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Shloka 47

पुष्पकविमानवर्णनम्

Description of the Pushpaka Vimana and Ravana’s Inner Palace

मुक्ताहाराऽवृताश्चान्याः काश्चिद्विस्रस्तवाससः।व्याविद्धरशनादामाः किशोर्य इव वाहिताः।।5.9.47।।

muktāhārāvṛtāś cānyāḥ kāścid visrasta-vāsasaḥ | vyāviddha-raśanā-dāmāḥ kiśorya iva vāhitāḥ || 5.9.47 ||

Andere waren von gerissenen Perlenketten bedeckt; manchen war das Gewand verrutscht; anderen war der Hüftgurt gesprungen—sie lagen ruhend wie junge Stuten nach hartem Antreiben.

मुक्ताहारावृताःcovered with pearl necklaces
मुक्ताहारावृताः:
Karta (कर्ता)
TypeAdjective
Rootमुक्ता-हार-आवृत (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन; बहुव्रीहि (यासां मुक्ताहारैः आवृतम्/आच्छादितम्)
and
:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootच (अव्यय)
FormConjunction (समुच्चय)
अन्याःothers
अन्याः:
Karta (कर्ता)
TypeNoun
Rootअन्य (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन
काश्चित्some
काश्चित्:
Karta (कर्ता)
TypeNoun
Rootकिम् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन; अनिश्चितवाचक
विस्रस्तवाससःwith garments slipped down
विस्रस्तवाससः:
Karta (कर्ता)
TypeAdjective
Rootविस्रस्त-वसन (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन; बहुव्रीहि (यासां वासांसि विस्रस्तानि)
व्याविद्धरशनादामाःwith waist-belts snapped/loosened
व्याविद्धरशनादामाः:
Karta (कर्ता)
TypeAdjective
Rootव्याविद्ध-रशना-दामन् (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन; बहुव्रीहि (यासां रशनादामानि व्याविद्धानि/विस्फुटितानि)
किशोर्यःyoung mares
किशोर्यः:
Upamana (उपमान)
TypeNoun
Rootकिशोरी (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन
इवlike
इव:
Sambandha (उपमा-सम्बन्ध)
TypeIndeclinable
Rootइव (अव्यय)
FormUpamā-vācaka indeclinable
वाहिताःlaid down / fallen
वाहिताः:
Karta (कर्ता)
TypeAdjective
Rootवह् (धातु)
Formकृदन्त: क्त, स्त्रीलिङ्ग, प्रथमा, बहुवचन; 'carried/laid down' (context: fallen/at rest)

Some had their strings of pearl broken, others had their clothes slipped off, and some had their waist belts snapped. They were like young mares fallen to rest after carrying heavy loads.

W
women of the inner chambers
G
garments (vāsa)

FAQs

The imagery underscores exhaustion born of excess; Dharma recommends moderation and self-restraint, without which dignity and clarity are lost.

Hanumān sees further signs of disarray—broken pearls, loosened clothing, snapped belts—and the narrator likens their condition to overworked animals resting.

Hanumān’s detachment (vairāgya-like composure): he is not seduced by opulence or sensuality and continues his duty.