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 ||
“ຣາຆະວະນັ້ນບໍ່ເຄີຍຮູ້ພະລັງວິລະກຳຂອງຂ້າໃນສົງຄາມມາກ່ອນ. ເມື່ອຂ້າຝ່າເຂົ້າໄປໃນກອງທັບສັດຕູ ຂ້າຈະ ‘ບັນເລງ’ ໃນຍຸດທະພູມ ຄັນທະນູຂອງຂ້າອັນດຸດັ່ງພິນວີນາ ໃຫ້ກັງວານດ້ວຍປາຍລູກສອນ; ມັນຈະນ່າຢ້ານດ້ວຍສຽງຄໍາຮ້ອງອື້ອຶງຂອງສາຍທະນູ, ດັງກ້ອງດ້ວຍສຽງຮ້ອງໄຫ້ຂອງຜູ້ທຸກທ້ອນແລະຜູ້ຫວາດກົວ, ກັງວານດຸດັ່ງສຽງປະທະຂອງຫອກເຫຼັກ; ນັ້ນແມ່ນກອງທັບໄຟຂອງຂ້າ ແລະຂ້າຈະບັນເລງມັນໃນສຶກ”
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.