Shloka 66
मन्थराप्रेरणा—वरद्वय-स्मरणं च
Manthara’s Provocation and the Recalling of Two Boons
उदीर्णसंरम्भतमोवृताननातथाऽवमुक्तोत्तममाल्यभूषणा।नरेन्द्रपत्नी विमना बभूव सातमोवृता द्यौरिव मग्नतारका।।।।
udīrṇa-saṅrambha-tamo-vṛtānanā tathā ’vamukta-uttama-mālya-bhūṣaṇā |
narendra-patnī vimanā babhūva sā tamo-vṛtā dyaur iva magna-tārakā ||
یوں نریندر کی پَتنی کیکئی—غصّے کے اُبھرتے ہوئے اندھیرے میں ڈھکا ہوا چہرہ لیے، اور اپنے بہترین ہار و زیورات اتار پھینک کر—دل گرفتہ ہو گئی؛ جیسے تاریکی سے ڈھکا آسمان، جس میں تارے ڈوب کر اوجھل ہو جائیں۔
Thus queen Kaikeyi's face enveloped by the darkness of violent anger and her body stripped of all valuable ornaments, she lay restless, looking like the dark sky without stars.ইত্যার্ষে শ্রীমদ্রামাযণে বাল্মীকীয আদিকাব্যে অযোধ্যাকাণ্ডে নবমস্সর্গঃ৷৷Thus ends of the ninth sarga of Ayodhyakanda of the holy Ramayana, the first epic composed by sage Valmiki.
FAQs
It portrays Kaikeyī’s inner fall into anger and darkness, a state that leads her away from dharmic restraint and toward actions that disrupt righteous order in Ayodhyā.
Satya is implied by contrast: the image of darkness and starless sky signals loss of clarity and right discernment, foreshadowing choices made under passion rather than truthful, steady judgment.