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|| om tat sat||

Sundarakanda
Sarga 10
अथ दशमस्सर्गः

Tika Traya presents a brief summary of the Sarga in the beginning. It is as follows- हनुमान् पुष्पके विमाने नानालंकरण उपशोभित उपकरणभासुरशयनोत्तम शायिनं बहु विधाभरण विभूषित वपुषं रावणं ददर्श।तत् अविदूरतः पणव मृदङ्ग वेणुवीणाडक्कादि नानातोद्यालिंगित वपुषां सुप्त्यनवस्थाङ्गप्रत्याङ्गानां शैलूषीणां मध्येऽदृतशयनशायिनीम् उज्ज्वलाभरणोपशोभितां मंडोदरीं दृष्ट्वा स इयं सीतेति संहजात हर्षः पुच्छचुम्बनादि कापेयमाविश्चकार।

Essentially, Hanuman saw the mighty lord of Rakshasas adorned with many ornaments and clad in robes of silver texture sleeping on a well decorated best of beds. Not too far, he saw women asleep holding Mridangam, Veena, Venu and other musical instruments as though they were hugging their lover. Amidst all those, he saw Mandodari embellished with ornaments, youth and beauty. Delighted, thinking that she is Sita, he resorted to monkey like acts of kissing his tail, jumping up and down etc.

Hanuma earlier described Lanka as " स्वर्गोयम् देवलोकोयम्..". In this Sarga, the descriptions of Ravana in the palace, and the descriptions of the women of Ravana, confirm that this is indeed a world of opulence. These are places of enjoyment. "भोगलोकाः".The opulence comes through in each and every line.

Now we go through the Slokas with word meanings.

||Sloka 10.01||

तत्र दिव्योपमंमुख्यं स्फाटिकं रत्नभूषितम्।
अवेक्षमाणो हनुमान् ददर्श शयनासनम्॥1||

स॥तत्र अवेक्षमाणो हनुमान् स्फाटिकं रत्न भूषितम् दिव्योपमम् मुख्यं शयनासनम् ददर्श॥

Tilaka Tika says - तत्र शालायां। दिव्योपमम् दिवि भवेन स्वर्गवर्तिपदार्थेनैवोपमा यस्य तत् शयनस्यासनं पल्यङ्कं प्रतिष्टापनवेदिका अवेक्षमाणा इतः ततः पश्य्नन्।

॥ Sloka meanings||

अवेक्षमाणो हनुमान् -
Hanuman while looking for Sita
तत्र स्फाटिकं रत्न भूषितम् -
there made with crystals and encrusted with gems
दिव्योपमम् मुख्यं शयनासनम् -
heavenly looking foremost couch
ददर्श - saw

|| Sloka summary||

"There while looking around Hanuman saw a fine, heavenly looking, excellent couch made with crystals and encrusted with gems." ||10.01||

|| Sloka 10.02||

दांतकाञ्चन चित्रांगैः वैढूर्यैश्च वरासनैः।
महार्हास्तरणोपेतैः उपपन्नं महाधनैः॥10.02||

स॥ (तत् शयनासनम्) दांतकाञ्चन चित्रांगैः वैडूर्यैश्च महार्हतरुणोपेतैः महाधनैः वरासनैः उपपन्नम् (अस्ति)||

Rama Tika elaborates on this. - "अवेक्षमाणः सीतान्वेषणं कुर्वन् हनुमान् दिव्योपमं स्वर्गस्थ शयनासन सदृशं स्फाटिकं स्फाटिकमणिमयं रत्न विभूषितं महार्ह तरुणोपेतैः बहुमूल्यास्तरणयुक्तैः दान्तकाञ्चन चित्राङ्गैः दन्तमयत्व काञ्चनमयत्वाभ्यां चित्राण्यङ्गानि पादादीनि येषां तैः वैढूर्यै वैढूर्यमणिमयैश्च महाघनैः बहु मूल्यकैः वरासनैः अल्पपर्यङ्कैः उपपन्नं महापर्यङ्क अवरोहणाय संयोजितं मुख्यं शयनासनं महापर्यङ्कं ददर्श"॥

|| Sloka meanings||

(That sleeping chamber was )
दांतकाञ्चन चित्रांगैः -
inlaid with colorful ivory and gold
महाधनैः वैडूर्यैश्च -
rich with Vaidhuryas
महार्हतरुणोपेतैः वरासनैः उपपन्नम् -
with many wonderful seats having requisite covering

|| Sloka summary||

"The sleeping chamber was with many seats inlaid with colorful ivory and gold as well as Vaidhurya. It was rich with fine coverings." ||10.2||

Here the description is all about the chamber with many associated seats all of which were decorated with crystals and gems

|| Sloka 10.03||

तस्यचैकतमे देशे सोऽग्र्यमालाविभूषितम्।
ददर्श पाण्डुरं छत्रं ताराधिपति सन्निभम्॥10.03||

स॥ स तस्य एकतमे देशे अग्र्यमालाविभूषितम् ताराधिपसन्निभं पाण्डुरं छत्रं ददर्श॥

॥Sloka meanings॥

स तस्य एकतमे देशे -
in one corner of that chamber
अग्र्यमालाविभूषितम् -
decorated with best of garlands
ताराधिपसन्निभं -
looking like the Moon among the stars
पाण्डुरं छत्रं ददर्श-
saw a white umbrella

॥Sloka summary॥

"He saw in one corner of that chamber, a white umbrella decorated with best of garlands looking like the Moon among the stars."||10.03||

|| Sloka 10.04||

जातरूप परिक्षिप्तं चित्रभानु समप्रभम्।
अशोकमालाविततं ददर्श परमासनम्॥10.04||

स॥ जातरूप परिक्षिप्तं चित्रभानु सम प्रभम् अशोकमालाविततम् (तं) परमासनम् ददर्श॥

Rama Tika, summary of three Slokas. ( जातरूपम् 04॥; व्यालव्यजन 05॥ परमास्तरणा 06॥), says - जातरूपेति। जातरूपेण सुवर्णेन परिक्षिप्तं निर्मितं चित्रभानोः सूर्यस्य समप्रभं अशोकमालाविततं शोक अपहारमालाभिः संयुतं विविधैर्गन्धैः चन्दनैश्च जुष्टं, अविकाजिनेन स्वाभाविक अतिकोमलोर्णायुचर्मणा संवृतं आस्तीर्ण वरमाल्यानां मनोहर सुगन्धादिनोत्तमपुष्पाणां दामभिः मालाभिः उपशोभितम् वालव्यजनहस्ताभिः समन्तो वीज्यमानं परमासनं महापर्यङ्कःस्थ विशेषं ददर्श॥ This is to be seen as summary of three Slokas. ( जातरूपम् 04॥; व्यालव्यजन 05॥ परमास्तरणा 06॥)

|| Sloka meanings||

जातरूप परिक्षिप्तं -
made of exquisite gold
चित्रभानु सम प्रभम् -
shining like Sun
अशोकमालाविततम् -
decorated with Ashoka flowers
परमासनम् ददर्श-
saw an exquisite couch

|| Sloka summary||

"Hanuman saw an exquisite couch made of gold, shining like Sun decorated with Ashoka flowers."||10.04||

Ashoka flowers is elaborated as flowers that drive away Shoka or sorrow.

|| Sloka 10.05||

व्यालव्यजन हस्ताभि र्वीज्यमानं समंततः।
गन्धैश्च विविधैर्जुष्टं वरधूपेण धूपितम्॥10.05||

