Valmiki Ramayana 2.10.12-16: Ayodhya Kanda, Sarga 10, Shlokas 12-16
क्रोधागारप्रवेशः · Entry into the Chamber of Wrath
Kaikeyī’s Protest
शुकबर्हिणसङ्घुष्टं क्रौञ्चहंसरुतायुतम् ॥१२॥
वादित्ररवसङ्घुष्टं कुब्जा वामनिकायुतम् ।
लतागृहैश्चित्रगृहैश्चम्पकाशोकशोभितैः ॥१३॥
दान्तराजतसौवर्णवेदिकाभि स्समायुतम् ।
नित्यपुष्पफलैर्वृक्षैर्वापीभिश्चोपशोभितम् ॥१४॥
दान्तरजतसौवर्णैस्संवृतं परमासनैः ।
विविधैरन्नपानैश्च भक्ष्यैश्च विविधैरपि ॥१५॥
उपपन्नं महार्हैश्च भूषितैस्त्रिदिवोपमम् ।
तत्प्रविश्य महाराजस्स्वमन्तः पुरमृद्धिमत् ॥१६॥
न ददर्श प्रियां राजा कैकेयीं शयनोत्तमे ।
śukabarhiṇasaṅghuṣṭaṁ krauñcahaṁsarutāyutam ||12||
vāditraravasaṅghuṣṭaṁ kubjā vāmanikāyutam |
latāgṛhaiś citragṛhaiś campakāśokaśobhitaiḥ ||13||
dāntarājatasauvarṇavedikābhiḥ samāyutam |
nityapuṣpaphalair vṛkṣair vāpībhiś copaśobhitam ||14||
dāntarajatasauvarṇaiḥ saṁvṛtaṁ paramāsanaiḥ |
vividhair annapānaiś ca bhakṣyaiś ca vividhair api ||15||
upapannaṁ mahārhaiś ca bhūṣitais tridivopamam |
tat praviśya mahārājaḥ svam antaḥpuram ṛddhimat ||16||
na dadarśa priyāṁ rājā kaikeyīṁ śayanottame |
राजा कैकेयी के कमरे में गया। वहाँ तोता और मोर बोल रहे थे। हंस और दूसरे पक्षी भी थे। संगीत बज रहा था। वहाँ पेड़ थे, फूल थे, पानी के ताल थे। सब कुछ स्वर्ग जैसा था। लेकिन राजा ने कैकेयी को नहीं देखा।
The maharaja entered the inner apartment of Kaikeyi's prosperous abode filled with parrots and peacocks, reverberating with cries of kraunchas and swans and sounds of musical instruments attended with hunchbacks and dwarfs decorated with champak and ashoka trees, bowers surrounded with creepers, picture-galleries, altars and sofas embellished with ivory, gold and silver. It was shining with pools and trees bearing flowers and fruits in all seasons. Various kinds of food, drinks and eatables were kept ready. With excellent decorations that abode of Kaikeyi resembled heaven. (But) the king did not see his beloved Kaikeyi in her best bed.
FAQs
Implicitly, the verse contrasts external prosperity with inner truth: dharma requires clarity and right intention beyond luxury. The missing Kaikeyī signals that appearances can mask impending ethical conflict.
Daśaratha goes to Kaikeyī’s richly appointed quarters but cannot find her there, which becomes the immediate setup for the coming demand of boons.
Daśaratha’s attachment and domestic longing are foregrounded; the scene prepares a test of steadiness in dharma when personal desire meets moral crisis.
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