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 ||
“Rāghava itu belum pernah mengenal keperkasaanku dalam perang. Menembus barisan musuh, akan kupetik dalam pertempuran busurku yang laksana vīṇā—berbunyi oleh ujung-ujung anak panah—mengerikan dengan gemuruh tali busur, nyaring oleh jerit yang sengsara dan ketakutan, berdentang seperti benturan batang-batang besi; itulah pasukan apiku, dan akan kumainkan di medan laga.”
The dove-eyed Sita is obstructed by Ravana there (at Lanka) like the planet Rohini is caught by the red coloured planet (Mars).
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.