय
महाघनैःvery precious/massive
महाघनैः:
Karana (करण)
TypeAdjective
Rootमह01 + घन (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया, बहुवचन; मणिभिः विशेषण; समासः: महान्तः घनाः (very dense/solid; figuratively very precious)
निस्तुलाभिःpeerless
निस्तुलाभिः:
Karana (करण)
TypeAdjective
Rootनिस्तुल (प्रातिपदिक)
Formस्त्रीलिङ्ग, तृतीया (Instrumental/करण), बहुवचन; मुक्ताभिः विशेषण
and
:
Samuccaya (समुच्चय)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चय-अव्यय
मुक्ताभिःwith pearls
मुक्ताभिः:
Karana (करण)
TypeNoun
Rootमुक्ता (प्रातिपदिक)
Formस्त्रीलिङ्ग, तृतीया (Instrumental/करण), बहुवचन
तलेनon the surface
तलेन:
Adhikarana (अधिकरण)
TypeNoun
Rootतल (प्रातिपदिक)
Formनपुंसकलिङ्ग, तृतीया (Instrumental/करण), एकवचन; साधन/अधिकरणभाव (on the surface)
अभिविराजितम्shining brilliantly
अभिविराजितम्:
Visheshana (विशेषण)
TypeAdjective
Rootअभिविराजित (कृदन्त-प्रातिपदिक; अभि-√राज् (धातु))
Formभूतकर्मणि कृदन्त (PPP), नपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; विमानस्य विशेषण

It was bright like molten gold, fragrant with red sandal comparable to the rising Sun.

V
vidruma (coral)
M
maṇi (gems)
M
muktā (pearls)

FAQs

Opulence is depicted to heighten the ethical contrast: dharma is not ornamentation but right action. The Ramayana encourages detachment from glittering surfaces in favor of truth and duty.

Hanumān sees floors/surfaces richly inlaid with coral, gems, and pearls within the royal environs.

Non-attachment (asaṅga): the heroic agent remains unmoved by luxury while pursuing a righteous objective.