स॥ व्यालव्यजन हस्ताभिः वीज्यमानं (तं ददर्श) | विविधैः गन्धैश्च जुष्टं वरधूपेण धूपितं (तं शयनासनं ददर्श)||

|| Sloka meanings||

व्यालव्यजन हस्ताभिः वीज्यमानं -
women holding fans made of the hair of Chamari deer
विविधैः गन्धैश्च जुष्टं -
full of excellent fragrances
वरधूपेण धूपितं -
smoky with excellent fragrances
(शयनासनमु) ददर्श - saw

|| Sloka summary||

"He saw women holding fans made of the hair of Chamari deer. It was smoky with excellent fragrances, full with excellent fragrances spreading all over." ||10.05||

|| Sloka 10.06||

परमास्तरणा स्तीर्ण माविकाजिनसंवृतम्।
दामभिर्वरमाल्यानां समन्तादुपशोभितम्॥10.06||

स॥ परमास्तरणास्तीर्णम् आविकाजिन संवृतम् समन्तात् दामभिः वरमाल्यानां उपशोभितम् तं शयनासनं ददर्श॥

॥ Sloka meanings||

परमास्तरणास्तीर्णम् -
covered with best of bedspreads
आविकाजिन संवृतम् -
covered with soft sheep skin.
समन्तात् दामभिः वरमाल्यानां उपशोभितम् -
delightful looking with garlands of strings all over.

|| Sloka summary||

"It was covered with best of bedspreads. It was covered with soft sheep skin. It was delightful looking with garlands of strings all over."||10.06||

|| Sloka 10.07||

तस्मिन् जीमूतसंकाशं प्रदीप्तोत्तमकुण्डलम्।
लोहिताक्षं महाबाहुं महारजतवाससम्॥7||

स॥ तस्मिन् जीमूतसंकाशं प्रदीप्तोत्तमकुण्डलम् महारजतवाससं लोहिताक्षं (प्रसुप्तं /शयानं) महाबाहुं (ददर्श)||

Rama Tika says - जीमूत संकाशं श्यामत्वेन मेघसदृशं प्रदीप्तानि उज्ज्वल कुण्डलानि यस्य, महारजतं स्वर्णतन्तु निर्मितं ।

|| Sloka meanings||

तस्मिन् जीमूतसंकाशं -
there looking like a cloud
प्रदीप्तोत्तमकुण्डलम्-
with flashing earrings
महारजतवाससं लोहिताक्षं-
with red eyes , adorned robes of silver texture.
महाबाहुं (ददर्श) -
one with great arms

|| Sloka summary||

"In that ( he saw) one with red eyes with flashing earrings looking like a cloud with great arms adorned in robes of silver texture." ||10.07||

|| Sloka 10.08||

लोहितेनानुलिप्ताङ्गं चन्दनेन सुगन्धिना।
सन्ध्यारक्त मिवाकाशे तोयदं सतटिद्गणम्॥10.08||

स॥(सः) लोहितेन सुगंधिना चंदनेन अनुलिप्तांगं (सः रावणः) संध्यारक्तं सतटिद्गणम् तोयदं इव अदृश्यत॥

॥ Sloka meanings||

लोहितेन सुगंधिना चंदने अनुलिप्तांगं-
limbs smeared with fragrant red colored Sandal paste,
सः रावणः - that Ravana
संध्यारक्तं सतटिद्गणम् तोयदं इव अदृश्यत -
looking like twilight clouds streaked with lightning

|| Sloka summary||

"He saw Ravana who was having limbs smeared with fragrant red colored Sandal paste, wearing wonderful ornaments, looking like twilight clouds streaked with lightning" ||10.08||

|| Sloka 10.09||

वृतमाभरणैः दिव्यैः सुरूपं कामरूपिणम्।
स वृक्षवनगुल्माढ्यं प्रसुप्त मिव मन्दरम्॥9||

स॥सुरूपं कामरूपिणम् सः वृक्षवनगुल्माड्यं मंदरं इव (तं) प्रसुप्तं (रावणं ददर्श)||

|| Sloka meanings||

दिव्यैः आभरणैः वृतं सुरूपं -
wearing wonderful ornaments and of wonderful form
कामरूपिणम् -
capable of changing his form at will
स वृक्षवनगुल्माढ्यं मंदरं इव -
looking like Mandara mountain with thick trees and bushes
प्रसुप्तं (रावणं ददर्श) -
sleeping (Ravana he saw)निदुरिस्तुन्न रावणुमि चूचॆनु

॥ Sloka summary||

"He is with wonderful form, capable of changing his form at will looking like Mandara mountain with thick trees and bushes (sleeping on that couch)". ॥10.09॥

|| Sloka 10.10||

क्रीडि त्वोपरतं रात्रौ वराभरणभूषितम्।
प्रियं राक्षस कन्यानां राक्षसानां सुखावहम्॥10||

स॥ रात्रौ क्रीडित्वा उपरतं वराभरणभूषितम् राक्षस कन्यानां प्रियं राक्षसानां सुखावहं (प्रसुप्तं) तं (सः ददर्श)||

|| Sloka meanings||

रात्रौ क्रीडित्वा उपरतं -
tired Having enjoyed during the night ,
वराभरणभूषितम् -
wearing choicest ornaments,
राक्षस कन्यानां प्रियं -
darling of Rakshasa maidens
राक्षसानां सुखावहं-
bringer of joy to Rakshasas

|| Sloka summary||

"Tired having enjoyed during the night , wearing choicest ornaments, the darling of Rakshasa maidens, who brings joy (was seen sleeping on that couch). " ||10.10||

|| Sloka 10.11||

पीत्वाऽप्युपरतम् चापि ददर्श स महाकपिः।
भास्वरे शयने वीरं प्रसुप्तं राक्षसाधिपम्॥11||

स॥ पीत्वा उपरतं च भास्वरं शयने प्रसुप्तं वीरं राक्षसाधिपं महाकपिः ददर्श॥

॥ Sloka meanings||.

पीत्वा उपरतं च -
relaxing after drinking
भास्वरं शयने प्रसुप्तं वीरं -
heroic one sleeping on that glittering couch
राक्षसाधिपं महाकपिः ददर्श-
Hanuman saw the king of Rakshasas

|| Sloka summary||

"Hanuman saw the heroic king of Rakshasas, sleeping on that glittering couch relaxing after drinking." ||10.11||

|| Sloka 10.12||

निश्श्वसंतं यथा नागं रावणं वानरर्षभ।
आसाद्य परमोद्विग्नः सोऽपासर्पत्सु भीतवत्॥10.12||

स॥सः वानरर्षभः यथा नागं निः श्वसंतं रावणं आसाद्य परमोद्विग्नः सुभीतवत् उपासर्पत्॥

Tilaka Tika says - यथा नागं गजमिव निःश्वसन्तं रावणं आसाद्य परमोद्विग्नोऽयं पापी देवीं हृतवान् इति एतत् समीपं अवस्थानं अनुचितं इति खिन्नोचित् उपासर्पत। सुभीतवत् सुभीतो यथा भयहेतोः पिशाचादेः संमुखे स्थातुं अशक्तः उपासर्पति तद्वत् ॥

॥ Sloka meanings||

सः वानरर्षभः -
The bull among the Vanaras
यथा नागं निः श्वसंतं-
one who was breathing like an Elephant
रावणं आसाद्य - approaching Ravana
परमोद्विग्नः सुभीतवत् उपासर्पत् -
stepped back being frightened

|| Sloka summary||

"The bull among the Vanaras having reached a place near Ravana who was breathing like an Elephant, was frightened and stepped back". ||10.12||

The sleeping Ravana made for a scene.

He was breathing like a huge elephant. Poet describes Hanuma approaching that couch."आसाद्य परमोऽद्विग्नः उपासर्पत् सुभीतवत्"; "Approaching that couch very anxiously stepped back with a fright".

There are two interesting words 'परमोऽद्विग्नः' and 'सुभीतवत्'. There is interesting commentary from Ramayana Tilaka on this line. 'उद्विग्नः' also means distressed. Why was he very distressed? "अयं पापी देवीं हृतवान् इत्येतत् समीपे आस्थानम् अनुचितमिति खिन्नचित्तो उपासर्पत्"; 'This sinner has kidnapped the 'Devi', being near him is in appropriate अनुचितं' etc.

