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 belum pernah mengetahui dahulu keperwiraanku di medan perang. Aku akan menerobos masuk ke tengah bala musuh, lalu dalam pertempuran ini akan ‘memetik’ busurku bagaikan sebuah vīṇā—dibunyikan oleh hujung anak panah; menggerunkan dengan gemuruh dahsyat bunyi tali busur, lantang dengan jerit tangis orang yang sengsara dan ketakutan, bergema seperti dentang besi anak panah nārāca. Menyelam ke gelanggang perang yang luas, aku akan memainkannya dalam 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.