Shloka 6
समुद्रलङ्घनारम्भः
Commencement of the Ocean-Crossing
नीललोहितमांजिष्ठपत्रवर्णैः सितासितैः।स्वभावविहितैश्चित्रैर्धातुभिः समलङ्कृतम्।।5.1.5।।कामरूपिभिराविष्टमभीक्ष्णं सपरिच्छदैः।यक्षकिन्नरगन्धर्वैर्देवकल्पैश्च पन्नगैः।।5.1.6।।
nīlalohitamāñjiṣṭha-patravarṇaiḥ sitāsitaiḥ |
svabhāvavihitaiś citrair dhātubhiḥ samalaṅkṛtam ||
kāmarūpibhir āviṣṭam abhīkṣṇaṃ saparicchadaiḥ |
yakṣakinnara-gandharvair devakalpaiś ca pannagaiḥ ||
Der Berg war geschmückt mit wundersamen Mineralien, von der Natur selbst gefügt: blau, rot, in mañjiṣṭhā-Tönung, blattgrün, dazu weiß und schwarz, in mannigfaltigen Mustern. Oft wurde er von gestaltwandelnden Yakṣas, Kinnaras, Gandharvas und Nāgas mit ihren Gefolgen aufgesucht, strahlend wie die Götter.
The mountain was as though decorated with mineral rocks of varied colours like blue, red, yellow and green as well as black and white৷৷It was frequently visited by yakshas, kinneras, gandharvas and nagas surrounded by their retinue, capable of assuming any form at their free will rivalling gods and nagas in splendour.
FAQs
Dharma is harmony with the cosmic order: the naturally adorned mountain and the presence of divine beings suggest a world where righteousness aligns beings, places, and beauty into a coherent sacred ecology.
Before/around Hanumān’s leap, the text describes the grandeur of the mountain region (Mahendra setting) and its supernatural inhabitants (a Southern Recension elaboration).
Not a single character’s virtue, but the epic’s value of reverence (śraddhā) toward sacred landscapes that support dharmic undertakings.