|| om tat sat||

Sanskrit Text in Telugu , Kannada, Gujarati, Devanagari, English

हरिः ओम्
ओम् श्रीरामाय नमः
श्रीमद्वाल्मीकि रामायणे
सुंदरकांडे
चतुर्थः सर्गः
( श्लोकार्थतात्पर्यतत्त्वदीपिक)

Sundarakanda
Sarga 4
(Slokas with word meanings and summary)

Hanuman having defeated Lankini enters Lanka by placing his left foot first. He jumps over the boundary wall, instead of entering through the main entrance, as per the injunctions of those days. There he sees many Rakshasas guarding Ravana's palace. The palace is surrounded by a moat and has a golden entrance. Then Hanuma enters the Rakshasa king's palace complex.

That is the summary of Sarga 4.

Now we start with meanings for all Slokas, along with snippets from TikaTraya

॥Sloka 4.01॥

स निर्जित्य पुरीं श्रेष्ठां लङ्कां तां कामरूपिणी।
विक्रमेण महातेजा हनुमान् कपिसत्तमः॥1||
अद्वारेण महाबाहुः प्राकारमभिपुप्लुवे |

स॥ कपिसत्तमः महाबाहुः हनुमान् तां लङ्कां कामरूपिणीं विक्रमेण निर्जित्य सः अद्वारेण श्रेष्ठां पुरीं प्राकारं अभिपुप्लुवे ||

||Sloka meanings||

हनुमान् कपिसत्तमः महाबाहुः -
Hanuman, best of Vanaras and one with powerful arms
तां लङ्कां कामरूपिणीं -
that Lankini who can take any form
विक्रमेण निर्जित्य सः -
defeating her with his prowess
श्रेष्ठां पुरीं -
great city of Lanka
अद्वारेण प्राकारं अभिपुप्लुवे -
leapt over the boundary wall

||Sloka summary||

The mighty Hanuman with his prowess having overcome the demoness Lanka who can assume any form leapt over the rear entrance of the great city Lanka.॥4.01॥

Here poet says in one line, अद्वारेण महाबाहुः प्राकारमभिपुप्लुवे; the three words in this sentence namely, अद्वारेण, महाबाहुः, प्राकारं; all the three words have deeper meaning in the lore of spiritual enquiry. We will elaborate the same at the end of the Sarga.

About leaping over the boundary wall and avoiding main entrance, Tilaka Tika says, शत्रोः पुरं ग्रामं वा गृहं ' अद्वारेण प्रविशेत् शतृविनाशाय' इति नीतिस्मृतेः '; this says that while entering an enemy city, village or house, for the destruction of enemies, one shall enter through a place other than 'द्वार', the main entrance.

॥Sloka 4.02॥

प्रविश्य नगरीं लङ्कां कपिराजहितंकरः॥2||
चक्रेऽथ पादं सव्यं च शत्रूणां स तु मूर्थनि।

स॥ कपिराजहितं करः नगरीं लङ्कां प्रविश्य सः शत्रूणां मूर्धनि सव्यं पादं चक्रे तु॥

॥Sloka meanings||

सः कपिराजहितं करः - he, the well-wisher of the king
नगरीं लङ्कां प्रविश्य- entering the city of Lanka
शत्रूणां मूर्धनि - on the enemies head
सव्यं पादं चक्रे तु - place left foot

॥Sloka summary॥

The well-wisher of the king of Vanaras having entered Lanka placed his left foot first in the city as though placing his foot on the head of the enemy foretelling their defeat.||4.02||

The point of putting the left foot forward has other references. Govindaraja in his Ramayana Tilaka presented the following from Niti Sastra, "अद्वारेण प्रविशेत् शतृविनाशाय "- That means while entering the enemies fort or a house or a town, one should not enter through the main entrance. One must use a side entrance. This also fits with the main explanation.

But why put left foot first? Elaborating on this Govindaraja says in his Tilaka putting left foot forward is like placing a foot on the head of the enemies and is a sign of victory according to Raja Sastra. He also quotes Brihaspati as saying:

श्लो॥ प्रयाणकाले च गृहप्रवेशे विवाहकालेपि दक्षिणाघ्रिं।
कृत्वाग्रतः शतृपुर प्रवेशे वामं निदध्याचरणं नृपाल्ये ||

Meaning that at the time of starting a travel, in marriages, and while entering a house one should put right foot first. Putting right foot forward is thus auspicious while starting. But while entering 'शतृपुर प्रवेशे' the enemies city, one must put his left (वामं) foot first.

