Previous Verse
Next Verse

Shloka 25

Mohinī-Saṃmohana

The Enchantment of Mohinī

सा त्वेवमुक्ता शशिगौरवक्त्रा रुक्मांगदेनात्मविनाशनाय । संप्रस्थिता नूपुरघोषयुक्ता विकर्षयन्ती गिरिजातशोभाम् ॥ २५ ॥

sā tvevamuktā śaśigauravaktrā rukmāṃgadenātmavināśanāya | saṃprasthitā nūpuraghoṣayuktā vikarṣayantī girijātaśobhām || 25 ||

رُکمَانگَد کے یوں کہنے پر وہ چاند سی گوری صورت والی، اپنے ہی ہلاکت کے ارادے سے روانہ ہوئی۔ اس کے پازیب کی جھنکار گونج رہی تھی، گویا گِرجا سے پیدا شدہ زیب و زینت کو بھی اپنے ساتھ کھینچتی جا رہی ہو۔

साshe
सा:
कर्ता (Karta/Subject)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग (Feminine), प्रथमा-विभक्ति (Nominative/1st), एकवचन (Singular)
तुbut; indeed
तु:
सम्बन्धसूचक (Discourse particle)
TypeIndeclinable
Rootतु (अव्यय)
Formअव्यय (indeclinable), अवधान/विरोधार्थक-निपात (particle: 'but/indeed')
एवम्thus
एवम्:
क्रियाविशेषण (Adverbial)
TypeIndeclinable
Rootएवम् (अव्यय)
Formअव्यय (indeclinable), प्रकारवाचक (manner adverb): 'thus'
उक्ताhaving been addressed
उक्ता:
कर्ता-विशेषण (Subject qualifier)
TypeAdjective
Rootवच् (धातु) + क्त (क्त-प्रत्यय)
Formक्त-प्रत्ययान्त (Past Passive Participle), स्त्रीलिङ्ग (Feminine), प्रथमा (Nom.), एकवचन (Sing.); 'having been spoken to/ addressed'
शशिगौरवक्त्राmoon-fair-faced
शशिगौरवक्त्रा:
कर्ता-विशेषण (Subject qualifier)
TypeAdjective
Rootशशि-गौर-वक्त्र (प्रातिपदिक)
Formस्त्रीलिङ्ग (Feminine), प्रथमा-विभक्ति (Nominative/1st), एकवचन (Singular); कर्मधारय: 'शशिवत् गौरं वक्त्रं यस्याः' (moon-like fair-faced)
रुक्माङ्गदेनby (him) with golden armlets
रुक्माङ्गदेन:
करण/कर्ता-सहायक (Instrument/Agent-associated)
TypeNoun
Rootरुक्म-अङ्गद (प्रातिपदिक)
Formपुंलिङ्ग (Masculine), तृतीया-विभक्ति (Instrumental/3rd), एकवचन (Singular); कर्मधारय: 'रुक्ममयम् अङ्गदम्' (golden armlet); here: 'by the wearer of golden armlet' (epithet of the king)
आत्मविनाशनायfor (her) self-destruction
आत्मविनाशनाय:
सम्प्रदान (Purpose dative)
TypeNoun
Rootआत्म-विनाशन (प्रातिपदिक)
Formपुंलिङ्ग (Masculine) / नपुंसकलिङ्ग (Neuter) as abstract, चतुर्थी-विभक्ति (Dative/4th), एकवचन (Singular); तत्पुरुष: 'आत्मनः विनाशनम्' (destruction of self); प्रयोजन-दत्तिव (purpose dative)
संप्रस्थिताhaving set out
संप्रस्थिता:
क्रिया-सम्बद्ध-विशेषण (Predicative participle of subject)
TypeAdjective
Rootसम्-प्र-स्था (धातु) + क्त (क्त-प्रत्यय)
Formक्त-प्रत्ययान्त (Past participle), स्त्रीलिङ्ग (Feminine), प्रथमा (Nom.), एकवचन (Sing.); 'set out, departed'
नूपुरघोषयुक्ताaccompanied by the sound of anklets
नूपुरघोषयुक्ता:
कर्ता-विशेषण (Subject qualifier)
TypeAdjective
Rootनूपुर-घोष-युक्त (प्रातिपदिक)
Formस्त्रीलिङ्ग (Feminine), प्रथमा (Nom.), एकवचन (Sing.); तत्पुरुष: 'नूपुरस्य घोषः' + 'युक्ता' (endowed with anklet-sound)
विकर्षयन्तीdragging; drawing along
विकर्षयन्ती:
कर्ता (Agent participle; action by subject)
TypeVerb
Rootवि-कृष् (धातु) + शतृ (शतृ-प्रत्यय)
Formशतृ-प्रत्ययान्त वर्तमान-कृदन्त (Present active participle), स्त्रीलिङ्ग (Feminine), प्रथमा (Nom.), एकवचन (Sing.); 'dragging/drawing'
गिरिजातशोभाम्mountain-born beauty; Girijā-like beauty
गिरिजातशोभाम्:
कर्म (Karma/Object) of विकर्षयन्ती
TypeNoun
Rootगिरि-जात-शोभा (प्रातिपदिक)
Formस्त्रीलिङ्ग (Feminine), द्वितीया-विभक्ति (Accusative/2nd), एकवचन (Sing.); तत्पुरुष: 'गिरौ जाता शोभा' (beauty born on the mountain) / 'गिरिजायाः शोभा' (beauty of Girijā) as poetic epithet

Suta (narrating the episode; verse is narrative description rather than direct speech)

Vrata: none

Rasa: {"primary_rasa":"karuna","secondary_rasa":"shringara","emotional_journey":"Ornamental beauty and motion are undercut by foreboding—she departs with a tragic, self-destructive intent."}

R
Rukmangada
G
Girija (Parvati)

FAQs

The verse highlights how a mind driven toward self-ruin (ātma-vināśa) can propel a person into harmful action, even while outward beauty and grace remain—serving as a moral warning within a tirtha-mahātmya narrative.

Indirectly, it contrasts self-destructive resolve with the Purāṇic ideal of turning the will toward dharma and devotion; in the Uttara-bhāga’s sacred-place narratives, right orientation of intention is what converts suffering into merit and God-centered living.

No specific Vedāṅga technique is taught in this verse; it is primarily kāvya-style narration. The key practical takeaway is ethical discernment (dharma-buddhi) regarding intention and action rather than ritual or grammatical instruction.