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Shloka 14

युद्धकाण्डे द्वादशः सर्गः — रावणस्य परिषद्-सम्बोधनं कुम्भकर्णस्य नीत्युपदेशश्च

Ravana’s Council Address and Kumbhakarna’s Counsel

तनुमध्यापृथुश्रोणीशरदिन्दुनिभानना ।हेमबिम्बनिभासौम्यामायेवमयनिर्मिता ।।6.12.14।।

tanumadhyā pṛthuśroṇī śaradindunibhānanā |

hemabimbanibhā saumyā māyeva mayanirmitā ||6.12.14||

นางมีเอวอรชร สะโพกผาย ใบหน้าเหมือนจันทร์เพ็ญแห่งสารทฤดู อ่อนโยนสว่างดุจรูปทอง ราวกับมนตร์เสน่ห์ที่มายาสร้างสรรค์ขึ้นเอง

तनुमध्याslender-waisted
तनुमध्या:
Karta (कर्ता/qualifier)
TypeAdjective
Rootतनु + मध्य (प्रातिपदिक)
Formबहुव्रीहि-समास ‘तनुं मध्यं यस्याः’; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
पृथुश्रोणीbroad-hipped
पृथुश्रोणी:
Karta (कर्ता/qualifier)
TypeAdjective
Rootपृथु + श्रोणी (प्रातिपदिक)
Formबहुव्रीहि-समास ‘पृथ्वी श्रोणी यस्याः’; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
शरदिन्दुनिभाननाhaving a face like the autumn moon
शरदिन्दुनिभानना:
Karta (कर्ता/qualifier)
TypeAdjective
Rootशरद् + इन्दु + निभ + आनन (प्रातिपदिक)
Formबहुव्रीहि-समास ‘शरदिन्दुनिभं आननं यस्याः’; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
हेमबिम्बनिभाgolden-image-like
हेमबिम्बनिभा:
Karta (कर्ता/qualifier)
TypeAdjective
Rootहेम + बिम्ब + निभ (प्रातिपदिक)
Formबहुव्रीहि-समास ‘हेमबिम्बनिभा (कान्तिः) यस्याः’; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
सौम्याgentle; lovely
सौम्या:
Karta (कर्ता/qualifier)
TypeAdjective
Rootसौम्य (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
मायाmagic; illusion
माया:
Upamana (उपमान/Standard of comparison)
TypeNoun
Rootमाया (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन
इवlike
इव:
Sambandha (सम्बन्ध/comparison)
TypeIndeclinable
Rootइव (अव्यय)
Formउपमावाचक-अव्यय (comparative particle)
मयनिर्मिताmade by Maya
मयनिर्मिता:
Kriya (क्रिया/Predication)
TypeVerb
Rootमय + √निर्मा/√मा (धातु) + क्त (कृदन्त)
Formतत्पुरुष-समास ‘मयेन निर्मिता’; क्त-प्रत्ययान्त PPP; स्त्रीलिङ्ग, प्रथमा, एकवचन; विधेय

"Beholding her smooth red soles and evenly shaped pinkish nails of feet, love is kindled in me."

S
Sītā
M
Māyā

FAQs

By portraying beauty as ‘māyā-like,’ the passage implicitly warns that fascination can cloud discernment; dharma requires mastery over desire and clear moral judgment.

Rāvaṇa reflects on Sītā’s beauty, his mind moving toward obsession—setting up the ethical contrast between uncontrolled kāma and righteous restraint.

Negatively, the lack of self-restraint; by contrast, the Ramayana’s dharmic ideal is indriya-nigraha (control of the senses).