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Shloka 16

Adhyaya 2 — The Wise Birds

Sanskrit

वामोरुमाश्रितां चास्य ददर्शायतलोचनाम् ।

पत्नीं मदनिकाṃ नाम पुंस्कोकिलकलस्वनाम् ॥

Transliteration

vāmorumāśritāṃ cāsya dadarśāyatalocanām |

patnīṃ madanikāṃ nāma puṃskokila-kalasvanām ||

Translation

また彼は、その妻マダニカーを見た。彼女は左の腿にもたれ、目は大きく、声は雄のカッコウの呼び声のように甘美であった。

Word by Word
वामleft
वाम:
Visheshana (विशेषण)
TypeAdjective
Rootवाम (प्रातिपदिक)
Formविशेषण (in compound)
ऊरुम्thigh
ऊरुम्:
Sambandha (सम्बन्ध)
TypeNoun
Rootऊरु (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया विभक्ति, एकवचन (in compound)
वामोरुम्left thigh
वामोरुम्:
Sambandha (सम्बन्ध)
TypeNoun
Rootवाम-ऊरु (प्रातिपदिक; components: वाम + ऊरु)
Formकर्मधारय (वामः ऊरुः), पुंलिङ्ग, द्वितीया विभक्ति, एकवचन (in compound)
आश्रिताम्having resorted to, seated on
आश्रिताम्:
Visheshana (विशेषण)
TypeAdjective
Rootआ√श्रि (धातु) + क्त (कृदन्त)
Formक्त-प्रत्ययान्त कृदन्त, स्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन (qualifying पत्नीम्)
वामोरुमाश्रिताम्seated on the left thigh
वामोरुमाश्रिताम्:
Visheshana (विशेषण)
TypeAdjective
Rootवामोरु-आश्रिता (प्रातिपदिक; components: वामोरुम् + आश्रिताम्)
Formद्वितीया-तत्पुरुष (वामोरुं आश्रिता), स्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन
चand
च:
Samuccaya (समुच्चय)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक अव्यय (conjunction)
अस्यof him, his
अस्य:
Sambandha (सम्बन्ध)
TypeNoun
Rootइदम्/अदस् (सर्वनाम-प्रातिपदिक; asya)
Formपुंलिङ्ग/नपुंसकलिङ्ग, षष्ठी विभक्ति, एकवचन (genitive pronoun)
ददर्शsaw
ददर्श:
Kriya (क्रिया)
TypeVerb
Root√दृश् (धातु)
Formलिट् (परोक्षभूत/Perfect), परस्मैपद, प्रथमपुरुष, एकवचन
आयतlong, wide
आयत:
Visheshana (विशेषण)
TypeAdjective
Rootआयत (प्रातिपदिक)
Formविशेषण (in compound)
लोचनाम्(having) eyes
लोचनाम्:
Sambandha (सम्बन्ध)
TypeNoun
Rootलोचना (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन (in bahuvrihi)
आयतलोचनाम्long-eyed
आयतलोचनाम्:
Visheshana (विशेषण)
TypeAdjective
Rootआयत-लोचना (प्रातिपदिक; components: आयत + लोचना)
Formबहुव्रीहि (यस्याः लोचने आयते), स्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन (qualifying पत्नीम्)
पत्नीम्wife
पत्नीम्:
Karma (कर्म)
TypeNoun
Rootपत्नी (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन
मदनिकाम्Madanikā (name)
मदनिकाम्:
Karma (कर्म)
TypeNoun
Rootमदनिका (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन (apposition to पत्नीम्)
नामby name
नाम:
Nirdharana/Name-marker (नाम-निर्देश)
TypeIndeclinable
Rootनाम (अव्यय)
Formअव्यय, नामनिर्देशक (particle indicating name)
पुंस्male
पुंस्:
Sambandha (सम्बन्ध)
TypeNoun
Rootपुंस् (प्रातिपदिक)
Formपुंलिङ्ग (in compound)
कोकिलcuckoo
कोकिल:
Sambandha (सम्बन्ध)
TypeNoun
Rootकोकिल (प्रातिपदिक)
Formपुंलिङ्ग (in compound)
कलsweet-sounding
कल:
Visheshana (विशेषण)
TypeAdjective
Rootकल (प्रातिपदिक)
Formविशेषण (in compound)
स्वनाम्sound, voice
स्वनाम्:
Sambandha (सम्बन्ध)
TypeNoun
Rootस्वन (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया विभक्ति, एकवचन (in bahuvrihi)
पुंस्कोकिलकलस्वनाम्whose voice was like the sweet call of a male cuckoo
पुंस्कोकिलकलस्वनाम्:
Visheshana (विशेषण)
TypeAdjective
Rootपुंस्-कोकिल-कल-स्वन (प्रातिपदिक; components: पुंस् + कोकिल + कल + स्वन)
Formबहुव्रीहि (यस्याः स्वनः पुंस्कोकिलस्य कलः), स्त्रीलिङ्ग, द्वितीया विभक्ति, एकवचन (qualifying पत्नीम्/मदनिकाम्)
Speakers
Narrative voice (Puranic narrator); not within the Devi Mahatmyam dialogue-frame
Verse Rasa

{ "primaryRasa": "shringara", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

Key Themes
Narrative descriptionCourtly/household imageryAesthetic simile (upamā)

FAQs

The verse primarily serves a descriptive (kāvya-like) function, portraying domestic intimacy and refined qualities (beauty of eyes, sweetness of speech). Ethically, it implicitly upholds the ideal of household harmony and mutual closeness rather than issuing a direct injunction.

This verse is best classified under Vaṃśānucarita (accounts of lineages/royal-person narratives) rather than Sarga/Pratisarga or Manvantara. It contributes to the character-setting within an early narrative thread.

Symbolically, the ‘left thigh’ (vāma-ūru) support and the ‘cuckoo-like’ sweet voice suggest the attractive power of kāma (desire) and saṃsāric attachment—an aesthetic motif often used in Purāṇic narration to set up later contrasts with dharma, renunciation, or the consequences of passion, depending on the surrounding story.

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