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Valmiki Ramayana 1.40.26-27: Bala Kanda, Sarga 40, Shlokas 26-27

सगरपुत्राणां रसातलगमनम् · The Descent of Sagara’s Sons and the Wrath of Kapila

Addressed to RamaSetting: Kapila’s vicinity at the excavation terminus (implied)Repeated confrontation onset (recensional doubling)

ते तं हयवरं ज्ञात्वा क्रोधपर्याकुलेक्षणाः ॥२६॥

खनित्रलाङ्गलधरा नानावृक्षशिलाधराः ।

अभ्यधावन्त सङ्क्रुद्धास्तिष्ठ तिष्ठेति चाब्रुवन् ॥२७॥

Recitation with translationValmiki Ramayana 1.40.26-27

te taṃ hayavaraṃ jñātvā krodhaparyākulekṣaṇāḥ ||26||

khanitralāṅgaladharā nānāvṛkṣaśilādharāḥ |

abhyadhāvanta saṅkruddhās tiṣṭha tiṣṭheti cābruvan ||27||

जब उन्होंने घोड़ा देखा तो गुस्सा और बढ़ गया। हाथ में बेलचा और हथौड़ा लिए थे। पत्थर और लकड़ियाँ भी उठाई थीं। भाग के पास गए और चिल्लाए, रुको रुको।

asmākamof us/our
asmākam:
TypeNoun
Rootasmad (सर्वनाम-प्रातिपदिक)
FormPronoun, Genitive (षष्ठी) Plural
RoleSambandha (षष्ठी-सम्बन्ध)
tvamyou
tvam:
TypeNoun
Rootyusmad (सर्वनाम-प्रातिपदिक)
FormPronoun, Nominative Singular
RoleKarta (कर्ता)
hiindeed/for
hi:
TypeIndeclinable
Roothi (अव्यय)
FormAvyaya, particle (निपात) giving emphasis/reason
RoleSambandha (सम्बन्ध)
turagamhorse
turagam:
TypeNoun
Rootturaga (प्रातिपदिक)
FormMasculine, Accusative Singular
RoleKarma (कर्म)
yajñīyamsacrificial/fit for sacrifice
yajñīyam:
TypeAdjective
Rootyajñīya (प्रातिपदिक)
FormMasculine, Accusative Singular; agrees with turagam
RoleViśeṣaṇa (विशेषणम्)
hṛtavānhas stolen/taken away
hṛtavān:
TypeVerb
Roothṛ (धातु)
FormPeriphrastic perfect participle (लिट्-परिप्रयोग/क्तवत्), Masculine Nominative Singular; with auxiliary asi
RoleKriyā (क्रिया)
asiyou are (i.e., you have)
asi:
TypeVerb
Rootas (धातु)
FormPresent (लट्), Parasmaipada, 2nd person Singular; auxiliary with hṛtavān
RoleKriyā (क्रिया)
durmedhaḥO evil-minded one
durmedhaḥ:
TypeNoun
Rootdurmedhas (प्रातिपदिक)
FormBahuvrīhi: ‘of bad intellect’; Masculine, Vocative Singular (सम्बोधन)
RoleSambodhana (सम्बोधन)
CompoundBahuvrihi
tvamyou
tvam:
TypeNoun
Rootyusmad (सर्वनाम-प्रातिपदिक)
FormPronoun, Nominative Singular
RoleKarta (कर्ता)
hiindeed
hi:
TypeIndeclinable
Roothi (अव्यय)
FormAvyaya, particle
RoleSambandha (सम्बन्ध)
samprāptānarrived/come here
samprāptān:
TypeAdjective
Rootsam-prāp (धातु)
FormPast participle (क्त) from √prāp with upasarga सम्; Masculine, Accusative Plural; agrees with sagarātmajān
RoleViśeṣaṇa (विशेषणम्)
viddhiknow/understand
viddhi:
TypeVerb
Rootvid (धातु)
FormImperative (लोट्), Parasmaipada, 2nd person Singular
RoleKriyā (क्रिया)
naḥus
naḥ:
TypeNoun
Rootasmad (सर्वनाम-प्रातिपदिक)
FormPronoun, Accusative (द्वितीया) Plural; enclitic form
RoleKarma (कर्म)
sagarātmajānthe sons of Sagara
sagarātmajān:
TypeNoun
Rootsagara (प्रातिपदिक) + ātmaja (प्रातिपदिक)
FormTatpuruṣa (षष्ठी-तत्पुरुष) ‘Sagara’s sons’; Masculine, Accusative Plural
RoleKarma (कर्म)
CompoundTatpurusha
  • durmedhastvam = durmedhaḥ + tvam
  • viddhi nassagarātmajān = viddhi + naḥ + sagarātmajān.

They recognised that best of horses. Their eyes were red with anger. Armed with spades, plough-shares and every kind of tree and stone and furious with wrath, they rushed towards Kapila shouting, wait, wait!

Repetition underscores the moral blindness of anger: the same impulse reasserts itself until it meets an immovable spiritual law.

Duties in tension

  • Protecting royal rite (aśvamedha)
  • Non-offense toward sages and the divine
  • Self-governance vs mob aggression
Ethical theme
Anger; collective wrongdoing; reverence
How it resolves
Tragic consequence (implied next)

Use the verse as a cautionary japa-reflection on krodha; pause before accusation; honor tapas and stillness.

Rasa
Raudra (fury), with Bhayanaka (fear)
Mood
Incensed, unyielding, menacing

Themes

  • Itihasa
  • Dharma
  • Textual variation (Southern Recension duplication)
  • Anger (Krodha)

S
Sagarātmajāḥ (sons of Sagara)
A
Aśvamedha horse (hayavara)

FAQs

Righteous pursuit must be governed by restraint; dharma is compromised when anger becomes the motive force of action.

A duplicated transmission of the armed rush by Sagara’s sons upon finding the horse.

The implied virtue is self-control; the narrative shows its absence as anger escalates toward violence.

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