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Valmiki Ramayana 2.95.10: Ayodhya Kanda, Sarga 95, Shloka 10

मन्दाकिनीनदीदर्शनम्

The Vision of the Mandākinī at Citrakūṭa

निर्धूतान्वायुना पश्य विततान्पुष्पसञ्चयान् ।

पोप्लूयमानानपरान्पश्य त्वं जलमध्यगान् ॥१०॥

Recitation with translationValmiki Ramayana 2.95.10

nirdhūtānvāyunā paśya vitatānpuṣpasañcayān |

poplūyamānānaparānpaśya tvaṃ jalamadhyagān ||10||

Lihatlah timbunan bunga yang digugurkan angin, bertaburan luas; dan lihat pula gugusan bunga lain yang terapung-apung di tengah air.

निर्धूतान्shaken off
निर्धूतान्:
Visheshana (विशेषण)
TypeAdjective
Rootनिर् + धू (धातु)
Formपुंलिङ्ग, द्वितीया बहुवचन; क्त-प्रत्ययान्त कृदन्त; विशेषणम् (पुष्पसञ्चयान्)
वायुनाby the wind
वायुना:
Karana (करण)
TypeNoun
Rootवायु (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया एकवचन
पश्यsee
पश्य:
Kriya (क्रिया)
TypeVerb
Rootदृश् (धातु)
Formलोट्-लकार, मध्यमपुरुष, एकवचन; परस्मैपद
विततान्spread out / scattered
विततान्:
Visheshana (विशेषण)
TypeAdjective
Rootवि + तन् (धातु)
Formपुंलिङ्ग, द्वितीया बहुवचन; क्त-प्रत्ययान्त कृदन्त; विशेषणम् (पुष्पसञ्चयान्)
पुष्प-सञ्चयान्heaps of flowers
पुष्प-सञ्चयान्:
Karma (कर्म)
TypeNoun
Rootपुष्प (प्रातिपदिक) + सञ्चय (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया बहुवचन; तत्पुरुषः (पुष्पाणां सञ्चयाः)
पोप्लूयमानान्floating
पोप्लूयमानान्:
Visheshana (विशेषण)
TypeAdjective
Rootप्लु (धातु)
Formपुंलिङ्ग, द्वितीया बहुवचन; वर्तमान-प्रत्ययान्त कृदन्त (शानच्) आत्मनेपद-भावः; ‘being floated/drifting’
अपरान्other
अपरान्:
Visheshana (विशेषण)
TypeAdjective
Rootअपर (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया बहुवचन; विशेषणम् (पुष्पसञ्चयान्)
पश्यsee
पश्य:
Kriya (क्रिया)
TypeVerb
Rootदृश् (धातु)
Formलोट्-लकार, मध्यमपुरुष, एकवचन; परस्मैपद
त्वम्you
त्वम्:
Karta (कर्ता)
TypeNoun
Rootयुष्मद् (सर्वनाम-प्रातिपदिक)
Formप्रथमा एकवचन
जल-मध्य-गान्in the middle of the water
जल-मध्य-गान्:
Visheshana (विशेषण)
TypeAdjective
Rootजल (प्रातिपदिक) + मध्य (प्रातिपदिक) + ग (गम् धातु, क्विप्/प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया बहुवचन; तत्पुरुषः (जलस्य मध्ये गाः/गताः) विशेषणम् (पुष्पसञ्चयान्)

Look at the scattered heaps of flowers shaken off by the wind and large quantities of flowers floating on the waters.

FAQs

By directing attention to the natural scene—flowers scattered and floating—it underscores a mood of transience and upheaval that mirrors ethical trials in Ayodhyakanda, where steadfast dharma is tested amid changing circumstances.

Satya appears as plain, direct witnessing: the listener is urged to 'see' what is actually present. The verse models truthful perception before judgment—an important ethical posture in the Ramayana.

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