॥Sloka 4.03,04॥

प्रविष्ठ संपन्नो निशायां मारुतात्मजः॥4.03||
स महापथमास्थाय मुक्तपुष्प विराजितम्।
ततस्तु तां पुरीं लङ्कां रम्यां अभिययौ कपिः॥4.04||

स॥ सत्त्वसंपन्नः सः मारुतात्मजः निशायाम् मुक्तापुष्पविराजितं महापथम् आस्थाय प्रविष्ठः॥ ततः तां रम्यां नगरीं लङ्कां अभिययौ॥

॥Sloka meanings||

सत्त्वसंपन्नः सः मारुतात्मजः
- Son of Vayu, endowed with great strength,
निशायाम्
- in the darkness of the night
मुक्तापुष्पविराजितं महापथम् आस्थाय
- having made the way to the main street set with flowers of pearls
प्रविष्ठः - entered
ततः तां रम्यां नगरीं लङ्कां -
then that enchanting city Lanka
अभिययौ -went about

||Sloka summary||

The son of wind god endowed with great strength having made his way entered the main streets of Lanka set with flowers of pearls. Then he went about that beautiful city in search of Sita.॥4.03,04॥

॥Sloka 4.05॥

हसितोत्कृष्णनिनदै स्तूर्यघोषपुरस्सरैः।
वज्रांकुशनिकाशैश्च वज्रजालविभूषितैः॥4.05||
गृहमेघैः पुरी रम्या बभासे द्यौ रिवांबुधैः।

स॥ हसितोत्कृष्ट निनदैः तूर्यघोषपुरः सरैः वज्रांकुशनिकाशैश्च वज्रजाल विभूषितैः मेघाइव गृहैः रम्या पुरी अम्बुदैः द्यौः इव बभासे॥

॥Sloka meanings||

हसितोत्कृष्ट निनदैः - filled with sounds of laughter
तूर्यघोषपुरः सरैः - reverberating with sounds of musical instruments
वज्रांकुशनिकाशैश्च - images adorned with diamonds
वज्रजालविभूषितैः adorned with diamond lattices
मेघाइव गृहैः रम्या पुरी - houses like clouds in the beautiful city
अम्बुदैः द्यौः इव बभासे -shone like clouds in the sky

||Sloka summary||

Filled with sounds of laughter, reverberating with sounds of musical instruments, with houses as though they were in clouds and decorated with windows adorned with diamonds, as well as images adorned with diamonds, the city resembled the celestial sky shining with clouds.||4.05||

These are intricate descriptions and the TiKa Traya elaborations area good reference. Here Rama Tilaka Tika says, '.. हसितानामट्टहासानां उत्कृष्ट निनदैः महास्वनैः;वज्रनिर्मितैः जालैः गवाक्षैः पक्षि प्रवेशनिवारक आवरणविशेषैः वा विभूषितैः शोभितैः गृहमेघैः मेघाकार गृहैश्चरम्या पुरी अंबरैः अम्बरवर्तिगृहाकारमेघैः द्यौः इव बभासे॥

॥Sloka 4.06,7॥

प्रजज्वाल तदा लङ्का रक्षोगणगृहै श्शुभैः॥6||
सिताभ्रसदृशैश्चित्रैः पद्मस्वस्तिकसंस्थितैः।
वर्थमान गृहैश्चापि सर्वत स्सुविभूषिता॥7||

स॥ ततः सिताभ्रसदृशैः शुभैः चित्रैः पद्मस्वस्थिक संस्थितैः राक्षस गण गृहैः वर्धमान गृहैश्चापि सर्वतः लङ्का सुविभूषिता॥

॥Sloka meanings||

ततः शुभैः सिताभ्रसदृशैः -
then auspicious. and resembling white clouds
चित्रैः पद्मस्वस्थिक संस्थितैः -
with paintings, and engraved with lotus and Swastika marks
राक्षस गण गृहैः -
the houses of the Rakshasas
वर्धमान गृहैश्चापि -
with houses which are meant to prosper
सर्वत स्सुविभूषिता -
glittering all over

||Sloka summary||

The well decorated houses of the Rakshasas all over the city of Lanka were resembling the white clouds, with auspicious marks of swastika as well as paintings. The houses are meant to prosper and were glittering all over.॥4.06,7॥

