Valmiki Ramayana 2.15.32-40: Ayodhya Kanda, Sarga 15, Shlokas 32-40

अभिषेकसज्जा तथा सुमन्त्रस्य प्रेषणम्

Coronation Preparations and Sumantra’s Commission

Setting: Rāma-vema in AyodhyāPlaces named: Ayodhyā, Meru, Kailāsa (by thematic cluster), Dārdura, Kubera's abode (Alakā implied), Mahendra's dwelling, Indra's mansion (by thematic cluster)Arrival and detailed visual survey of the residence and its forecourt

Devanagari script

महाकवाटविहितं वितर्दिशतशोभितम् ॥३२॥

काञ्चनप्रतिमैकाग्रं मणिविद्रुमतोरणम् ।

शारदाभ्रघनप्रख्यं दीप्तं मेरुगुहोपमम् ॥३३॥

मणिभिर्वरमाल्यानां समुहद्भिरलंकृतम् ।

मुक्तामणिभिराकीर्णं चन्दनागरूधूपितम् ॥३४॥

गन्धान्मनोज्ञान् विसृजद्दार्दुरं शिखरं यथा ।

सारसैश्च मयूरैश्च विनदद्भिर्विराजितम् ॥३५॥

सुकृतेहामृगाकीर्णं सुकीर्णं भक्तिभिस्तथा ।

मनश्चक्षुश्च भूतानामाददत्तिग्मतेजसा ॥३६॥

चन्द्रभास्करसङ्काशं कुबेरभवनोपमम् ।

महेन्द्रधामप्रतिमं नानापक्षिसमाकुलम् ॥३७॥

मेरुशृङ्गसमं सूतो रामवेश्म ददर्श ह ।

उपस्थितैःसमाकीर्णं जनैरञ्जलिकारिभिः ॥३८॥

उपादाय समाक्रान्तैस्तथा जानपदैर्जनैः ।

रामाभिषेकसुमुखैरुन्मुखैस्समलंकृतम् ॥३९॥

महामेघसमप्रख्यमुदग्रं सुविभूषितम् ।

नानारत्नसमाकीर्णं कुब्जकैरातकावृतम् ॥४०॥

Recitation with translationValmiki Ramayana 2.15.32-40

Transliteration

mahākavāṭavihitaṃ vitardiśataśobhitam ||32||

kāñcanapratimaikāgraṃ maṇividrumatōraṇam |

śāradābhraghanaprakhyaṃ dīptaṃ mēruguhōpamam ||33||

maṇibhir varamālyānāṃ samūhadbhir alaṅkṛtam |

muktāmaṇibhir ākīrṇaṃ candanāgarudhūpitam ||34||

gandhān manojñān visṛjad dārduraṃ śikharaṃ yathā |

sārasaiś ca mayūraiś ca vinadadbhir virājitam ||35||

sukṛtēhāmṛgākīrṇaṃ sukīrṇaṃ bhaktibhis tathā |

manaś cakṣuś ca bhūtānām ādadat tigma-tejasā ||36||

candrabhāskarasaṅkāśaṃ kubērabhavanōpamam |

mahēndradhāmapratimaṃ nānāpakṣisamākulam ||37||

mēruśṛṅgasamaṃ sūto rāmavēśma dadarśa ha |

upasthitaiḥ samākīrṇaṃ janair añjalikāribhiḥ ||38||

upādāya samākrāntais tathā jānapadair janaiḥ |

rāmābhiṣēkasumukhair unmukhaiḥ samalaṅkṛtam ||39||

mahāmēghasamaprakhyam udagraṃ suvibhūṣitam |

nānāratnasamākīrṇaṃ kubjakairātakāvṛtam ||40||

Translation

सुमंत्र ने राम का महल देखा। बड़े-बड़े दरवाज़े थे। चारों तरफ़ सुंदर गैलरी थी। ऊपर सोने की मूरतियाँ थीं। मोती और मंजीरा से बने हुए दरवाज़े थे। बादल की तरह चमक रहा था। मेरु पर्वत की गुफ़ा जैसा था। सुंदर हार और मोती से सजाया हुआ था। चंदन की खुशबू आ रही थी। हंस और मोर की आवाज़ें आ रही थीं। लोगों की नज़र और दिल को भेट रहा था। चाँद और सूरज की तरह चमक रहा था। कुबेर के महल जैसा था। इंद्र के घर जैसा था। बहुत सारी चिड़िया थी। मेरु पर्वत की तरह ऊँचा था। लोग हाथ जोड़ के खड़े थे। देश के लोग तोहफ़े लेकर आए थे। सब राम के राज्याभिषेक का इंतज़ार कर रहे थे। बड़े बादल की तरह दिखता था। रत्नों से भरा हुआ था।

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Word by Word