Then the second word : 'सुभीतवत् '! He stepped back सुभीतवत् ! Ramayana Tilaka says the following. 'सुभीतवत् - सुभीता यथा भयहेतोः पिशाचादेः संमुखेस्थातुं अशक्तः उपसर्पत् तद्वत्।'; 'One may not be able to stand in the presence of "Pisacha" and similar entities and steps back in fear etc'. That is only a momentary fear .

In that fashion Hanuma steps back. Both may seem unconnected and contra. Two things happened. The thought of Sita having been taken away made him परमोऽद्विग्नः. The sound of Ravana's breathing made him feel like he is in a dangerous place. So he stepped back सुभीतवत् !

He took a step back like a frightened one. Climbed a little higher altar to have a good look at him from a distance. Then he looked at the Rakshasa King.

|| Sloka 10.13||

अधाऽऽरोहण मासाद्य रावणं वानरर्षभः |
सुप्तं राक्षसशार्दूलं प्रेक्षते स्म महाकपिः॥13||

स॥महाकपिः अथ आरोहणम् आसाद्य वेदिकांतरं आश्रितः सुप्तं राक्षसशार्दूलं प्रेक्षते स्म॥

Rama Tika says- अथेति। अथ उपसर्पानन्तरम् वेदिकान्तरमासाद्य प्राप्य आरोहणम् सोपानमाश्रितः सन् क्षीबं मत्तं राक्षस शार्दूलम् प्रेक्षतेस्म।

॥ Sloka meanings||

महाकपिः अथ आरोहणम् आसाद्य -
The great Vanara climbed the stairs
वेदिकांतरं आश्रितः -
reaching another altar
सुप्तं राक्षसशार्दूलं प्रेक्षते स्म -
looked at the king of Rakshasas, who was sleeping."

|| Sloka summary||

"(Then)The great Vanara climbed the stairs reaching another altar looked at the king of Rakshasas, who was sleeping."||10.13||

|| Sloka 10.14||

शुशुभे राक्षसेन्द्रस्य स्वपत शयनोत्तमम्।
गन्ध हस्तिनि संविष्टे यथा प्रस्रवणं महत्॥10.14||

स॥ स्वपतः राक्षसेंद्रस्य शयनोत्तमम् यथा प्रस्रवणे संविष्टे महत् गंधिहस्तिनि इव शुशुभे॥

Tilaka Tika says - गन्धहस्तिनि, यस्य गन्धेन अन्य गजाः पलायन्ते स गन्ध गजः ।

॥ Sloka meanings||

स्वपतः राक्षसेंद्रस्य शयनोत्तमम् -
the best of couches on which the king of Rakshasa was sleeping
शुशुभे यथा प्रस्रवणे -
shone like the Prasravana hill
संविष्टे महत् गंधिहस्तिनि -
with a big elephant in rut sleeping

|| Sloka summary||

"The best of couches on which the king of Rakshasa was sleeping looked like Prasravana hill with a big elephant in rut sleeping".||10.14||

Here Ravana is compared with गन्ध हस्तिनि. गन्ध हस्तिनि means an elephant with a smell, in whose presence all other elephants run away. Implying that seeing Ravana all other warriors too run away. Thus highlighting his valor.

|| Sloka 10.15||

काञ्चनाङ्गदसन्नद्धौ ददर्श स महात्मनः |
विक्षिप्तौ राक्षसेन्द्रस्य भुजाविन्द्रध्वजोपमौ॥15||

स॥ काञ्चनाङ्गदसन्नद्धौ विक्षिप्तौ इन्द्रध्वजौपमौ राक्षसेन्द्रस्य भुजौ स महात्मनः ददर्श।

॥ Sloka meanings||

स महात्मनः विक्षिप्तौ राक्षसेन्द्रस्य -
great Soul , the sleeping king of Rakshasa's
काञ्चनाङ्गदसन्नद्धौ भुजौ -
two shoulders adorned with golden straps
इन्द्रध्वजोपमौ -
similar of two flagstaffs of Indra

|| Sloka summary||

"The two arms of the sleeping king of Rakshasas adorned with golden straps looked like a pair of flagstaffs of Indra" ||10.15||

|| Sloka 10.16||

ऐरावत विषाणाग्रै रापीडनकृतव्रणौ।
वज्रोल्लिखितपीनांसौ विष्णुचक्रपरिक्षितौ॥10.16||

स॥ ऐरावतविषाणाग्रैः आपीडनकृतव्रणौ वज्रोल्लिखितपीनांसौ विष्णुचक्रपरिक्षितौ (राक्षसेंद्रस्य भुजौ ददर्श)||

Tilaka Tika says- आपीडने युद्धे कृतव्रणौ कृतव्रणकिणौ वज्रेणोल्लिखितौ क्षतौ पीनांसौ ययोः तौ वज्रचक्रयोः अपि असाध्य मृत्युरिति भावः।

॥ Sloka meanings||

ऐरावतविषाणाग्रैः आपीडनकृतव्रणौ -
torn by Airavata, the Indra's mount, and having scars of injury
वज्रोल्लिखितपीनांसौ -
with scars caused by the thunder bolt of Indra
विष्णुचक्रपरिक्षितौ-
wounded by Vishnu's discus.
(राक्षसेंद्रस्य भुजौ ददर्श)-
saw the shoulders of the king of Rakshasas

|| Sloka summary||

"He saw the arms which were torn by the Airavata the Indra's mount and having scars of injury. He saw the arms which were with scars caused by the thunder bolt of Indra, which were wounded by Vishnu's discus".||10.16||

While describing Ravana's shoulders thus, there is hint of Ravana's prowess which withstood the force of Indra's thunderbolt as well as Vishnu's famous disc. Tilaka Tika says in its commentary that this hints at death being impossible for Ravana.

If we step back a little, here, the poet describes Ravana sleeping on his bed through the Vanara's eye as he takes a look at him from a distance.

What did he see ? "राक्षसेन्द्रस्य भुजौ". How are they? "वज्रोल्लिखित पीनांसौ"- wore the scars caused by the thunder bolt of Indra. "विष्णु चक्र परिक्षतौ"- , wounded by Vishnu's discus. Those shoulders are the ones which troubles many.
"देव दानव राविणौ "(9.20) made Devas and Danavas cry. They are announcing Ravana's valor as it were. "राविणौ" goes with Ravana, who makes others cry.

The two arms resting on the couch were, like two angry serpents asleep in the caves of Mount Mandara.

The arms are the tools for all actions, for all "कर्म". The actions create the bondage that binds one even more. Poet describes those shoulders and arms in great detail. As though to remind us again and again that they are the cause of bondage.

In Sarga 4 also we came across the line "अद्वारेण महाबाहुः प्राकारमभिपुप्लुवे"; There the discussion was about Hanuma as महाबाहुः; He was working for "रामार्थं वानरार्थं च" for Rama and for Vanara's. Those arms were involved in निष्काम कर्म . They do not create bondage. The Ravana's arms we see here are deeply involved with Bhoga Lokas. Creating more bondage.

|| Sloka 10.17||

पीनौ समसुजातांशौ संगतौ बलसंयुतौ।
सुलक्षण नखाङ्गुष्टौ स्वङ्गुळीतल लक्षितौ॥17||

स॥(तस्मै) पीनौ समसुजातांसौ संगतौ बलसंयुतौ सुलक्षननखांगुष्ठौ स्वंगुळीतल लक्षितौ तौ राक्षसाधिपस्य भुजौ ददर्श)||

|| Sloka meanings||

पीनौ समसुजातांसौ -
well-built fleshy arms
संगतौ बलसंयुतौ -
tough and strong
सुलक्षननखांगुष्ठौ -
on shapely thumb nails
स्वंगुळीतल लक्षितौ -
0n shapely palms and fingers

|| Sloka summary||

"He saw the two arms which are fleshy, tough, strong and well built. The arms were with shapely thumb nails on shapely fingers." ||10.17||

|| Sloka 10.18||

संहतौ परिघाकारौ वृत्तौ करिकरौपमौ।
विक्षिप्तौ शयने शुभ्रे पञ्चशीर्षाविवौरगौ॥10.18||

