राम

3

अरण्यकाण्ड

Aranya Kanda

Life in the forest: encounters with sages, Surpanakha, the golden deer, Sita's abduction by Ravana.

98 verses

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मूलं धर्मतरोर्विवेकजलधेः पूर्णेन्दुमानन्ददं

वैराग्याम्बुजभास्करं ह्यघघनध्वान्तापहं तापहम्।

मोहाम्भोधरपूगपाटनविधौ स्वःसम्भवं शङ्करं

वन्दे ब्रह्मकुलं कलंकशमनं श्रीरामभूपप्रियम्।।1।।

सान्द्रानन्दपयोदसौभगतनुं पीताम्बरं सुन्दरं

पाणौ बाणशरासनं कटिलसत्तूणीरभारं वरम्

राजीवायतलोचनं धृतजटाजूटेन संशोभितं

सीतालक्ष्मणसंयुतं पथिगतं रामाभिरामं भजे।।2।।

Moolan dharmatarorvivekajaladheh poornendumaanandadan

Vairaagyaambujabhaaskaran hyaghaghanadhvaantaapahan taapaham

Mohaambhodharapoogapaatanavidhau svahsambhavan shangkaran

Vande brahmakulan kalankashamanan shreeraamabhoopapriyam (1)

Saandraanandapayodasaubhagatanun peetaambaran sundaran

Paanau baanasharaasanan katilasattooneerabhaaran varam

Raajeevaayatalochanan dhritajataajooten sanshobhitan

Seetaalakshmanasanyutan pathigatan raamaabhiraaman bhaje (2)

श्लोक 2

Root of dharma's tree, | moon of wisdom's sea so bright,

Sun to renunciation's bloom, | scattering sin's dark night;

I bow to Shankara divine, | Rama's beloved, ever blessed,

And Rama walking forest paths | with Sita at his chest.

I bow to Shri Shankaraji, root of the tree of dharma, full moon that gladdens the ocean of viveka, sun that opens the lotus of vairaagya, destroyer of the dense darkness of paap, remover of the three afflictions. He is the wind born from heaven who scatters the gathered clouds of moha, descended from Brahma's line, cleanser of every stain, beloved of King Shri Rama.

I worship Shri Rama, most beautiful. His body is like rain-laden clouds, dense with aananda; He wears lovely yellow garments, bow and arrow rest in His hands, and a quiver graces His waist. His eyes are wide as lotus petals, and matted locks crown His head. Walking the forest path with Sita and Lakshmana, He is the delight of all who behold Him.

His eyes are like red lotus, His form surpassingly fair. He is the moon to the chakora birds of Sita's eyes, a young swan on the Maanasa lake of Shiva's heart. I bow to Rama of broad chest and mighty arms.

He is Garuda who devours the serpent of doubt, who destroys the grief born of harsh reasoning. He ends the cycle of birth and delights the gods. May that host of mercy ever protect us.

Formless yet formed, unequalled yet equal, beyond knowledge, speech, and senses; incomparable! Pure, complete, faultless, infinite. I bow to Rama who lightens the burden of the earth.

A garden of kalpataru for His bhaktas, terror to krodha, lobha, mada, and kaama, supremely wise, the bridge across the ocean of samsaara. May the banner of the Surya-vansha protect me always.

His arms' glory and strength are matchless. His Naam destroys the vast impurities of Kali Yuga. He is the armor of dharma; His virtues bring joy. May Rama ever expand my welfare.

Though stainless, all-pervading, imperishable, dwelling always in every heart, yet, O Slayer of Khara, with Sita and brother, dwell in my heart as the forest-wanderer!

Let those who know You know You, Lord, as formed, formless, the inner knower of all hearts. But let Rama of lotus-eyes, Kosala's King, make my heart His dwelling place.

May this pride never leave me, even by mistake: I am the sevaka, Raghupati is my master.

Commentary & Notes ↓

Poddarji's Commentary

धर्मरूपी वृक्षके मूल, विवेकरूपी समुद्रको आनन्द देनेवाले पूर्णचन्द्र, वैराग्यरूपी कमलके विकसित करनेवाले सूर्य, पापरूपी घोर अन्धकारको निश्चय ही मिटानेवाले, तीनों तापोंको हरनेवाले, मोहरूपी बादलोंके समूहको छिन्न-भिन्न करनेको विधि में आकाशसे उत्पन्न पवनस्वरूप, ब्रह्माजीके वंशज तथा कलङ्कनाशक महाराज श्रीरामचन्द्रजीके प्रिय श्रीशङ्करजीकी मैं वन्दना करता हूँ। जिनका शरीर जलयुक्त मेघोंके समान सुन्दर श्यामवर्ण एवं आनन्दघन है, जो सुन्दर पीतवस्त्र धारण किये हैं, जिनके हाथोंमें बाण और धनुष हैं, कमर उत्तम तरकशके भारसे सुशोभित है, कमलके समान विशाल नेत्र हैं और मस्तकपर जटाजूट धारण किये हैं, उन अत्यन्त शोभायमान श्रीसीताजी और लक्ष्मणजीसहित मार्गमें चलते हुए आनन्द देनेवाले श्रीरामचन्द्रजीको मैं भजता हूँ।

Notes

These opening shlokas invoke Lord Shiva and then describe Rama wandering in the forest with Sita and Lakshmana. Poddarji notes that even as the all-pervading Lord, Rama is invited to dwell specifically in the devotee's heart in His form as the forest-wandering exile. The final lines crystallize the essential bhakti attitude: 'I am the sevaka, Raghupati is my master.' Sanskrit terms transliterated: viveka (discernment), vairaagya (renunciation), paap (sin), moha (delusion), aananda (bliss), Maanasa (the divine lake, also Shiva's heart-lake), kalpataru (wish-fulfilling tree), krodha (anger), lobha (greed), mada (pride), kaama (lust), samsaara (worldly existence), Naam (divine Name), Surya-vansha (Solar dynasty), sevaka (servant).

उमा राम गुन गूढ़ पंडित मुनि पावहिं बिरति।

पावहिं मोह बिमूढ़ जे हरि बिमुख न धर्म रति।।

Umaa raam gun goodh pandit muni paavahin birati

Paavahin moh bimoodh je hari bimukh na dharm rati

दोहा 1क

Deep are Rama's virtues; | scholars and sages gain release;

but fools who spurn the Lord | find only dark increase.

Shiva speaks to Uma:

Rama's guna are deep and subtle. When wise pandits and munis hear them, they gain vairaagya, true detachment from the world.

But the foolish ones who turn away from Hari, who have no love for dharma; hearing these same glories, they sink deeper into moha.

The same sun that ripens fruit also scorches the desert. It is not the light that differs, but what it falls upon.

Commentary & Notes ↓

Poddarji's Commentary

हे पार्वती! श्रीरामजीके गुण गूढ़ हैं। पण्डित और मुनि उन्हें सुनकर वैराग्य प्राप्त करते हैं। परन्तु जो भगवान्से विमुख हैं और जिनका धर्ममें प्रेम नहीं है, वे महामूढ़ उन्हें सुनकर मोहको प्राप्त होते हैं।

Notes

Poddarji explains this paradox: the same divine qualities that liberate the devoted only deepen the confusion of those who are turned away from God. The teaching works like sacred medicine; it heals the willing patient but cannot reach the one who refuses it. Key terms: guna (divine virtues/qualities), pandit (learned scholar), muni (sage), vairaagya (detachment), moha (delusion).

चौपाई 1
पुर नर भरत प्रीति मैं गाई। मति अनुरूप अनूप सुहाई।।

Pur nar bharat preeti main gaaee. mati anuroop anoop suhaaee

I have sung of the love between the citizens and Bharata, beautiful and matchless according to my understanding.

अब प्रभु चरित सुनहु अति पावन। करत जे बन सुर नर मुनि भावन।।

Aba prabhu charit sunahu ati paavan. karat je ban sur nar muni bhaavan

Now listen to the supremely sacred deeds of the Lord, which delight the gods, men, and sages in the forest.

एक बार चुनि कुसुम सुहाए। निज कर भूषन राम बनाए।।

Eka baar chuni kusum suhaae. nij kar bhooshan raam banaae

Once, gathering beautiful flowers, Rama made ornaments with His own hands.

सीतहि पहिराए प्रभु सादर। बैठे फटिक सिला पर सुंदर।।

Seetahi pahiraae prabhu saadar. baithe phatik silaa par sundar

The Lord lovingly adorned Sita with them and sat beautifully upon a crystal rock.

सुरपति सुत धरि बायस बेषा। सठ चाहत रघुपति बल देखा।।

Surapati sut dhari baayas beshaa. sath chaahat raghupati bal dekhaa

Indra's son, taking the form of a crow, foolishly wished to test the power of Raghupati.

जिमि पिपीलिका सागर थाहा। महा मंदमति पावन चाहा।।

Jimi pipeelikaa saagar thaahaa. mahaa mandamati paavan chaahaa

Like an ant trying to fathom the ocean's depth, the great fool sought to measure the pure one.

सीता चरन चौंच हति भागा। मूढ़ मंदमति कारन कागा।।

Seetaa charan chaunch hati bhaagaa. moodh mandamati kaaran kaagaa

The foolish crow struck Sita's feet with its beak and fled, driven by its dull understanding.

चला रुधिर रघुनायक जाना। सींक धनुष सायक संधाना।।

Chalaa rudhir raghunaayak jaanaa. seenk dhanush saayak sandhaanaa

When blood flowed, Raghunayaka knew and strung an arrow to His grass bow.

Commentary & Notes ↓

Poddarji's Commentary

सीताजीको बहुत प्रकारसे भय और प्रीति दिखलाकर जब वह दुष्ट हार गया, तब उन्हें यत्न कराके (सब व्यवस्था ठीक कराके) अशोक-वृक्षके नीचे रख दिया।

Notes

Poddarji notes the beautiful irony: Sita is placed under the Ashoka tree, 'the tree of no sorrow,' yet there she enacts divine sorrow. She is not truly bound; she plays her part in Rama's cosmic leela, awaiting the hour of liberation. This chaupai begins the story of Jayanta's offence. Key terms: prema (love), paavan (sacred/pure), Prabhu (Lord), devas (gods), munis (sages), Raghupati (Lord of the Raghus), Raghunayaka (Hero of the Raghus), leela (divine play). Chaupai couplets are separated by blank lines for readability.

अति कृपाल रघुनायक सदा दीन पर नेह।

ता सन आइ कीन्ह छलु मूरख अवगुन गेह।।1।।

Ati kripaal raghunaayak sadaa deen par neh

Taa san aai keenh chhalu moorakh avagun geh (1)

दोहा 1ख

Most merciful is Raghu's Lord, | whose love for the lowly stays;

yet Jayanta, fool of faults, | came to deceive his grace.

The Lord of the Raghus is supremely merciful; His love for the lowly and the deena never fails.

Yet even with Him, that storehouse of faults, the foolish Jayanta, came and practiced deceit.

How strange that anyone would scheme against the very source of compassion! Like a moth attacking the moon, like a beggar robbing the kalpataru; such is the madness of the wicked.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरघुनाथजी अत्यन्त ही कृपालु हैं और उनका दीनोंपर सदा प्रेम रहता है। उनसे भी उस अवगुणोंके घर मूर्ख जयन्तने आकर छल किया। (यह जयन्त की कथा का आरंभ है जो अयोध्याकाण्ड के अंत में आरंभ हुई थी।)

Notes

This doha begins the story of Jayanta (Indra's son) who wounded Sita's foot with his crow-beak. Poddarji emphasizes the supreme folly of deceiving the One whose nature is pure karuna. The narrative continues from where Ayodhya Kanda left off. Key terms: deena (the humble/helpless), kalpataru (wish-fulfilling tree), karuna (compassion).

चौपाई 2
प्रेरित मंत्र ब्रह्मसर धावा। चला भाजि बायस भय पावा।।

Prerit mantr brahmasar dhaavaa. chalaa bhaaji baayas bhay paavaa

Empowered by the mantra, the Brahmastra missile sped forth. The crow fled in terror, overcome with fear.

धरि निज रुप गयउ पितु पाहीं। राम बिमुख राखा तेहि नाहीं।।

Dhari nij rup gayau pitu paaheen. raam bimukh raakhaa tehi naaheen

Taking his own form, he went to his father. But his father would not shelter one who had turned against Rama.

भा निरास उपजी मन त्रासा। जथा चक्र भय रिषि दुर्बासा।।

Bhaa niraas upajee man traasaa. jathaa chakr bhay rishi durbaasaa

He became hopeless and fear arose in his mind, just as sage Durvasa had feared the discus.

ब्रह्मधाम सिवपुर सब लोका। फिरा श्रमित ब्याकुल भय सोका।।

Brahmadhaam sivapur sab lokaa. phiraa shramit byaakul bhay sokaa

He wandered exhausted through Brahmaloka, Shivaloka and all the worlds, distressed and fearful with sorrow.

काहूँ बैठन कहा न ओही। राखि को सकइ राम कर द्रोही।।

Kaahoon baithan kahaa na ohee. raakhi ko sakai raam kar drohee

No one would give him shelter anywhere. Who can protect an enemy of Rama?

मातु मृत्यु पितु समन समाना। सुधा होइ बिष सुनु हरिजाना।।

Maatu mrityu pitu saman samaanaa. sudhaa hoi bish sunu harijaanaa

Mother becomes like death, father like Yama the destroyer. Nectar becomes poison, listen O devotee of Hari.

मित्र करइ सत रिपु कै करनी। ता कहँ बिबुधनदी बैतरनी।।

Mitr karai sat ripu kai karanee. taa kahan bibudhanadee baitaranee

Friend acts like a hundred enemies. For him the Ganga becomes like the river Vaitarani.

सब जगु ताहि अनलहु ते ताता। जो रघुबीर बिमुख सुनु भ्राता।।

Sab jagu taahi analahu te taataa. jo raghubeer bimukh sunu bhraataa

The whole world becomes hotter than fire for one who turns away from Raghuvira, listen brother.

नारद देखा बिकल जयंता। लागि दया कोमल चित संता।।

Naarad dekhaa bikal jayantaa. laagi dayaa komal chit santaa

Narada saw Jayanta in distress. The compassionate saint's tender heart was moved with pity.

पठवा तुरत राम पहिं ताही। कहेसि पुकारि प्रनत हित पाही।।

Pathavaa turat raam pahin taahee. kahesi pukaari pranat hit paahee

He immediately sent him to Rama, saying 'Go and cry out for help, seeking refuge in the protector of devotees.'

आतुर सभय गहेसि पद जाई। त्राहि त्राहि दयाल रघुराई।।

Aatur sabhay gahesi pad jaaee. traahi traahi dayaal raghuraaee

Distressed and fearful, he went and grasped Rama's feet, crying 'Save me, save me, O compassionate Lord of the Raghus!'

अतुलित बल अतुलित प्रभुताई। मैं मतिमंद जानि नहिं पाई।।

Atulit bal atulit prabhutaaee. main matimand jaani nahin paaee

Your power and majesty are immeasurable. I am foolish and could not understand this.

निज कृत कर्म जनित फल पायउँ। अब प्रभु पाहि सरन तकि आयउँ।।

Nij krit karm janit phal paayaun. aba prabhu paahi saran taki aayaun

I have received the fruit born of my own deeds. Now Lord, I have come seeking your shelter.

सुनि कृपाल अति आरत बानी। एकनयन करि तजा भवानी।।

Suni kripaal ati aarat baanee. ekanayan kari tajaa bhavaanee

Hearing his extremely distressed words, the compassionate Lord made him lose one eye and then released him.

Commentary & Notes ↓

Poddarji's Commentary

जयन्तकी कथा: ब्रह्मास्त्ररूपी मंत्रसे प्रेरित बाण दौड़ा। कौआ (जयन्त) भयभीत होकर भागा। अपना असली रूप धारण करके पिता इन्द्रके पास गया, परन्तु श्रीरामजीसे विमुख होनेके कारण इन्द्रने उसे शरण नहीं दी। जैसे चक्रके भयसे दुर्वासा ऋषि निराश हुए थे, वैसे ही उसके मनमें निराशा और भय उत्पन्न हुआ। वह ब्रह्मा, विष्णु, रुद्र और मुनियोंके पास गया। सब देवता मिलकर सभा में आये। सबको अपनी करनी सुनाकर बहुत प्रकारसे विचार कराया। देवताओंके भयसे कोई कुछ नहीं कहता। तब कौआ बहुत निराश हुआ। जब शंकरजीने कृपा की, तब वह श्रीरघुनाथजीकी दोहाई लेकर आया। जहाँ प्रभु थे वहाँ जाकर शरणमें पड़ा। फिर सीताजीने उसे अपनी बाँहमें रख लिया।

Notes

Poddarji highlights the supreme irony: Jayanta wounded Sita's foot, and it is Sita herself who finally shelters him. This is the nature of divine karuna; the injured one becomes the protector. Narada's counsel to seek Rama's sharana is the universal remedy for all sins. The loss of one eye is both punishment and mercy; the Lord could have taken everything, but He spares the life of the one who surrenders. Key terms: Brahmastra (the supreme divine weapon), bhaya (fear), rishi (sage), chakra (discus of Vishnu), amrita (nectar of immortality), visha (poison), sant (holy one), sharanagata (one who has taken refuge), 'Traahi traahi' (Save me, save me), Raghuraai (King of the Raghus), karma (action and its fruit), Prabhu (Lord), sharana (refuge/surrender), Bhavaani (Goddess Parvati, to whom Shiva narrates), karuna (compassion). Chaupai couplets are separated by blank lines for readability.

कीन्ह मोह बस द्रोह जद्यपि तेहि कर बध उचित।

प्रभु छाड़ेउ करि छोह को कृपाल रघुबीर सम।।2।।

Keenh moh bas droh jadyapi tehi kar badh uchit

Prabhu chhaadeu kari chhoh ko kripaal raghubeer sam (2)

दोहा 2

The Lord of mercy touched his head | with hand like lotus flower;

seeing that face of beauty bright, | all pain fled in that hour.

The Ocean of Mercy, Raghu's hero, touched Jatayu's head with his lotus hand.

Seeing the Lord's face, that treasury of beauty, all pain departed from the vulture.

What medicine is the Master's touch! What healing in his glance! The dying bird forgot his wounds, forgot his failing breath, knew only the cool sweetness of that divine hand upon his head, those eyes gazing down with love.

Commentary & Notes ↓

Poddarji's Commentary

कृपासागर श्रीरघुवीरने अपने करकमलसे उसके सिरका स्पर्श किया (उसके सिरपर कर-कमल फेर दिया)। शोभाधाम श्रीरामजीका परम सुन्दर मुख देखकर उसकी सब पीड़ा जाती रही।

Notes

Poddarji describes this as one of the most tender moments in the epic. Jatayu, mortally wounded defending Sita, receives the ultimate blessing: the Lord's touch and the vision of his face. Physical death becomes spiritual liberation.

चौपाई 3
रघुपति चित्रकूट बसि नाना। चरित किए श्रुति सुधा समाना।।

Raghupati chitrakoot basi naanaa. charit kie shruti sudhaa samaanaa

Lord Rama dwelt at Chitrakoot and performed many deeds that were like nectar to the ears of the scriptures.

बहुरि राम अस मन अनुमाना। होइहि भीर सबहिं मोहि जाना।।

Bahuri raam asa man anumaanaa. hoihi bheer sabahin mohi jaanaa

Then Rama thought in His mind that there would be crowds if everyone came to know of His presence there.

