Shloka 26
सुवेलारोहणं रावण-सुग्रीव-नियुद्धम्
Ascent of Suvela and the Ravana–Sugriva Duel
मण्डलानिविचित्राणिस्थानानिविविधानिच ।मूत्रकाणिचित्राणिगतप्रत्यागतानिच ।।6.40.23।।तिरच्शीनगतान्येवतथावक्रगतानिच ।परिमोक्षंप्रहाराणांवर्जनंपरिधावनम् ।।6.40.24।।अभिद्रवणमाप्लावमावस्थानंसविग्रहम् ।परावृत्तमपावृत्तमपद्रुतमवप्लुतम् ।।6.40.25।।उपन्यस्तपमन्यस्तंयुद्धमार्गविशारदौ ।तौसञ्चेचेरतुरन्योन्यंवानरेन्द्रश्चरावणः ।।6.40.26।।
maṇḍalāni vicitrāṇi sthānāni vividhāni ca |
gomūtrakāṇi citrāṇi gatapratyāgatāni ca || 6.40.23 ||
tiraścīnagatāny eva tathā vakragatāni ca |
parimokṣaṃ prahārāṇāṃ varjanaṃ paridhāvanam || 6.40.24 ||
abhidravaṇam āplāvam avasthānaṃ savigraham |
parāvṛttam apāvṛttam apadrutam avaplutam || 6.40.25 ||
upanyastam apānyastaṃ yuddhamārgaviśāradau |
tau sañcecēratur anyonyaṃ vānarendraś ca rāvaṇaḥ || 6.40.26 ||
Mahir dalam jalan peperangan, Rāvaṇa dan raja Vānara berlegar mengelilingi satu sama lain dalam corak yang menakjubkan—membentuk lingkaran seperti pusaran “air kencing lembu”—serta mengambil pelbagai pendirian serangan. Mereka mara dan berundur, bergerak menyisi dan menyerong; berpura-pura menyerang lalu membelok mengelak; melancarkan dan menepis pukulan; mengejar dan menahan langkah lawan; menerpa, melompat, teguh bertahan tanpa mengalah; berpaling dan kembali, mengundur dan menyimpang—kadang menghulur tangan untuk memukul, kadang menariknya semula—masing-masing memperlihatkan penguasaan seni tempur terhadap yang lain.
Both Vanara king and Ravana being learned in war craft, went around in circles like ox's urine, stood in different wonderful postures, moved forward and backward horizontally and obliquely to evade movements, hitting, and delivering each other, standing steadily motionless, striking, jumping, assaulting each other coming forward and going away, going backwards jumping from behind, holding hands and folding to resist exhibiting their skill in combat.
FAQs
By emphasizing disciplined movement, measured striking, and skilled evasion, the verse portrays yuddha-nīti (ethical war-craft): combat is not mere rage but controlled conduct where prowess is shown with restraint and order—an aspect of Dharma in battle.
“Gomūtraka” denotes a named spiral/zigzag combat pattern. Its use signals truthful description (satya) of technical martial practice: the narration reports recognizable battlefield maneuvers rather than exaggeration, grounding heroism in observable skill.