स॥संहितौ परिघाकारौ करिकरौपमौ वृत्तौ पंचशीर्षा उरगौ इव शुभ्रे शयने विक्षिप्तौ तौ राक्षसाधिपस्य भुजौ ददर्श॥

॥ Sloka meanings||

संहितौ परिघाकारौ -
Well-fixed rounded like iron crow bars
करिकरौपमौ वृत्तौ -
resembling the tusks of an elephant ( the two arms)
शुभ्रे शयने विक्षिप्तौ -
sleeping on a clean couch
पंचशीर्षा उरगौ इव -
looked like two five hooded serpents

|| Sloka summary||

"Well fixed rounded like iron crow bars resembling the tusks of an elephant, the two arms looked like two five hooded serpents sleeping on a clean couch."||10.18||

|| Sloka 10.19||

शशक्षजतकल्पेन सुशीतेन सुगन्धिना |
चन्दनेन परार्थ्येन स्वनुलिप्तौ स्वलङ्कृतौ ||10.19||

स॥ सुशीतेन सुगंधिना शशक्षजतकल्पेन परार्थ्येन चंदनेन स्वनुलिप्तौ (भुजौ ददर्श) ||

|| Sloka meanings||

सुशीतेन सुगंधिना -
cool fragrant
शशक्षजतकल्पेन -
red like hare's blood
परार्थ्येन चंदनेन स्वनुलिप्तौ -
smeared with sandal paste of excellent quality
स्वलङ्कृतौ - well decorated

|| Sloka summary||

"(The two arms were) besmeared with cool fragrant red sandal paste of excellent quality which looked red like hare's blood."||10.19||

|| Sloka 10.20||

उत्तमस्त्रीविमृदितौ गन्धोत्तमनिषेवितौ।
यक्ष किन्नर गन्धर्व देव दानव राविणौ॥10.20||

स॥ उत्तमस्त्रीविमृदितौ गन्धोत्तमनिषेवितौ यक्ष किन्नर गंधर्व देव दानव राविणौ तौ भुजौ ददर्श॥

Tilaka Tika says - ददर्शात्वादरेण ददर्श नातः पुनरुक्तिः महाही महासर्पौ अत्र द्विभुजत्वकथनात् युद्धादि काल एव विंशति भुजत्वं दशशीर्षत्वं चेति बोध्यम्॥

॥ Sloka meanings||

उत्तमस्त्रीविमृदितौ -
massaged by the best of women
गन्धोत्तमनिषेवितौ -
anointed by excellent fragrances
यक्ष किन्नर गंधर्व देव दानव -
Yaksha, Kinnara Gandharvas, Devas , and Danavas
राविणौ - made them cry
(तौ भुजौ ददर्श - those shoulders he saw)

|| Sloka summary||

"(He saw those shoulders) massaged by the best of women and anointed by best of fragrances, those arms could make Yaksha, Kinnara Gandharvas, Devas , and Danavas cry in fear." ||10.20||

In these descriptions of last six Slokas, we come across "भुजौ" , meaning only two. One would wonder about Ravana described as 'दशमुखः', ten headed one. Ravana is a "कामरूपि" meaning that he can assume any form he desires.. So he is one with ten heads in his battles and public appearances. Ramayana Tilaka says,
'अत्र द्विभुजत्वैकमुखत्वोक्तिः स्त्रीणां कामनीयत्वाय' ; With his wives and lovers he is of one head and two arms .

There is another hint in this .

'Ravana' is the mind. That is the one we get from his name. The ten senses and sense organs are the ten heads. In sleep the senses stop their activity. Only the mind is active. So there are no ten heads or Twenty arms. Once he is awake the senses are back . Then we have the ten heads.

When we are asleep the eye does not see. The ear does not hear. Once we are up both are back . Thus when the senses are dulled the search for Sita continues.

|| Sloka 10.21||

ददर्श स कपिः तस्य बाहू शयनसंस्थितौ।
मन्दरस्यान्तरे सुप्तौ महाही रुषिता इव॥10.21||

स॥ स कपिः तत्र मंदरस्य अंतरे सुप्तौ रुषितौ महाही इव शयनसंस्थितौ तस्य बाहू ददर्श॥

॥ Sloka meanings||

स कपिः तत्र -
there Hanuman
मंदरस्य अंतरे -
on the mount Mandara
सुप्तौ रुषितौ महाही इव -
asleep like two angry serpents
शयनसंस्थितौ तस्य बाहू ददर्श-
saw his two arms resting on couch

|| Sloka summary||

"The Vanara saw the two arms resting on the couch, like two angry serpents asleep in the caves of Mount Mandara". ||10.21||

|| Sloka 10.22||

ताभ्यां परिपूर्णाभ्यां भुजाभ्यां राक्षसेश्वरः।
शुशुभऽचलसंकाशः शृङ्गाभ्यामिव मन्दरः॥22||

स॥ अचल संकाशः सः राक्षसेश्वरः परिपूर्णाभ्यां ताभ्याम् भुजाभ्याम् शृङ्गाभ्यां मन्दर इव शुशुभे॥

॥ Sloka meanings||

अचल संकाशः सः राक्षसेश्वरः -
the mountain like Rakshasa king
परिपूर्णाभ्यां ताभ्याम् भुजाभ्याम् -
with two fully developed shoulders
शृङ्गाभ्यां मन्दर इव शुशुभे -
shone like a mount Mandara with two lofty peaks

|| Sloka summary||

"The mountain like king of Rakshasas with the fully developed arms looked like Mandara mountain with two lofty peaks." ||10.22||

|| Slokas 10.23,24||

चूतपुन्नागसुरभि र्वकुळोत्तमसंयुतः।
मृष्टान्नरससंयुक्तः पानगन्धपुरस्सरः॥10.23||
तस्य राक्षस सिंहस्य निश्चक्राम महामुखात्।
शयानस्य विनिश्श्वासः पूरयन्निव तद्गृहम्॥10.24||

स॥ शयानस्य तस्य राक्षस सिंहस्य महामुखात् चूतपुन्नाग सुरभिः वकुळोत्तमसंयुक्तः मृष्टान्नरसंयुक्तः पानगंध पुरस्सरः विनिःश्वासः निश्चक्राम। तत् गृहं पूरयन्निव अस्ति॥

॥ Sloka meanings||

शयानस्य तस्य राक्षस सिंहस्य महामुखात् -
from the mouth of that lion of the Rakshasas who was sleeping
चूतपुन्नाग सुरभिः -
fragrance of Punnaga and Mango blossoms
वकुळोत्तमसंयुक्तः -
mixed with the fragrance of best Bakula flowers
मृष्टान्नरसंयुक्तः -
also the aroma of rich food
पानगंध पुरस्सरः -
and the aroma of drinks
विनिःश्वासः -
breath
तत् गृहं पूरयन्निव निश्चक्राम-
spread out pervading the home

|| Sloka summary||

"While he was sleeping , from the mouth of that lion of the Rakshasas came breath that carried the fragrance of Punnaga and Mango blossoms mixed with the fragrance of best Bakula flowers and also the aroma of food and drinks. It was pervading through the whole palace." ||10.23,24||

|| Sloka 10.25||

मुक्तामणि विचित्रेण काञ्चनेन विराजितम्।
मुकुटेनापवृत्तेन कुण्डलोज्ज्वलिताननम्॥25||