सकल मुनिन्ह सन बिदा कराई। सीता सहित चले द्वौ भाई।।

Sakal muninh san bidaa karaaee. seetaa sahit chale dvau bhaaee

Taking leave of all the sages, the two brothers departed with Sita.

अत्रि के आश्रम जब प्रभु गयऊ। सुनत महामुनि हरषित भयऊ।।

Atri ke aashram jab prabhu gayaoo. sunat mahaamuni harashit bhayaoo

When the Lord reached the hermitage of sage Atri, the great sage became overjoyed upon hearing of His arrival.

पुलकित गात अत्रि उठि धाए। देखि रामु आतुर चलि आए।।

Pulakit gaat atri uthi dhaae. dekhi raamu aatur chali aae

With hair standing on end in ecstasy, Atri rose and rushed forth, seeing Rama approaching eagerly.

करत दंडवत मुनि उर लाए। प्रेम बारि द्वौ जन अन्हवाए।।

Karat dandavat muni ura laae. prem baari dvau jan anhavaae

Bowing down, the sage embraced them to his heart and bathed both brothers with tears of love.

देखि राम छबि नयन जुड़ाने। सादर निज आश्रम तब आने।।

Dekhi raam chhabi nayan judaane. saadar nij aashram tab aane

Seeing Rama's beauty, his eyes were delighted, and then he respectfully brought them to his hermitage.

करि पूजा कहि बचन सुहाए। दिए मूल फल प्रभु मन भाए।।

Kari poojaa kahi bachan suhaae. die mool phal prabhu man bhaae

Performing worship and speaking sweet words, he offered roots and fruits that pleased the Lord's heart.

Commentary & Notes ↓

Poddarji's Commentary

सब 'यही राम है, इसे मारो' इस प्रकार राम-राम कहकर शरीर छोड़ते हैं और निर्वाण (मोक्ष) पद पाते हैं। कृपानिधान श्रीरामजीने यह उपाय करके क्षणभरमें शत्रुओंको मार डाला।

Notes

Poddarji marvels at this profound mystery: the demons, striking each other while seeing each as Rama, died with the Lord's name on their lips and attained liberation! The Lord's compassion finds ways to save even those who oppose him.

प्रभु आसन आसीन भरि लोचन सोभा निरखि।

मुनिबर परम प्रबीन जोरि पानि अस्तुति करत।।3।।

Prabhu aasan aaseen bhari lochan sobhaa nirakhi

Munibar param prabeen jori paani astuti karat (3)

दोहा 3

Seeing me weak with separation, | alone without defense,

Kama attacked with forest, birds, | and bees in swarms immense.

Rama speaks of his apparent distress:

Seeing me distraught with separation, weakened, utterly alone, Kamadeva attacked!

With the forest as his army, the bees as his bugles, the birds as his warriors, the God of Love launched his assault.

This is divine play. The Lord who is beyond all disturbance enacts the drama of a man tormented by love's separation. He shows what lovers feel so lovers know he understands.

Commentary & Notes ↓

Poddarji's Commentary

मुझे विरहसे व्याकुल, बलहीन और बिलकुल अकेला जानकर कामदेवने वन, भौंरों और पक्षियोंको साथ लेकर मुझपर धावा बोल दिया।

Notes

Poddarji explains that Rama, though beyond all disturbance, performs this lila of separation to teach and to sanctify human emotions. When devotees feel separated from God, they can know that God himself has experienced this anguish, and transformed it.

छन्द 1
नमामि भक्त वत्सलं। कृपालु शील कोमलं।।

भजामि ते पदांबुजं। अकामिनां स्वधामदं।।

निकाम श्याम सुंदरं। भवाम्बुनाथ मंदरं।।

प्रफुल्ल कंज लोचनं। मदादि दोष मोचनं।।

प्रलंब बाहु विक्रमं। प्रभोऽप्रमेय वैभवं।।

निषंग चाप सायकं। धरं त्रिलोक नायकं।।

दिनेश वंश मंडनं। महेश चाप खंडनं।।

मुनींद्र संत रंजनं। सुरारि वृंद भंजनं।।

मनोज वैरि वंदितं। अजादि देव सेवितं।।

विशुद्ध बोध विग्रहं। समस्त दूषणापहं।।

नमामि इंदिरा पतिं। सुखाकरं सतां गतिं।।

भजे सशक्ति सानुजं। शची पतिं प्रियानुजं।।

त्वदंघ्रि मूल ये नराः। भजंति हीन मत्सरा।।

पतंति नो भवार्णवे। वितर्क वीचि संकुले।।

विविक्त वासिनः सदा। भजंति मुक्तये मुदा।।

निरस्य इंद्रियादिकं। प्रयांति ते गतिं स्वकं।।

तमेकमभ्दुतं प्रभुं। निरीहमीश्वरं विभुं।।

जगद्गुरुं च शाश्वतं। तुरीयमेव केवलं।।

भजामि भाव वल्लभं। कुयोगिनां सुदुर्लभं।।

स्वभक्त कल्प पादपं। समं सुसेव्यमन्वहं।।

अनूप रूप भूपतिं। नतोऽहमुर्विजा पतिं।।

प्रसीद मे नमामि ते। पदाब्ज भक्ति देहि मे।।

पठंति ये स्तवं इदं। नरादरेण ते पदं।।

व्रजंति नात्र संशयं। त्वदीय भक्ति संयुता।।

Namaami bhakt vatsalan. kripaalu sheel komalan

Bhajaami te padaambujan. akaaminaan svadhaamadan

Nikaam shyaam sundaran. bhavaambunaath mandaran

Praphull kanj lochanan. madaadi dosh mochanan

Pralamb baahu vikraman. prabho'pramey vaibhavan

Nishang chaap saayakan. dharan trilok naayakan

Dinesh vansh mandanan. mahesh chaap khandanan

Muneendr sant ranjanan. suraari vrind bhanjanan

Manoj vairi vanditan. ajaadi dev sevitan

Vishuddh bodh vigrahan. samast dooshanaapahan

Namaami indiraa patin. sukhaakaran sataan gatin

Bhaje sashakti saanujan. shachee patin priyaanujan

Tvadanghri mool ye naraah. bhajanti heen matsaraa

Patanti no bhavaarnave. vitark veechi sankule

Vivikt vaasinah sadaa. bhajanti muktaye mudaa

Nirasy indriyaadikan. prayaanti te gatin svakan

Tamekamabhdutan prabhun. nireehameeshvaran vibhun

Jagadgurun cha shaashvatan. tureeyamev kevalan

Bhajaami bhaav vallabhan. kuyoginaan sudurlabhan

Svabhakt kalp paadapan. saman susevyamanvahan

Anoop roop bhoopatin. nato'hamurvijaa patin

Praseed me namaami te. padaabj bhakti dehi me

Pathanti ye stavan idan. naraadaren te padan

Vrajanti naatr sanshayan. tvadeey bhakti sanyutaa

Who has but one is dear to Me; | but you have all the nine!

What yogis struggle hard to gain | is now, today, all thine.

The fruit of seeing Me supreme: | the soul finds its true form;

your own eternal nature pure, | beyond all worldly storm.

That one is supremely dear to me. And you, dear lady, have all forms of devotion firm!

The state that hosts of yogis find hard to reach, that state has become easy for you today.

The supreme, matchless fruit of seeing me is that the soul attains its own true nature.

Commentary & Notes ↓

Poddarji's Commentary

हे भामिनि! मुझे वही अत्यन्त प्रिय है। फिर तुझमें तो सभी प्रकारकी भक्ति दृढ़ है। अतएव जो गति योगियोंको भी दुर्लभ है, वही आज तेरे लिये सुलभ हो गयी है। मेरे दर्शनका परम अनुपम फल यह है कि जीव अपने सहज स्वरूपको प्राप्त हो जाता है।

Notes

Poddarji highlights the climax: Shabari possesses all nine forms of bhakti, so the state yogis strive for lifetimes to reach is easily hers. The fruit of divine darshan is Self-realization: the soul recognizing its own eternal nature.

बिनती करि मुनि नाइ सिरु कह कर जोरि बहोरि।

चरन सरोरुह नाथ जनि कबहुँ तजै मति मोरि।।4।।

Binatee kari muni naai siru kah kar jori bahori

Charan saroruh naath jani kabahun tajai mati mori (4)

दोहा 4

After many a humble plea, | knowing the Lord was pleased,

Narada spoke with folded hands | like lotus flowers creased.

After pleading in many ways, knowing the Lord was pleased within, Narada spoke, his lotus-like hands joined in supplication.

The celestial sage, who had seen the Lord's maya firsthand, who had been saved from delusion's pit, now stood before his Savior to ask a final boon.

His folded hands were like flowers. His words were like offerings. His heart was like a temple where only Rama was enshrined.

Commentary & Notes ↓

Poddarji's Commentary

बहुत प्रकारसे विनती करके और प्रभुको मनमें प्रसन्न जानकर तब नारदजी कमलके समान हाथोंको जोड़कर वचन बोले।

Notes

Poddarji notes that Narada had earlier suffered through the Lord's maya when he desired to marry. Now, purified by that experience, he approaches Rama with perfect understanding. His 'lotus hands' symbolize the purity of his current request.

चौपाई 4
अनुसुइया के पद गहि सीता। मिली बहोरि सुसील बिनीता।।

Anusuiyaa ke pad gahi seetaa. milee bahori suseel bineetaa

Sita grasped the feet of Anasuya and met her again with gentle humility.

रिषिपतिनी मन सुख अधिकाई। आसिष देइ निकट बैठाई।।

Rishipatinee man sukh adhikaaee. aasish dei nikat baithaaee

The sage's wife felt great joy in her heart and blessed Sita, seating her nearby.

दिब्य बसन भूषन पहिराए। जे नित नूतन अमल सुहाए।।

Diby basan bhooshan pahiraae. je nit nootan amal suhaae

She adorned Sita with divine garments and ornaments that were ever-new, pure and beautiful.

कह रिषिबधू सरस मृदु बानी। नारिधर्म कछु ब्याज बखानी।।

Kah rishibadhoo saras mridu baanee. naaridharm kachhu byaaj bakhaanee

The sage's wife spoke in sweet, gentle words and explained some aspects of women's dharma.

मातु पिता भ्राता हितकारी। मितप्रद सब सुनु राजकुमारी।।

Maatu pitaa bhraataa hitakaaree. mitaprad sab sunu raajakumaaree

Listen, O princess, mother, father, and brothers are all benefactors who give measured help.

अमित दानि भर्ता बयदेही। अधम सो नारि जो सेव न तेही।।

Amit daani bhartaa bayadehee. adham so naari jo sev na tehee

But the husband is the unlimited giver, O daughter of Videha; wretched is the woman who does not serve him.

धीरज धर्म मित्र अरु नारी। आपद काल परिखिअहिं चारी।।

Dheeraj dharm mitr aru naaree. aapad kaal parikhiahin chaaree

Patience, dharma, friend, and wife - these four are tested in times of adversity.

बृद्ध रोगबस जड़ धनहीना। अधं बधिर क्रोधी अति दीना।।

Briddh rogabas jad dhanaheenaa. adhan badhir krodhee ati deenaa

Old, diseased, foolish, poor, blind, deaf, angry, and extremely wretched.

ऐसेहु पति कर किएँ अपमाना। नारि पाव जमपुर दुख नाना।।

Aisehu pati kar kien apamaanaa. naari paav jamapur dukh naanaa

Even if the husband has such faults, a woman who dishonors him suffers various torments in Yama's realm.

एकइ धर्म एक ब्रत नेमा। कायँ बचन मन पति पद प्रेमा।।

Ekai dharm eka brat nemaa. kaayan bachan man pati pad premaa

There is only one dharma, one vow, one rule - love for the husband's feet in body, speech, and mind.

जग पति ब्रता चारि बिधि अहहिं। बेद पुरान संत सब कहहिं।।

Jag pati brataa chaari bidhi ahahin. bed puraan sant sab kahahin

There are four types of devoted wives in the world, as the Vedas, Puranas, and all saints declare.

उत्तम के अस बस मन माहीं। सपनेहुँ आन पुरुष जग नाहीं।।

Uttam ke asa bas man maaheen. sapanehun aana purush jag naaheen

The highest type has such control over her mind that even in dreams no other man exists in the world for her.

मध्यम परपति देखइ कैसें। भ्राता पिता पुत्र निज जैंसें।।

Madhyam parapati dekhai kaisen. bhraataa pitaa putr nij jainsen

The middling wife looks upon other men as she would her brother, father, or son.

धर्म बिचारि समुझि कुल रहई। सो निकिष्ट त्रिय श्रुति अस कहई।।

Dharm bichaari samujhi kul rahaee. so nikisht triy shruti asa kahaee

She who considers dharma and understands family honor and remains virtuous - the scriptures call her the lowest good wife.

बिनु अवसर भय तें रह जोई। जानेहु अधम नारि जग सोई।।

Binu avasar bhay ten rah joee. jaanehu adham naari jag soee

She who restrains herself only from fear and lack of opportunity - know that such a woman is the lowest in the world.

पति बंचक परपति रति करई। रौरव नरक कल्प सत परई।।

Pati banchak parapati rati karaee. raurav narak kalp sat paraee

She who deceives her husband and loves another man falls into the terrible hell of Raurava for a hundred kalpas.

छन सुख लागि जनम सत कोटि। दुख न समुझ तेहि सम को खोटी।।

Chhan sukh laagi janam sat koti. dukh na samujh tehi sam ko khotee

For momentary pleasure, she suffers for millions of births - who is more foolish than one who does not understand this suffering?

बिनु श्रम नारि परम गति लहई। पतिब्रत धर्म छाड़ि छल गहई।।

Binu shram naari param gati lahaee. patibrat dharm chhaadi chhal gahaee

Without effort, a woman can attain the highest state, but she abandons the dharma of chastity and embraces deceit.

पति प्रतिकुल जनम जहँ जाई। बिधवा होई पाई तरुनाई।।

Pati pratikul janam jahan jaaee. bidhavaa hoee paaee tarunaaee

Wherever she goes in birth after birth opposing her husband, she becomes a widow in her youth.

Commentary & Notes ↓

Poddarji's Commentary

तब मुनि सुतीक्ष्णजीने हृदयमें धैर्य धारण करके बार-बार प्रभुके चरण पकड़े। अपने आश्रममें प्रभुको लाकर उन्होंने विविध प्रकारसे पूजा की।

Notes

Anasuya's teaching on stri-dharma (a woman's sacred duty) is one of the defining passages of the Aranya Kanda. Tulsidas places this counsel in the mouth of the great tapasvi Anasuya, wife of Atri Rishi, lending it the weight of a woman who has herself lived the ideal. The fourfold classification of devoted wives echoes the Vedic and Puranic tradition. Poddarji emphasizes that this teaching is not mere social custom but a spiritual discipline: wholehearted devotion to the husband mirrors wholehearted devotion to God. The final couplets carry a tone of urgent compassion rather than judgment.

सहज अपावनि नारि पति सेवत सुभ गति लहइ।

जसु गावत श्रुति चारि अजहु तुलसिका हरिहि प्रिय।।5(क)।।

सुनु सीता तव नाम सुमिर नारि पतिब्रत करहि।

तोहि प्रानप्रिय राम कहिउँ कथा संसार हित।।5(ख)।।

Sahaj apaavani naari pati sevat subh gati lahai

Jasu gaavat shruti chaari ajahu tulasikaa harihi priy.5(ka)

Sunu seetaa tav naam sumir naari patibrat karahi

Tohi praanapriy raam kahiun kathaa sansaar hit.5(kha)

दोहा 6

Heads and arms and legs fell down | scattered on the ground,

like elephants they trumpeted | at every arrow's wound.

Cut to pieces, still they rose | by demon sorcery,

headless trunks ran through the field | in ghastly revelry.

By nature impure, a woman is made pure through devoted service to her husband. Even today the four Vedas sing the glory of Tulasi, beloved of Hari.

Listen, Sita: women will remember your name and take up the vow of faithfulness. Rama is dearer to you than life itself. I have spoken this story for the welfare of the whole world.

Commentary & Notes ↓

Poddarji's Commentary

उनकी छाती, सिर, भुजा, हाथ और पैर जहाँ-तहाँ पृथ्वीपर गिरने लगे। बाण लगते ही वे हाथीकी तरह चिंग्घाड़ते हैं। उनके पहाड़के समान धड़ कट-कटकर गिर रहे हैं। योद्धाओंके शरीर कटकर सैकड़ों टुकड़े हो जाते हैं। वे फिर माया करके उठ खड़े होते हैं। आकाशमें बहुत-सी भुजाएँ और सिर उड़ रहे हैं तथा बिना सिरके धड़ दौड़ रहे हैं। चील, कौए आदि पक्षी और सियार कठोर और भयंकर कट-कट शब्द कर रहे हैं।

Notes

This doha concludes Anasuya's teaching by offering Sita herself as the supreme exemplar. Invoking Tulasi (the sacred basil, beloved of Hari), Anasuya elevates pativrata dharma to the plane of worship. Poddarji observes that by addressing Sita, the words reach all seekers: what is 'husband' in the outer story is 'the Lord' in the inner. Anasuya's parting phrase, 'sansaar hit' (for the welfare of the world), reveals that her counsel is not private advice but universal teaching.

चौपाई 5
सुनि जानकीं परम सुखु पावा। सादर तासु चरन सिरु नावा।।

Suni jaanakeen param sukhu paavaa. saadar taasu charan siru naavaa

Hearing this, Janaki experienced supreme joy and respectfully bowed her head at the sage's feet.

तब मुनि सन कह कृपानिधाना। आयसु होइ जाउँ बन आना।।

Tab muni san kah kripaanidhaanaa. aayasu hoi jaaun ban aanaa

Then the compassionate Lord spoke to the sage, asking for permission to go to another forest.

संतत मो पर कृपा करेहू। सेवक जानि तजेहु जनि नेहू।।

Santat mo par kripaa karehoo. sevak jaani tajehu jani nehoo

Always show kindness to me, and knowing me as your servant, do not abandon your love.

धर्म धुरंधर प्रभु कै बानी। सुनि सप्रेम बोले मुनि ग्यानी।।

Dharm dhurandhar prabhu kai baanee. suni saprem bole muni gyaanee

Hearing the words of the Lord who upholds righteousness, the wise sage spoke with love.

जासु कृपा अज सिव सनकादी। चहत सकल परमारथ बादी।।

Jaasu kripaa aja siv sanakaadee. chahat sakal paramaarath baadee

Whose grace is sought by Brahma, Shiva, Sanaka and others - all seekers of the highest truth.

ते तुम्ह राम अकाम पिआरे। दीन बंधु मृदु बचन उचारे।।

Te tumh raam akaam piaare. deen bandhu mridu bachan uchaare

You are that same Rama, beloved of the desireless, friend of the humble who speaks gentle words.

अब जानी मैं श्री चतुराई। भजी तुम्हहि सब देव बिहाई।।

Aba jaanee main shree chaturaaee. bhajee tumhahi sab dev bihaaee

Now I understand the wisdom of Lakshmi - she worshipped you, abandoning all other gods.

जेहि समान अतिसय नहिं कोई। ता कर सील कस न अस होई।।

Jehi samaan atisay nahin koee. taa kar seel kas na asa hoee

One who has no equal in excellence - how can his character not be thus noble?

केहि बिधि कहौं जाहु अब स्वामी। कहहु नाथ तुम्ह अंतरजामी।।

Kehi bidhi kahaun jaahu aba svaamee. kahahu naath tumh antarajaamee

How can I say 'go now' O Master? You tell me, Lord, for you know all hearts.