Tilaka Tika elaborates , वर्धमान गृहैश्चापि - वर्धमानगृहैः वर्धमाननामसंस्थानवत् गृहैः -'चतुः शालं चतुर्द्वारं सर्वतो भद्र संज्ञितम्। दक्षिण द्वार रहितं वर्धमानं धनप्रदम् ।प्राग्द्वाररहितं स्वस्तिकाख्यं पुत्रधनप्रदम् ।इत्युक्तेः॥ this is essentially to tell us that some of those descriptions indicative of prosperous houses.

॥Sloka 4.08॥

तां चित्रमाल्याभरणां कपिराजहितंकरः।
राघवार्थं चरन् श्रीमान् ददर्शच ननंद च ||8||

स॥ कपिराजहितं करः श्रीमान् चित्रमाल्याभरणाम् तां (पुरीम्) राघवार्थम् चरन् ददर्शच ननंद च॥

॥Sloka meanings||

कपिराजहितं करः श्रीमान् - well-wisher of king of Vanaras
चित्रमाल्याभरणाम् तां - city decorated with colorful garlands
राघवार्थं चरन्- going about for the purposes of Rama
ददर्शच ननंद च - saw and was delighted too.

||Sloka summary||

For achieving Raghav's purpose, the well-wisher of the chief of Vanaras going about that city of colorful garlands saw that city and felt happy ||4.08||

॥Sloka 4.09॥

भवनाद्भवनं गच्छन् ददर्श पवनात्मजः।
विविधाकृतिरूपाणि भवनानि ततस्ततः॥9||

स॥ भवनात् भवनं गच्छन् पवनात्मजः ततः ततः विविधाकृति रूपाणि भवनानि ददर्श॥

॥Sloka meanings||

भवनात् भवनं गच्छन् -
going from house to house
पवनात्मजः - son of Vayu
विविधाकृति रूपाणि भवनानि ददर्श -
saw mansions of different shapes and sizes.

||Sloka summary||

Going from one building to another, the son of wind god saw mansions of different shapes and sizes.||4.09||

॥Sloka 4.10॥

शुश्राव मथुरं गीतं त्रिस्थानस्वरभूषितम् |
स्त्रीणां मदसमृद्धानां दिविचाप्सरसामिव ||10||

स॥ (सः) दिवि अप्सरसामिव मदसमृद्धानाम् स्त्रीणाम् त्रिस्थान स्वरभूषितां मधुरं गीतम् शुश्राव॥

॥Sloka meanings||

दिवि अप्सरसामिव -like the Apsarasas in the heaven
मदसमृद्धानाम् स्त्रीणाम्- intoxicated women
त्रिस्थान स्वरभूषितां - with tunes set to three pitches
मधुरं गीतम् शुश्राव -heard melodious songs

||Sloka summary||

He heard melodious songs of intoxicated women with tunes set to three pitches (namely medium high and low) singing like the Apsarasas in the heaven.||4.10||

The three pitches are - उरः कंठ शिरोरूपस्थान त्रय जनित मन्दमध्यमतारास्वन विशेषैः - generated in three places namely, उरः कठः शिरः, stomach , throat and head and three pitches are listed as Manda, Madhyama Tara

॥Sloka 4.11॥

शुश्राव काञ्चीनिनदं नूपुराणां च निस्स्वनम्।
सोपाननिनदांश्चैव भवनेषु महात्मनाम् ||11||
अस्फोटितनिनादांश्च क्ष्वेळितांश्च ततस्ततः।

स॥ (सः) महात्मनाम् भवनेषु कांचीनिनदम् नूपुराणां निस्स्वनम् सोपाननिनदांश्चैव अस्फोटितनिनादांश्च ततः ततः क्ष्वेळितांश्च शुश्राव॥

॥Sloka meanings||

महात्मनाम् भवनेषु -from the palaces of great people
कांचीनिनदम् -sounds of bells worn on the waist
नूपुराणां निस्स्वनम् - sounds of the anklets
सोपाननिनदांश्चैव - sounds of feet on the steps
अस्फोटितनिनादांश्च - sounds of clapping
ततः ततः क्ष्वेळितांश्च शुश्राव -
sounds of jokes here and there were heard.