स॥ मुक्तामणिविचित्रेण कांचनेन अपवृतेन मकुटेन विराजितम् कुण्डलोज्ज्वलिताननम् (सः ददर्श)||

|| Sloka meanings||

मुक्तामणिविचित्रेण कांचनेन -
(crown) made of gold studded with pearls and gems
अपवृतेन मकुटेन विराजितम् -
shining with the crown set aside
कुण्डलोज्ज्वलिताननम् -
his face was shining with ear rings

|| Sloka summary||

"Hanuman saw (Ravana) with the crown made of gold studded with pearls and gems set aside and his face was shining with ear rings;" ||10.25||

|| Sloka 10.26||

रक्तचन्दन दिग्देन तथा हारेण शोभिना |
पीनायत विशालेन वक्षसाऽभिविराजितम्॥26||

स॥ रक्तचंदन दिग्धेन हारेण शोभिना पीनायत विशालेन वक्षसा अभिविराजितम्

|| Sloka meanings||

रक्तचन्दन दिग्देन -
smeared with bright red sandal paste
हारेण शोभिना -
shining with a splendid necklace
पीनायत विशालेन वक्षसा -
with fleshy and broad chest
अभिविराजितम् - shining

|| Sloka summary||

"His fleshy and broad chest smeared with bright sandal paste shining with a very splendid necklace which is slightly out of place;"||10.26||

|| Sloka 10.27||

पाण्डुरेणापविद्धेन क्षौमेण क्षतजेक्षणम्।
महार्हेण सुसंवीतं पीते नोत्तमवाससा॥27||

स॥ पाण्डुरेण अपविद्धेन क्षौमेण क्षतजेक्षणाम् महार्हेण पीतेन उत्तमवाससा सुसंवीतम् (तं ददर्श)||

|| Sloka meanings||

पाण्डुरेण अपविद्धेन क्षौमेण -
white silken cloth which is slightly of its of place
क्षतजेक्षणाम् -
With blood red eyes
महार्हेण पीतेन उत्तमवाससा सुसंवीतम्-
covered with a very expensive yellow upper garment.

|| Sloka summary||

With blood red eyes, he was wearing a white silken cloth which is slightly of its of place, and is covered with a very expensive yellow upper garment. ||10.27||

|| Sloka 10.28||

माषराशी प्रतीकाशं निश्श्वसंतं भुजङ्गवत्।
गाङ्गे महति तोयान्ते प्रसुप्तमिव कुञ्जरम्॥28||

स॥ माषराशीप्रतीकाशं भुजंगवत् निःश्वसंतं महति गांगे तोयान्ते प्रसुप्तं कुंजरं इव (प्रसुप्तं तं ददर्श)||

|| Sloka meanings||

माषराशीप्रतीकाशं -
resembling a heap of black beans
भुजंगवत् निःश्वसंतं -
breathing heavily like a hissing serpent
महति गांगे तोयान्ते -
on the banks of great river Ganges.
प्रसुप्तं कुंजरं इव -
looking like an elephant sleeping

|| Sloka summary||

"Resembling a heap of black beans; breathing heavily like a hissing serpent; looking like an elephant sleeping on the banks of river Ganges; " ||10.28||

|| Sloka 10.29||

चतुर्भिः कांचनैर्दीप्तैः दीप्यमान चतुर्दिशम्।
प्रकाशीकृत सर्वाङ्गं मेघं विद्युद्गणैरिव॥29||

स॥ चतुर्भिः दीपैः दीप्यमाना चतुर्दिशम् विद्युत् गणैः प्रकाशीकृत मेघं इव (प्रकाशिकृत) सर्वांगं (तं ददर्श)||

|| Sloka meanings||

चतुर्भिः दीपैः दीप्यमाना चतुर्दिशम् -
With four golden lamps lighting the four sides
विद्युत् गणैः प्रकाशीकृत मेघं इव -
like the clouds lighted up by the lightnings
प्रकाशीकृत सर्वाङ्गं -
all limbs lit up

|| Sloka summary||

"With four golden lamps lighting up the four sides, with all limbs lit up like a black cloud lit up with streaks of lightning;"||10.29||

|| Sloka 10.30||

पादमूलगताश्चापि ददर्श सुमहात्मनः।
पत्नीः स प्रियभार्यस्य तस्य रक्षःपतेर्गृहे॥10.30||

स॥ सुमहात्मनः पादमूलगताः पत्नीश्च सप्रियभार्यस्य रक्षः पतेः गृहे ददर्श॥

॥ Sloka meanings||

पादमूलगताः -
sitting at his feet
पत्नीश्च सप्रियभार्यस्य -
wives and dear ones
रक्षः पतेः गृहे -
in the house of the king of Rakshasas
सुमहात्मनः ददर्श -
that great one saw

|| Sloka summary||

"The great Vanara saw the king of Rakshasas in that palace with his dear wives who were resting at his feet." ||10.30||

From here we see descriptions of Ravana women, whose pedigree was already established in Sarga 9, as women who are all in love with Ravana, not one being forcibly brought .

|| Sloka 10.31||

शशिप्रकाशवदनाः चारुकुण्डलभूषिताः।
अम्लानमाल्याभरणा ददर्श हरियूथपः॥10.31||

स॥ हरियूथपः शशिप्रकाशवदनाः चारुकुण्डलभूषिताः अम्लानमाल्याभरणाः ददर्श॥

॥ Sloka meanings||

शशिप्रकाशवदनाः -
with faces which were bright as the moon
चारुकुण्डलभूषिताः -
adorned with beautiful earrings
अम्लानमाल्याभरणा -
wearing fresh floral garlands
हरियूथपः ददर्श -
Hanuman saw

|| Sloka summary||

"The Vanara saw the wives of Ravana whose faces were bright as the moon, adorned with beautiful earrings and fresh floral garlands."||10.31||

|| Sloka 10.32||

नृत्तवादित्रकुशला राक्षसेन्द्रभुजाङ्कगाः।
वराभरणधारिण्यो निषण्णा ददृशे हरिः॥10.32||

स॥ हरिः नृत्तवादित्रकुशलाः राक्षसेंद्र भुजांकगाः वराभरणधारिण्यः निषण्णाः ददर्श॥

॥ Sloka meanings||

नृत्तवादित्रकुशला -
proficient in dancing and playing instruments
राक्षसेन्द्रभुजाङ्कगाः निषण्णाः -
resting on his shoulders and his lap.
वराभरणधारिण्यो-
wearing best of ornaments
ददृशे हरिः - Hanuman saw

|| Sloka summary||

"He saw women proficient in dancing and playing instruments, wearing best of ornaments resting on his shoulders and his lap." ||10.32||

|| Sloka 10.33||

वज्रवैढूर्यगर्भाणि श्रवणान्तेषु योषितम्।
ददर्श तापनीयानि कुण्डलान्यङ्गदानि च॥33||

स॥ श्रवणांतेषु योषितं वज्रवैढूर्यगर्भाणि तापनीयानि कुण्डलानि अंगदानिच ददर्श॥

॥ Sloka meanings||

योषितां - young women
श्रवणांतेषु -
at the end of their ears
कुण्डलानि वज्रवैढूर्यगर्भाणि -
earrings encrusted with diamonds and Vaidhuryas,
तापनीयानि अंगदानिच -
golden armlets
योषितां ददर्श - saw women

|| Sloka summary||

"He saw young women with earrings encrusted with diamonds and Vaidhuryas, golden armlets as well as bracelets worn on the upper part of the arm." ||10.33||

|| Sloka 10.34||

तासां चन्द्रोपमैर्वक्त्रैः शुभेर्ललितकुण्डलैः।
विरराज विमानं तन्नभः तारागणैरिव ||10.34||

स॥ ललितकुण्डलैः चंद्रोपमैः शुभैः वक्त्रैः तत् विमानं तारगणैः नभः इव विरराज॥

॥ Sloka meanings||

तासां - their
चंद्रोपमैः शुभैः वक्त्रैः -
moon like beautiful faces
ललितकुण्डलैः -
with lovely earrings
तत् विमानं तारगणैः नभः इव -
that bed was like the sky with constellation of stars
विरराज - shining

|| Sloka summary||

"There the beautiful moon like faces of the women were illumined by the lovely earrings on the exceptional bed which looked like the sky with resplendent stars." ||10.34||

|| Sloka 10.35||

मदव्यायामखिन्नस्ता राक्षसेन्द्रस्य योषितः।
तेषु तेष्ववकाशेषु प्रसुप्तास्तनुमध्यमाः॥10.35||

