द्विचत्वारिंशः सर्गः · दशरथस्य शोक-विलापः तथा कौशल्यागृह-प्रवेशः
Dasaratha’s Lament and Return to Kausalya’s Apartments
Setting: Ayodhyā (approach/within royal environs)Returning toward the city after seeing Rāma depart
यावद्राजा प्रियं पुत्रं पश्यत्यत्यन्तधार्मिकम् ।
तावद्व्यवर्धते वास्य धरण्यां पुत्रदर्शने ॥२॥
yāvad rājā priyaṃ putraṃ paśyaty atyantadhārmikam |
tāvad vyavardhate vāsyā dharaṇyāṃ putradarśane ||2||
جب تک راجا اپنے نہایت دھارمک، محبوب پتر کو دیکھتا رہا، تب تک اسے یوں لگتا تھا گویا وہ دھرتی سے اٹھتا چلا جا رہا ہو، بیٹے کے درشن کی آرزو میں۔
So long as king Dasaratha was able to see his exceedingly virtuous and beloved son (Rama), it appeared that his body kept rising from the earth to have a sight of his son.
Even the righteous are tested where dharma intersects with attachment; sight of virtue can steady a collapsing mind, but cannot annul the law of consequence.
Contemplation on Rāma as dharma-incarnate: darśana (sight) of the ideal steadies the heart; useful for bhakti-smaraŇa in grief.
PrāŇa as the sustaining force: the king+cs vitality seems to rise when the object of love is present, echoing the dependence of embodied life on its inner support.
Kaṭha-like contrast of śreyas/preyas: attachment to the beloved (preyas) alongside recognition of dharmic ideal (śreyas) in Rāma.
Vālmīki RāmāyaŇa 2.42 (Daśaratha+cs return and collapse); Vālmīki RāmāyaŇa 2.20-2.21 (Daśaratha+cs attachment and dread at separation)
Vedic motif of the son as +cpunar-janma+c (continuity of life/lineage)
Ayodhyā-kāŇṭa: Daśaratha+cs earlier joy at Rāma+cs consecration plans contrasted with present decline
Anuṣṭup
Narrative-tinged with pathos
Mandra-niṣāda to madhyama glide on +cpśayati+c/+cdarśane+c for a sinking-then-lifting contour
The verse frames Rāma as ‘atyantadhārmika’—a benchmark of righteousness—showing how dharma inspires reverence and longing even in those left behind.
While Rāma is still within sight, Daśaratha strains upward as if physically lifted from the ground, desperate to keep seeing him.
Rāma’s exemplary dharma is foregrounded; Daśaratha’s intense paternal love is shown through bodily imagery.
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