Ramayana — Yuddha Kanda, Sarga 40, Shloka 25
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।।
abhidravaṇam āplāvam āvasthānaṁ savigraham | parāvṛttam apāvṛttam apadrutam avaplutam ||6.40.25||
Ipinamalas nila ang mga galaw ng digmaan—pagsalakay at pagtalon, matatag na pagtindig na may pagpipigil; pag-ikot at paglayo, pag-urong at pag-iwas na may lundag—bawat isa’y naghahanap ng bentahe laban sa kabila sa banal na tunggalian ng sandata.
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
It depicts regulated, skillful combat—movement, restraint, and tactical discipline—implying a battle conducted with order rather than reckless cruelty, aligning with the Ramayana’s ideal of dharma-yuddha (righteous warfare).
Satya here is the truthfulness of intent and role: both warriors openly meet in direct contest, revealing their real prowess without deception in narration; the poet truthfully records the combat’s disciplined reality rather than exaggeration alone.