स॥ मदव्यायामखिन्नाः तनुमध्यमाः ताः राक्षसेंद्रस्य योषिताः तेषु तेषु अवकाशेषु प्रसुप्ताः॥

॥ Sloka meanings||

मदव्यायामखिन्नाः -
exhausted by drinking and other exercises
तनुम्मध्यमाः -
women of slender waist
ताः राक्षसेंद्रस्य योषिताः -
the women of Rakshasa king
तेषु तेषु अवकाशेषु प्रसुप्ताः -
slept here and there after having their dalliances

|| Sloka summary||

"Exhausted by drinking and other exercises, the wives of Ravana, who were of slender waist, slept here and there after having their dalliances". ||10.35||

|| Sloka 10.36||

अङ्गहारैः तथैवान्या कोमलैरैर्वृत्तशालिनी।
विन्यस्त शुभसर्वाङ्गी प्रसुप्ता वरवर्णिनी॥10.36||

स॥ अन्या नृत्तशालिनी वरवर्णिनी कोमलैः अंगहारैः तथैव विन्यस्त शुभ सर्वांगी प्रसुप्ता ||

|| Sloka meanings||

अन्या नृत्तशालिनी वरवर्णिनी -
Another women of extremely beautiful complexion, experienced in dancing
कोमलैः अंगहारैः -
with delicate rhythmic movements of dance,
तथैव विन्यस्त शुभ सर्वांगी -
held her limbs in a similar dance posture
प्रसुप्ता - slept

|| Sloka summary||

"Another women of extremely beautiful complexion experienced in dancing with delicate rhythmic movements of dance movements, held her hands in a dancing posture and slept." ||10.36||

|| Sloka 10.37||

काचिद्वीणां परिष्वज्य प्रसुप्ता संप्रकाशते।
महानदी प्रकीर्णेन नळिनी पोत माश्रिता॥10.37||

स॥ वीणां परिष्वज्य प्रसुप्ता काचित् महानदीप्रकीर्णा पोतं आश्रिता नळिनी इव संप्रकाशते॥

॥ Sloka meanings||

काचित् वीणां परिष्वज्य प्रसुप्ता -
One woman who slept hugging her Veena
महानदीप्रकीर्णा -
while floating in a large river
पोतं आश्रिता नळिनी इव -
like a creeper clinging on to a boat
संप्रकाशते - shines

|| Sloka summary||

"One woman who slept hugging her Veena, shone like a creeper clinging on to a boat, floating in a large river". ||10.37||

|| Sloka 10.38||

अन्याकक्षगतेनैव मड्डुकेनासितेक्षणा।
प्रसुप्ता भामिनी भाति बालपुत्रेन वत्सला॥10.38||

स॥अन्या असितेक्षणा कक्षगतेनैव मड्डुकेन प्रसुप्ता इव वत्सला बालपुत्रा भामिनी इव भाति ||

|| Sloka meanings||

अन्या असितेक्षणा -
another black-eyed woman
कक्षगतेनैव मड्डुकेन प्रसुप्ता -
slept with Madduka drum held under her arms pits
वत्सला बालपुत्रा भामिनी इव भाति -
shone like a loving mother holding her baby

|| Sloka summary||

"Another black-eyed woman slept with Madduka drum held under her arm pits like a loving mother holding her baby." ||10.38||

|| Sloka 10.39||

पटहं चारुसर्वाङ्गी पीड्यशेते शुभस्तनी।
चिरस्य रमणं लब्ध्वा परिष्वज्येव भामिनी॥39||

स॥ चारुसर्वांगी शुभस्तनी भामिनी चिरस्य रमणं लब्ध्वा पटहं परिष्वज्येव पीड्य शेते (भामिनी ददर्श)||

Rama Tika says - चारुसर्वाङ्गी अन्या चिरस्य बहुकालात् रमणं लब्ध्वा रमणं पतिं लब्ध्वा अतएव परिष्वज्य कामिनी इव पटहम् न्यस्य परिष्वज्यस शेते ।

॥ Sloka meanings||

चारुसर्वांगी शुभस्तनी भामिनी -
A charming lady of beautiful breasts
चिरस्य रमणं लब्ध्वा भामिनी इव-
having obtained her lover after a long time.
पटहं परिष्वज्य पीड्य शेते -
slept tightly hugging her Tambourine

|| Sloka summary||

"A charming lady of beautiful breasts slept tightly hugging her Tambourine like a lady having obtained her lover after a long time."||10.38||

|| Sloka 10.40||

काचिद्वंशं परिष्वज्य सुप्ता कमललोचना।
रहः प्रियतमं गृह्य सकामेन च कामिनी॥40||

स॥कमललोचना काचित् वंशम् परिष्वज्य रहः प्रियतमम् गृह्य सकामा कामिनी इव सुप्ता (कामिनीं ददर्श)||

|| Sloka meanings||

कमललोचना काचित् -
Another lotus eyed woman
वंशम् परिष्वज् -
embracing lute
रहः प्रियतमम् गृह्य -
holding her lover in secret
सकामा कामिनी इव सुप्ता -
slept like a lovelorn woman

|| Sloka summary||

"Another lotus eyed woman slept embracing lute as if she were a lovelorn lady holding her lover in secret." ||10.40||

|| Sloka 10.41||

विपञ्चीं परिगृह्यान्या नियता नृत्तशालिनी।
निद्रावशमनुप्राप्ता सहकांतेव भामिनी॥10.41||

स॥ नृत्तशालिनी अन्या विपंचीं परिगृह्य नियता सहकांता भामिनी इव निद्रावशम् अनुप्राप्ता (भामिनीं ददर्श)||

|| Sloka meanings||

नृत्तशालिनी अन्या -
Another lady expert in dancing
विपंचीं परिगृह्य -
holding a seven stringed lute
निद्रावशम् अनुप्राप्ता -
overtaken by sleep
नियता सहकांता भामिनीइव -
like a lover with her love

|| Sloka summary||

"Another lady expert in dancing, holding a seven stringed lute, was over taken by sleep like a lover with her love." ||10.41||

|| Sloka 10.42||

अन्याकनकसंकाशैः मृदुपीनैः मनोरमैः।
मृदङ्गं परिपीड्याङ्गैः प्रसुप्ता मत्तलोचना॥10.42||

स॥ मत्तलोचना अन्या कनकसंकाशैः मृदुपीनैः मनोहरैः अङ्गैः मृदङ्गं परिपीड्य प्रसुप्ता ||

|| Sloka meanings||

मत्तलोचना अन्या कनकसंकाशैः -
Another woman drunken eyes and golden complexion
मृदुपीनैः मनोहरैः अङ्गैः -
with a soft bosom and delightful limbs
मृदङ्गं परिपीड्य प्रसुप्ता -
slept holding a drum.

|| Sloka summary||

"Another woman of drunken eyes and golden complexion, with and delightful limbs and a soft bosom slept holding a drum." ||10.42||

|| Sloka 10.43||

भुजपार्श्वान्तरस्थेन कक्षगेण कृशोदरी।
पणवेन सहानिन्द्या सुप्ता मदकृतश्रमा॥10.43||

स॥ अनिंद्या कृशोदरी मदकृत श्रमा भुजपार्स्वान्तरस्थेन कक्षगेन पणवेन सह सुप्ता॥

॥ Sloka meanings||

अनिंद्या कृशोदरी -
Another woman of flawless slender stomach
मदकृत श्रमा -
exhausted by acts of love
पणवेन सह भुजपार्स्वान्तरस्थेन कक्षगेन -
with Tabor pressed in her armpits to her bosom
सुप्ता - slept

|| Sloka summary||

"Another woman of flawless slender stomach exhausted by acts of love slept with Tabor pressed in her armpits to her bosom." ||10.43||

|| Sloka 10.44||

डिण्डिमं परिगृह्यान्या तथैवासक्त डिण्डिमा।
प्रसुप्ता तरुणं वत्सं उपगुह्येन भामिनी॥10.44||

