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Ramayana — Ayodhya Kanda, Sarga 114, Shloka 7

अयोध्याप्रवेशः

Bharata Enters Ayodhya and Perceives the City’s Desolation

सफेनां सस्वनां भूत्वा सागरस्य समुत्थिताम्। प्रशान्तमारुतोद्धूतां जलोर्मिमिव निस्स्वनाम्।।2.114.7।।

saphenāṃ sasvanāṃ bhūtvā sāgarasya samutthitām | praśāntamārutoddhūtāṃ jalormim iva nissvanām || 2.114.7 ||

它如同海中的波涛:先是带着泡沫与轰鸣涌起;继而被和风吹送,渐渐平息,归于无声。

स-फेनाम्foamy
स-फेनाम्:
Upamana-anvayi Visheshana (उपमान-विशेषण)
TypeAdjective
Rootफेन (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; उपसर्ग ‘स-’ = ‘with’; ‘with foam’
स-स्वनाम्noisy/roaring
स-स्वनाम्:
Upamana-anvayi Visheshana (उपमान-विशेषण)
TypeAdjective
Rootस्वन (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; ‘with sound/roaring’
भूत्वाhaving become
भूत्वा:
Purvakala-kriya (पूर्वकाल-क्रिया)
TypeIndeclinable
Rootभू (धातु)
Formक्त्वान्त (absolutive/gerund) अव्यय; ‘having become’
सागरस्यof the ocean
सागरस्य:
Shashthi-sambandha (षष्ठी-सम्बन्ध)
TypeNoun
Rootसागर (प्रातिपदिक)
Formपुंलिङ्ग, षष्ठी, एकवचन
समुत्थिताम्risen
समुत्थिताम्:
Upamana-anvayi Visheshana (उपमान-विशेषण)
TypeAdjective
Rootसम्-उत्-स्था (धातु)
Formक्त/PPP; स्त्रीलिङ्ग, द्वितीया, एकवचन
प्रशान्त-मारुत-उद्धूताम्swept by a calm breeze
प्रशान्त-मारुत-उद्धूताम्:
Upamana-anvayi Visheshana (उपमान-विशेषण)
TypeAdjective
Rootप्रशान्त (कृदन्त/प्रातिपदिक) + मारुत (प्रातिपदिक) + उद्धूत (कृदन्त/प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; ‘प्रशान्तेन मारुतेन उद्धूता’—swept by a gentle breeze
जल-ऊर्मिम्a water-wave
जल-ऊर्मिम्:
Upamana (उपमान)
TypeNoun
Rootजल (प्रातिपदिक) + ऊर्मि (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; ‘जलस्य ऊर्मिः’—wave
इवlike
इव:
Upama-dyotaka (उपमा-द्योतक)
TypeIndeclinable
Rootइव (अव्यय)
Formअव्यय; उपमा-सूचक
निः-स्वनाम्silent
निः-स्वनाम्:
Upamana-anvayi Visheshana (उपमान-विशेषण)
TypeAdjective
Rootस्वन (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; निः/निस्- उपसर्गः ‘without sound’
A
Ayodhyā
S
sāgara (ocean)

FAQs

The verse highlights the discipline of endurance: intense emotion rises, but must settle into steadiness. Dharma includes the capacity to bear sorrow without losing moral direction.

The narrator continues portraying Ayodhyā’s grief—initially loud and turbulent, then settling into a stunned, quiet stillness.

Collective restraint is emphasized: the city’s people move from wailing to a grave silence, reflecting controlled suffering rather than chaos.

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