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Valmiki Ramayana 2.10.7: Ayodhya Kanda, Sarga 10, Shloka 7

क्रोधागारप्रवेशः · Entry into the Chamber of Wrath

Kaikeyī’s Protest

तया तान्यपविद्धानि माल्यान्याभरणानि च ॥७॥

अशोभयन्त वसुधां नक्षत्राणि यथा नभः ।

Recitation with translationValmiki Ramayana 2.10.7

tayā tāny apaviddhāni mālyāny ābharaṇāni ca ||7||

aśobhayanta vasudhāṃ nakṣatrāṇi yathā nabhaḥ |

وہ ہار اور زیورات جو اس نے پھینک دیے تھے، پھر بھی زمین کو یوں آراستہ کر رہے تھے جیسے آسمان کو ستارے سنوارتے ہیں۔

तयाby her
तया:
करण (Karana; by her)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, तृतीया, एकवचन; सर्वनाम
तानिthose
तानि:
कर्ता (Karta/Subject)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा, बहुवचन
अपविद्धानिthrown away
अपविद्धानि:
कर्तृविशेषण (Adjectival to subject)
TypeAdjective
Rootअपविद्ध (कृदन्त-प्रातिपदिक; √विध्/√व्यध् (धातु) + क्त, उपसर्ग: अप)
Formनपुंसकलिङ्ग, प्रथमा, बहुवचन; क्त-प्रत्ययान्त
माल्यानिgarlands
माल्यानि:
कर्ता (Karta/Subject; apposition)
TypeNoun
Rootमाल्य (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा, बहुवचन
आभरणानिornaments
आभरणानि:
कर्ता (Karta/Subject; with माल्यानि)
TypeNoun
Rootआभरण (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा, बहुवचन
चand
च:
समुच्चय (Coordinator)
TypeIndeclinable
Rootच (अव्यय)
Formअव्यय; समुच्चयबोधक
अशोभयन्तadorned
अशोभयन्त:
क्रिया (Main verb)
TypeVerb
Root√शुभ् (धातु) णिच्; लङ्
Formलङ् (Imperfect/Past), प्रथमपुरुष, बहुवचन; परस्मैपद; णिजन्त (causative)
वसुधाम्the earth/ground
वसुधाम्:
कर्म (Karma/Object)
TypeNoun
Rootवसुधा (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन
नक्षत्राणिstars
नक्षत्राणि:
उपमान-कर्ता (Upamāna subject; comparative)
TypeNoun
Rootनक्षत्र (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा, बहुवचन
यथाas, like
यथा:
उपमा-सम्बन्ध (Simile marker)
TypeIndeclinable
Rootयथा (अव्यय)
Formअव्यय; उपमावाचक (comparative particle)
नभःthe sky
नभः:
उपमेय-अधिकरण (Locus in simile)
TypeNoun
Rootनभस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा, एकवचन

All the garlands and ornaments she scattered adorned the floor like the stars (illumining) the sky.

K
Kaikeyī
S
Stars (nakṣatra)
S
Sky (nabhas)

FAQs

Aesthetic beauty can coexist with ethically troubling intent; dharma asks us to look beyond surface splendor to motive and consequence.

The narrator describes the visual scene of the discarded ornaments, using a poetic comparison to stars in the sky.

Primarily poetic observation rather than virtue; it underscores the contrast between beauty of objects and disorder in relationships.

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