||Sloka summary||

He heard from the palaces of great people the sounds of bells worn on the waists, sounds of anklets (worn on the ankles), sounds of climbing steps and sounds of clapping and joking here and there. ||4.11||

॥Sloka 4.12, 13॥

शुश्राव जपतां तत्र मंत्रान् रक्षोगृहेषुवै॥12||
स्वाध्यायनिरतांश्चैव यातुधानान् ददर्श सः।
रावण स्तवसंयुक्तान् गर्जतो राक्षसानपि॥13||

स॥ (सः) तत्र रक्षोगृहेषु जपतां मंत्रान् शुश्राव ||स्वाध्यायनिरतां यातुधानान् च रावणस्तव संयुक्तान् गर्जतः राक्षसान् अपि ददर्श ||

||Sloka meanings||

तत्र रक्षोगृहेषु -
from the houses of Rakshasa
जपतां मंत्रान् शुश्राव -
heard chanting of sacred hymns
स्वाध्यायनिरतां यातुधानान् च -
those engaged in the recital of Vedas
रावणस्तव संयुक्तान् राक्षसान् गर्जतः -
Rakshasas loudly engaged in eulogy of Ravana
अपि ददर्श - saw the

||Sloka summary||

He heard the sacred chanting from the houses of Rakshasas. He saw Rakshasas engaged in the study of Vedas, as well as those engaged in the loud eulogy of Ravana.||4.12,13||

॥Sloka 4.14॥

राजमार्गं समावृत्य स्थितं रक्षो बलं महत्।
ददर्श मध्यमे गुल्मे रावणस्य चरान्बहून्॥14||

स॥ (सः) मध्यमे गुल्मे राजमार्गं समावृत्य स्थितं महत् रक्षोबलं रावणस्य बहून् चरान् ददर्श॥

॥Sloka meanings||

मध्यमे गुल्मे - in the center of the city
राजमार्गं समावृत्य स्थितं - gathered on the main street
महत् रक्षोबलं - great army of Rakshasas
रावणस्य बहून् चरान् ददर्श - Ravana's spies too, he saw

||Sloka summary||

He saw army of Rakshasas and Ravana's spies gathered on the main streets in the center of the city.||4.14||

॥Sloka 4.15॥

दीक्षितान् जटिलान् मुण्डान् गोऽजिनांबरवाससः।
दर्भमुष्टिप्रहरणान् अग्निकुण्डायुधान् स्तथा॥15||

स॥ (सः) दीक्षितान् जटिलान् मुण्डान् गोजीनाम्बरवाससः दर्भमुष्टिप्रहारणान् तथा अग्निकुण्डायुधान् तथा ( ददर्श)||

||Sloka meanings||

दीक्षितान् जटिलान् मुण्डान् -
priests, ascetics with matted hair, those with shaven heads
गोजीनाम्बरवाससः - those robed in cowhides
दर्भमुष्टिप्रहारणान् तथा - those holding Dharbha grass
अग्निकुण्डायुधान् तथा - those carrying tools for fire sacrifices

||Sloka summary||

He saw priests, ascetics with matted hair, those with shaven head, , those robed in cowhides, those holding Dharbha grass , and those carrying tools for fire sacrifices ||4.15||

॥Sloka 4.16॥

कूटमुद्गरपाणींश्च दण्डायुधधरानपि।
एकाक्षान् एककर्णांश्च लंबोदरपयोधरान्॥16||

स॥ (सः) कूटमुद्गरपाणीं च दंडायुधधरान् (राक्षसान्) अपि , एकाक्षान् एक कर्णां च लंबोधरान् पयोधरान् (ददर्श)||

||Sloka meanings||

कूटमुद्गरपाणीं च -
those holding iron mallets and hammers
दंडायुधधरान् अपि -
those holding staffs and arms
एकाक्षान् एक कर्णां च -
those with only one eye , with only one ear
लंबोधरान् पयोधरान् च -
those with huge stomachs, those with heavy breasts.

||Sloka summary||

He saw those holding iron mallets and hammers, those holding staffs and arms. those with only one eye , those with only one ear, those with huge stomachs, those with heavy breasts.||4.16||

