Valmiki Ramayana 2.83.12-15: Ayodhya Kanda, Sarga 83, Shlokas 12-15
अयोध्याकाण्डे त्र्यशीति तमः सर्गः · Bharata’s Departure and Encampment on the Gaṅgā
Śṛṅgīberapura
Setting: Ayodhyā (implied, urban social panorama)Procession assembling and moving out with Bharata
मणिकाराश्च ये केचित्कुम्भकाराश्च शोभनाः ।
सूत्रकर्मकृतश्चैव ये च शस्त्रोपजीविनः ॥१२॥
मयूरकाः क्राकचिका रोचका वेधकास्तथा ।
दन्तकारा स्सुधाकारा स्तथा गन्धोपजीविनः ॥१३॥
सुवर्णकाराः प्रख्यातास्तथा कम्बलधावकाः ।
स्नापकोष्णोदका वैद्याधूपकाश्शौण्डिकास्तथा ॥१४॥
रजकास्तुन्नवायाश्च ग्रामघोषमहत्तराः ।
शैलूषाश्च सह स्त्रीभिर्ययुः कैवर्तकास्तथा ॥१५॥
maṇikārāś ca ye kecit kumbhakārāś ca śobhanāḥ |
sūtrakarmakṛtaś caiva ye ca śastropajīvinaḥ ||12||
mayūrakāḥ krākacikā rocakā vedhakās tathā |
dantakārāḥ sudhākārāḥ tathā gandhopajīvinaḥ ||13||
suvarṇakārāḥ prakhyātās tathā kambaladhāvakāḥ |
snāpakōṣṇodakā vaidyā dhūpakāḥ śauṇḍikās tathā ||14||
rajakās tunnavāyāś ca grāmagoṣamahattarāḥ |
śailūṣāś ca saha strībhir yayuḥ kaivartakās tathā ||15||
सब काम करने वाले लोग भरत के साथ चले गए। जो लोग हीरे-मोती का काम करते थे, वो गए। मिट्टी के बर्तन बनाने वाले भी गए। कपड़े बुनने वाले और हथियार बनाने वाले भी साथ थे। मोर पंख से गहने बनाने वाले, लकड़ी काटने वाले, छोटे गहने बनाने वाले सब गए। हाथी दाँत का काम करने वाले, दीवार सफेद करने वाले, इत्र बेचने वाले भी साथ थे। सुनार लोग भी गए जो बहुत मशहूर थे। कंबल धोने वाले, गरम पानी से नहलाने वाले, वैद्य, अगरबत्ती बेचने वाले, शराब बेचने वाले सब चले गए। धोबी, दर्जी, गाँव के बड़े लोग, नाटक करने वाले अपनी औरतों के साथ, मछली पकड़ने वाले सब भरत के पीछे चले गए।
Sandhi Notes
- केचित्कुम्भकाराः = kecit + kumbhakārāḥ
- सूत्रकर्मकृतश्चैव = sūtrakarmakṛtaḥ + ca + eva
- शस्त्रोपजीविनः = śastra-upajīvinaḥ
- दन्तकारास्सुधाकाराः = dantakārāḥ + sudhākārāḥ
- गन्धोपजीविनः = gandha-upajīvinaḥ
- वैद्याधूपकाश्शौण्डिकाः = vaidyāḥ + dhūpakāḥ + śauṇḍikāḥ
- स्त्रीभिर्ययुः = strībhiḥ + yayuḥ
Gem-polishers, potters, weapon-smiths, weavers, makers of adornments with peacock feathers, sawyers, makers of artificial ornaments, perforators of shells and ornaments, ivory-workers, whitewashers, purveyors of fragrant essences, renowned goldsmiths, blanket-cleaners, hot-bath attendants, physicians, vintners, incense merchants, washermen, tailors, headmen of villages and hamlets, actors along with their wives, fishermen -- all followed Bharata.
The teaching
A city’s strength lies in the coordinated dignity of all livelihoods; when the polity moves for dharma, every craft and service becomes a shared offering.
- Ethical theme
- Sāmājika-dharma (social order) and rājadharma (public mobilization)
- How it resolves
- Civic participation in a dharmic political mission
For your practice
Highlights karma-yoga spirit: one’s profession can join a larger righteous cause through supportive action.
Mood and themes
- Rasa
- Adbhuta (wonder), with Vira (heroism)
- Mood
- Panoramic, civic, bustling
Themes
- Dharma
- Social cohesion
- Civic participation
- Itihasa
- Ethics
Many functions serving one purpose mirrors the coordination of indriyas under buddhi; society as a macrocosm of ordered faculties.
Puruṣa-sūkta-like sense (macro-body with many limbs) as a conceptual echo: diverse roles forming one collective movement.
Vālmīki Rāmāyaṇa 2.83.12 (catalogue of professions); Mahābhārata (city/guild enumerations in sabhā/śānti contexts; thematic)
Arthaśāstra and Dharmaśāstra notions of occupational groups supporting the state (conceptual)
Ayodhyākāṇḍa: earlier descriptions of Ayodhyā’s prosperity and social order (Bālakāṇḍa city descriptions as internal epic parallel)
Anuṣṭup (with extended enumeration across pādas/verses)
Narrative
Sama-gati (even tempo) with clear articulation for lists
FAQs
Dharma is presented as a shared societal undertaking: every profession and community group participates in supporting the righteous resolution centered on Rama and Bharata’s moral stance.
A wide cross-section of Ayodhya’s populace—artisans, service providers, leaders, performers, and others—joins the procession accompanying Bharata.
Bharata’s moral legitimacy and public trust: the breadth of followers implies confidence in his dharmic intent rather than personal ambition.
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