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Shloka 13

शरत्प्रवेशे रामविलापः तथा सुग्रीवप्रमादे लक्ष्मणप्रेषणम्

Autumn’s Onset: Rama’s Lament and Lakshmana Sent to Sugriva

एवमादि नरश्रेष्ठो विललाप नृपात्मजः।विहङ्ग इव सारङ्गस्सलिलं त्रिदशेश्वरात्।।

evamādi naraśreṣṭho vilalāpa nṛpātmajaḥ |

vihaṅga iva sāraṅgaḥ salilaṃ tridaśeśvarāt ||4.30.13||

Vị vương tử, bậc tối thượng trong loài người, đã than khóc như thế và nhiều lời tương tự—như chim sāraṅga kêu gọi nước từ Đế Thích, chúa tể chư thiên.

evam-ādithus and so on
evam-ādi:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeIndeclinable
Rootevam + ādi (प्रातिपदिक)
FormAvyayībhāva compound used adverbially: ‘beginning with thus’
naraśreṣṭhaḥthe best of men
naraśreṣṭhaḥ:
Kartā (कर्ता)
TypeNoun
Rootnara + śreṣṭha (प्रातिपदिक)
FormPuṃliṅga, Prathamā, Ekavacana; tatpuruṣa: ‘best among men’
vilalāpalamented
vilalāpa:
Kriyā (क्रिया)
TypeVerb
Root√lap (धातु) with vi- (उपसर्ग)
FormLaṅ-lakāra (Imperfect/Past), Parasmaipada, Prathama-puruṣa, Ekavacana
nṛpātmajaḥthe prince
nṛpātmajaḥ:
Kartā (कर्ता; apposition)
TypeNoun
Rootnṛpa + ātmaja (प्रातिपदिक)
FormPuṃliṅga, Prathamā, Ekavacana; tatpuruṣa: ‘king’s son’
vihaṅgaḥa bird
vihaṅgaḥ:
Upamāna (उपमान; in simile)
TypeNoun
Rootvihaṅga (प्रातिपदिक)
FormPuṃliṅga, Prathamā, Ekavacana
ivalike
iva:
Upamā (उपमा)
TypeIndeclinable
Rootiva (अव्यय)
FormUpamā-avyaya (comparison particle)
sāraṅgaḥsāraṅga (a kind of bird/deer)
sāraṅgaḥ:
Kartā (कर्ता; in simile-clause)
TypeNoun
Rootsāraṅga (प्रातिपदिक)
FormPuṃliṅga, Prathamā, Ekavacana; subject of implied comparison (a sāraṅga bird/deer per context)
salilamwater
salilam:
Karma (कर्म)
TypeNoun
Rootsalila (प्रातिपदिक)
FormNapुंसकलिङ्ग, Dvitīyā, Ekavacana
tridaśeśvarātfrom the lord of the gods (Indra)
tridaśeśvarāt:
Apādāna (अपादान; source)
TypeNoun
Roottridaśa + īśvara (प्रातिपदिक)
FormPuṃliṅga, Pañcamī (Ablative/5th), Ekavacana; tatpuruṣa: ‘lord of the gods’

Thus the best among the princes wailed just as chakrabaka laments for water fromIndra, lord of the gods.

R
Rāma
I
Indra (Tridaśeśvara)

FAQs

The verse frames grief within restraint: even the righteous may lament, but the narrative uses poetic simile to keep suffering intelligible and directed toward rightful action.

The narrator summarizes Rāma’s continuing lamentations and compares them to a bird’s desperate cry for life-sustaining water.

Human authenticity joined to dignity: Rāma’s sorrow is not moral collapse but a truthful response that precedes renewed resolve.