॥Sloka 4.17॥

कराळान् भुग्नवक्त्रांच विकटान् वामनांस्तथा।
धन्विनः खड्गिनश्चैव शतघ्नी मुसलायुधान्॥17||

स॥ (सः) कराळान् भुघ्नवक्त्रां च विकटान् तथा वामनान् च धन्विनः खड्गिनः च शतघ्नी मुसलायुधान् च (ददर्श)

||Sloka meanings||

कराळान् भुघ्नवक्त्रां च - those with frightful faces
विकटान् तथा वामनान् च - those with distorted forms and dwarfs
धन्विनः खड्गिनः च - those holding bows and swords
शतघ्नी मुसलायुधान् च - those holding pestles and clubs

||Sloka summary||

Those (Rakshasas) with frightful faces , dwarfs as also those with distorted forms. He saw those armed with swords, bows as well as iron clubs or pestles.

॥Sloka 4.18॥

परिघोत्तमहस्तांश्च विचित्र कवचोज्ज्वलान्।
नातिस्थूलान् नातिकृशान् नातिदीर्घातिह्रस्वकान्॥18||

स॥ (सः) परिघोत्तमहस्तां च विचित्रकवचोज्ज्वलान् न अतिस्थूलान् न अतिकृशान् न अतिदीर्घा न अतिह्रस्वकान् (ददर्श)||

||Sloka meanings||

||Sloka summary||

He saw Rakshasas with hands which are like iron bolts holding wonderful shields, not too fat , not too thin, not too tall or short.||4.18||

॥Sloka 4.19॥

श्लो॥ नातिगौरान् नातिकृष्णान् नातिकुब्जान्न वामनान्।
विरूपान् बहुरूपांश्च सुरूपांश्च सुवर्चसः॥19||
ध्वजीन् पताकिनश्चैव ददर्श विविधायुधान्

स॥ (सः) न अतिगौरान् न अति कृष्णान् न अतिकुब्जान् न वामनान् बहुरूपां च सुरूपां च सुवर्चसः ध्वजीन् पताकिनश्च विविधायुधान् ददर्श॥

॥Sloka meanings||

न अतिगौरान् न अति कृष्णान् - not very fair, nor very dark
न अतिकुब्जान् न वामनान् - not hunch backed nor too short
बहुरूपां च सुरूपां च - good looking ones with many forms
सुवर्चसः ध्वजीन् पताकिनश्च - those with handsome looks, holding flagstaffs with flags
विविधायुधान् ददर्श - holding different weapons

||Sloka summary||

He saw Rakshasas who are not very fair, nor very dark; neither hunchbacked nor too short; good looking ones with many forms; those with handsome looks, those who are holding flagstaffs with flags, holding flagstaffs with flags and variety of arms. ||4.19||

॥Sloka 4.20, 21॥

शक्तिवृक्षायुधांश्चैव पट्टिसाशनिधारिणः॥20||
क्षेपणीपाशहस्तांश्च ददर्श स महाकपिः।
स्रग्विणस्त्वनुलिप्तांश्च वराभरण भूषितान्॥21||

स॥ सः महाकपिः शक्तिवृक्षायुधाश्चैव पट्टिसाशनिधारिणः क्षेपणी पाशहस्तांच स्रग्विणस्त्वनुलिप्तांच वराभरण भूषितान् ददर्श॥

॥Sloka meanings||

सः महाकपिः -
that great Vanara
शक्तिवृक्षायुधाश्चैव -
those who were holding powerful trees as weapons
पट्टिसाशनिधारिणः -
those who were holding spears and arrows,
क्षेपणी पाशहस्तांच -
those who were holding slings from which missiles are thrown
स्रग्विणस्त्वनुलिप्तांच - those wearing garlands, smeared with unguents,
वराभरण भूषितान् (ददर्श)- those adorned with excellent ornaments (he saw).

||Sloka summary||

That great Vanara saw Rakshasas, who were holding powerful trees as weapons, who were holding spears and arrows, who were holding slings from which missiles are thrown. He saw Rakshasas wearing garlands, smeared with unguents, adorned with excellent ornaments.||4.20,21||

॥Sloka 4.22॥

नानावेष समायुक्तान् यथा स्वैरगतान् बहून् |
तीक्ष्णशूलधरांश्चैव वज्रिणस्य महाबलान्॥22||