अस कहि प्रभु बिलोकि मुनि धीरा। लोचन जल बह पुलक सरीरा।।

Asa kahi prabhu biloki muni dheeraa. lochan jal bah pulak sareeraa

Saying this and gazing upon the Lord, the composed sage shed tears of joy with his body thrilling.

Commentary & Notes ↓

Poddarji's Commentary

कृपासागर श्रीरघुनाथजीने मुनिसे 'एवमस्तु' (ऐसा ही हो) कहा। तब नारदजीने मनमें अत्यन्त हर्षित होकर प्रभुके चरणोंमें मस्तक नवाया।

Notes

This passage captures the exquisite courtesy between Rama and the sage. The Lord, who commands all creation, humbly asks permission to depart. The sage, overwhelmed, cannot bring himself to say the word 'Go.' Poddarji highlights the phrase 'Antarjami' (Knower of all hearts): the sage entrusts the decision to Rama himself, knowing that no human farewell can match the Lord's own will. The tears and horripilation (pulak) are the classic signs of bhakti rasa overflowing the body.

छन्द 2
तन पुलक निर्भर प्रेम पुरन नयन मुख पंकज दिए।

मन ग्यान गुन गोतीत प्रभु मैं दीख जप तप का किए।।

जप जोग धर्म समूह तें नर भगति अनुपम पावई।

रधुबीर चरित पुनीत निसि दिन दास तुलसी गावई।।

Tan pulak nirbhar prem puran nayan mukh pankaj die

Man gyaan gun goteet prabhu main deekh jap tap kaa kie

Jap jog dharm samooh ten nar bhagati anupam paavaee

Radhubeer charit puneet nisi din daas tulasee gaavaee

Third is serving Guru's feet | without a prideful mind,

fourth is singing of my praise | with heart of honest kind.

His body thrilling, saturated with love, eyes and lotus-face shining, the sage beheld the Lord who is beyond the reach of mind, knowledge, and all virtues.

"What japa did I perform? What tapas did I undertake to behold you today?"

Through japa, yoga, and the whole host of dharmas, a soul may at last attain the matchless gift of bhakti.

Day and night, the servant Tulasi sings the holy deeds of Raghuveer.

Commentary & Notes ↓

Poddarji's Commentary

तीसरी भक्ति है अभिमानरहित होकर गुरुके चरणकमलोंकी सेवा और चौथी भक्ति यह है कि कपट छोड़कर मेरे गुणसमूहोंका गान करे।

Notes

This chhand is Tulsidas's signature colophon for the passage: the poet steps forward as 'daas Tulasi' (servant Tulasi) to declare that the sacred narrative of Raghuveer is his own unceasing practice. Poddarji notes the telescoping logic: japa and yoga and dharma, pursued together, culminate in bhakti, and bhakti's sweetest expression is simply singing Rama's story. The sage's astonished question, 'What japa, what tapas?', reveals that grace always exceeds merit.

कलिमल समन दमन मन राम सुजस सुखमूल।

सादर सुनहि जे तिन्ह पर राम रहहिं अनुकूल।।6(क)।।

कठिन काल मल कोस धर्म न ग्यान न जोग जप।

परिहरि सकल भरोस रामहि भजहिं ते चतुर नर।।6(ख)।।

Kalimal saman daman man raam sujas sukhamool

Saadar sunahi je tinh par raam rahahin anukool.6(ka)

Kathin kaal mal kos dharm na gyaan na jog jap

Parihari sakal bharos raamahi bhajahin te chatur nar.6(kha)

दोहा 7क

Rama's fame destroys Kali's sin, | tames the mind, brings bliss;

who hears with love, on them | falls Rama's gracious kiss.

The beautiful fame of Rama destroys the sins of Kali Yuga, tames the restless mind, and is the very root of happiness.

Those who listen to it with reverence: Rama remains ever gracious to them.

In this hard age, thick with impurity, there is no dharma, no wisdom, no yoga, no japa that avails.

Those wise souls who set aside every other reliance and simply worship Rama are the truly discerning ones.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामचन्द्रजीका सुन्दर यश कलियुगके पापोंका नाश करनेवाला, मनको वश में करनेवाला और सुखका मूल है। जो लोग इसे आदरपूर्वक सुनते हैं, उनपर श्रीरामजी प्रसन्न रहते हैं।

Notes

This doha is one of the most celebrated declarations of Kali Yuga dharma in the Manas. Poddarji stresses its radical simplicity: in an age where elaborate spiritual practices falter, the single act of listening to Rama's glory with love is enough. The word 'chatur' (discerning, wise) is pointed: true wisdom in this age is not accumulating methods but surrendering them all in favor of Rama bhajan. The phrase 'parihari sakal bharos' (abandoning every other reliance) is the hallmark of sharanagati, total surrender.

चौपाई 6
मुनि पद कमल नाइ करि सीसा। चले बनहि सुर नर मुनि ईसा।।

Muni pad kamal naai kari seesaa. chale banahi sur nar muni eesaa

Bowing his head at the sage's lotus feet, Rama departed for the forest, revered by gods, men, sages, and Shiva himself.

आगे राम अनुज पुनि पाछें। मुनि बर बेष बने अति काछें।।

Aage raam anuj puni paachhen. muni bar besh bane ati kaachhen

Rama walked ahead, his younger brother followed behind, both appearing most graceful in the garb of excellent sages.

उमय बीच श्री सोहइ कैसी। ब्रह्म जीव बिच माया जैसी।।

Umay beech shree sohai kaisee. brahm jeev bich maayaa jaisee

Between the two brothers, Sita appeared so beautiful, like Maya (illusion) existing between Brahman and the individual soul.

सरिता बन गिरि अवघट घाटा। पति पहिचानी देहिं बर बाटा।।

Saritaa ban giri avaghat ghaataa. pati pahichaanee dehin bar baataa

Rivers, forests, mountains, and difficult passes, recognizing their Lord, provided excellent paths for their journey.

जहँ जहँ जाहि देव रघुराया। करहिं मेध तहँ तहँ नभ छाया।।

Jahan jahan jaahi dev raghuraayaa. karahin medh tahan tahan nabh chhaayaa

Wherever the divine Raghunatha would go, clouds would gather in the sky there to provide shade.

मिला असुर बिराध मग जाता। आवतहीं रघुवीर निपाता।।

Milaa asur biraadh mag jaataa. aavataheen raghuveer nipaataa

The demon Viradha met them on the path, but as soon as he came, Raghuvira slew him.

तुरतहिं रुचिर रूप तेहिं पावा। देखि दुखी निज धाम पठावा।।

Turatahin ruchir roop tehin paavaa. dekhi dukhee nij dhaam pathaavaa

Immediately that demon attained a beautiful form, and seeing this, Rama compassionately sent him to his own divine abode.

पुनि आए जहँ मुनि सरभंगा। सुंदर अनुज जानकी संगा।।

Puni aae jahan muni sarabhangaa. sundar anuj jaanakee sangaa

Then they came to where sage Sharabhanga dwelt, accompanied by his beautiful younger brother and Janaki.

Commentary & Notes ↓

Poddarji's Commentary

जहाँ-जहाँ देव श्रीरघुनाथजी जाते हैं वहाँ-वहाँ उनके दर्शनके लोभी मुनिगण साथ-साथ चलते हैं। श्रीरामजीके मुखकमलको देखकर श्रेष्ठ मुनियोंके नेत्ररूपी भ्रमर सावधान रहते हैं और प्रेमवश साथ-साथ चलते रहते हैं।

Notes

Chaupai 6 of Aranya Kanda. Eight couplets tracing Rama's first steps into the forest after taking leave of the sages. Tulsidas weaves cosmic theology into simple narrative: Sita between Rama and Lakshmana mirrors Maya between Brahman and the jeeva. Nature itself (rivers, mountains, clouds) serves the Lord. The slaying of Viradha and his instant liberation foreshadow the great theme of Aranya Kanda: even those who oppose Rama receive his grace. Poddarji observes that wherever Rama went, the enlightened sages followed, their eyes unable to look away, like bees drawn to an extraordinary lotus. Couplet breaks follow the original doha pattern, with each pair separated by a line break.

देखी राम मुख पंकज मुनिबर लोचन भृंग।

सादर पान करत अति धन्य जन्म सरभंग।।7।।

Dekhee raam mukh pankaj munibar lochan bhring

Saadar paan karat ati dhany janm sarabhang (7)

दोहा 7ख

Who sing Rama's holy fame, | who hear it;they will find

firm bhakti without hard rites. | O mind, be not moth-blind!

Woman's form is flame's bright tip; | flee lust, worship Ram,

keep the saints' company always | and find your resting calm.

Gazing upon Rama's lotus face, the sage Sharabhanga's eyes became like bees drinking deeply of nectar. Blessed, truly blessed was his birth.

Commentary & Notes ↓

Poddarji's Commentary

जो लोग रावणके शत्रु श्रीरामजीका पवित्र यश गावेंगे और सुनेंगे, वे वैराग्य, जप और योगके बिना ही श्रीरामजीकी दृढ़ भक्ति पावेंगे। युवती स्त्रियोंका शरीर दीपककी लौके समान है, हे मन! तू उसका पतिंगा न बन। काम और मदको छोड़कर श्रीरामचन्द्रजीका भजन कर और सदा सत्संग कर।

Notes

Doha 7 (sortOrder 16). A compact image of devotional fulfillment: the sage's eyes are bees (bhring), Rama's face is a lotus (pankaj). Sharabhanga's entire life of tapas finds its reward in this single moment of darshan. The verse is brief by design. Tulsidas lets the image do all the work. Poddarji reads this as the quintessential exchange between Lord and devotee: the Lord appears, the devotee drinks in the sight, and a lifetime of longing is resolved.

चौपाई 7
कह मुनि सुनु रघुबीर कृपाला। संकर मानस राजमराला।।

Kah muni sunu raghubeer kripaalaa. sankar maanas raajamaraalaa

The sage said, 'Listen, O compassionate hero of Raghu's line! I am Sharabhanga, dwelling in Shiva's mental realm.'

जात रहेउँ बिरंचि के धामा। सुनेउँ श्रवन बन ऐहहिं रामा।।

Jaat raheun biranchi ke dhaamaa. suneun shravan ban aihahin raamaa

I was going to Brahma's abode when I heard that Rama would come to the forest.

चितवत पंथ रहेउँ दिन राती। अब प्रभु देखि जुड़ानी छाती।।

Chitavat panth raheun din raatee. aba prabhu dekhi judaanee chhaatee

Day and night I remained watching the path, and now seeing my Lord, my heart is cooled and satisfied.

नाथ सकल साधन मैं हीना। कीन्ही कृपा जानि जन दीना।।

Naath sakal saadhan main heenaa. keenhee kripaa jaani jan deenaa

O Lord, I am devoid of all spiritual practices, but You have shown mercy knowing me to be Your humble devotee.

सो कछु देव न मोहि निहोरा। निज पन राखेउ जन मन चोरा।।

So kachhu dev na mohi nihoraa. nij pan raakheu jan man choraa

That divine grace requires no entreaty from me - You have kept Your promise, O stealer of devotees' hearts.

तब लगि रहहु दीन हित लागी। जब लगि मिलौं तुम्हहि तनु त्यागी।।

Tab lagi rahahu deen hit laagee. jab lagi milaun tumhahi tanu tyaagee

Please remain here for the welfare of the afflicted until I meet You again after leaving this body.

जोग जग्य जप तप ब्रत कीन्हा। प्रभु कहँ देइ भगति बर लीन्हा।।

Jog jagy jap tap brat keenhaa. prabhu kahan dei bhagati bar leenhaa

Having performed yoga, sacrifices, chanting, austerities and vows, I offer them to my Lord and receive the boon of devotion.

एहि बिधि सर रचि मुनि सरभंगा। बैठे हृदयँ छाड़ि सब संगा।।

Ehi bidhi sar rachi muni sarabhangaa. baithe hridayan chhaadi sab sangaa

Having prepared the funeral pyre in this manner, sage Sharabhanga sat in meditation, abandoning all attachments in his heart.

Commentary & Notes ↓

Poddarji's Commentary

उसने रावणके बाल पकड़कर उसे रथके नीचे उतार लिया, रावण पृथ्वीपर गिर पड़ा। गीध सीताजीको एक ओर बैठाकर फिर लौटा और चोंचोंसे मार-मारकर रावणके शरीरको विदीर्ण कर डाला। इससे उसे एक घड़ीके लिये मूर्छा हो गयी। तब खिसियाये हुए रावणने क्रोधयुक्त होकर अत्यन्त भयानक कटार निकाली और उससे जटायुके पंख काट डाले। पक्षी जटायु श्रीरामजीकी अद्भुत लीलाका स्मरण करके पृथ्वीपर गिर पड़ा। खर-दूषणका विध्वंस देखकर शूर्पणखाने जाकर रावणको भड़काया। वह बड़ा क्रोध करके वचन बोली--तूने देश और खजानेकी सुधि ही भुला दी। शराब पी लेता है और दिन-रात पड़ा सोता रहता है। तुझे खबर नहीं है कि शत्रु तेरे सिरपर खड़ा है।

Notes

Chaupai 7 of Aranya Kanda. Sharabhanga's farewell discourse to Rama. The sage's humility is striking: despite a lifetime of sadhana (yoga, yajna, japa, tapa, vrata), he claims to be 'devoid of all practices.' This is the signature move of Tulsidas's saints; the greater the tapas, the deeper the humility. Sharabhanga chooses devotion over merger (leen) with Brahman, a pivotal theological statement. He asks only that Rama dwell in the forest for the sake of suffering beings. Then he surrenders the merit of all his practices and enters the yogic fire. Poddarji notes how the commentary here describes Jatayu's later valor and Shurpanakha's fury, weaving forward threads of the kanda's plot.

सीता अनुज समेत प्रभु नील जलद तनु स्याम।

मम हियँ बसहु निरंतर सगुनरुप श्रीराम।।8।।

Seetaa anuj samet prabhu neel jalad tanu syaam

Mam hiyan basahu nirantar sagunarup shreeraam (8)

दोहा 8

With Sita and your brother, Lord, | dark cloud your body's hue;

dwell in my heart's sky like the moon, | desireless and true.

O Lord, with Sita and your younger brother Lakshmana, your body dark and beautiful as a rain-filled cloud, dwell forever in the sky of my heart, like a still and desireless moon.

Commentary & Notes ↓

Poddarji's Commentary

सीताजी और छोटे भाई लक्ष्मणजीसहित प्रभु, जिनका नीले जलयुक्त मेघके समान श्याम शरीर है, निष्काम (स्थिर) होकर मेरे हृदयरूपी आकाशमें चन्द्रमाकी भाँति सदा निवास कीजिये।

Notes

Doha 8 (sortOrder 18). Sharabhanga's dying prayer, and one of the most cherished verses in the Manas. He asks for neither heaven nor moksha but for the saguna form of Rama to abide permanently in his heart. The simile of the moon in the heart's sky is exquisite: cool, constant, luminous, and free of desire. Poddarji calls this the quintessential devotee's prayer. The dark-cloud complexion (neela jalada tanu shyaama) is a classic description of Rama's beauty across bhakti literature.

चौपाई 8
अस कहि जोग अगिनि तनु जारा। राम कृपाँ बैकुंठ सिधारा।।

Asa kahi jog agini tanu jaaraa. raam kripaan baikunth sidhaaraa

Saying this, the sage burned his body with the fire of yoga and by Rama's grace departed to Vaikuntha.

ताते मुनि हरि लीन न भयऊ। प्रथमहिं भेद भगति बर लयऊ।।

Taate muni hari leen na bhayaoo. prathamahin bhed bhagati bar layaoo

Therefore the sage did not merge into Hari but first obtained the boon of devotional love.

रिषि निकाय मुनिबर गति देखि। सुखी भए निज हृदयँ बिसेषी।।

Rishi nikaay munibar gati dekhi. sukhee bhae nij hridayan biseshee

Seeing the great sage's destiny, the assembly of sages became especially joyful in their hearts.

अस्तुति करहिं सकल मुनि बृंदा। जयति प्रनत हित करुना कंदा।।

Astuti karahin sakal muni brindaa. jayati pranat hit karunaa kandaa

All the groups of sages offer praise: 'Glory to the compassionate one who helps the devoted!'

पुनि रघुनाथ चले बन आगे। मुनिबर बृंद बिपुल सँग लागे।।

Puni raghunaath chale ban aage. munibar brind bipul sang laage

Then Raghunath proceeded further into the forest, with many groups of great sages accompanying him.

अस्थि समूह देखि रघुराया। पूछी मुनिन्ह लागि अति दाया।।

Asthi samooh dekhi raghuraayaa. poochhee muninh laagi ati daayaa

Seeing heaps of bones, Raghuraya asked the sages with great compassion.

जानतहुँ पूछिअ कस स्वामी। सबदरसी तुम्ह अंतरजामी।।

Jaanatahun poochhia kas svaamee. sabadarasee tumh antarajaamee

The sages said, 'Though you know, why do you ask, O Lord? You are the all-seeing knower of hearts.'

निसिचर निकर सकल मुनि खाए। सुनि रघुबीर नयन जल छाए।।

Nisichar nikar sakal muni khaae. suni raghubeer nayan jal chhaae

Hearing that demons had devoured all the sages, tears filled the eyes of Raghuvira.

Commentary & Notes ↓

Poddarji's Commentary

वह बोला--हे सीते पुत्री! भय मत कर। मैं इस राक्षसका नाश करूँगा। यह कहकर वह पक्षी क्रोधमें भरकर कैसे दौड़ा, जैसे पर्वतकी ओर वज्र छूटता हो। उसने ललकारकर कहा--रेरे दुष्ट! खड़ा क्यों नहीं होता? निडर होकर चल दिया! मुझे तूने नहीं जाना? उसको यमराजके समान आता हुआ देखकर रावण घूमकर मनमें अनुमान करने लगा।

Notes

Chaupai 8 of Aranya Kanda. This passage carries two of the kanda's most profound moments. First, Sharabhanga's departure: he does not merge into formless Brahman but retains his identity as a devotee in Vaikuntha. Tulsidas makes a clear theological choice here for saguna bhakti over nirguna merger (hari leen na bhayau). Second, Rama's tears at the sight of the slain sages' bones. The Lord who is antarjami (the inner knower of all hearts) still asks, still grieves, still weeps. His compassion is not a performance but the very nature of divinity. The sages gently remind him that he already knows, yet he chooses to hear their pain spoken aloud. Poddarji connects this passage forward to Jatayu's sacrifice and Shurpanakha's provocation of Ravana, both of which grow from this forest journey.

निसिचर हीन करउँ महि भुज उठाइ पन कीन्ह।

सकल मुनिन्ह के आश्रमन्हि जाइ जाइ सुख दीन्ह।।9।।

Nisichar heen karaun mahi bhuj uthaai pan keenh

Sakal muninh ke aashramanhi jaai jaai sukh deenh (9)

दोहा 9

'I'll free this earth of demons!'; | arm raised, the Lord vowed so,

then visiting each hermitage, | brought joy where'er he'd go.

'I will rid this earth of every demon!' Raising his mighty arm, Rama made this solemn vow.

Then he traveled from hermitage to hermitage, bringing joy and peace to all the sages.

Commentary & Notes ↓

Poddarji's Commentary

मैं पृथ्वीको राक्षसोंसे रहित करूँगा;भुजा उठाकर श्रीरामजीने यह प्रतिज्ञा की। उन्होंने समस्त मुनियोंके आश्रमों में जा-जाकर सुख दिया।

Notes

Doha 9 (sortOrder 20). Rama's pratijnya, his sacred vow. Poddarji emphasizes that Rama's vow is infallible; he never fails to fulfill what he promises. The raised arm is both a gesture of protection and a warrior's oath. This single declaration sets the entire Aranya Kanda in motion: every encounter with demons, every rescue, every act of grace flows from this one uplifted hand. The verse is compact, just two lines, yet it carries the weight of cosmic resolve. Where fear had settled into the bones of the forest, Rama's promise plants the seed of fearlessness.

