Shloka 43
लङ्कानिरीक्षणं व्यूहविन्यासश्च
Survey of Lanka and Deployment of the Battle Formation
नजानातिपुरावीर्यममयुद्धेसराघवः ।ममचापमयींवीणांशरकोणैःप्रवादिताम् ।।।।ज्याशब्दतुमुलांघोरामार्तभीतमहास्वनाम् ।नाराचतलसन्नादांतांममाहितवाहिनीम् ।।।।अवगाह्यमहारङ्गंवादयिष्याम्यहंरणे ।
na jānāti purā vīryaṃ mama yuddhe sa rāghavaḥ |
mama cāpamayīṃ vīṇāṃ śarakoṇaiḥ pravāditām ||
jyāśabdatumulāṃ ghorām ārtabhītamahāsvanām |
nārācatala-sannādāṃ tāṃ mamāhitavāhinīm ||
avagāhya mahāraṅgaṃ vādayiṣyāmy ahaṃ raṇe ||
„Jener Rāghava hat zuvor meine Kraft im Krieg nicht erkannt. Wenn ich in die Reihen des Feindes eindringe, werde ich im Kampf meinen Bogen wie eine vīṇā ‘spielen’, angeschlagen von den Spitzen der Pfeile: schrecklich im tosenden Klang der Sehne, laut von den Schreien der Bedrängten und Verängstigten, widerhallend wie das Aufeinanderprallen eiserner Schäfte. In die große Kampfarena tauche ich ein und lasse ihn in der Schlacht erklingen.“
The dove-eyed Sita is obstructed by Ravana there (at Lanka) like the planet Rohini is caught by the red coloured planet (Mars).
FAQs
The verse illustrates how Adharma aestheticizes violence—turning warfare into ‘music’—whereas Dharma treats force as a last resort governed by restraint and truth.
Rāvaṇa imagines his entry into battle, boasting that his bow and arrows will create a terrifying din and overwhelm the opposing host.
Negatively, it emphasizes Rāvaṇa’s vainglory and delight in intimidation; by contrast, it sets the stage for Rāma’s disciplined, dharmic warfare.