स॥ (सः) नानावेषसमायुक्तान् स्वैरगतान् यथा बहून् तीक्ष्णशूलधरां च वज्रिणस्य महाबलान् (ददर्श)||

||Sloka meanings||

नानावेषसमायुक्तान् -
dressed variety of colorful dresses
स्वैरगतान् यथा -
those who move about freely
बहून् तीक्ष्णशूलधरां च -
many who are holding sharp tridents
वज्रिणस्य महाबलान् -
those who are holding thunderbolts and strong ones too

||Sloka summary||

He saw many Rakshasas who are dressed in variety of colorful dresses , who were moving about freely who were holding sharp tridents and armed those with thunderbolt like weapons. He also saw very strong Rakshasas.||4.22||

॥Sloka 4.23॥

शतसाहस्र मव्यग्र मारक्षं मध्यमं कपिः।
रक्षोधिपतिनिर्धिष्ठं ददर्शांतःपुराग्रतः ||23||

स॥ कपिः अन्तःपुर अग्रतः रक्षोधिपतिनिर्दिष्टं शतसाहस्रं अव्यग्रं मध्यमं आरक्षं ददर्श॥

॥Sloka meanings||

अन्तःपुर अग्रतः - in front of the harem
रक्षोधिपतिनिर्दिष्टं - ordered by the king of Rakshasas
शतसाहस्रं अव्यग्रं- hundred thousand vigilant
मध्यमं आरक्षं ददर्श - soldiers of the middle rank
कपिः ददर्श - the Vanara saw

||Sloka summary||

The Vanara saw hundred thousand vigilant army soldiers of middle rank stationed in front of the harem as ordered by the king of Rakshasas.||4.23||

Tilaka Tika says , - अधिपतिना रावणेन निर्दिष्टम् आज्ञापितम् अव्यग्रं व्यग्रतारहितम् ాरक्षं समंताद्रक्षकम् मध्यमं मध्यकक्षावर्ती सतसाहस्रं लक्ष संख्याकम् अंतः पुराग्रतः अंतः पुराग्रे प्राप्तः कपिः ददर्श; In line with our translation.

॥Sloka 4.24, 25॥

स तदा तद्गृहं दृष्ट्वा महाहाटकतोरणम्।
राक्षसेंद्रस्य विख्यातमद्रि मूर्ध्नि प्रतिष्टितम्॥24||
पुंडरीकावतंसाभिः परिघाभिरलंकृतम्।
प्राकारावृत मत्यंतं ददर्श स महाकपिः॥25||

स॥ सः महाकपिः महाहाटकतोरणं अद्रिमूर्ध्नि प्रतिष्टितं विख्यातं पुण्डरीकावतंसाभिः परिखाभिः अलंकृताम् अत्यन्तं प्राकारावृतां दृष्ट्वा तदा राक्षसेंद्रस्य तत् गृहम् ददर्श॥

॥Sloka meanings||

दृष्ट्वा - observing
महाहाटकतोरणं - huge archway made of gold
अद्रिमूर्ध्नि प्रतिष्टितं - situated on the top of the mountain
पुण्डरीकावतंसाभिः अलंकृताम् - decorated with white lotus flowers
परिखाभिः - moats
अत्यन्तं प्राकारावृतं - surrounding all over,
तदा सः महाकपिः - then that great Vanara
राक्षसेंद्रस्य तत् गृहम् ददर्श - saw the palace of the king of Rakshasas

||Sloka summary||

Observing the huge archway made of gold situated on the top of the mountain, surrounding moats decorated with white lotus flowers all over, then the great Vanara saw the palace of the king of Rakshasas.||4.24,24||

॥Sloka 4.26॥

त्रिविष्ठपनिभं दिव्यं दिव्यनाद विनादितम्।
वाजिघोषितसंघुष्टं नादितंभूषणैस्तथा॥26||

स॥ महाकपिः दिव्यं त्रिविष्टपनिभं, दिव्यनाद विनादितम्, वाजिहेष्टितसंघुष्टम् तथा भूषणैः नादितं