• महाकवाटविहितम्: fitted with great doors
• Type: Adjective
• Root: महा + कवाट + विहित (कृदन्त-प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया, एकवचन; विशेषण (qualifying ‘रामवेश्म’); तृतीया-तत्पुरुषः (महाकवाटैः विहितम्/युक्तम्)
• Role: Visheshana (विशेषण)
• Compound: Tatpurusha

• वितर्दिशतशोभितम्: adorned with hundreds of galleries/terraces
• Type: Adjective
• Root: वितर्दि + शत + शोभित (कृदन्त-प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया, एकवचन; विशेषण; तृतीया-तत्पुरुषः (वितर्दिशतैः शोभितम्)
• Role: Visheshana (विशेषण)
• Compound: Tatpurusha

• काञ्चनप्रतिमैकाग्रम्: having a single summit with golden images
• Type: Adjective
• Root: काञ्चन + प्रतिमा + एक + अग्र (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया, एकवचन; विशेषण; षष्ठी/तृतीया-समासार्थः (काञ्चनप्रतिमाभिः एकाग्रम्/एकं अग्रं यस्य)
• Role: Visheshana (विशेषण)
• Compound: Tatpurusha

• मणिविद्रुमतोरणम्: with arches of gems and coral
• Type: Noun
• Root: मणि + विद्रुम + तोरण (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया, एकवचन; विशेषणवत् (describing the palace); तृतीया-तत्पुरुषः (मणिविद्रुमैः तोरणम्)
• Role: Visheshana (विशेषण)
• Compound: Tatpurusha

Context

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.

The teaching

Prosperity and beauty, when oriented to dharmic kingship and shared reverence, become instruments of social harmony rather than indulgence.

Ethical theme

Rājadharma

Devotion and practice

Supports bhakti through vivid smaraṇa: seeing offerings, ñjali, gandha, mālya as modes of worship transferable to daily pūjā.

Deity praised

Rāma (implicitly as the locus of auspiciousness)

Form of praise

Stuti (a hymn of praise)

Mood and themes

Rasa

Adbhuta (wonder), with Ƹṅgāra

Mood

Opulent, fragrant, thronged

Themes

• Itihasa
• Dharma
• Royal prosperity (śrī)
• Public devotion
• Abhiṣeka
• Southern Recension (expanded description)

Symbolism

Relationships

Cross references

Meter and recitation

Characters & Entities

• Sumantra
• Rāma
• Rāmaveśma (Rāma’s palace)
• Meru
• Kailāsa (implicit by earlier context, not in these pādas)
• Kubera
• Mahendra (Indra)
• Candra (Moon)
• Bhāskara (Sun)
• Dārdura (mountain)
• sārasa (cranes)
• mayūra (peacocks)
• Kirāta (hunters)

FAQs

What is the core ethical principle (Dharma) in this verse?

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.

What is the narrative situation?

Sumantra arrives at Rāma’s residence and observes its grandeur and the crowds gathered with offerings and folded hands, anticipating the coronation.

Which character virtue is emphasized?

Lokānurāga (public goodwill) toward a dharmic ruler, and śraddhā (reverent anticipation) shown by the assembled people awaiting Rāma’s abhiṣeka.