Shloka 17

Adhyāya 325: Nārada in Śvetadvīpa—Stotra to the Nirguṇa Mahātman

Devanagari script

पत्तनानि च रम्याणि स्फीतानि नगराणि च | रत्नानि च विचित्राणि पश्यन्नपि न पश्यति

Transliteration

paṭṭanāni ca ramyāṇi sphītāni nagarāṇi ca | ratnāni ca vicitrāṇi paśyann api na paśyati |

Translation

Wika ni Bhīṣma: Kahit lumitaw sa paningin ang mga kaaya-ayang bayan at masisiglang lungsod, at kahit magpakita ang sari-saring kahanga-hangang hiyas, tiningnan niya ang mga iyon na para bang hindi niya nakita. Ipinapakita ng taludtod ang huwaran ng panloob na pagkalas: kapag ang isip ay nakatatag sa pagtalikod, ang panlabas na karangyaan ay hindi na nakapupukaw ng pagnanasa o nakalilihis ng diwa.

Word by Word

• पत्तनानि: towns/ports
• पत्तनानि: Karma
• Type: Noun
• Root: पत्तन
• Form: Neuter, Nominative/Accusative, Plural

• च: and
• Type: Indeclinable
• Root: च

• रम्याणि: beautiful/charming
• रम्याणि: Karma
• Type: Adjective
• Root: रम्य
• Form: Neuter, Nominative/Accusative, Plural

• स्फीतानि: prosperous/abundant
• स्फीतानि: Karma
• Type: Adjective
• Root: स्फीत
• Form: Neuter, Nominative/Accusative, Plural

• नगराणि: cities
• नगराणि: Karma
• Type: Noun
• Root: नगर
• Form: Neuter, Nominative/Accusative, Plural

• च: and
• Type: Indeclinable
• Root: च

• रत्नानि: gems/jewels
• रत्नानि: Karma
• Type: Noun
• Root: रत्न
• Form: Neuter, Nominative/Accusative, Plural

• च: and
• Type: Indeclinable
• Root: च

• विचित्राणि: variegated/wondrous
• विचित्राणि: Karma
• Type: Adjective
• Root: विचित्र
• Form: Neuter, Nominative/Accusative, Plural

• पश्यन्: seeing (while seeing)
• पश्यन्: Karta
• Type: Verb
• Root: पश्
• Form: शतृ (present active participle), Masculine, Nominative, Singular

• अपि: even/though
• Type: Indeclinable
• Root: अपि

• न: not
• Type: Indeclinable
• Root: न

• पश्यति: he sees
• Type: Verb
• Root: पश्
• Form: Present (Lat), Third, Singular, Parasmaipada

Speaker

भीष्म उवाच

Characters & Entities

• Bhishma
• towns (paṭṭana)
• cities (nagara)
• jewels (ratna)

Educational Q&A

What is the core teaching?

True renunciation is shown by non-attachment: even when wealth, beauty, and luxury are directly visible, a disciplined person remains inwardly unmoved, free from desire and possessiveness.

What is happening in the narrative?

Bhishma describes a renunciate-like figure passing through prosperous towns and cities where splendid jewels are visible; yet, despite looking, he is portrayed as not really 'seeing' them—meaning he does not engage with them through craving or interest.