॥Sloka meanings||

दिव्यं त्रिविष्टपनिभं - wonderful resembling the heaven
दिव्यनाद विनादितम् - echoing with wonderful sounds
वाजिहेष्टितसंघुष्टम् - filled with sounds of neighing horses
तथा भूषणैः नादितं - and vibrant sounds of jingling ornaments,

||Sloka summary||

It was wonderful resembling the heaven, echoing with wonderful sounds. It was filled with sounds of neighing horses, and sounds of jingling ornaments. ||4.26||

॥Sloka 4.27॥

रथैर्यानैर्विमानैश्च तथा हयगजै श्शुभैः।
वारणैश्च चतुर्दंतै श्श्वेताभ्रनिचयोपमैः ||27||

स॥ रथैः यानैः विमानैश्च शुभैः हयगजैः श्वेताभ्रनिचयोपमैः चतुर्थन्तैः वारणैश्च (भूषितं)॥

॥Sloka meanings||

रथैः यानैः विमानैश्च - with chariots, carriages, and flying chariots
तथा शुभैः हयगजैः - filled with auspicious horses and elephants
चतुर्थन्तैः वारणैश्च - filled with four tusked elephants
श्वेताभ्रनिचयोपमैः - appearing like a heap of while clouds

||Sloka summary||

With chariots, carriages, flying chariots, filled with auspicious elephants and horses, filled with four tusked elephants appearing like heap of white clouds. ||4.27||

॥Sloka 4.28॥

भूषितं रुचिर द्वारं मत्तैश्च मृगपक्षिभिः।
रक्षितं सुमहावीर्यै र्यातुधानै स्सहस्रशः॥
राक्षसाधिपतेर्गुप्त माविवेश महाकपिः॥28||

स॥ भूषितं मत्तैः मृगपक्षिभिः रुचिरद्वारम् सुमहावीर्यैः सहस्रशः यातुधानैः रक्षितं राक्षसाधिपतेः गुप्तं महाकपिः आविवेश॥

॥Sloka meanings||

भूषितं मत्तैः मृगपक्षिभिः
- decorated with ornamented beats and birds
रुचिरद्वारम् - beautiful entrance
सुमहावीर्यैः सहस्रशः यातुधानैः रक्षितं -
guarded by thousands of Rakshasas of great valor.
महाकपिः आविवेश - great Vanara entered
राक्षसाधिपतेः गुप्तं -
the palace of the king of Rakshasas secretly

||Sloka summary||

Then he secretly entered the palace of the Rakshasa king which has a beautiful entrance decorated with ornamented beasts and birds, which was guarded by thousands of Rakshasas of great valor. ||4.28||

॥Sloka 4.29॥

सहेमजांबूनदचक्रवाळम्
महार्हमुक्तामणिभूषितांतम्।
परार्थ्यकालागरुचंदनाक्तम्
स रावणांतःपुरम् आविवेश॥29||

स॥सः सहेम जाम्बूनद चक्रवाळम् महार्हमणिभूषितांतम् परार्थ्यकालागरुचन्दनाक्तम् रावणांतः पुरं आविवेश॥

॥Sloka meanings||

सहेम जाम्बूनद चक्रवाळम् -
walls of polished gold
महार्हमणिभूषितांतम् -
decorated with precious strings of pearls
परार्थ्यकालागरुचन्दनाक्तम् -
sprinkled with best fragrance of sandal
रावणांतः पुरं आविवेश -
entered the inner palace of the Rakshasa king

||Sloka summary||

Then he entered the inner palace of the Rakshasa king with walls of polished gold decorated with strings of pearls and sprinkled with best fragrance of sandal. ||4.29||

This Sloka completes the fourth Sarga.

In the very beginning of the Sarga, Valmiki describes Hanuman's entrance in the following words

" अद्वारेण महाबाहुः प्राकारम्भिपुप्लुवॆ"; That means, Hanuman avoiding the main entrance jumped over the boundary wall. In this line all the three words 'अद्वारेण', 'महाबाहुः', and 'प्राकारम् are important.

Here अद्वारेण tells us that Hanuman followed the Royal dictum( Raja Sastra). It is said that when one is entering enemies fort , one does not enter through the main entrance. So he enters at a place which is not an entrance- अद्वारेण; This is a common notion and a common explanation.

Here Appalacharyulu garu says, the poet Valmiki is alluding to the path followed by a Gnyani. Gnyani is one who has realized the "Self". Having realized "Self" he has no need for action. He could be a candidate for perfect "non action", He could be indulging himself in the happy realization of "Self". But having realized "Self", the Gnyani continues to perform action. That is not for himself, but for the welfare of the society. Such Gnyani are born not to enjoy the fruits-based action cycle, but to perform tasks ordained by the "Supreme being".