चौपाई 9
मुनि अगस्ति कर सिष्य सुजाना। नाम सुतीछन रति भगवाना।।

Muni agasti kar sishy sujaanaa. naam suteechhan rati bhagavaanaa

There was a wise disciple of sage Agastya named Sutikshna, who was devoted to the Lord.

मन क्रम बचन राम पद सेवक। सपनेहुँ आन भरोस न देवक।।

Man kram bachan raam pad sevak. sapanehun aana bharos na devak

He served Rama's feet with mind, action, and speech, never placing trust in anyone else even in dreams.

प्रभु आगवनु श्रवन सुनि पावा। करत मनोरथ आतुर धावा।।

Prabhu aagavanu shravan suni paavaa. karat manorath aatur dhaavaa

When he heard through his ears of the Lord's arrival, he ran eagerly, making wishes in his heart.

हे बिधि दीनबंधु रघुराया। मो से सठ पर करिहहिं दाया।।

He bidhi deenabandhu raghuraayaa. mo se sath par karihahin daayaa

O Creator! Will Raghuraya, the friend of the humble, show mercy on a fool like me?

सहित अनुज मोहि राम गोसाई। मिलिहहिं निज सेवक की नाई।।

Sahit anuj mohi raam gosaaee. milihahin nij sevak kee naaee

Will Lord Rama along with His younger brother meet me like His own servant?

मोरे जियँ भरोस दृढ़ नाहीं। भगति बिरति न ग्यान मन माहीं।।

More jiyan bharos dridh naaheen. bhagati birati na gyaan man maaheen

There is no firm faith in my heart, nor devotion, detachment, or knowledge in my mind.

नहिं सतसंग जोग जप जागा। नहिं दृढ़ चरन कमल अनुरागा।।

Nahin satasang jog jap jaagaa. nahin dridh charan kamal anuraagaa

I have no company of saints, no yoga, chanting, or spiritual awakening, nor firm love for His lotus feet.

एक बानि करुनानिधान की। सो प्रिय जाकें गति न आन की।।

Eka baani karunaanidhaan kee. so priy jaaken gati na aana kee

There is one quality of the ocean of compassion - He loves those who have no other refuge.

होइहैं सुफल आजु मम लोचन। देखि बदन पंकज भव मोचन।।

Hoihain suphal aaju mam lochan. dekhi badan pankaj bhav mochan

Today my eyes will be fulfilled by seeing His lotus face that liberates from worldly existence.

निर्भर प्रेम मगन मुनि ग्यानी। कहि न जाइ सो दसा भवानी।।

Nirbhar prem magan muni gyaanee. kahi na jaai so dasaa bhavaanee

The wise sage was immersed in boundless love - that state cannot be described, O Bhavani.

दिसि अरु बिदिसि पंथ नहिं सूझा। को मैं चलेउँ कहाँ नहिं बूझा।।

Disi aru bidisi panth nahin soojhaa. ko main chaleun kahaan nahin boojhaa

He could not see the path in any direction, not knowing who he was or where he was going.

कबहुँक फिरि पाछें पुनि जाई। कबहुँक नृत्य करइ गुन गाई।।

Kabahunk phiri paachhen puni jaaee. kabahunk nrity karai gun gaaee

Sometimes he would turn back and go again, sometimes he would dance and sing praises.

अबिरल प्रेम भगति मुनि पाई। प्रभु देखैं तरु ओट लुकाई।।

Abiral prem bhagati muni paaee. prabhu dekhain taru ota lukaaee

Having attained unceasing love and devotion, the sage hid behind a tree to see the Lord.

अतिसय प्रीति देखि रघुबीरा। प्रगटे हृदयँ हरन भव भीरा।।

Atisay preeti dekhi raghubeeraa. pragate hridayan haran bhav bheeraa

Seeing his excessive love, Raghuvira appeared in his heart, the remover of worldly fear.

मुनि मग माझ अचल होइ बैसा। पुलक सरीर पनस फल जैसा।।

Muni mag maajh achal hoi baisaa. pulak sareer panas phal jaisaa

The sage sat motionless in the middle of the path, his body thrilling with joy like a jackfruit.

तब रघुनाथ निकट चलि आए। देखि दसा निज जन मन भाए।।

Tab raghunaath nikat chali aae. dekhi dasaa nij jan man bhaae

Then Raghunatha came near and was pleased in His heart seeing the condition of His devotee.

मुनिहि राम बहु भाँति जगावा। जाग न ध्यानजनित सुख पावा।।

Munihi raam bahu bhaanti jagaavaa. jaag na dhyaanajanit sukh paavaa

Rama tried to awaken the sage in many ways, but he would not wake, experiencing the bliss born of meditation.

भूप रूप तब राम दुरावा। हृदयँ चतुर्भुज रूप देखावा।।

Bhoop roop tab raam duraavaa. hridayan chaturbhuj roop dekhaavaa

Then Rama concealed His princely form and showed His four-armed divine form in the sage's heart.

मुनि अकुलाइ उठा तब कैसें। बिकल हीन मनि फनि बर जैसें।।

Muni akulaai uthaa tab kaisen. bikal heen mani phani bar jaisen

How did the sage then rise in agitation, like a great serpent distressed without its precious gem?

आगें देखि राम तन स्यामा। सीता अनुज सहित सुख धामा।।

Aagen dekhi raam tan syaamaa. seetaa anuj sahit sukh dhaamaa

Seeing before him Rama's dark form along with Sita and His younger brother, the abode of happiness.

परेउ लकुट इव चरनन्हि लागी। प्रेम मगन मुनिबर बड़भागी।।

Pareu lakut iva charananhi laagee. prem magan munibar badabhaagee

He fell like a staff at Their feet, the greatly blessed sage immersed in love.

भुज बिसाल गहि लिए उठाई। परम प्रीति राखे उर लाई।।

Bhuj bisaal gahi lie uthaaee. param preeti raakhe ura laaee

Taking him by his mighty arms, He lifted him up and embraced him to His chest with supreme love.

मुनिहि मिलत अस सोह कृपाला। कनक तरुहि जनु भेंट तमाला।।

Munihi milat asa soh kripaalaa. kanak taruhi janu bhent tamaalaa

The compassionate Lord meeting the sage appeared beautiful, like a tamala tree embracing a golden tree.

राम बदनु बिलोक मुनि ठाढ़ा। मानहुँ चित्र माझ लिखि काढ़ा।।

Raam badanu bilok muni thaadhaa. maanahun chitr maajh likhi kaadhaa

Looking at Rama's face, the sage stood still, as if drawn and painted in a picture.

Commentary & Notes ↓

Poddarji's Commentary

जिनकी वचन, कर्म और मनसे मेरी ही गति है और जो निष्काम भावसे मेरा भजन करते हैं, उनके हृदय-कमलमें मैं सदा विश्राम किया करता हूँ।

Notes

Chaupai 9 of Aranya Kanda (sortOrder 21). One of the longest and most emotionally vivid passages in the kanda. Sutikshna's bhakti is shown through his total self-forgetting: he loses all sense of direction, dances, hides behind trees, and finally becomes so absorbed in inner vision that even the Lord himself cannot wake him. Tulsidas gives us the full arc of a devotee's longing: the desperate humility ('no faith, no knowledge, no yoga'), the one thread of hope ('he loves those who have no other refuge'), the body seized by ecstasy ('like a jackfruit'), and finally the Lord's own delight at seeing such love. The four-armed form (chaturbhuj) appearing within the sage's heart is a theological key: the saguna Lord who walks the forest as a prince is the same Lord who dwells as Vishnu in every heart. Poddarji notes the beautiful paradox: Rama hides his human form to show his divine form, yet the sage opens his eyes and finds both standing before him. The tamala-and-gold-tree simile for the dark Lord embracing the fair sage is one of Tulsidas's signature images. Each couplet pair is separated by a line break following the original chaupai structure.

तब मुनि हृदयँ धीर धीर गहि पद बारहिं बार।

निज आश्रम प्रभु आनि करि पूजा बिबिध प्रकार।।10।।

Tab muni hridayan dheer dheer gahi pad baarahin baar

Nij aashram prabhu aani kari poojaa bibidh prakaar (10)

दोहा 10

She stood with folded hands in prayer, | love flooding all her heart:

'How can I praise? I'm lowly born, | of dullest mind in part.'

'Listen,' said Rama, 'I know one bond | that matters in my sight;

the tie of bhakti, nothing else | determines wrong or right.'

Then, steadying his heart, the sage grasped Rama's feet again and again.

He brought the Lord to his own ashram and worshipped him with offerings of every kind.

Commentary & Notes ↓

Poddarji's Commentary

फिर वे हाथ जोड़कर आगे खड़ी हो गयीं। प्रभुको देखकर उनका प्रेम अत्यन्त बढ़ गया। उन्होंने कहा--मैं किस प्रकार आपकी स्तुति करूं? मैं नीच जातिकी और अत्यन्त मूढ़बुद्धि हूँ। जो अधमसे भी अधम हैं, स्त्रियाँ उनमें भी अत्यन्त अधम हैं; और उनमें भी हे पापनाशन! मैं मन्दबुद्धि हूँ। श्रीरघुनाथजीने कहा--हे भामिनि! मेरी बात सुन। मैं तो केवल एक भक्तिका सम्बन्ध मानता हूँ।

Notes

Doha 10 (sortOrder 22). A brief, tender scene of hospitality. After the overwhelming flood of divine vision, Sutikshna must gather himself (dheer dheer, steadying his heart) before he can function as a host. Even so, his hands keep reaching for the Lord's feet. Poddarji notes that this simple act of bringing God home and performing puja is the fulfillment of every devotee's deepest wish. The original Hindi commentary at this point shifts to the Shabari episode, noting her folded hands and overflowing love, and Rama's revolutionary declaration that he recognizes only one bond: the bond of bhakti.

चौपाई 10
कह मुनि प्रभु सुनु बिनती मोरी। अस्तुति करौं कवन बिधि तोरी।।

Kah muni prabhu sunu binatee moree. astuti karaun kavan bidhi toree

The sage said: 'O Lord, listen to my humble request. In what manner can I offer praise to You?'

महिमा अमित मोरि मति थोरी। रबि सन्मुख खद्योत अँजोरी।।

Mahimaa amit mori mati thoree. rabi sanmukh khadyot anjoree

Your glory is limitless while my understanding is small, like a firefly's light before the sun.

श्याम तामरस दाम शरीरं। जटा मुकुट परिधन मुनिचीरं।।

Shyaam taamaras daam shareeran. jataa mukut paridhan municheeran

Dark as a blue lotus garland is Your body, crowned with matted locks and clothed in sage's attire.

पाणि चाप शर कटि तूणीरं। नौमि निरंतर श्रीरघुवीरं।।

Paani chaap shar kati tooneeran. naumi nirantar shreeraghuveeran

Holding bow and arrows with a quiver at Your waist, I constantly bow to the heroic Lord of Raghu's line.

मोह विपिन घन दहन कृशानुः। संत सरोरुह कानन भानुः।।

Moh vipin ghan dahan krishaanuh. sant saroruh kaanan bhaanuh

You are the fire that burns the dense forest of delusion, the sun for the lotus garden of saints.

निशिचर करि वरूथ मृगराजः। त्रातु सदा नो भव खग बाजः।।

Nishichar kari varooth mrigaraajah. traatu sadaa no bhav khag baajah

You are the lion king among the demon hordes, the falcon of heaven - may You always protect us.

अरुण नयन राजीव सुवेशं। सीता नयन चकोर निशेशं।।

Arun nayan raajeev suveshan. seetaa nayan chakor nisheshan

With lotus-red eyes and beautiful form, You are the moon for Sita's chakora-bird eyes.

हर ह्रदि मानस बाल मरालं। नौमि राम उर बाहु विशालं।।

Har hradi maanas baal maraalan. naumi raam ura baahu vishaalan

You are the young swan in the lake of Shiva's heart; I bow to Rama with broad chest and mighty arms.

संशय सर्प ग्रसन उरगादः। शमन सुकर्कश तर्क विषादः।।

Sanshay sarp grasan uragaadah. shaman sukarkash tark vishaadah

You are Garuda who devours the serpent of doubt, the destroyer of harsh arguments and despair.

भव भंजन रंजन सुर यूथः। त्रातु सदा नो कृपा वरूथः।।

Bhav bhanjan ranjan sur yoothah. traatu sadaa no kripaa varoothah

Destroyer of worldly existence, delighter of divine hosts - may the army of Your compassion always protect us.

निर्गुण सगुण विषम सम रूपं। ज्ञान गिरा गोतीतमनूपं।।

Nirgun sagun visham sam roopan. jnyaan giraa goteetamanoopan

You are both formless and with form, beyond opposites, transcending knowledge, speech and the senses.

अमलमखिलमनवद्यमपारं। नौमि राम भंजन महि भारं।।

Amalamakhilamanavadyamapaaran. naumi raam bhanjan mahi bhaaran

Pure, complete, faultless and infinite, I bow to Rama who relieves the earth's burden.

भक्त कल्पपादप आरामः। तर्जन क्रोध लोभ मद कामः।।

Bhakt kalpapaadap aaraamah. tarjan krodh lobh mad kaamah

You are the wish-fulfilling garden for devotees, the terror of anger, greed, pride and lust.

अति नागर भव सागर सेतुः। त्रातु सदा दिनकर कुल केतुः।।

Ati naagar bhav saagar setuh. traatu sadaa dinakar kul ketuh

Most gracious bridge across the ocean of existence - may the banner of the solar dynasty always protect us.

अतुलित भुज प्रताप बल धामः। कलि मल विपुल विभंजन नामः।।

Atulit bhuj prataap bal dhaamah. kali mal vipul vibhanjan naamah

Abode of incomparable arm-strength and valor, Your very name destroys the abundant sins of Kali age.

धर्म वर्म नर्मद गुण ग्रामः। संतत शं तनोतु मम रामः।।

Dharm varm narmad gun graamah. santat shan tanotu mam raamah

Armored with righteousness, treasure-house of gentle virtues - may my Rama grant me constant peace.

जदपि बिरज ब्यापक अबिनासी। सब के हृदयँ निरंतर बासी।।

Jadapi biraj byaapak abinaasee. sab ke hridayan nirantar baasee

Though You are stainless, all-pervading and imperishable, dwelling constantly in everyone's heart,

तदपि अनुज श्री सहित खरारी। बसतु मनसि मम काननचारी।।

Tadapi anuj shree sahit kharaaree. basatu manasi mam kaananachaaree

Still may the forest-wandering slayer of Khara, along with His brother and Shri, dwell in my mind.

जे जानहिं ते जानहुँ स्वामी। सगुन अगुन उर अंतरजामी।।

Je jaanahin te jaanahun svaamee. sagun agun ura antarajaamee

Those who know You truly know, O Lord, that You are both with and without attributes, the inner witness of hearts.

जो कोसल पति राजिव नयना। करउ सो राम हृदय मम अयना।

Jo kosal pati raajiv nayanaa. karau so raam hriday mam ayanaa

May that Rama, the lotus-eyed Lord of Kosala, make my heart His dwelling place.

अस अभिमान जाइ जनि भोरे। मैं सेवक रघुपति पति मोरे।।

Asa abhimaan jaai jani bhore. main sevak raghupati pati more

Let not this pride ever delude me - 'I am the servant and the Lord of Raghu's line is my master.'

सुनि मुनि बचन राम मन भाए। बहुरि हरषि मुनिबर उर लाए।।

Suni muni bachan raam man bhaae. bahuri harashi munibar ura laae

Hearing the sage's words, Rama was pleased in His heart and joyfully embraced the noble sage.

परम प्रसन्न जानु मुनि मोही। जो बर मागहु देउ सो तोही।।

Param prasann jaanu muni mohee. jo bar maagahu deu so tohee

Know that I am supremely pleased with you, O sage; whatever boon you ask, I shall grant you that.

मुनि कह मै बर कबहुँ न जाचा। समुझि न परइ झूठ का साचा।।

Muni kah mai bar kabahun na jaachaa. samujhi na parai jhooth kaa saachaa

The sage said: 'I have never asked for any boon before; I cannot distinguish between false and true.'

तुम्हहि नीक लागै रघुराई। सो मोहि देहु दास सुखदाई।।

Tumhahi neek laagai raghuraaee. so mohi dehu daas sukhadaaee

Whatever seems good to You, O Lord of Raghu's line, grant me that, O giver of joy to Your servants.

अबिरल भगति बिरति बिग्याना। होहु सकल गुन ग्यान निधाना।।

Abiral bhagati birati bigyaanaa. hohu sakal gun gyaan nidhaanaa

May I have unwavering devotion, detachment and spiritual knowledge, and become a treasure-house of all virtues and wisdom.

प्रभु जो दीन्ह सो बरु मैं पावा। अब सो देहु मोहि जो भावा।।

Prabhu jo deenh so baru main paavaa. aba so dehu mohi jo bhaavaa

Whatever the Lord has given, that boon I have received; now grant me what pleases my heart.

Commentary & Notes ↓

Poddarji's Commentary

अखण्ड भक्तिका वर माँगकर गृध्रराज जटायु श्रीहरिके परमधामको चला गया। श्रीरामचन्द्रजीने उसकी दाहकर्म आदि सारी क्रियाएँ यथायोग्य अपने हाथोंसे कीं। काम, क्रोध, लोभ और मद आदि मोह (अज्ञान) की प्रबल सेना है। इनमें मायारूपिणी (मायाकी साक्षात् मूर्ति) स्त्री तो अत्यन्त दारुण दुःख देनेवाली है।

Notes

Chaupai 10 of Aranya Kanda (sortOrder 23). Sutikshna's stuti (hymn of praise) is one of the theological high points of the kanda, weaving together Rama's saguna beauty and nirguna transcendence in a single breath. The Sanskrit-inflected verses (shareeran, tooneeran, krishaanuh, bhaanuh) give the hymn a Vedic gravitas, while the Awadhi couplets ground it in personal devotion. The imagery cascades: fire/forest, sun/lotus, lion/elephants, falcon/heaven, Garuda/serpent, swan/lake, bridge/ocean. Each metaphor positions Rama as the natural sovereign of the cosmos. The sage's request is extraordinary in its humility: 'I have never asked for a boon; I cannot tell true from false; just give me what seems good to You.' When Rama insists, the sage asks for abiral bhakti (unbroken devotion), vairagya, and vijnaana. Poddarji highlights how the sage's final line ('the boon you gave I received; now grant what my heart desires') hints at a deeper, unspoken longing. The commentary also notes the connection to Jatayu's sacrificial devotion and the dangers posed by Maya.

अनुज जानकी सहित प्रभु चाप बान धर राम।

मम हिय गगन इंदु इव बसहु सदा निहकाम।।11।।

Anuj jaanakee sahit prabhu chaap baan dhar raam

Mam hiy gagan indu iva basahu sadaa nihakaam (11)

दोहा 11

With brother, Janaki, bow and arrow, | Lord Rama, hear my plea:

dwell in my heart-sky like the moon, | desireless and free.

O Lord Rama, bearing bow and arrow, together with your younger brother and Janaki,

dwell forever in the sky of my heart like the desireless moon.

