Shloka 21
सुग्रीवहनुमत्सीतालक्ष्मणैः संयुतस्तदा । बिभीषणोऽपि सचिवैरन्वगाद्विरहोत्सुकः
sugrīvahanumatsītālakṣmaṇaiḥ saṃyutastadā | bibhīṣaṇo'pi sacivairanvagādvirahotsukaḥ
Kemudian, bersama Sugrīva, Hanumān, Sītā dan Lakṣmaṇa, Vibhīṣaṇa juga—bersama para menterinya—menyusul dari belakang, resah kerana pedihnya perpisahan.
Narrator (Purāṇic narration; specific dialogue speaker not explicit in this single verse)
Concept: True devotion expresses itself as faithful accompaniment and service, even when the heart aches with separation.
Application: Stand by dharmic leadership and sacred commitments; let longing become disciplined service rather than despair.
Primary Rasa: karuna
Secondary Rasa: shringara
Type: city
Visual Art Cues: {"scene_description":"A procession moves away from the smoking ruins of battle: Rāma at the center with Sītā and Lakṣmaṇa, Sugrīva and Hanumān close by. Behind them, Vibhīṣaṇa—crowned yet visibly shaken—walks with his ministers, eyes moist, body leaning forward as if pulled by longing, the air heavy with the ache of separation and the relief of dharma restored.","primary_figures":["Rāma","Sītā","Lakṣmaṇa","Hanumān","Sugrīva","Vibhīṣaṇa","Rākṣasa ministers"],"setting":"Road near Laṅkā’s outskirts, broken stonework and distant palace silhouettes, scattered lotus-like ash drifting in the wind.","lighting_mood":"golden dawn","color_palette":["sapphire blue","ash gray","lotus pink","burnished gold","leaf green"],"tanjore_prompt":"Tanjore painting style: Rāma with bow in serene stance, Sītā beside him with lotus, Lakṣmaṇa attentive; Hanumān in añjali; Sugrīva and Vibhīṣaṇa following with ministers, all under an ornate arch motif; gold leaf halos, rich crimson and emerald garments, gem-studded crowns, stylized South Indian iconography, textured gold background suggesting divine protection over the procession.","pahari_prompt":"Pahari miniature style: a lyrical procession along a winding path with delicate trees and distant Laṅkā architecture; refined faces, soft shading, cool blues and greens; Vibhīṣaṇa’s longing shown through bowed head and clasped hands; subtle smoke haze from battlefields, fine linework and poetic negative space.","kerala_mural_prompt":"Kerala mural style: bold black outlines, flat yet vibrant pigments; Rāma in deep blue with large expressive eyes, Sītā in warm yellow-red, Hanumān in ochre; Vibhīṣaṇa and ministers in green-red tones; temple-wall composition with rhythmic spacing, ornamental borders, and a calm dharmic aura despite emotional undertone.","pichwai_prompt":"Pichwai cloth painting style: Vaishnava devotional procession framed by lotus vines and floral borders; peacocks perched on ruined parapets; deep indigo sky transitioning to dawn; gold detailing on crowns and ornaments; emphasis on bhakti mood—Hanumān and Vibhīṣaṇa in reverent poses, intricate textile-like patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["distant conch shell","soft footfalls","morning birds","faint wind through trees","temple bells (subtle)"]}
Sandhi Resolution Notes: संयुतस्तदा → संयुतः तदा; बिभीषणोऽपि → बिभीषणः अपि; सचिवैरन्वगाद्विरहोत्सुकः → सचिवैः अन्वगात् विरह-उत्सुकः.
FAQs
Vibhīṣaṇa is described as following, and he is accompanied by his ministers (sacivaiḥ).
“Virahotsukaḥ” conveys an intense restlessness and longing caused by separation (viraha), a common devotional mood expressing deep attachment and love.
The verse highlights loyal companionship and service—steadfastly accompanying the righteous path—and also portrays the devotional psychology of longing when separated from those one loves or reveres.