स॥ आसक्तडिण्डिमा अन्या डिण्डिमं परिगृह्य तरुणं वत्सं उपगृह्य इव सुप्ता॥

Tilaka Tika says- डिण्डिमं परिगृह्य आलिङ्ग्य।तरुणं रम्यं वत्सं पुत्रं च परिगृह्य प्रसुप्तेव।

॥ Sloka meanings||

आसक्तडिण्डिमा -
one who is interested in Dindima
अन्या डिण्डिमं परिगृह्य -
holding Dindima
तरुणं वत्सं उपगृह्य इव -
like one carrying a young child
प्रसुप्ता - slept

|| Sloka summary||

"One who is interested in Dindima slept holding Dindima
like she was holding a young child." ||10.44||

|| Sloka 10.45||

काचिदाडम्बरं नारी भुजसंयोगपीडितम्।
कृत्वा कमलपत्त्राक्षी प्रसुप्ता मदमोहिता॥10.45||

स॥कमलपत्राक्षी कचित् नारी अडम्बरम् भुजसंयोग पीडितम् कृत्वा मदमोहिता प्रसुप्ता॥

Rama Tika says- काचित् नारी आडम्बरं वाद्य विशेषं भुजसंयोगेन भुज आलिङ्गनेन पीडितं कृत्वा प्रसुप्ता।

|| Sloka meanings||.

कमलपत्राक्षी कचित् नारी -
Another one with eyes like a lotus petal
अडम्बरम् -
musical instrument by name Adambaram
भुजसंयोग पीडितम् कृत्वा-
holding it tight in her arms
मदमोहिता प्रसुप्ता -
slept deluded with passion

|| Sloka summary||

"Another one deluded with passion with eyes like a lotus petal slept holding an instrument called Adambaram."||10.45||

|| Sloka 10.46||

कलशी मपविध्यान्या प्रसुप्ता भाति भामिनी।
वसन्ते पुष्पशबला मालेव परिमार्जिता॥46||

स॥कलशीं अपविध्य प्रसुप्ता अन्या भामिनी वसन्ते परिमार्जिता पुष्पशबला मालेव भाति ||

Ram tika says - प्रसुप्ता कलशीं जलपूर्णघटीं अपविध्य हस्तप्रक्षेपादिना विपर्यास्य परमार्जिता प्रसुप्ता पुष्प शबला शबलित पुष्प अन्या परमार्जिता ग्लानिदूरीकर्णाय कृतमार्जना पुष्प मालेव भाति।

॥ Sloka meanings||

अन्या भामिनी -
another lady
प्रसुप्ता कलशीं अपविध्य -
pushing aside a vessel filled with water in sleep
वसन्ते - in spring
पुष्पशबला मालेव परिमार्जिता -
like a garland of flowers swept away
भाति - appeared

|| Sloka summary||

"Another lady slept pushing aside a vessel filled with water like a garland of variety of flowers set aside." ||10.46||

|| Sloka 10.47||

पाणिभ्यांच कुचौ काचित् सुवर्णकलशोपमौ।
उपगुह्याबलासुप्ता निद्रा बलपराजिता ||10.47||

स॥ काचित् अबला पाणिभ्यां सुवर्णकलशोपमौ कुचौ उपगुह्य निद्राबलपराजिता सुप्ता॥

॥ Sloka meanings||

काचित् अबला -
Another woman
पाणिभ्यां -
with her both hands
सुवर्णकलशोपमौ कुचौ -
her own breasts which are like golden goblets
उपगुह्य - pressing
निद्राबलपराजिता सुप्ता -
slept over powered by sleep

|| Sloka summary||

"Another woman overcome with sleep slept with her hands pressing her own golden goblet like breasts."||10.47||

|| Sloka 10.48||

अन्याकमलपत्राक्षी पूर्णेन्दुसदृशानना।
अन्यामालिङ्ग्य सुश्रोणीं प्रसुप्ता मदविह्वला॥48||

स॥ कमलपत्राक्षी पूर्णेंदुसदृशानना अन्या मदविह्वला सुश्रोणीम् अन्यां आलिंग्य प्रसुप्ता॥

॥ Sloka meanings||

कमलपत्राक्षी -
woman with lotus eyes
पूर्णेंदुसदृशानना -
with face like that of a full moon
मदविह्वला सुश्रोणीम् अन्यां आलिंग्य -
embracing another woman of beautiful hips who was drowsy
प्रसुप्ता -निद्रिंचुचुन्नदि

॥ Sloka summary||

"Another woman with lotus eyes with face like a full moon slept, embracing another woman of beautiful hips who was drowsy having been drunk." ||10.48||

|| Sloka 10.49||

अतोद्यानि विचित्राणि परिष्वज्य वरस्त्रियः।
निपीड्य च कुचैः सुप्ताः कामिन्यः कामुकान् इव॥49||

स॥ वरस्त्रियः विचित्राणि आतोद्यानि परिष्वज्य कामिन्यः कामुकानिव कुचैः निपीड्य सुप्ता॥

॥ Sloka meanings||

वरस्त्रियः विचित्राणि आतोद्यानि परिष्वज्य -
some charming ladies slept embracing wonderful instruments
कामिन्यः कामुकानिव -
like a lover embracing a loved one
कुचैः निपीड्य सुप्ता -
slept pressing them against their bosoms

|| Sloka summary||

"Charming ladies slept embracing wonderful instruments pressing them against their bosoms as though they were embracing their loved ones." ||10.49||

|| Sloka 10.50||

तासाम् एकान्त विन्यस्ते शयानां शयने शुभे।
ददर्श रूपसंपन्नां अपरां स कपिः स्त्रियम्॥50||

स॥ स कपिः तासां एकान्त विन्यस्ते शुभे शयने शयानम् रूपसंपन्नाम् स्त्रियम् ददर्श॥

Tilaka Tika says- अथ प्रथान महिषी दर्शनम् ।

|| Sloka meanings||

तासां एकान्त विन्यस्ते -
वारिलो एकांतमुगा
शुभे शयने शयानम् स्त्रियम् -
शुभमैन शयनमुलो शयनिंचुचुन्न स्त्रीनि
स कपिः ददर्श -
आ वानरुडु चूचॆनु

॥ Sloka summary||

"The Vanara saw a woman endowed with beauty sleeping separately on an excellent bed." ||10.50||

Here we see the description of Mandodari, the chief queen of Ravana.

|| Slokaलु 10.51,52||

मुक्तामणि समायुक्तैः भूषणैः सुविभूषिताम्।
विभूषयन्तीमिव तत् स्वश्रिया भवनोत्तमम्॥10.51||
गौरीं कनकवर्णाभां इष्टां अन्तःपुरेश्वरीम्।
कपिर्मंडोदरीं तत्र शयानां चारुरूपिणीम्॥10.52||

स॥मुक्तामणि समायुक्तैः भूषणैः सुविभूषितां तत् स्वश्रिया तत् भवनोत्तमम् विभूषयंतीं इव गौरीं कनकवर्णाभाम् इष्टां अंतःपुरेश्वरीम् चारुरूपिणीम् तत्र शयानां मंडोदरीं (ददर्श)||

Rama Tika says- तासां समीपे एकान्तविन्यस्ते शयने शयानां रूपसंपन्नाम् तां उत्तमां स्वश्रिया सुशोभया भवनोत्तमं विभूषयन्तीम् गौरीं गौरवर्णाम् इष्टां रावणोत्कटेच्छाविषयीभूताम् अन्तः पुरेश्वरीम् स्त्रियम् ददर्श। सार्थ श्लोकद्वयं एकान्वयी।

Tilaka Tika says - गौरीम् पीताम् अतएव कनकवर्णाभामिष्टाम् रावणस्य अतिप्रियाम्, अंतःपुरेश्वरीम्‌अन्तः पुर स्त्रीणाम् ईश्वरीम्कपिः मण्डोदरीम् ददर्श।