Commentary & Notes ↓

Poddarji's Commentary

हे प्रभो! हे श्रीरामजी! छोटे भाई लक्ष्मणजी और सीताजीसहित धनुष-बाणधारी आप निष्काम (स्थिर) होकर मेरे हृदयरूपी आकाशमें चन्द्रमाकी भाँति सदा निवास कीजिये।

Notes

Doha 11 (sortOrder 24). Sutikshna's final prayer, and it echoes the earlier prayer of Sharabhanga (Doha 8). This is no coincidence; it is the universal prayer of all Rama-bhaktas. The moon (indu) in the heart-sky (hiya gagana) is the controlling image: not the moon that waxes and wanes with worldly fortune, but a moon that is nihkaam (desireless, steady, forever full). The word nihkaam is crucial: the devotee does not ask the Lord to fulfill desires but to dwell beyond desire itself. Poddarji observes that this verse completes the Sutikshna episode with perfect symmetry; the sage who began in frantic longing now rests in quiet, luminous certainty.

चौपाई 11
एवमस्तु करि रमानिवासा। हरषि चले कुभंज रिषि पासा।।

Evamastu kari ramaanivaasaa. harashi chale kubhanj rishi paasaa

Saying 'So be it,' Rama departed from his dwelling and joyfully went to the sage Kubhanja.

बहुत दिवस गुर दरसन पाएँ। भए मोहि एहिं आश्रम आएँ।।

Bahut divas gur darasan paaen. bhae mohi ehin aashram aaen

The sage said, 'It has been many days since I had darshan of my guru, and I have been staying in this hermitage.'

अब प्रभु संग जाउँ गुर पाहीं। तुम्ह कहँ नाथ निहोरा नाहीं।।

Aba prabhu sang jaaun gur paaheen. tumh kahan naath nihoraa naaheen

Now I shall go with you, O Lord, to my guru. There is no hesitation in this request to you, O Master.

देखि कृपानिधि मुनि चतुराई। लिए संग बिहसै द्वौ भाई।।

Dekhi kripaanidhi muni chaturaaee. lie sang bihasai dvau bhaaee

Seeing the sage's wisdom and devotion, the compassionate Lord smiled and took both brothers along.

पंथ कहत निज भगति अनूपा। मुनि आश्रम पहुँचे सुरभूपा।।

Panth kahat nij bhagati anoopaa. muni aashram pahunche surabhoopaa

Speaking of his incomparable devotion along the path, the sage reached the hermitage with the Lord of gods.

तुरत सुतीछन गुर पहिं गयऊ। करि दंडवत कहत अस भयऊ।।

Turat suteechhan gur pahin gayaoo. kari dandavat kahat asa bhayaoo

Sutikshna immediately went to his guru and, bowing down, spoke thus.

नाथ कौसलाधीस कुमारा। आए मिलन जगत आधारा।।

Naath kausalaadhees kumaaraa. aae milan jagat aadhaaraa

O Master, the princes of Kosala have come to meet you - the very support of the universe.

राम अनुज समेत बैदेही। निसि दिनु देव जपत हहु जेही।।

Raam anuj samet baidehee. nisi dinu dev japat hahu jehee

Rama with his younger brother and Vaidehi, whom the gods meditate upon day and night.

सुनत अगस्ति तुरत उठि धाए। हरि बिलोकि लोचन जल छाए।।

Sunat agasti turat uthi dhaae. hari biloki lochan jal chhaae

Hearing this, Agastya immediately rose and rushed forth. Seeing Hari, his eyes filled with tears.

मुनि पद कमल परे द्वौ भाई। रिषि अति प्रीति लिए उर लाई।।

Muni pad kamal pare dvau bhaaee. rishi ati preeti lie ura laaee

Both brothers fell at the sage's lotus feet, and the sage embraced them to his heart with great love.

सादर कुसल पूछि मुनि ग्यानी। आसन बर बैठारे आनी।।

Saadar kusal poochhi muni gyaanee. aasan bar baithaare aanee

The wise sage respectfully inquired about their welfare and brought excellent seats for them to sit.

पुनि करि बहु प्रकार प्रभु पूजा। मोहि सम भाग्यवंत नहिं दूजा।।

Puni kari bahu prakaar prabhu poojaa. mohi sam bhaagyavant nahin doojaa

Then performing elaborate worship of the Lord in many ways, he said, 'There is none as fortunate as I.'

जहँ लगि रहे अपर मुनि बृंदा। हरषे सब बिलोकि सुखकंदा।।

Jahan lagi rahe apar muni brindaa. harashe sab biloki sukhakandaa

All the other groups of sages who were there rejoiced upon seeing the source of all happiness.

Commentary & Notes ↓

Poddarji's Commentary

देवता हर्षित होकर फूल बरसा रहे हैं तथा आकाशमें नगाड़े बज रहे हैं। सब देवता स्तुति करके विविध विमानोंपर सवार होकर शोभा पाते हुए चले गये। श्रीरघुवीरने शत्रुओंको जीत लिया तथा देवता, मनुष्य और मुनि सबके भय नष्ट हो गये। तब लक्ष्मणजी सीताजीको ले आये। चरणोंमें पड़ते हुए उनको प्रभुने प्रसन्नतापूर्वक उठाकर हृदयसे लगा लिया। सीताजी श्रीरामजीके श्याम और कोमल शरीरको परम प्रेमके साथ देख रही हैं, नेत्र अघाते नहीं हैं। इस प्रकार पञ्चवटीमें बसकर श्रीरघुनाथजी देवताओं और मुनियोंको सुख देनेवाले चरित्र करने लगे।

Notes

Chaupai 11 of Aranya Kanda (sortOrder 25). Thirteen couplets narrating Rama's visit to sage Agastya's hermitage, guided by the devoted Sutikshna. The sequence is a masterclass in devotional etiquette: Sutikshna's 'clever' insistence on accompanying Rama, the joyful announcement to Agastya, the sage's tear-filled rush to meet the Lord, the mutual prostrations, the loving hospitality. Tulsidas uses the word 'chaturaaee' (cleverness) for the sage's devotion. Poddarji observes that this is not worldly cunning but the shrewdness of love, which always finds a way to remain near the beloved. The epithet 'Sukhakanda' (root of happiness) at the close is significant: Rama is not just a giver of joy but its very source and substance. 'Ramaanivaasaa' in the opening line carries a double meaning: one whose abode is Rama (Lakshmi), and one who is the abode of all beauty.

मुनि समूह महँ बैठे सन्मुख सब की ओर।

सरद इंदु तन चितवत मानहुँ निकर चकोर।।12।।

Muni samooh mahan baithe sanmukh sab kee or

Sarad indu tan chitavat maanahun nikar chakor (12)

दोहा 12

Seated midst the sages' throng, | facing each one's way;

like chakora birds who watch | the autumn moon's full ray.

Seated in the midst of the assembly of sages, Rama faced every one of them at once. Each sage saw the Lord looking directly at him alone, as though a flock of chakora birds were gazing at the full autumn moon.

Commentary & Notes ↓

Poddarji's Commentary

मुनियोंके समूहमें श्रीरामचन्द्रजी सबकी ओर सम्मुख होकर बैठे हैं (अर्थात् प्रत्येक मुनिको श्रीरामजी अपने ही सामने मुख करके बैठे दिखायी देते हैं)। ऐसा जान पड़ता है मानो चकोरोंका समुदाय शरत्पूर्णिमाके चन्द्रमाकी ओर देख रहा हो।

Notes

Doha 12 (sortOrder 26). One of the most celebrated images in the Manas. Rama sits facing 'sanmukh sab kee or,' toward all directions simultaneously. Every sage feels the Lord is looking at him and him alone. Tulsidas compares this to chakora birds gazing at the sharad (autumn) moon: each bird feels the moon shines just for it. Poddarji reads this as a theological statement about the Lord's omnipresence. He is not divided among devotees but wholly present to each one. The verse is also a quiet instruction in the nature of grace: it is not rationed or shared. It arrives complete.

चौपाई 12
तब रघुबीर कहा मुनि पाहीं। तुम्ह सन प्रभु दुराव कछु नाही।।

Tab raghubeer kahaa muni paaheen. tumh san prabhu duraav kachhu naahee

Then Rama spoke to the sage, saying there was nothing hidden from him by the Lord.

तुम्ह जानहु जेहि कारन आयउँ। ताते तात न कहि समुझायउँ।।

Tumh jaanahu jehi kaaran aayaun. taate taat na kahi samujhaayaun

You know the purpose for which I have come, therefore I did not explain it to you, dear one.

अब सो मंत्र देहु प्रभु मोही। जेहि प्रकार मारौं मुनिद्रोही।।

Aba so mantr dehu prabhu mohee. jehi prakaar maaraun munidrohee

Now give me that sacred formula, O Lord, by which I may slay the enemy of sages.

मुनि मुसकाने सुनि प्रभु बानी। पूछेहु नाथ मोहि का जानी।।

Muni musakaane suni prabhu baanee. poochhehu naath mohi kaa jaanee

The sage smiled upon hearing the Lord's words and said, 'What do you ask of me, knowing me as you do?'

तुम्हरेइँ भजन प्रभाव अघारी। जानउँ महिमा कछुक तुम्हारी।।

Tumharein bhajan prabhaav aghaaree. jaanaun mahimaa kachhuk tumhaaree

By the power of devotion to You alone, I know something of Your glory and greatness.

ऊमरि तरु बिसाल तव माया। फल ब्रह्मांड अनेक निकाया।।

Oomari taru bisaal tav maayaa. phal brahmaand anek nikaayaa

Your Maya is like a vast Udumbara tree, bearing countless universes as its fruit.

जीव चराचर जंतु समाना। भीतर बसहि न जानहिं आना।।

Jeev charaachar jantu samaanaa. bheetar basahi na jaanahin aanaa

All moving and non-moving beings dwell within, yet know not their true nature.

ते फल भच्छक कठिन कराला। तव भयँ डरत सदा सोउ काला।।

Te phal bhachchhak kathin karaalaa. tav bhayan darat sadaa sou kaalaa

Those who devour these fruits are terrible and fierce, and even Death fears them always.

ते तुम्ह सकल लोकपति साईं। पूँछेहु मोहि मनुज की नाईं।।

Te tumh sakal lokapati saaeen. poonchhehu mohi manuj kee naaeen

You are the Lord of all worlds, O Master, yet You ask me as if You were human.

यह बर मागउँ कृपानिकेता। बसहु हृदयँ श्री अनुज समेता।।

Yah bar maagaun kripaaniketaa. basahu hridayan shree anuj sametaa

This boon I seek, O abode of mercy: dwell in my heart with Sita and Lakshmana.

अबिरल भगति बिरति सतसंगा। चरन सरोरुह प्रीति अभंगा।।

Abiral bhagati birati satasangaa. charan saroruh preeti abhangaa

Grant unceasing devotion, detachment, holy company, and unwavering love for Your lotus feet.

जद्यपि ब्रह्म अखंड अनंता। अनुभव गम्य भजहिं जेहि संता।।

Jadyapi brahm akhand anantaa. anubhav gamy bhajahin jehi santaa

Though Brahman is indivisible and infinite, experienced only by saints who worship Him.

अस तव रूप बखानउँ जानउँ। फिरि फिरि सगुन ब्रह्म रति मानउँ।।

Asa tav roop bakhaanaun jaanaun. phiri phiri sagun brahm rati maanaun

Though I describe and know Your formless aspect, again and again I find joy in the personal Brahman.

संतत दासन्ह देहु बड़ाई। तातें मोहि पूँछेहु रघुराई।।

Santat daasanh dehu badaaee. taaten mohi poonchhehu raghuraaee

You always honor Your devotees, therefore You ask me, O Lord Rama.

है प्रभु परम मनोहर ठाऊँ। पावन पंचबटी तेहि नाऊँ।।

Hai prabhu param manohar thaaoon. paavan panchabatee tehi naaoon

There is a supremely beautiful place, O Lord, called the sacred Panchavati.

दंडक बन पुनीत प्रभु करहू। उग्र साप मुनिबर कर हरहू।।

Dandak ban puneet prabhu karahoo. ugr saap munibar kar harahoo

Purify the Dandaka forest, O Lord, and remove the terrible curse of the great sage.

बास करहु तहँ रघुकुल राया। कीजे सकल मुनिन्ह पर दाया।।

Baas karahu tahan raghukul raayaa. keeje sakal muninh par daayaa

Dwell there, O king of Raghu's race, and show mercy to all the sages.

चले राम मुनि आयसु पाई। तुरतहिं पंचबटी निअराई।।

Chale raam muni aayasu paaee. turatahin panchabatee niaraaee

Receiving the sage's command, Rama departed and immediately approached Panchavati.

Commentary & Notes ↓

Poddarji's Commentary

ऐसा जानकर मारीच रावणके साथ चल पड़ा, परन्तु उसके हृदयमें श्रीरामजीके चरणोंमें अखण्ड प्रेम था। मनमें बहुत हर्ष था पर उसने रावणको यह हर्ष नहीं जताया। सोचा कि आज मैं परम स्नेही प्रभुको देखूँगा।

Notes

Chaupai 12 of Aranya Kanda (sortOrder 27). Eighteen couplets forming the theological heart of the Agastya episode. Rama, the omniscient Lord, asks the sage for counsel. Agastya, fully aware of the divine play, smiles and delivers one of the most complete summaries of Vaishnavite cosmology in the Manas. His image of Maya as an udumbara tree bearing universes as fruit is breathtaking in scope. Even Kala (Time, Death) fears the One who holds this tree. Yet Agastya's request is not for cosmic knowledge but for personal bhakti: 'Dwell in my heart with Shri and Lakshmana.' His confession that he knows the formless Brahman but returns 'again and again' (phiri phiri) to the saguna form is Tulsidas's definitive statement on saguna devotion. The sage then directs Rama to Panchavati, setting the stage for everything that follows in Aranya Kanda. Poddarji notes the sage's humility in saying he knows only 'kachhuk' (a little) of the Lord's glory.

गीधराज सैं भैंट भइ बहु बिधि प्रीति बढ़ाइ।।

गोदावरी निकट प्रभु रहे परन गृह छाइ।।13।।

Geedharaaj sain bhaint bhai bahu bidhi preeti badhaai

Godaavaree nikat prabhu rahe paran grih chhaai (13)

दोहा 13

He met the vulture-king with love, | their friendship growing deep,

near Godavari he built | a leaf-hut there to keep.

On the way, the Lord met Jatayu, the king of vultures, and their friendship grew deep and many-sided. Near the holy Godavari river, the Lord thatched a hut of leaves and made it his dwelling.

Commentary & Notes ↓

Poddarji's Commentary

वहाँ गृध्रराज जटायुसे भेंट हुई। उसके साथ बहुत प्रकारसे प्रेम बढ़ाकर प्रभु श्रीरामचन्द्रजी गोदावरीजीके समीप पर्णकुटी छाकर रहने लगे।

Notes

Doha 13 (sortOrder 28). A verse of quiet majesty. In two brief lines, Tulsidas covers the meeting with Jatayu and the founding of Rama's forest home at Panchavati. Poddarji emphasizes that Jatayu, though a vulture (a creature considered lowly by worldly standards), became Rama's dear friend. The Lord's love recognizes no barriers of species, form, or station. The phrase 'bahu bidhi preeti badhaai' (increased friendship in many ways) suggests that Rama did not merely tolerate Jatayu but actively cultivated the bond, honoring the old bird with affection. The leaf-thatched hut by the Godavari is the setting for some of the most important events in the Manas: Lakshmana's spiritual inquiry, Shurpanakha's arrival, and the abduction of Sita.

चौपाई 13
जब ते राम कीन्ह तहँ बासा। सुखी भए मुनि बीती त्रासा।।

Jab te raam keenh tahan baasaa. sukhee bhae muni beetee traasaa

Ever since Rama made his dwelling there, the sages became happy and their fears departed.

गिरि बन नदीं ताल छबि छाए। दिन दिन प्रति अति हौहिं सुहाए।।

Giri ban nadeen taal chhabi chhaae. din din prati ati hauhin suhaae

The mountains, forests, rivers and lakes were adorned with beauty, becoming more charming day by day.

खग मृग बृंद अनंदित रहहीं। मधुप मधुर गंजत छबि लहहीं।।

Khag mrig brind anandit rahaheen. madhup madhur ganjat chhabi lahaheen

Flocks of birds and herds of deer remained joyful, while bees hummed sweetly, adding to the beauty.

सो बन बरनि न सक अहिराजा। जहाँ प्रगट रघुबीर बिराजा।।

So ban barani na sak ahiraajaa. jahaan pragat raghubeer biraajaa

That forest cannot be described, O king of serpents, where the glorious Raghuvira manifested himself.

एक बार प्रभु सुख आसीना। लछिमन बचन कहे छलहीना।।

Eka baar prabhu sukh aaseenaa. lachhiman bachan kahe chhalaheenaa

Once when the Lord was seated comfortably, Lakshmana spoke words free from deceit.

सुर नर मुनि सचराचर साईं। मैं पूछउँ निज प्रभु की नाई।।

Sur nar muni sacharaachar saaeen. main poochhaun nij prabhu kee naaee

O Lord of gods, men, sages and all creation, I ask in the manner befitting my master.

मोहि समुझाइ कहहु सोइ देवा। सब तजि करौं चरन रज सेवा।।

Mohi samujhaai kahahu soi devaa. sab taji karaun charan raj sevaa

Explain to me and tell me that, O divine one, abandoning all else I may serve the dust of your feet.

कहहु ग्यान बिराग अरु माया। कहहु सो भगति करहु जेहिं दाया।।

Kahahu gyaan biraag aru maayaa. kahahu so bhagati karahu jehin daayaa

Tell me about knowledge, detachment and maya, and tell me that devotion by which you show mercy.

Commentary & Notes ↓

Poddarji's Commentary

हे प्रिये! हे सुन्दर पातिव्रत-धर्मका पालन करनेवाली सुशीले! सुनो! मैं अब कुछ मनोहर मनुष्यलीला करूँगा। इसलिये जबतक मैं राक्षसोंका नाश करूँ, तबतक तुम अग्निमें निवास करो। श्रीरामजीने ज्यों ही सब समझाकर कहा त्यों ही श्रीसीताजी चरणोंको हृदयमें भरकर अग्निमें समा गयीं। सीताजीने अपनी ही छायामूर्ति वहाँ रख दी जो उनके जैसे ही शील-स्वभाव और रूपवाली तथा वैसे ही विनम्र थी।

Notes

Chaupai 13 of Aranya Kanda (sortOrder 29). Eight couplets that accomplish two things at once: they paint the idyllic setting of Panchavati under Rama's presence, and they open one of the great spiritual dialogues of the Manas. The forest comes alive the moment Rama dwells there. Even Shesha (Ahiraja), with his thousand tongues, cannot describe it. Then Lakshmana, the ideal younger brother and servant, asks four questions with perfect humility: What is jnana? What is vairagya? What is Maya? And what is that bhakti which earns Your grace? The phrase 'chhalahina' (free from deceit) marks Lakshmana's sincerity. He does not ask to display learning but to deepen his surrender. Poddarji notes that this question-and-answer session between Rama and Lakshmana is Tulsidas's vehicle for presenting the full philosophy of the Manas. The beauty of the setting (birds, deer, bees, rivers) is not mere decoration; it is the outward sign of divine presence. Where God dwells, creation itself rejoices.

ईस्वर जीव भेद प्रभु सकल कहौ समुझाइ।।

जातें होइ चरन रति सोक मोह भ्रम जाइ।।14।।

Eesvar jeev bhed prabhu sakal kahau samujhaai

Jaaten hoi charan rati sok moh bhram jaai (14)

दोहा 14

Tell me, Lord, of God and soul, | explain their difference clear;

that love may rise for your feet | and grief and doubt disappear.

