Shloka 41

मयस्य किल दैत्यस्य तदासीद्‌ू वेश्म राघव । तत्र प्रभावती नाम तपो$तप्यत तापसी,'रघुनन्दन! वह सुन्दर भवन दैत्यराज मयका निवासस्थान बताया जाता है। उसमें प्रभावती नामकी एक तपस्विनी तप कर रही थी

mayasya kila daityasya tad āsīd veśma rāghava | tatra prabhāvatī nāma tapo 'tapyata tāpasī ||

Mārkaṇḍeya said: “O Rāghava, that splendid mansion was said to be the dwelling of the Daitya Maya. There, a female ascetic named Prabhāvatī was engaged in severe austerities.”

मयस्यof Maya
मयस्य:
Sambandha
TypeNoun
Rootमय (प्रातिपदिक)
FormMasculine, Genitive, Singular
किलindeed / it is said
किल:
TypeIndeclinable
Rootकिल
दैत्यस्यof the Daitya (demon)
दैत्यस्य:
Sambandha
TypeNoun
Rootदैत्य (प्रातिपदिक)
FormMasculine, Genitive, Singular
तत्that
तत्:
Karta
TypePronoun
Rootतद् (सर्वनाम-प्रातिपदिक)
FormNeuter, Nominative, Singular
आसीत्was
आसीत्:
TypeVerb
Rootअस् (धातु)
FormImperfect (लङ्), 3rd, Singular
वेश्मhouse / mansion
वेश्म:
Karta
TypeNoun
Rootवेश्मन् (प्रातिपदिक)
FormNeuter, Nominative, Singular
राघवO Rāghava
राघव:
Sambodhana
TypeNoun
Rootराघव (प्रातिपदिक)
FormMasculine, Vocative, Singular
तत्रthere
तत्र:
Adhikarana
TypeIndeclinable
Rootतत्र
प्रभावतीPrabhāvatī (name)
प्रभावती:
Karta
TypeNoun
Rootप्रभावती (प्रातिपदिक)
FormFeminine, Nominative, Singular
नामby name / named
नाम:
TypeNoun
Rootनामन् (प्रातिपदिक)
FormNeuter, Accusative, Singular
तपःausterity / penance
तपः:
Karma
TypeNoun
Rootतपस् (प्रातिपदिक)
FormNeuter, Accusative, Singular
अतप्यतwas performing (penance)
अतप्यत:
TypeVerb
Rootतप् (धातु)
FormImperfect (लङ्), 3rd, Singular, Ātmanepada
तापसीfemale ascetic
तापसी:
Karta
TypeNoun
Rootतापसी (प्रातिपदिक)
FormFeminine, Nominative, Singular
रघुनन्दनO delight of the Raghu line
रघुनन्दन:
Sambodhana
TypeNoun
Rootरघुनन्दन (प्रातिपदिक)
FormMasculine, Vocative, Singular

मार्कण्डेय उवाच

M
Mārkaṇḍeya
R
Rāghava (Rāma)
M
Maya (Daitya)
P
Prabhāvatī
V
veśma (mansion/residence)

Educational Q&A

The verse highlights the moral power of tapas: even within a Daitya’s splendid residence, an ascetic life of self-discipline and spiritual striving can be present, suggesting that dharmic effort is not confined by place or surrounding influences.

Mārkaṇḍeya identifies a beautiful mansion as belonging to the Daitya Maya and notes that within it a woman ascetic, Prabhāvatī, is performing austerities—setting the scene for a subsequent episode involving her tapas and its consequences.