॥ Sloka meanings||

मुक्तामणि समायुक्तैः भूषणैः-
ornaments embedded with pearls and gems
सुविभूषितां -
well decorated
तत् स्वश्रिया तत् भवनोत्तमम् विभूषयंतीं इव -
as if lighting the mansion with her own splendor
गौरीं कनकवर्णाभाम् -
beautiful with golden complexion
इष्टां अंतःपुरेश्वरीम् -
Ravana's favorite and chief queen of harem
तत्र शयानां -
sleeping there
चारुरूपिणीम् मंडोदरीं (ददर्श) -
very beautiful Mandodari (he saw)

|| Sloka summary||

"He saw Mandodari the chief queen of harem very beautiful with golden complexion wearing ornaments embedded with pearls and gems as if lighting the mansion with her own splendor sleeping there." ||10.51,52||

|| Slokas 10.53,54||

सतां दृष्ट्वा महाबाहुः भूषितां मारुतात्मजः।
तर्कयामास सीतेति रूपयौवनसंपदा॥10.53||
हर्षेण महतायुक्तो ननन्द हरियूथपः॥10.54||

स॥ महाबाहुः स मारुतात्मजः भूषितं तां दृष्ट्वा रूपयौव्वनसंपदा सीता इति तर्कयामास। हरियूथपः महता हर्षेण युक्तः ननन्द॥

॥ Sloka meanings||

महाबाहुः स मारुतात्मजः -
the son of wind god with powerful arms
रूपयौव्वनसंपदा भूषितं -
decorated with the wealth of beauty and youth
तां दृष्ट्वा - seeing her
सीता इति तर्कयामास -
thinking (she) is Sita
महता हर्षेण युक्तः -
endowed with great joy
हरियूथपः ननन्द -
that Vanara rejoiced

|| Sloka summary||

"Vanara, the son of wind god, seeing her decorated with the wealth of beauty and riches thought, 'This is Sita'. Then the chief of Vanaras rejoiced with joy." ||10.53,54||

|| Sloka 10.55||

अस्फोटयामास चुचुम्ब पुच्छं
ननन्द चिक्रीड जगौ जगाम।
स्तम्भान् आरोहान् निपपात भूमौ
निदर्शयन् स्वां प्रकृतिं कपीनां॥10.55||

स॥ आस्फोटयामास पुच्छम् चुचुंब ननन्द चिक्रीड जगौ जगाम स्वाम् कपीणां प्रकृतीं निदर्शयन् स्तंभान् आरोहन् निपपात॥

RamaTika says- आस्फोटयामास इति। स्वां स्वकीयां कपीनाम् प्रकृतिं दर्शयन् आस्फोटनादिकम् आनन्द सूचकस्वजाति धर्मम् चकार अत एव स्तंभान् आरोहत् निपपात च।

॥ Sloka meanings||

आस्फोटयामास पुच्छम् चुचुंब ननन्द -
rejoiced clapping his arms and kissing his tail
चिक्रीड जगौ जगाम -
played and sang songs
स्वाम् कपीणां प्रकृतीं निदर्शयन् -
showing his nature as a monkey
स्तंभान् आरोहन् निपपात -
jumped up and down the pillars

|| Sloka summary||

"He rejoiced clapping his palms, kissed his tail , sang songs , went about in joy jumped up and down the pillars. Thus he exhibited his natural exuberance as a Vanara".||10.55||

In the search for Sita Hanuma sees the chief queen Mandodari. In form and youth she was like Sita. Mandodari is also young and beautiful like Sita. That is the reason for Hanuma to get mixed up.

But she is not equal of Sita in her virtues Hanuma for a moment does not realize this. Thinking she is Sita, Hanuma rejoices.

Just as babies would jump at the hint of happiness, thinking Mandodari is Sita, Hanuma too rejoiced jumping up and down. The poet goes out of the way to telling us that in many action words. That jumping up and down is "निदर्शयन् स्वां प्रकृतिं कपीनां" (10.54) . This is demonstration of the nature of Vanaras. That is to highlight the childish nature of the joy. Children's joy is known by their many actions of joy.

That the one seen is not real Sita is indicated to us. Indicated to us by the many childish actions of joy. Poet called it as the nature of Vanara's.

Knowledge acquired through reading gives one an understanding. But seeing and experiencing the same knowledge is entirely another different. The difference in these two is seen in the two scenes. Hanuma seeing Mandodari. And Hanuma discovering Sita.

The difference in the two is the difference in learning by experience and learning by understanding. When he saw Mandodari he jumped with joy. Maybe he sang songs too. When he recognized Sita poet describes him as "भाष्पपर्याकुलेक्षणः" ( 16.2); With tears of happiness filling his eyes, he remained silent. There was no jumping up and down or climbing the trees.

The bee makes buzzing sound, buzzing around. But once it is on to the flower savoring the honey, one only hears the silence.

The one experiencing the Self or the Bhagavan too is similar. Such a one will be absorbed in that experience of "Self". He experiences the Bliss. There are no external demonstrations of that joy.

The climbing and jumping expressions of joy, tell us that that this is not an event like seeing Sita or experiencing "Self"

One more thing.

In the 9th Sarga reading the line " अससादाध लक्ष्मीवान् राक्षसेंद्र निववेशनम्", we postulated that Hanuma entered one more sheath of Pancha Kosa. That is the Manomaya Kosa.

In this Sarga we hear more about that. About Ravana sleeping in the Manomaya Kosa.

"Vasanas" are present consciousness of past perceptions lingering in the mind. These could be in three states.

(1) सुप्त दश Sleeping state
(2) क्षीण दश state of deterioration
(3) उद्बुद्ध दश state of enhanced excitement.

When they are in the sleeping state, सुप्त दश , the power of those Vasanas is not visible. However cruel one may be, one does not deal in cruelty during his sleep. That nature of the mind, which is cruel normally, remains suppressed during sleep. Sometimes even in the in the normal behavior, those cruel Vasanas may look like they are in decadence.
When one is not angry they may actually look like they are free of those Vasanas. But like that small spark of fire which lights up a huge fire, the suppressed Vasanas light up on the first possible opportunity.

So Appalacharyulu garu says the search must happen in those moments of सुप्त दश, the sleeping state. So the search must proceed in those moments, when the Tamasic and Rajasic spirits are literally sleeping.

Similarly in the case of search for Self also,
that search can happen when the Rajo Tamas a Gunas are under control. Every description in this Sarga makes it clear. How difficult indeed it is to overcome the opulence on display. How easily the senses get attracted to the opulence that is visible.

In Hanuma's search, wonderful palaces, groves, women, eatables, drinks etc are seen. Seeing that Hanuma wondered aloud "स्वर्गोयं देवलोकोयम्.." But he continues the search without getting diverted. The poet doubles down on such descriptions in this Sarga. It is as though to highlight the difficulties faced by the one in search.

There is a description of city of Ayodhya in Balakanda. Sundarakanda has the description of the city of Lanka. One would notice the difference in descriptions.

In the description of Ayodhya there is a description of the people ; ' नाकुंडली नामकुटी नास्रग्वी नाल्पभोगवान्'; describing their wealth; 'ननास्तिकः नचानृतकथः नाविद्वान् ना बहुश्रुतः', describing the wealth of their character; It is about the people.

In the description of Lanka, it is about the palaces. The emphasis is on the description of external beauty. External beauty is the one that binds you to the body. That hinders the search for real Self.

Only one who does not stray from his path, the path in search of Self, that one alone can attain the goal of discovering the "Self". That is the secret of Search for Self.

That is the secret the poet is telling, as Hanuma walks through the opulent visuals Sarga 10.

इत्यार्षे श्रीमद्रामायणे आदिकाव्ये वाल्मीकीये
चतुर्विंशत् सहस्रिकायां संहितायाम्
श्रीमत्सुंदरकांडे दशमस्सर्गः॥

Thus ends the tenth Sarga of Sundarakanda in Ramayan , the first ever poem in Sanskrit written by Valmiki||

||om tat sat||

updated 23/10/2022 0555