O Lord, please explain to me fully the difference between Ishvara and the jeeva.

Through that understanding, may love for Your sacred feet take root in my heart, and may grief, delusion, and confusion depart forever.

Commentary & Notes ↓

Poddarji's Commentary

हे प्रभो! ईश्वर और जीवका भेद भी सब समझाकर कहिये, जिससे आपके चरणोंमें मेरी प्रीति हो और शोक, मोह तथा भ्रम नष्ट हो जाय।

Notes

Doha 14 (sortOrder 30). Lakshmana's question opens one of the greatest philosophical discourses in the Manas. He does not ask from intellectual curiosity but from spiritual hunger. Tulsidas frames the question so that knowledge (jnana) is explicitly in service of devotion (bhakti): Lakshmana wants understanding so that love for Rama's feet may grow. Poddarji notes that this ordering is deliberate. The goal is not abstract wisdom but charan rati, love for the Lord's feet. Grief (shoka), delusion (moha), and confusion (bhrama) are the three fetters that knowledge, rightly received, can dissolve.

चौपाई 14
थोरेहि महँ सब कहउँ बुझाई। सुनहु तात मति मन चित लाई।।

Thorehi mahan sab kahaun bujhaaee. sunahu taat mati man chit laaee

I shall explain everything to you briefly. Listen, dear son, with your mind and heart focused.

मैं अरु मोर तोर तैं माया। जेहिं बस कीन्हे जीव निकाया।।

Main aru mor tor tain maayaa. jehin bas keenhe jeev nikaayaa

The illusion of 'I' and 'mine', 'you' and 'yours' is Maya, which has brought all living beings under its control.

गो गोचर जहँ लगि मन जाई। सो सब माया जानेहु भाई।।

Go gochar jahan lagi man jaaee. so sab maayaa jaanehu bhaaee

Wherever the mind goes in pursuit of sensory objects, know all of that to be Maya, O brother.

तेहि कर भेद सुनहु तुम्ह सोऊ। बिद्या अपर अबिद्या दोऊ।।

Tehi kar bhed sunahu tumh sooo. bidyaa apar abidyaa dooo

Now listen to the distinction within Maya itself - it has two aspects: knowledge and ignorance.

एक दुष्ट अतिसय दुखरूपा। जा बस जीव परा भवकूपा।।

Eka dusht atisay dukharoopaa. jaa bas jeev paraa bhavakoopaa

One is evil and extremely sorrowful in nature, by which living beings have fallen into the well of worldly existence.

एक रचइ जग गुन बस जाकें। प्रभु प्रेरित नहिं निज बल ताकें।।

Eka rachai jag gun bas jaaken. prabhu prerit nahin nij bal taaken

The other creates the world under the influence of divine qualities, inspired by the Lord and not by its own power.

ग्यान मान जहँ एकउ नाहीं। देख ब्रह्म समान सब माही।।

Gyaan maan jahan ekau naaheen. dekh brahm samaan sab maahee

Where there is neither knowledge nor ego, where one sees Brahman equally present in all beings.

कहिअ तात सो परम बिरागी। तृन सम सिद्धि तीनि गुन त्यागी।।

Kahia taat so param biraagee. trin sam siddhi teeni gun tyaagee

Such a person, dear son, is called supremely detached, who regards even the three types of spiritual powers as mere grass and has transcended the three gunas.

Commentary & Notes ↓

Poddarji's Commentary

जिसने ताड़का और सुबाहुको मारकर शिवजीका धनुष तोड़ दिया और खर, दूषण और त्रिशिराका वध कर डाला, ऐसा प्रचण्ड बली भी कहीं मनुष्य हो सकता है?

Notes

Chaupai 14 (sortOrder 31). Rama's answer begins with breathtaking economy: 'I shall explain everything briefly.' In eight couplets He lays out the architecture of Maya. The first pair defines Maya as the sense of 'I' and 'mine' and the mind's chase after sense objects. The second pair introduces the critical division within Maya: vidya (knowledge that liberates) and avidya (ignorance that binds). Avidya traps the jeeva in bhavakupa, the well of samsara. Vidya, by contrast, creates the world under the Lord's direction, possessing no independent force. The final pair describes the hallmarks of the truly liberated soul: freedom from ego, equal vision of Brahman in all, and utter indifference to siddhis and gunas. Poddarji emphasizes that Tulsidas here harmonizes Vedantic jnana with Vaishnava bhakti. The discourse does not end with detachment but leads forward to devotion in the following verses.

माया ईस न आपु कहुँ जान कहिअ सो जीव।

बंध मोच्छ प्रद सर्बपर माया प्रेरक सीव।।15।।

Maayaa eesa na aapu kahun jaan kahia so jeev

Bandh mochchh prad sarbapar maayaa prerak seev (15)

दोहा 15

Who knows not Maya, God, or Self; | that soul is called 'jiva';

who grants both bond and freedom's grace | is Ishvara, Lord Shiva.

One who knows neither Maya, nor Ishvara, nor his own true Self: that one is called jeeva, the bound soul.

He who grants both bondage and liberation according to one's deeds, who stands beyond all yet directs Maya: He alone is Ishvara, the Supreme Lord.

Commentary & Notes ↓

Poddarji's Commentary

जो मायाको, ईश्वरको और अपने स्वरूपको नहीं जानता, उसे जीव कहना चाहिये। जो कर्मानुसार बन्धन और मोक्ष देनेवाला, सबसे परे और मायाका प्रेरक है वह ईश्वर है।

Notes

Doha 15 (sortOrder 32). A pivotal definition verse. Tulsidas distills the entire Ishvara-jeeva distinction into a single doha. The jeeva is defined not by substance but by ignorance: it does not know Maya, does not know God, does not even know itself. Ishvara, by contrast, is the master of Maya, the giver of both bondage and liberation, and utterly beyond all categories. Poddarji stresses that the word 'prerak' (director, inspirer) is key: God does not merely tolerate Maya but actively wields it. The jeeva is Maya's subject; the Lord is Maya's sovereign.

चौपाई 15
धर्म तें बिरति जोग तें ग्याना। ग्यान मोच्छप्रद बेद बखाना।।

Dharm ten birati jog ten gyaanaa. gyaan mochchhaprad bed bakhaanaa

From dharma comes detachment, from yoga comes knowledge. The Vedas declare that knowledge is the giver of liberation.

जातें बेगि द्रवउँ मैं भाई। सो मम भगति भगत सुखदाई।।

Jaaten begi dravaun main bhaaee. so mam bhagati bhagat sukhadaaee

That by which I am quickly moved, O brother, is My devotion which gives joy to devotees.

सो सुतंत्र अवलंब न आना। तेहि आधीन ग्यान बिग्याना।।

So sutantr avalamb na aanaa. tehi aadheen gyaan bigyaanaa

That devotion is independent and needs no other support. Knowledge and science depend upon it.

भगति तात अनुपम सुखमूला। मिलइ जो संत होइँ अनुकूला।।

Bhagati taat anupam sukhamoolaa. milai jo sant hoin anukoolaa

Devotion, dear one, is the root of incomparable bliss, which is attained when saints become favorable.

भगति कि साधन कहउँ बखानी। सुगम पंथ मोहि पावहिं प्रानी।।

Bhagati ki saadhan kahaun bakhaanee. sugam panth mohi paavahin praanee

Shall I describe the means of devotion by which beings can easily find the path to Me?

प्रथमहिं बिप्र चरन अति प्रीती। निज निज कर्म निरत श्रुति रीती।।

Prathamahin bipr charan ati preetee. nij nij karm nirat shruti reetee

First, there should be great love for the feet of Brahmins, being devoted to one's own duties according to scriptural tradition.

एहि कर फल पुनि बिषय बिरागा। तब मम धर्म उपज अनुरागा।।

Ehi kar phal puni bishay biraagaa. tab mam dharm upaj anuraagaa

The fruit of this is detachment from worldly pleasures, then love for My dharma arises.

श्रवनादिक नव भक्ति दृढ़ाहीं। मम लीला रति अति मन माहीं।।

Shravanaadik nav bhakti dridhaaheen. mam leelaa rati ati man maaheen

The nine forms of devotion become firm, and great love for My divine play fills the mind.

संत चरन पंकज अति प्रेमा। मन क्रम बचन भजन दृढ़ नेमा।।

Sant charan pankaj ati premaa. man kram bachan bhajan dridh nemaa

There is intense love for the lotus feet of saints, and firm resolve to worship with mind, action and speech.

गुरु पितु मातु बंधु पति देवा। सब मोहि कहँ जाने दृढ़ सेवा।।

Guru pitu maatu bandhu pati devaa. sab mohi kahan jaane dridh sevaa

One knows guru, father, mother, brother, husband and God - all as Me, and serves them with firm devotion.

मम गुन गावत पुलक सरीरा। गदगद गिरा नयन बह नीरा।।

Mam gun gaavat pulak sareeraa. gadagad giraa nayan bah neeraa

Singing My qualities, the body thrills with joy, speech falters and tears flow from the eyes.

काम आदि मद दंभ न जाकें। तात निरंतर बस मैं ताकें।।

Kaam aadi mad dambh na jaaken. taat nirantar bas main taaken

One who is free from lust and other vices, pride and hypocrisy - I constantly dwell in such a person, dear one.

Commentary & Notes ↓

Poddarji's Commentary

हे तात! काम, क्रोध और लोभ;ये तीन अत्यन्त प्रबल दुष्ट हैं। ये विज्ञानके धाम मुनियोंके भी मनोंको पलभरमें क्षुब्ध कर देते हैं।

Notes

Chaupai 15 (sortOrder 33). The crown jewel of Rama's discourse. Twelve couplets move from jnana to bhakti in a single, majestic arc. Rama first honors the Vedic path of dharma, yoga, and knowledge, then declares that bhakti alone moves Him most quickly. The word 'sutantra' (sovereign, self-sufficient) is Tulsidas's theological signature: bhakti is not a stepping stone to jnana but the supreme reality on which jnana itself depends. Rama then lists the marks of a true bhakta: love for saints, duty performed in scriptural faith, detachment, the nine forms of devotion (here named in full), seeing the Lord in every relationship, and the bodily signs of ecstatic love (pulaka, gadgada, tears). The final couplet names the disqualifiers: kama, mada, dambha (lust, pride, hypocrisy). Where these are absent, the Lord declares 'I dwell without ceasing.' Poddarji calls this the Manas's most complete roadmap for the spiritual aspirant.

बचन कर्म मन मोरि गति भजनु करहिं निःकाम।।

तिन्ह के हृदय कमल महुँ करउँ सदा बिश्राम।।16।।

Bachan karm man mori gati bhajanu karahin nihkaam

Tinh ke hriday kamal mahun karaun sadaa bishraam (16)

दोहा 16

Atri told the tale that I | shall now relate to you;

of Sati Anasuya, | pure and proven true.

Those who worship Me selflessly through word, deed, and mind, making Me alone their refuge:

in the lotus of their hearts I rest forever.

Commentary & Notes ↓

Poddarji's Commentary

अत्रि मुनिने कथा सुनाई जो मैं वर्णन करता हूँ। सती अनसूयाका चरित्र सुनो जो परम पवित्र और प्रमाणित है।

Notes

Doha 16 (sortOrder 34). The discourse's quiet, perfect conclusion. After twelve couplets describing the path, Rama seals everything with a single promise: He will rest (vishrama) in the heart-lotus of the selfless devotee. The word 'nihkaam' (desireless) is decisive. Not the devotee who worships for gain, but the one who worships for love alone, receives this supreme gift. Poddarji observes that 'karaun sadaa bishraam' (I rest there always) implies that the Lord, who sustains the universe, finds His own rest in the devotee's heart. The imagery of the heart as a lotus in which the Lord reclines is among the most tender in all of bhakti literature.

चौपाई 16
भगति जोग सुनि अति सुख पावा। लछिमन प्रभु चरनन्हि सिरु नावा।।

Bhagati jog suni ati sukh paavaa. lachhiman prabhu charananhi siru naavaa

Hearing about devotion and yoga, Lakshmana felt great joy and bowed his head at the Lord's feet.

एहि बिधि गए कछुक दिन बीती। कहत बिराग ग्यान गुन नीती।।

Ehi bidhi gae kachhuk din beetee. kahat biraag gyaan gun neetee

In this manner some days passed, with the Lord speaking about detachment, knowledge, virtues and righteousness.

सूपनखा रावन कै बहिनी। दुष्ट हृदय दारुन जस अहिनी।।

Soopanakhaa raavan kai bahinee. dusht hriday daarun jas ahinee

Surpanakha was Ravana's sister, wicked-hearted and terrible like a female serpent.

पंचबटी सो गइ एक बारा। देखि बिकल भइ जुगल कुमारा।।

Panchabatee so gai eka baaraa. dekhi bikal bhai jugal kumaaraa

She went to Panchavati one day and became disturbed upon seeing the two handsome princes.

भ्राता पिता पुत्र उरगारी। पुरुष मनोहर निरखत नारी।।

Bhraataa pitaa putr uragaaree. purush manohar nirakhat naaree

Whether brother, father, son or enemy of serpents - when a woman beholds a charming man, she becomes agitated.

होइ बिकल सक मनहि न रोकी। जिमि रबिमनि द्रव रबिहि बिलोकी।।

Hoi bikal sak manahi na rokee. jimi rabimani drav rabihi bilokee

She became so disturbed that she could not control her mind, like a crystal melts upon seeing the sun.

रुचिर रुप धरि प्रभु पहिं जाई। बोली बचन बहुत मुसुकाई।।

Ruchir rup dhari prabhu pahin jaaee. bolee bachan bahut musukaaee

Taking a beautiful form, she went to the Lord and spoke words with much smiling.

तुम्ह सम पुरुष न मो सम नारी। यह सँजोग बिधि रचा बिचारी।।

Tumh sam purush na mo sam naaree. yah sanjog bidhi rachaa bichaaree

There is no man like you nor woman like me - Providence has thoughtfully arranged this union.

मम अनुरूप पुरुष जग माहीं। देखेउँ खोजि लोक तिहु नाहीं।।

Mam anuroop purush jag maaheen. dekheun khoji lok tihu naaheen

I have searched all three worlds but found no man suitable for me.

ताते अब लगि रहिउँ कुमारी। मनु माना कछु तुम्हहि निहारी।।

Taate aba lagi rahiun kumaaree. manu maanaa kachhu tumhahi nihaaree

Therefore I have remained unmarried until now, but my heart has been pleased upon seeing you.

सीतहि चितइ कही प्रभु बाता। अहइ कुआर मोर लघु भ्राता।।

Seetahi chitai kahee prabhu baataa. ahai kuaar mor laghu bhraataa

The Lord glanced at Sita and spoke, saying that his younger brother was unmarried.

गइ लछिमन रिपु भगिनी जानी। प्रभु बिलोकि बोले मृदु बानी।।

Gai lachhiman ripu bhaginee jaanee. prabhu biloki bole mridu baanee

Knowing her to be the enemy's sister, she went to Lakshmana, who looked at the Lord and spoke gentle words.

सुंदरि सुनु मैं उन्ह कर दासा। पराधीन नहिं तोर सुपासा।।

Sundari sunu main unh kar daasaa. paraadheen nahin tor supaasaa

Beautiful one, listen - I am his servant. Being dependent, your association is not proper for me.

प्रभु समर्थ कोसलपुर राजा। जो कछु करहिं उनहि सब छाजा।।

Prabhu samarth kosalapur raajaa. jo kachhu karahin unahi sab chhaajaa

My master is the capable king of Kosala - whatever he does brings honor to all.

सेवक सुख चह मान भिखारी। ब्यसनी धन सुभ गति बिभिचारी।।

Sevak sukh chah maan bhikhaaree. byasanee dhan subh gati bibhichaaree

A servant seeking pleasure, a beggar wanting honor, an addicted person desiring wealth, and an adulterer seeking salvation.

लोभी जसु चह चार गुमानी। नभ दुहि दूध चहत ए प्रानी।।

Lobhee jasu chah chaar gumaanee. nabh duhi doodh chahat e praanee

A greedy person wanting fame, a proud person seeking the four goals - these beings are like trying to milk the sky.

पुनि फिरि राम निकट सो आई। प्रभु लछिमन पहिं बहुरि पठाई।।

Puni phiri raam nikat so aaee. prabhu lachhiman pahin bahuri pathaaee

Then she again came near Rama, and the Lord again sent her to Lakshmana.

लछिमन कहा तोहि सो बरई। जो तृन तोरि लाज परिहरई।।

Lachhiman kahaa tohi so baraee. jo trin tori laaj pariharaee

Lakshmana said to her - who would marry you, one who breaks the blade of grass of shame?

तब खिसिआनि राम पहिं गई। रूप भयंकर प्रगटत भई।।

Tab khisiaani raam pahin gaee. roop bhayankar pragatat bhaee

Then becoming angry, she went to Rama and manifested a terrible form.

सीतहि सभय देखि रघुराई। कहा अनुज सन सयन बुझाई।।

Seetahi sabhay dekhi raghuraaee. kahaa anuj san sayan bujhaaee

Seeing Sita frightened, Raghurai spoke to his younger brother with meaningful understanding.

Commentary & Notes ↓

Poddarji's Commentary

प्रभुको देखकर मृग भाग चला। श्रीरामचन्द्रजी भी धनुष चढ़ाकर उसके पीछे दौड़े। वेद जिनके विषयमें 'नेति-नेति' कहकर रह जाते हैं और शिवजी भी जिन्हें ध्यानमें नहीं पा सकते, वे ही श्रीरामजी मायासे बने हुए मृगके पीछे दौड़ रहे हैं। वह कभी निकट आ जाता, कभी दूर भाग जाता। कभी तो प्रकट हो जाता है और कभी छिप जाता है। इस प्रकार प्रकट होता और छिपता हुआ तथा बहुतेरे छल करता हुआ वह प्रभुको दूर ले गया।

Notes

Chaupai 16 of Aranya Kanda (sortOrder 35). Twenty couplets narrating the Surpanakha episode: her arrival at Panchavati, her infatuation with the two princes, and her shuttling between Rama and Lakshmana. Tulsidas treats the scene with understated wit. Rama deflects her with quiet humor, pointing her to Lakshmana, while Lakshmana's rebuke is sharp with moral clarity. His six-line catalogue of futile desires (servant craving comfort, beggar craving honor, etc.) is one of the memorable ethical set-pieces of the Manas. Rabimani (sun-stone) is a traditional image: certain crystals were believed to liquefy in sunlight, a metaphor for Surpanakha's helpless desire. The commentary by Poddarji attached to this verse actually describes the golden deer (Maricha) episode that follows shortly after, noting the paradox of the infinite Lord chasing a conjured deer through the forest. Couplet pairs are separated by double line breaks following the original chaupai structure.

लछिमन अति लाघवँ सो नाक कान बिनु कीन्हि।

ताके कर रावन कहँ मनौ चुनौती दीन्हि।।17।।

Lachhiman ati laaghavan so naak kaan binu keenhi

Taake kar raavan kahan manau chunautee deenhi (17)

दोहा 17

Swift Lakshmana cut nose and ears; | through her, to Ravana

he seemed to send a challenge bold: | 'Come face your hour!'

With great swiftness, Lakshmana cut off her nose and ears. Through her wounded form, it was as if he had sent a challenge straight to Ravana himself.

