Tato rukmiṇo rājaputrasya cakriṇaḥ . Akarodgajam āśvam indrajalpam athoruhā .
“Then, Rukmiṇa, the son of King, having a discus, produced an elephant, a horse, an Indra-like chariot and a lotus.”
Structure
Tato Rukmiṇo Rājaputrasya Cakriṇaḥ Akarot Gajam Āśvam Indrajalpam Atha Oruha
Tato (then) Rukmiṇo (of Rukmiṇī) Rājaputrasya (of the prince) Cakriṇaḥ (who had a discus) Akarot (made) Gajam (an elephant) Āśvam (a horse) Indrajalpam (a chariot drawn by Indra's words i.e., a magical chariot) Atha (then) Oruha (mounted)
Word-by-Word Grammar
| Word | IAST | Type | Grammar | Meaning |
|---|---|---|---|---|
| Tato | Tato | indeclinable | — | Then, thereafter |
| Rukmiṇo | Rukmiṇo | noun | genitive · singular · masculine | of Rukmiṇa |
| Rājaputrasya | Rājaputrasya | compound | tatpuruṣa · "rājasya putraḥ" | of the king's son |
| Cakriṇaḥ | Cakriṇaḥ | noun | nominative · singular · masculine | he who has a cakra/disc; an epithet of Viṣṇu |
| Akarot | Akarot | verb | √kṛ · past · third | he made, did |
| Gajam | Gajam | noun | accusative · singular · masculine | an elephant |
| Āśvam | Āśvam | noun | accusative · singular · masculine | a horse |
| Indrajalpam | Indrajalpam | noun | accusative · singular · masculine | a chariot/cloud/vehicle/ contrivance/ conjuring trick |
| Atha | Atha | indeclinable | — | then, and, now |
| Oruha | Oruha | verb | √ruh · optative/imperative · second | mount, ascend |
Scholarly Commentary
Advaita Vedānta (Ādi Śaṅkarācārya): This verse from the Rāmāyaṇa highlights the creative power of the ultimate reality, Brahman. According to Shankara, the production of an elephant, a horse, an Indra-like chariot, and a lotus by Rukmiṇa symbolizes the manifold manifestations of Brahman. Shankara's commentary on the Brahmasūtra (II.1.14) emphasizes that all effects are non-different from their cause, illustrating the non-dual nature of reality. In this context, Rukmiṇa's creations represent the diverse expressions of the unified Self (Ātman), underscoring the Advaita notion that the universe is a manifestation of Brahman. This verse thus points to the brahman-ātman identity, where the individual self (jīva) is ultimately one with the supreme reality (Brahman). The creative act described is a reflection of the infinite potentiality of Brahman, reinforcing the idea that all existence is an expression of this singular, unbounded reality.
Vaiṣṇava tradition (Rāmānujācārya / Madhvācārya): In the Vaiṣṇava tradition, this verse is seen as an exemplification of the lordship of Īśvara (the personal God) and the dependent nature of the jīva (individual self). Rāmānujācārya, in his commentary on the Brahmasūtra, emphasizes the concept of 'prakāra-prakāri' relationship, where the effect (the world) is dependent on the cause (God). Rukmiṇa, as a devotee, demonstrates his connection with the divine through his ability to produce magnificent creations, symbolizing the grace and power of Īśvara. This verse highlights the devotional path, where the jīva, in recognition of its dependence on Īśvara, seeks to cultivate a loving relationship with God. Madhvācārya would further emphasize the distinction between the independent Lord and the dependent jīva, viewing Rukmiṇa's actions as a manifestation of divine will, reinforcing the idea of God's sovereignty over all creation.
Neo-Vedānta (Swami Vivekānanda / S. Rādhākrishnan): This verse can be interpreted as a call to realize one's own potential and creativity, as embodied by Rukmiṇa. Swami Vivekānanda, in his lectures on the 'Complete Works of Swami Vivekananda', emphasizes the importance of self-realization and the tapping of inner potential. The production of an elephant, a horse, an Indra-like chariot, and a lotus by Rukmiṇa can be seen as a metaphor for the diverse capabilities and talents that lie within each individual. This verse thus encourages personal growth, self-discovery, and the expression of one's innate abilities, much like the neo-Vedāntic emphasis on the human potential for spiritual evolution and self-actualization. Rādhākrishnan, in his philosophical works, would likely highlight the universal themes of freedom and creativity, suggesting that this verse inspires individuals to transcend their limitations and strive for excellence, embodying the ideals of human dignity and the pursuit of perfection.