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Shloka 34

सीताहरण

विलापः / The Lament at Jatāyu and the Abduction of Sītā

उत्पातवाताभिहता नानाद्विजगणायुताः।माभैरिति विधूताग्रा व्याजह्रुरिव पादपाः।।।।

utpāta-vātābhihatā nānā-dvija-gaṇāyutāḥ |

mā bhair iti vidhūtāgrā vyājahruḥ iva pādapāḥ ||

เมื่อถูกลมกรรโชกอันเป็นลางร้ายพัดกระหน่ำ และมีฝูงนกนานาพันธุ์เกาะอยู่มากมาย ต้นไม้ทั้งหลาย—ยอดไหวสะท้าน—ดูประหนึ่งร้องว่า “อย่ากลัวเลย!”

उत्पातवाताभिहताःstruck by a violent wind
उत्पातवाताभिहताः:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootउत्पातवात + अभि + √हन् (धातु) (क्त)
Formतत्पुरुष (utpāta-vātena abhihatāḥ), क्त (past passive participle), पुंलिङ्ग, प्रथमा, बहुवचन; विशेषण to पादपाः
नानाद्विजगणायुताःfilled with many groups of birds
नानाद्विजगणायुताः:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootनाना + द्विजगण + आयुत (प्रातिपदिक)
Formतत्पुरुष (nānā-dvija-gaṇaiḥ āyutāḥ = filled with various flocks of birds), पुंलिङ्ग, प्रथमा, बहुवचन; विशेषण to पादपाः
माdo not
मा:
Sambodhana/Pratiṣedha-dyotaka (प्रतिषेध-द्योतक)
TypeIndeclinable
Rootमा (अव्यय)
Formनिषेध-अव्यय (prohibitive particle)
भैःfear
भैः:
Kriyā (क्रिया)
TypeVerb
Root√भी (धातु)
Formलोट् (Imperative), परस्मैपदम्, मध्यमपुरुष (2nd person), एकवचन; निषेध with मा
इतिthus/saying
इति:
Vākyārtha-dyotaka (वाक्यार्थ-द्योतक)
TypeIndeclinable
Rootइति (अव्यय)
Formउद्धरण/वाक्य-समाप्ति-अव्यय (quotative particle)
विधूताग्राःwith their tops shaken
विधूताग्राः:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootवि + √धू (धातु) (क्त) + अग्र (प्रातिपदिक)
Formबहुव्रीहि (vidhūtāni agrāṇi yeṣām), क्त (PPP) used adjectivally; पुंलिङ्ग, प्रथमा, बहुवचन; विशेषण to पादपाः
व्याजह्रुःuttered/spoke out
व्याजह्रुः:
Kriyā (क्रिया)
TypeVerb
Rootवि + आ + √हृ (धातु)
Formलिट् (Perfect), परस्मैपदम्, प्रथमपुरुष, बहुवचन
इवas if
इव:
Upamā-dyotaka (उपमा-द्योतक)
TypeIndeclinable
Rootइव (अव्यय)
Formउपमा-अव्यय
पादपाःtrees
पादपाः:
Karta (कर्ता)
TypeNoun
Rootपादप (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, बहुवचन

The trees filled with birds of all kinds, shaken at the top by stormy winds seemed to be saying to Sita, 'Be not afraid'.

P
pādapa (trees)
D
dvija (birds)

FAQs

Dharma is shown as a cosmic alignment with the innocent: even nature is portrayed as consoling and testifying, implying that righteousness has support beyond human society.

As Sītā is taken, winds rise and the forest is disturbed; the poet personifies trees and birds as offering reassurance.

Sītā’s courage in fear is indirectly emphasized—she is addressed (as if) with encouragement to remain steady.