Commentary & Notes ↓

Poddarji's Commentary

लक्ष्मणजीने बड़ी फुर्तीसे उसको बिना नाक-कानके कर दिया। मानो उसके हाथ रावणको चुनौती दी हो।

Notes

Doha 17 (sortOrder 36). A pivotal two-line verse. The disfigurement of Surpanakha is the hinge on which the entire Rama-Ravana conflict turns. Tulsidas compresses an enormous consequence into two spare lines. Poddarji explains that in her wounded flesh she became an unwitting messenger of destiny, carrying back to Lanka the provocation that would unravel Ravana's empire. The word 'laghavan' (swiftness, deftness) suggests Lakshmana acted without hesitation, fulfilling the Lord's unspoken command.

चौपाई 17
नाक कान बिनु भइ बिकरारा। जनु स्त्रव सैल गैरु कै धारा।।

Naak kaan binu bhai bikaraaraa. janu strav sail gairu kai dhaaraa

Without nose and ears, she became hideous, like a mountain stream flowing with red ochre.

खर दूषन पहिं गइ बिलपाता। धिग धिग तव पौरुष बल भ्राता।।

Khar dooshan pahin gai bilapaataa. dhig dhig tav paurush bal bhraataa

She went weeping to Khara and Dushana, crying 'Shame, shame on your valor and strength, O brothers!'

तेहि पूछा सब कहेसि बुझाई। जातुधान सुनि सेन बनाई।।

Tehi poochhaa sab kahesi bujhaaee. jaatudhaan suni sen banaaee

When they questioned her, she explained everything clearly. Hearing this, the demons prepared their army.

धाए निसिचर निकर बरूथा। जनु सपच्छ कज्जल गिरि जूथा।।

Dhaae nisichar nikar baroothaa. janu sapachchh kajjal giri joothaa

Hordes of demons rushed forth in troops, like flocks of winged mountains of black collyrium.

नाना बाहन नानाकारा। नानायुध धर घोर अपारा।।

Naanaa baahan naanaakaaraa. naanaayudh dhar ghor apaaraa

They had various mounts and forms, bearing diverse weapons, terrible and countless.

सुपनखा आगें करि लीनी। असुभ रूप श्रुति नासा हीनी।।

Supanakhaa aagen kari leenee. asubh roop shruti naasaa heenee

They placed Surpanakha at the front, with her inauspicious form, bereft of ears and nose.

असगुन अमित होहिं भयकारी। गनहिं न मृत्यु बिबस सब झारी।।

Asagun amit hohin bhayakaaree. ganahin na mrityu bibas sab jhaaree

Countless fearful omens occurred, but all the demons, overwhelmed by death's power, paid no heed.

गर्जहि तर्जहिं गगन उड़ाहीं। देखि कटकु भट अति हरषाहीं।।

Garjahi tarjahin gagan udaaheen. dekhi kataku bhat ati harashaaheen

They roared and threatened, flying through the sky. Seeing the army, the warriors rejoiced greatly.

कोउ कह जिअत धरहु द्वौ भाई। धरि मारहु तिय लेहु छड़ाई।।

Kou kah jiat dharahu dvau bhaaee. dhari maarahu tiy lehu chhadaaee

Some said 'Capture the two brothers alive, seize and kill them, and take the woman by force.'

धूरि पूरि नभ मंडल रहा। राम बोलाइ अनुज सन कहा।।

Dhoori poori nabh mandal rahaa. raam bolaai anuj san kahaa

Dust filled the entire sky. Rama called his younger brother and spoke to him.

लै जानकिहि जाहु गिरि कंदर। आवा निसिचर कटकु भयंकर।।

Lai jaanakihi jaahu giri kandar. aavaa nisichar kataku bhayankar

Take Janaki and go to the mountain cave. A fearsome army of demons has come.

रहेहु सजग सुनि प्रभु कै बानी। चले सहित श्री सर धनु पानी।।

Rahehu sajag suni prabhu kai baanee. chale sahit shree sar dhanu paanee

Hearing the Lord's words, Lakshmana remained alert and departed with Sita, carrying his bow and arrows.

देखि राम रिपुदल चलि आवा। बिहसि कठिन कोदंड चढ़ावा।।

Dekhi raam ripudal chali aavaa. bihasi kathin kodand chadhaavaa

Seeing the enemy army approaching, Rama smiled and strung his mighty bow.

Commentary & Notes ↓

Poddarji's Commentary

तब श्रीरामचन्द्रजीने तककर कठोर बाण मारा, जिसके लगते ही वह घोर शब्द करके पृथ्वीपर गिर पड़ा। पहले लक्ष्मणजीका नाम लेकर उसने पीछे मनमें श्रीरामजीका स्मरण किया। प्राण त्याग करते समय उसने अपना राक्षसी शरीर प्रकट किया और प्रेमसहित श्रीरामजीका स्मरण किया। सुजान श्रीरामजीने उसके हृदयके प्रेमको पहचानकर उसे वह गति दे दी जो मुनियोंको भी दुर्लभ है।

Notes

Chaupai 17 of Aranya Kanda (sortOrder 37). Thirteen couplets describing Surpanakha's appeal to Khara and Dushana, the mustering of the demon army, and Rama's calm preparation for battle. Tulsidas paints the approaching demons with a vivid simile: winged mountains of kajjal (collyrium, lamp-black). Against this dark avalanche, Rama's composure is radiant. He smiles as he strings his bow. The ignored omens are a recurring Manas motif: those whom death has claimed cannot read the signs. Poddarji's commentary here actually discusses Maricha's dying cry and his hidden devotion, weaving the threads of the golden-deer episode into the broader narrative of divine grace granted even to adversaries.

छन्द 3
कोदंड कठिन चढ़ाइ सिर जट जूट बाँधत सोह क्यों।

मरकत सयल पर लरत दामिनि कोटि सों जुग भुजग ज्यों।।

कटि कसि निषंग बिसाल भुज गहि चाप बिसिख सुधारि कै।।

चितवत मनहुँ मृगराज प्रभु गजराज घटा निहारि कै।।

Kodand kathin chadhaai sir jat joot baandhat soh kyon

Marakat sayal par larat daamini koti son jug bhujag jyon

Kati kasi nishang bisaal bhuj gahi chaap bisikh sudhaari kai

Chitavat manahun mrigaraaj prabhu gajaraaj ghataa nihaari kai

Bow strung tight, locks bound high | divine arms like lightning bright

Quiver girded, arrows keen | Lion-Lord surveys the scene

How splendid the Lord appears, stringing that mighty kodanda and binding His matted jata upon His head! Like ten million bolts of lightning playing across emerald mountains, His two great arms gleam and flash. With His nishanga (quiver) fastened at His waist and His powerful hands gripping bow and arrow, He gazes out like the king of lions who has sighted a lordly elephant among the clouds.

Commentary & Notes ↓

Notes

Chhand 3 of Aranya Kanda (sortOrder 38). A four-line ornamental verse (chhand) capturing Rama in the act of preparing for war against the demon host. Tulsidas layers two grand similes. First, Rama's arms are like lightning against emerald mountains (marakat shaila), a classical image for the dark-complexioned Lord's radiance. Second, His gaze is the lion's gaze (mrigaraja) upon the elephant (gajaraja), a metaphor of calm, assured sovereignty. The verse functions as a visual pause before the battle, letting the reader behold the Lord's divine beauty fused with martial readiness.

आइ गए बगमेल धरहु धरहु धावत सुभट।

जथा बिलोकि अकेल बाल रबिहि घेरत दनुज।।18।।

Aai gae bagamel dharahu dharahu dhaavat subhat

Jathaa biloki akel baal rabihi gherat danuj (18)

दोहा 18

"Hold the line!" brave warriors cry | Like demons round the morning sky

The warriors came rushing in formation, crying 'Hold them! Hold them!' as they charged. It was as though demons were swarming around the young morning sun, seeing him standing alone.

Commentary & Notes ↓

Notes

Doha 18 (sortOrder 39). A compact simile of cosmic scale. The demons surround the solitary Rama just as, in Puranic lore, the asuras try to swallow the rising sun (bala rabi). The image carries a quiet irony: they mistake the Lord's aloneness for vulnerability, not realizing they are charging at the source of all light. The cry 'dharahu dharahu' (Hold! Hold!) rings with doomed confidence.

चौपाई 18
प्रभु बिलोकि सर सकहिं न डारी। थकित भई रजनीचर धारी।।

Prabhu biloki sar sakahin na daaree. thakit bhaee rajaneechar dhaaree

Seeing the Lord, the demons could not release their arrows. The army of night-wanderers became exhausted.

सचिव बोलि बोले खर दूषन। यह कोउ नृपबालक नर भूषन।।

Sachiv boli bole khar dooshan. yah kou nripabaalak nar bhooshan

Calling his ministers, Khara and Dushana spoke: 'This is some princely youth, an ornament among men.'

नाग असुर सुर नर मुनि जेते। देखे जिते हते हम केते।।

Naag asur sur nar muni jete. dekhe jite hate ham kete

We have seen and conquered many serpents, demons, gods, men and sages in our time.

हम भरि जन्म सुनहु सब भाई। देखी नहिं असि सुंदरताई।।

Ham bhari janm sunahu sab bhaaee. dekhee nahin asi sundarataaee

Listen all brothers, in our entire lifetime we have never seen such beauty.

जद्यपि भगिनी कीन्ह कुरूपा। बध लायक नहिं पुरुष अनूपा।।

Jadyapi bhaginee keenh kuroopaa. badh laayak nahin purush anoopaa

Though he has disfigured our sister, this matchless man does not deserve death.

देहु तुरत निज नारि दुराई। जीअत भवन जाहु द्वौ भाई।।

Dehu turat nij naari duraaee. jeeat bhavan jaahu dvau bhaaee

Give up your wife immediately and hide her away. Go home alive, you two brothers.

मोर कहा तुम्ह ताहि सुनावहु। तासु बचन सुनि आतुर आवहु।।

Mor kahaa tumh taahi sunaavahu. taasu bachan suni aatur aavahu

You convey my words to him, and hearing his reply, return quickly with eagerness.

दूतन्ह कहा राम सन जाई। सुनत राम बोले मुसकाई।।

Dootanh kahaa raam san jaaee. sunat raam bole musakaaee

The messengers went and spoke to Rama. Hearing this, Rama replied with a smile.

हम छत्री मृगया बन करहीं। तुम्ह से खल मृग खौजत फिरहीं।।

Ham chhatree mrigayaa ban karaheen. tumh se khal mrig khaujat phiraheen

We are Kshatriyas who hunt in the forest. We wander seeking evil beasts like you.

रिपु बलवंत देखि नहिं डरहीं। एक बार कालहु सन लरहीं।।

Ripu balavant dekhi nahin daraheen. eka baar kaalahu san laraheen

We do not fear seeing a powerful enemy. We would fight even with Death himself once.

जद्यपि मनुज दनुज कुल घालक। मुनि पालक खल सालक बालक।।

Jadyapi manuj danuj kul ghaalak. muni paalak khal saalak baalak

Though I am human, I am the destroyer of demon clans, protector of sages, tormentor of the wicked, though young.

जौं न होइ बल घर फिरि जाहू। समर बिमुख मैं हतउँ न काहू।।

Jaun na hoi bal ghar phiri jaahoo. samar bimukh main hataun na kaahoo

If you have no strength, return home. I do not kill those who turn away from battle.

रन चढ़ि करिअ कपट चतुराई। रिपु पर कृपा परम कदराई।।

Ran chadhi karia kapat chaturaaee. ripu par kripaa param kadaraaee

To show mercy to the enemy in battle is the height of cowardice and cunning deception.

दूतन्ह जाइ तुरत सब कहेऊ। सुनि खर दूषन उर अति दहेऊ।।

Dootanh jaai turat sab kaheoo. suni khar dooshan ura ati daheoo

The messengers went and immediately told everything. Hearing this, Khara and Dushana's hearts burned with rage.

Commentary & Notes ↓

Poddarji's Commentary

सातवीं भक्ति है जगत्भरको समभावसे मुझमें ओतप्रोत देखना और संतोंको मुझसे भी अधिक करके मानना। आठवीं भक्ति है जो कुछ मिल जाय उसीमें संतोष करना और स्वप्नमें भी पराये दोषोंको न देखना। नवीं भक्ति है सरलता और सबके साथ कपटरहित बर्ताव करना, हृदयमें मेरा भरोसा रखना और किसी भी अवस्थामें हर्ष और विषादका न होना। इन नवोंमेंसे जिनके एक भी होती है, वह स्त्री-पुरुष, जड़-चेतन कोई भी हो--

Notes

Chaupai 18 of Aranya Kanda (sortOrder 40). Fourteen couplet pairs covering the embassy between Khara-Dushana and Rama. The demons' paradox is exquisite: they recognize Rama's beauty, call him 'nar bhushana' (ornament among men), yet still demand he surrender Sita. Rama's reply is a masterclass in Kshatriya dharma: he offers a clean exit to the demons, but frames any battlefield mercy as 'param kadaraaee' (supreme cowardice). The commentary attached to this verse by Poddarji actually belongs to the conclusion of the Navadha Bhakti teaching (seventh through ninth forms of devotion), illustrating how Tulsidas interleaves spiritual instruction with narrative action. Couplet pairs are separated by double line breaks following chaupai convention.

छन्द 4
उर दहेउ कहेउ कि धरहु धाए बिकट भट रजनीचरा।

सर चाप तोमर सक्ति सूल कृपान परिघ परसु धरा।।

प्रभु कीन्ह धनुष टकोर प्रथम कठोर घोर भयावहा।

भए बधिर ब्याकुल जातुधान न ग्यान तेहि अवसर रहा।।

Ura daheu kaheu ki dharahu dhaae bikat bhat rajaneecharaa

Sar chaap tomar sakti sool kripaan parigh parasu dharaa

Prabhu keenh dhanush takor pratham kathor ghor bhayaavahaa

Bhae badhir byaakul jaatudhaan na gyaan tehi avasar rahaa

Caste and clan and wealth and wit; | without bhakti, what are these?

Like clouds that hold no rain at all, | blown empty on the breeze.

Hear now the nine forms of love | that I shall share with you:

first, satsang with the saints; | second, my tales pursued.

Their hearts ablaze, they cried 'Seize them!' and charged. Terrible warriors of the night rushed forward, bearing arrows, bows, lances, shaktis, tridents, swords, maces, and battle-axes.

The Lord first struck his bowstring with a thunderous twang, harsh, terrible, and dread-inspiring.

The demons were deafened and thrown into confusion. In that moment, all sense and reason left them.

Commentary & Notes ↓

Poddarji's Commentary

जाति, पाति, कुल, धर्म, बड़ाई, धन, बल, कुटुम्ब, गुण और चतुरता--इन सबके होते हुए भी भक्तिसे रहित मनुष्य कैसा लगता है, जैसे जलहीन बादल शोभाहीन दिखायी पड़ता है। मैं तुझसे अब अपनी नवधा भक्ति कहता हूँ। तू सावधान होकर सुन और मनमें धारण कर। पहली भक्ति है संतोंका सत्संग। दूसरी भक्ति है मेरे कथा-प्रसंगमें प्रेम।

Notes

Chhand 4 of Aranya Kanda (sortOrder 41). A four-line ornamental verse marking the true onset of battle. Tulsidas catalogs eight categories of weapons (sar, chaap, tomar, shakti, shool, kripaan, parigh, parasu) to convey the scale of the assault. Against this arsenal, Rama deploys a single gesture: the 'dhanush takor,' the percussive twang of his bowstring. The sound alone renders fourteen thousand demons deaf and witless. Poddarji's commentary here actually references the opening of the Navadha Bhakti teaching (first and second forms: satsang and love for the Lord's stories), a misalignment with the battle narrative that reflects the original commentary's thematic rather than sequential organization.

सावधान होइ धाए जानि सबल आराति।

लागे बरषन राम पर अस्त्र सस्त्र बहु भाँति।।19(क)।।

तिन्ह के आयुध तिल सम करि काटे रघुबीर।

तानि सरासन श्रवन लगि पुनि छाँड़े निज तीर।।19(ख)।।

Saavadhaan hoi dhaae jaani sabal aaraati

Laage barashan raam par astr sastr bahu bhaanti.19(ka)

Tinh ke aayudh til sam kari kaate raghubeer

Taani saraasan shravan lagi puni chhaande nij teer.19(kha)

दोहा 20

Knowing the foe was mighty, | they charged with weapons keen,

raining on Rama arrows thick | as none had ever seen.

Recovering their senses, they charged with renewed care, knowing their enemy was mighty. They began raining weapons of every kind upon Rama.

Raghubira cut their missiles down to the size of sesame seeds. Then, drawing his bowstring to his ear, he released his own arrows.

Commentary & Notes ↓

Poddarji's Commentary

शत्रुको बलवान जानकर वे सावधान होकर दौड़े और श्रीरामचन्द्रजीके ऊपर बहुत प्रकारके अस्त्र-शस्त्र बरसाने लगे।

Notes

Doha 19a-b of Aranya Kanda (sortOrder 42). A paired doha capturing a pivot in the battle. The demons regroup ('saavadhaan hoi dhaae'), but Rama's response is devastating: he reduces their weapons to 'til sam' (the size of sesame seeds), a vivid image of annihilation through precision. The phrase 'saraasan shravan lagi' (bowstring drawn to the ear) is Tulsidas's signature image for Rama at full draw, a visual icon that recurs across all seven kandas. Poddarji notes the sheer asymmetry: the entire demon host rains weapons upon one man, who calmly dismantles every missile before launching his own.