The same point is made by Krishna in Gita (Gita 3-20).
कर्मणैव हि संसिद्धिमास्थिता जनकादयः।
लोकसंग्रहमेवापि संपश्यन् कर्तुमर्हसि ||Gi 3-20|
Janaka and others having realized "Self" continue action for the sake of others. They continue to perform as if it is at the direction of Bhagavan.

Hanuman defeated Lankini. She allowed him to go on in search of Sita. He could have entered through the main entrance as it were. But Hanuman chose not to do that. He jumped over the boundary wall and entered the city.

Lanka is the body complex. Those who enter through the main entrance of the body complex are the ones, who are born to go through the life cycle of bondage. There are those who do not have the need for going through the cycle of bondage. They need not go through the entrance of the body complex. Gnyani need not go through the main entrance of the body complex. To emphasize that thought, Valmiki said Hanuman a Gnyani entered अद्वारेण.
That is not through the main entrance.

So one may again wonder why the Gnyani need to go through the cycle of life at all. As noted earlier, they too may enter life cycle to perform the actions as needed or as ordained.

Hanuma is a Gnyani. Hanuma, being a Gnyani, did not enter through the entrance.
That is the point of अद्वारेण.

'अद्वारेण ', has yet another entirely different thought.

Here 'अ' means Bhagavan ; द्वारेण - through the door; Bhagavan entered through the door. Or Hanuma, moving on the purpose of Bhagavan, entered through the main entrance. Hanuman came with the express duty of performing a task for Bhagavan. That is, he came in search of Sita. So this is perfect elaboration too.

There is yet another thought about "अद्वारेण"

People who are focused on a task, are not interested in the glare associated with grand entrances. They would, being focused on the task, adapt a path away from the glare. In अद्वारेण Hanuman being focused on the task of searching for Sita, wanting to avoid the glare of the main entrance, entered by jumping over the boundary wall. This is also an appropriate elaboration too.

Then let us understand the second word महाबाहुः

Hanuman is often described poetically as having long powerful arms. That is also in line with the perception of Hanuma as a powerful one. One who can fly across the oceans, carry mountains. The traditional understanding of महाबाहुः, is thus long and powerful arms. The arms are for performing actions. In the spiritual enquiry, the requirement of arms for performing action is not being long and powerful. The important requirement is that the task so performed shall not create a bondage. Mahabaho is one whose arms perform actions that do not result in a "Bondage". That means Mahabaho is one who having forsaken the fruits of action, performs the actions which do not result in bondage. Hanuman is performing action for, 'रामार्थम् च् वानरार्थम् च' 'For Rama and for Vanaras'; A selfless act. Hence he is well described as Mahabaho, performing actions that do not create bondage.

The third word is about the boundary wall, प्राकार.

Hanuman jumped over the boundary wall. It is boundary wall made of gold. For the body complex, the enticing worldly affairs are our golden ramparts. The one who is able to jump over them, is the one who will succeed in the search of "Self". That one who is able to jump over the golden ramparts of worldly enticements is Gnyani.
Hanuman is that Gnyani.

Thus the three words अद्वारेण, महाबाहु, प्राकार point to the characteristics of a Gnyani.
That these three are the characteristics of Hanuman is known.

One can be a Mahabaho, by forsaking fruit-related actions. One can succeed in the search for Self-realization,
by jumping over the Golden ramparts of worldly enticements. One can be focused in his search for "Self," by avoiding the glare of the main entrance.

That is the elaboration of Appalacharyulu garu.

Thus Hanuman enters the palace of the king, having entered the Lanka jumping over the boundary wall , avoiding the main entrance and placing his left foot first, with all signs portending success.

With that the Sarga four of Sundarakanda is completed.

इत्यार्षे श्रीमद्रामायणे आदिकाव्ये वाल्मीकीये
चतुर्विंशत् सहस्रिकायां संहितायाम्
श्रीमत्सुंदरकांडे चतुर्थस्सर्गः॥

Thus the fourth Sarga of Sundarakanda comes to an end.

||ओम् तत् सत्॥

 

 

||om tat sat||