Shloka 16
The Meeting with Puṣkala’s Wife
अंगदो गवयो मैंदस्तथा दधिमुखः कपिः । सुग्रीवः प्लवगाधीशः शतवल्यक्षिकौ कपी
aṃgado gavayo maiṃdastathā dadhimukhaḥ kapiḥ | sugrīvaḥ plavagādhīśaḥ śatavalyakṣikau kapī
อังคทะ ควายะ ไมณฑะ และวานรชื่อทธีมุขะ; สุครีวะผู้เป็นจอมแห่งพลวคะ; และวานรสองตน ศตวลี กับ อักษิกะ—ล้วนถูกกล่าวนามไว้
Unspecified narrator (context-dependent within the Adhyaya; verse lists Vānara names rather than direct speech).
Concept: Remembering and honoring the Lord’s devotees and associates is itself auspicious; collective strength arises from unified service.
Application: Value teamwork: name and acknowledge contributors; unity and recognition strengthen a mission aligned with dharma.
Primary Rasa: vira
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A panoramic assembly of vānaras on a forested ridge: Aṅgada stands youthful and resolute, Sugrīva central with regal bearing, while Mainda, Gavaya, Dadhimukha, Śatavalī, and Akṣika form a semicircle of readiness. Their varied faces and ornaments create a tapestry of allied devotion, with distant mountains and a hint of the sea-road-to-Lankā atmosphere.","primary_figures":["Aṅgada","Gavaya","Mainda","Dadhimukha","Sugrīva","Śatavalī","Akṣika"],"setting":"forest ridge overlooking a vast landscape, with banners, rocks, flowering trees, and a distant horizon suggesting impending journey/battle","lighting_mood":"forest dappled","color_palette":["moss green","earth brown","sunlit gold","slate blue","crimson accents"],"tanjore_prompt":"Tanjore painting style: heroic vānaras assembled in a symmetrical tableau—Sugrīva enthroned on a rock-like seat, Aṅgada at his side, others arranged in tiers; gold leaf highlights on ornaments and weapons, rich reds/greens, ornate border with lotus and conch motifs, devotional epic grandeur.","pahari_prompt":"Pahari miniature style: wide landscape with delicate trees and hills; vānaras in refined poses, expressive faces, soft shading; cool blues and greens with subtle gold, lyrical naturalism and airy spacing.","kerala_mural_prompt":"Kerala mural style: bold outlines and patterned fur/garments; vānaras arranged as a narrative frieze, strong reds/yellows/greens, temple-wall panel composition with decorative borders.","pichwai_prompt":"Pichwai cloth painting style: ensemble portrait framed by intricate floral borders; vānaras posed like a devotional retinue, lotus vines and peacocks at corners, deep blues and gold accents, textile-like detailing and symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["forest birds","wind through leaves","distant drumbeat","conch shell (faint)","footsteps on stone"]}
Sandhi Resolution Notes: शतवल्यक्षिकौ = शतवलि + अक्षिकौ (द्वन्द्वार्थे द्विवचन; सन्धि: इ + अ → य).
FAQs
Such verses function as narrative catalogues, anchoring the Purāṇic telling to well-known Rāmāyaṇa figures and establishing who is present or being remembered in the episode.
Plavagādhīśa means “lord of the plavagas,” i.e., the leaping ones/monkeys, highlighting Sugrīva’s kingship and leadership among the Vānara hosts.
This specific verse is primarily identificatory (a list of participants). The teaching is indirect: it reinforces remembrance of exemplary allies and disciplined followers within dhārmic narratives.