अयोध्याकाण्डे षड्विंशः सर्गः · Rama’s Departure and Sita’s Questions; Disclosure of Exile and Counsel on Courtly Conduct
Setting: Ayodhyā (palace interior)
तां दृष्ट्वा स हि धर्मात्मा न शशाक मनोगतम् ।
तं शोकं राघवः सोढुं ततो विवृततां गतः ॥७॥
tāṃ dṛṣṭvā sa hi dharmātmā na śaśāka manogatam |
taṃ śokaṃ rāghavaḥ soḍhuṃ tato vivṛtatāṃ gataḥ ||7||
Melihatnya, Rāghava yang berjiwa dharma tidak mampu menanggung dukacita yang terpendam di hati; maka kesedihan itu pun pecah keluar, nyata kelihatan.
On seeing her, virtuous Rama could not contain the sorrow in his mind which manifested (through his external appearance).
Righteousness does not erase feeling; sincerity and endurance coexist in the dharmic life.
Bhakti lens: the Lord’s līlā includes human-like sorrow, inviting empathy and surrender; contemplative reading for softening the heart.
The ‘witness’ ideal is challenged: the mind’s vṛtti (grief) overflows into the seen world, showing the embodied nature of even the noble.
Muṇḍaka’s contrast of higher knowledge vs worldly sorrow (theme-echo: sorrow belongs to the lower plane, yet arises in embodied life).
Vālmīki Rāmāyaṇa: repeated epithet ‘dharmātmā’ for Rāma across Ayodhyākāṇḍa (characterization parallel); Rāmacaritamānasa: Rāma’s inner pain despite composure (theme-parallel)
Upaniṣadic discourse on sorrow and knowledge (general echo)
Ayodhyākāṇḍa: Rāma’s earlier restraint in court; here sorrow becomes outwardly visible
Anuṣṭup
Grieving
Mandra-madhyama (low to mid, trembling cadence)
Dharma is linked with satya (truthfulness): even a dharmic person may not conceal profound suffering; inner truth can surface outwardly, prompting honest confrontation of duty.
Rāma’s attempt to contain his grief fails when Sītā appears, and his sorrow becomes evident in his demeanor.
Rāma’s dharmic seriousness: his sorrow arises from moral conflict and duty, not personal pettiness.
Answers come straight from the texts, with the shlokas they draw on. Ask in your own words.
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