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Shloka 21

किष्किन्धाप्रवेशः—लक्ष्मणस्य कोपः, तारासान्त्वम्, सुग्रीवदर्शनम्

Lakshmana Enters Kishkindha: Anger, Tara’s Mediation, and Sugriva Encountered

प्रविशन्नेव सततं शुश्राव मधुरस्वरम्।तन्त्रीगीतसमाकीर्णं समगीतपदाक्षरम्।।।।

praviśann eva satataṃ śuśrāva madhurasvaram |

tantrīgītasamākīrṇaṃ samagītapadākṣaram ||

પ્રવેશ કરતાં જ તે સતત મધુર સ્વરો સાંભળતો રહ્યો—વીણાદિ તંત્રીવાદ્યોના સંગીતથી ભરપૂર, અને સમતાલે ગવાયેલા ગીતોના પદ-અક્ષરોથી સુશોભિત।

praviśanentering
praviśan:
Karta (कर्ता)
TypeVerb
Rootpra-viś (धातु) > praviśant (कृदन्त-प्रातिपदिक)
FormPresent active participle (शतृ), Masculine (पुंलिङ्ग) Nominative (प्रथमा) Singular (एकवचन), agreeing with implied 'saḥ'
evajust/indeed
eva:
Sambandha (सम्बन्ध/particle)
TypeIndeclinable
Rooteva (अव्यय)
FormParticle (निपात), emphasis
satatamconstantly
satatam:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeIndeclinable
Rootsatata (प्रातिपदिक)
FormAdverbial accusative (क्रियाविशेषणरूपेण द्वितीया), 'constantly'
śuśrāvaheard
śuśrāva:
Kriyā (क्रिया)
TypeVerb
Rootśru (धातु)
FormPerfect (लिट्), Parasmaipada, 3rd person Singular
madhura-svaramsweet sound/voice
madhura-svaram:
Karma (कर्म)
TypeNoun
Rootmadhura (प्रातिपदिक) + svara (प्रातिपदिक)
FormKarmadhāraya (कर्मधारय) noun; Masculine (पुंलिङ्ग), Accusative (द्वितीया) Singular (एकवचन)
tantrī-gīta-samākīrṇamfilled with songs of stringed instruments
tantrī-gīta-samākīrṇam:
Visheshana (विशेषण)
TypeAdjective
Roottantrī (प्रातिपदिक) + gīta (कृदन्त-प्रातिपदिक) + samākīrṇa (कृदन्त-प्रातिपदिक)
FormTatpuruṣa (तत्पुरुष) adjective; Neuter (नपुंसकलिङ्ग), Accusative (द्वितीया) Singular (एकवचन), qualifying 'madhura-svaram' (as heard sound)
samagīta-pada-akṣaramwith syllables/words sung in proper melody and metre
samagīta-pada-akṣaram:
Visheshana (विशेषण)
TypeAdjective
Rootsamagīta (प्रातिपदिक) + pada (प्रातिपदिक) + akṣara (प्रातिपदिक)
FormTatpuruṣa (तत्पुरुष) adjective; Neuter (नपुंसकलिङ्ग), Accusative (द्वितीया) Singular (एकवचन), qualifying 'madhura-svaram'

As he entered, he heard melodious sounds of string instruments and music worded to metre with different kinds of tunes.

L
Lakṣmaṇa
G
Gīta (song)

FAQs

Dharma as vigilance: pleasant sensory experiences are present, yet a dharmic agent must remain focused on truth and obligation.

Inside the palace precincts, Lakṣmaṇa hears refined music and singing, signaling festivity and leisure within.

Self-control (dama): he does not indulge; he registers the scene as part of assessing Sugrīva’s conduct.