छन्द 5
तब चले जान बबान कराल। फुंकरत जनु बहु ब्याल।।

कोपेउ समर श्रीराम। चले बिसिख निसित निकाम।।

अवलोकि खरतर तीर। मुरि चले निसिचर बीर।।

भए क्रुद्ध तीनिउ भाइ। जो भागि रन ते जाइ।।

तेहि बधब हम निज पानि। फिरे मरन मन महुँ ठानि।।

आयुध अनेक प्रकार। सनमुख ते करहिं प्रहार।।

रिपु परम कोपे जानि। प्रभु धनुष सर संधानि।।

छाँड़े बिपुल नाराच। लगे कटन बिकट पिसाच।।

उर सीस भुज कर चरन। जहँ तहँ लगे महि परन।।

चिक्करत लागत बान। धर परत कुधर समान।।

भट कटत तन सत खंड। पुनि उठत करि पाषंड।।

नभ उड़त बहु भुज मुंड। बिनु मौलि धावत रुंड।।

खग कंक काक सृगाल। कटकटहिं कठिन कराल।।

कटकटहिं ज़ंबुक भूत प्रेत पिसाच खर्पर संचहीं।

बेताल बीर कपाल ताल बजाइ जोगिनि नंचहीं।।

रघुबीर बान प्रचंड खंडहिं भटन्ह के उर भुज सिरा।

जहँ तहँ परहिं उठि लरहिं धर धरु धरु करहिं भयकर गिरा।।

अंतावरीं गहि उड़त गीध पिसाच कर गहि धावहीं।।

संग्राम पुर बासी मनहुँ बहु बाल गुड़ी उड़ावहीं।।

मारे पछारे उर बिदारे बिपुल भट कहँरत परे।

अवलोकि निज दल बिकल भट तिसिरादि खर दूषन फिरे।।

सर सक्ति तोमर परसु सूल कृपान एकहि बारहीं।

करि कोप श्रीरघुबीर पर अगनित निसाचर डारहीं।।

प्रभु निमिष महुँ रिपु सर निवारि पचारि डारे सायका।

दस दस बिसिख उर माझ मारे सकल निसिचर नायका।।

महि परत उठि भट भिरत मरत न करत माया अति घनी।

सुर डरत चौदह सहस प्रेत बिलोकि एक अवध धनी।।

सुर मुनि सभय प्रभु देखि मायानाथ अति कौतुक कर् यो।

देखहि परसपर राम करि संग्राम रिपुदल लरि मर् यो।।

Tab chale jaan babaan karaal. phunkarat janu bahu byaal

Kopeu samar shreeraam. chale bisikh nisit nikaam

Avaloki kharatar teer. muri chale nisichar beer

Bhae kruddh teeniu bhaai. jo bhaagi ran te jaai

Tehi badhab ham nij paani. phire maran man mahun thaani

Aayudh anek prakaar. sanamukh te karahin prahaar

Ripu param kope jaani. prabhu dhanush sar sandhaani

Chhaande bipul naaraach. lage katan bikat pisaach

Ura sees bhuj kar charan. jahan tahan lage mahi paran

Chikkarat laagat baan. dhar parat kudhar samaan

Bhat katat tan sat khand. puni uthat kari paashand

Nabh udat bahu bhuj mund. binu mauli dhaavat rund

Khag kank kaak srigaal. katakatahin kathin karaal

Katakatahin zambuk bhoot pret pisaach kharpar sanchaheen

Betaal beer kapaal taal bajaai jogini nanchaheen

Raghubeer baan prachand khandahin bhatanh ke ura bhuj siraa

Jahan tahan parahin uthi larahin dhar dharu dharu karahin bhayakar giraa

Antaavareen gahi udat geedh pisaach kar gahi dhaavaheen

Sangraam pur baasee manahun bahu baal gudee udaavaheen

Maare pachhaare ura bidaare bipul bhat kahanrat pare

Avaloki nij dal bikal bhat tisiraadi khar dooshan phire

Sar sakti tomar parasu sool kripaan ekahi baaraheen

Kari kop shreeraghubeer par aganit nisaachar daaraheen

Prabhu nimish mahun ripu sar nivaari pachaari daare saayakaa

Das das bisikh ura maajh maare sakal nisichar naayakaa

Mahi parat uthi bhat bhirat marat na karat maayaa ati ghanee

Sur darat chaudah sahas pret biloki eka avadh dhanee

Sur muni sabhay prabhu dekhi maayaanaath ati kautuk kar yo

Dekhahi parasapar raam kari sangraam ripudal lari mar yo

Then arrows flew like hissing snakes, | Rama's wrath arose in war,

the demons fled but brothers cried: | 'Flee and die for sure!'

They turned to fight with every blade, | the Lord drew shaft to string,

and countless demons fell that day | before the arrows' sting.

Then flew the terrible arrows, hissing like countless serpents. Shri Rama grew wrathful in battle, and his sharp, relentless shafts flew forth.

Seeing those razor-edged arrows, the demon heroes turned and fled. But the three brothers burned with rage: 'Whoever flees the battlefield, we will slay with our own hands!'

Resolving to die, the fleeing demons turned back, striking the Lord with every weapon they possessed. Knowing his foes were desperate, Prabhu fitted shafts to his bow and released a torrent of iron-tipped arrows. The terrible pishacha warriors began to fall.

Heads, arms, hands, and feet rained upon the earth in every direction. Screaming as the arrows struck, the demons crashed to the ground like uprooted mountains.

Warriors were cut into a hundred pieces yet rose again through sorcery. Severed arms and heads flew through the sky. Headless trunks charged onward.

Vultures, herons, crows, and jackals gnashed their teeth in savage glee. Jackals howled. Ghosts, spirits, and pishacha gathered skulls. Betala heroes clapped skull-drums, and yoginis danced.

Raghubira's ferocious arrows shattered the chests, arms, and heads of the warriors. Wherever they fell, they rose and fought on, crying 'Seize him! Seize him!' in dreadful voices.

Vultures snatched up trailing entrails and soared aloft. Pishacha ran clutching severed hands. It was as though the residents of some battleground city were sending up countless kites into the sky.

Struck down, hurled to the ground, chests torn open, countless warriors fell groaning. Seeing his own forces in desperate confusion, Trishira, Khara, and Dushana rallied and charged.

Arrows, shaktis, lances, axes, tridents, swords: all at once, countless night-wanderers hurled them upon Shri Raghubira in fury.

In the blink of an eye, Prabhu deflected every enemy shaft, then released his own arrows with a roar. He struck ten arrows into the chest of each demon commander.

Warriors fell to the earth, rose, and fought again, refusing to die, weaving thick and heavy maya. The gods trembled to behold it: fourteen thousand demons against the lone Lord of Ayodhya.

Gods and munis alike grew fearful. Then Prabhu, the Master of Maya, performed a supreme marvel. While the demons saw each other fighting Rama, the entire enemy host perished in battle.

Commentary & Notes ↓

Poddarji's Commentary

तब भयानक बाण ऐसे चले मानो फुफकारते हुए बहुत-से सर्प जा रहे हैं। श्रीरामचन्द्रजी संग्राममें क्रुद्ध हुए और अत्यन्त तीक्ष्ण बाण चले। अत्यन्त तीक्ष्ण बाणोंको देखकर राक्षस वीर पीठ दिखाकर भाग चले। तब खर, दूषण और त्रिशिरा तीनों भाई क्रुद्ध होकर बोले-जो रणसे भागकर जायगा, उसका हम अपने हाथों वध करेंगे। तब मनमें मरना ठानकर भागते हुए राक्षस लौट पड़े और सामने होकर वे अनेकों प्रकारके हथियारोंसे श्रीरामजीपर प्रहार करने लगे। शत्रुको अत्यन्त कुपित जानकर प्रभुने धनुषपर बाण चढ़ाकर बहुत-से बाण छोड़े, जिनसे भयानक राक्षस कटने लगे।

Notes

Chhand 5 of Aranya Kanda (sortOrder 43). The longest and most spectacular verse in the Khara-Dushana battle sequence. Tulsidas orchestrates a battlefield panorama of extraordinary violence and supernatural detail: headless trunks charging forward, yoginis dancing to the rhythm of skull-drums, vultures carrying entrails aloft like kites. The climactic maya is breathtaking: Rama multiplies his form so that each demon sees himself fighting Rama alone, while in truth the entire host perishes simultaneously. Poddarji explains the theological import: even here, in wholesale destruction, the Lord is 'Kripaanidhaan' (treasury of mercy). The demons die chanting his name. The passage deliberately echoes the Mahabharata's descriptions of cosmic war while remaining unmistakably devotional in tone.

राम राम कहि तनु तजहिं पावहिं पद निर्बान।

करि उपाय रिपु मारे छन महुँ कृपानिधान।।20(क)।।

हरषित बरषहिं सुमन सुर बाजहिं गगन निसान।

अस्तुति करि करि सब चले सोभित बिबिध बिमान।।20(ख)।।

Raam raam kahi tanu tajahin paavahin pad nirbaan

Kari upaay ripu maare chhan mahun kripaanidhaan.20(ka)

Harashit barashahin suman sur baajahin gagan nisaan

Astuti kari kari sab chale sobhit bibidh bimaan.20(kha)

दोहा 21

Gods rained flowers, sang his praise: | 'See what the Lord has done!

Dinabandhu gave his state | even to a demon son.'

Crying 'Rama! Rama!' as they gave up their bodies, the demons attained the state beyond all sorrow. In a single moment, Kripaanidhaan (the treasury of mercy) destroyed his enemies through divine strategy.

Overjoyed, the gods showered flowers from the sky. Celestial drums resounded in the heavens. Offering praise after praise, they departed in their splendid and varied vimaanas.

Commentary & Notes ↓

Poddarji's Commentary

देवता बहुत-से फूल बरसा रहे हैं और प्रभुके गुणोंकी गाथाएँ (स्तुतियाँ) गा रहे हैं कि श्रीरघुनाथजी ऐसे दीनबन्धु हैं कि उन्होंने असुरको भी अपना परम पद दे दिया।

Notes

Doha 20a-b of Aranya Kanda (sortOrder 44). The climactic paradox of the entire battle. The demons die chanting 'Rama Rama' and thereby attain 'pad nirbaan' (the state of liberation). Tulsidas names the Lord 'Kripaanidhaan' at the very moment of slaughter, insisting that even apparent destruction is an act of boundless grace. Poddarji elaborates: the gods sing precisely because the Friend of the Fallen (Dinabandhu) has granted his supreme abode even to those who came to kill him. The celestial flower-shower and the resounding sky-drums (gagan nisaan) are the universe's spontaneous celebration. The verse closes the Khara-Dushana episode with an image of departing vimaanas, restoring serenity to Panchavati.

चौपाई 19
जब रघुनाथ समर रिपु जीते। सुर नर मुनि सब के भय बीते।।

Jab raghunaath samar ripu jeete. sur nar muni sab ke bhay beete

When Raghunath defeated the demons in battle, all fears of gods, men, and sages were dispelled.

तब लछिमन सीतहि लै आए। प्रभु पद परत हरषि उर लाए।

Tab lachhiman seetahi lai aae. prabhu pad parat harashi ura laae

Then Lakshmana brought Sita back, and she joyfully embraced the Lord's feet with a happy heart.

सीता चितव स्याम मृदु गाता। परम प्रेम लोचन न अघाता।।

Seetaa chitav syaam mridu gaataa. param prem lochan na aghaataa

Sita gazed upon Rama's dark and gentle form, her eyes filled with supreme love never satisfied.

पंचवटीं बसि श्रीरघुनायक। करत चरित सुर मुनि सुखदायक।।

Panchavateen basi shreeraghunaayak. karat charit sur muni sukhadaayak

The noble Raghunayak dwelt in Panchavati, performing deeds that brought joy to gods and sages.

धुआँ देखि खरदूषन केरा। जाइ सुपनखाँ रावन प्रेरा।।

Dhuaan dekhi kharadooshan keraa. jaai supanakhaan raavan preraa

Seeing the smoke from Khara and Dushana's destruction, Surpanakha went and incited Ravana.

बोलि बचन क्रोध करि भारी। देस कोस कै सुरति बिसारी।।

Boli bachan krodh kari bhaaree. des kos kai surati bisaaree

Speaking words filled with great anger, she made him forget all sense of time and place.

करसि पान सोवसि दिनु राती। सुधि नहिं तव सिर पर आराती।।

Karasi paan sovasi dinu raatee. sudhi nahin tav sir par aaraatee

You drink and sleep day and night, unaware that enemies threaten your head.

राज नीति बिनु धन बिनु धर्मा। हरिहि समर्पे बिनु सतकर्मा।।

Raaj neeti binu dhan binu dharmaa. harihi samarpe binu satakarmaa

Without righteous rule, without wealth and dharma, without surrendering to Hari through good deeds.

बिद्या बिनु बिबेक उपजाएँ। श्रम फल पढ़े किएँ अरु पाएँ।।

Bidyaa binu bibek upajaaen. shram phal padhe kien aru paaen

Without learning, how can wisdom arise? What fruit comes from study and effort without it?

संग ते जती कुमंत्र ते राजा। मान ते ग्यान पान तें लाजा।।

Sang te jatee kumantr te raajaa. maan te gyaan paan ten laajaa

Ascetics are destroyed by company, kings by bad counsel, knowledge by pride, and modesty by drink.

प्रीति प्रनय बिनु मद ते गुनी। नासहि बेगि नीति अस सुनी।।

Preeti pranay binu mad te gunee. naasahi begi neeti asa sunee

Love without affection, and the virtuous through pride - all perish quickly, such is the law I have heard.

Commentary & Notes ↓

Poddarji's Commentary

मन, वचन और कर्मसे कपट छोड़कर जो भूदेव ब्राह्मणोंकी सेवा करता है, मुझसमेत ब्रह्मा, शिव आदि सब देवता उसके वशमें हो जाते हैं।

Notes

Chaupai 19 of Aranya Kanda (sortOrder 45). Eleven couplets spanning two movements. The first four couplets form a tender domestic scene: Sita reunited with Rama after His victory over the demon army, her loving gaze resting on His dark form, the pair dwelling peacefully at Panchavati. Then the tone shifts sharply. Shurpanakha arrives at Lanka and unleashes a torrent of rebukes upon Ravana. Her catalogue of ruin (bad company destroys the renunciant, bad counsel destroys the king, pride destroys knowledge, drink destroys modesty) is among the finest ethical set-pieces in the Manas. Tulsidas puts genuine niti-shastra (political wisdom) in the mouth of the vengeful demoness; Poddarji notes that even the wicked sometimes speak truth when the Lord wills it. The commentary attached to this verse actually addresses the Kabandha episode and the Lord's teaching that genuine, motive-free service to the learned is supremely powerful. Couplet pairs are separated by double line breaks following the original chaupai structure.

रिपु रुज पावक पाप प्रभु अहि गनिअ न छोट करि।

अस कहि बिबिध बिलाप करि लागी रोदन करन।।21(क)।।

सभा माझ परि ब्याकुल बहु प्रकार कह रोइ।

तोहि जिअत दसकंधर मोरि कि असि गति होइ।।21(ख)।।

Ripu ruj paavak paap prabhu ahi gania na chhot kari

Asa kahi bibidh bilaap kari laagee rodan karan.21(ka)

Sabhaa maajh pari byaakul bahu prakaar kah roi

Tohi jiat dasakandhar mori ki asi gati hoi.21(kha)

दोहा 22क

Tell not your father, Taat, | of Sita's taking away;

if I am Rama true, then Ravana | with his clan will come to pay.

An enemy, a disease, a fire, a sin, a master, and a serpent: never consider any of these to be small.

So saying, she broke into loud lamentation and began to weep bitterly.

Falling down in the midst of the assembly, she cried out in anguish: 'O Dashakandhar, while you yet live, how has such a fate befallen me?'

Commentary & Notes ↓

Poddarji's Commentary

हे तात! आप अपने पिताके पास जाकर सीताजीके हरणकी बात मत कहियेगा। यदि मैं राम हूँ तो दशानन स्वयं अपने कुलसहित आकर [अपना हाल] कहेगा।

Notes

Doha 21(ka) and 21(kha) of Aranya Kanda (sortOrder 46). Shurpanakha's outburst in Ravana's court. She opens with a sharp niti (maxim): never underestimate an enemy, an illness, a flame, a sin, a lord, or a serpent. The line has the ring of a Chanakya sutra; Tulsidas embeds political and moral wisdom in the speech of an aggrieved demoness. Then she collapses weeping in the sabha, invoking Ravana by his epithet Dashakandhar (Ten-Shouldered One), demanding that if he is alive, how could such humiliation befall her? Poddarji's commentary here actually references Rama's words to the dying Jatayu, noting the Lord's quiet confidence that if He is truly Rama, Ravana and his whole clan will come to account of their own accord.

चौपाई 20
सुनत सभासद उठे अकुलाई। समुझाई गहि बाहँ उठाई।।

Sunat sabhaasad uthe akulaaee. samujhaaee gahi baahan uthaaee

Hearing this, the courtiers rose up in distress and tried to calm her by holding her arms and lifting her up.

कह लंकेस कहसि निज बाता। केंइँ तव नासा कान निपाता।।

Kah lankes kahasi nij baataa. kenin tav naasaa kaan nipaataa

The lord of Lanka said, 'Tell me your story - who has cut off your nose and ears?'

अवध नृपति दसरथ के जाए। पुरुष सिंघ बन खेलन आए।।

Avadh nripati dasarath ke jaae. purush singh ban khelan aae

The sons of King Dasharatha of Ayodhya, lions among men, have come to sport in the forest.

समुझि परी मोहि उन्ह कै करनी। रहित निसाचर करिहहिं धरनी।।

Samujhi paree mohi unh kai karanee. rahit nisaachar karihahin dharanee

Understanding their deeds, I realize they will make the earth free from demons.

जिन्ह कर भुजबल पाइ दसानन। अभय भए बिचरत मुनि कानन।।

Jinh kar bhujabal paai dasaanan. abhay bhae bicharat muni kaanan

By whose arm-strength, O ten-headed one, the sages wander fearlessly in the forest groves.

देखत बालक काल समाना। परम धीर धन्वी गुन नाना।।

Dekhat baalak kaal samaanaa. param dheer dhanvee gun naanaa

Though appearing like young boys, they are like Death incarnate - supremely steadfast archers with countless virtues.

अतुलित बल प्रताप द्वौ भ्राता। खल बध रत सुर मुनि सुखदाता।।

Atulit bal prataap dvau bhraataa. khal badh rat sur muni sukhadaataa

The two brothers possess incomparable strength and glory, devoted to destroying the wicked and giving joy to gods and sages.

सोभाधाम राम अस नामा। तिन्ह के संग नारि एक स्यामा।।

Sobhaadhaam raam asa naamaa. tinh ke sang naari eka syaamaa

The abode of beauty is named Rama, and with them is a dark-complexioned woman.

रुप रासि बिधि नारि सँवारी। रति सत कोटि तासु बलिहारी।।

Rup raasi bidhi naari sanvaaree. rati sat koti taasu balihaaree

She is a treasure of beauty whom the Creator has adorned - millions of goddesses of love are sacrificed to her.

तासु अनुज काटे श्रुति नासा। सुनि तव भगिनि करहिं परिहासा।।

Taasu anuj kaate shruti naasaa. suni tav bhagini karahin parihaasaa

His younger brother cut off my ears and nose, hearing which your sister makes jest.

खर दूषन सुनि लगे पुकारा। छन महुँ सकल कटक उन्ह मारा।।

Khar dooshan suni lage pukaaraa. chhan mahun sakal katak unh maaraa

Hearing of Khara and Dushana, they began to shout, but in a moment he killed their entire army.

खर दूषन तिसिरा कर घाता। सुनि दससीस जरे सब गाता।।

Khar dooshan tisiraa kar ghaataa. suni dasasees jare sab gaataa

Hearing of the slaughter of Khara, Dushana and Trishira, the ten-headed one's whole body burned with rage.

Commentary & Notes ↓

Poddarji's Commentary

जिनकी भुजाओंका बल पाकर हे दशमुख! मुनिलोग वनमें निर्भय होकर विचरने लगे हैं। वे देखनेमें तो बालक हैं, पर हैं कालके समान। वे परम धीर, श्रेष्ठ धनुर्धर और अनेकों गुणोंसे युक्त हैं। दोनों भाइयोंका बल और प्रताप अतुलनीय है। वे दुष्टोंके वध करनेमें लगे हैं और देवता तथा मुनियोंको सुख देनेवाले हैं। वे शोभाके धाम हैं, 'राम' ऐसा उनका नाम है। उनके साथ एक श्यामवर्ण स्त्री है। विधाताने उस स्त्रीको ऐसी रूपकी राशि बनाया है कि सौ करोड़ रति उसपर निछावर हैं। उसने शूर्पणखाको समझाकर बहुत प्रकारसे अपने बलका बखान किया। शूर्पणखाके वचन सुनते ही सभासद् अकुला उठे। उन्होंने शूर्पणखाकी बाँह पकड़कर उसे उठाया और समझाया। लङ्कापति रावणने कहा--अपनी बात तो बता, किसने तेरे नाक-कान काट लिये? वह बोली--अयोध्याके राजा दशरथके पुत्र, जो पुरुषोंमें सिंहके समान हैं, वनमें शिकार खेलने आये हैं। मुझे उनकी करनी ऐसी समझ पड़ी है कि वे पृथ्वीको राक्षसोंसे रहित कर देंगे।

Notes

Chaupai 20 of Aranya Kanda (sortOrder 47). Twelve couplets. Shurpanakha's account to Ravana's court is a masterful piece of indirect characterization. Even in her fury she cannot help extolling the divine pair. Rama is 'Shobhadhaam' (the abode of beauty); Sita surpasses a hundred crore Ratis. The princes look like boys yet carry the presence of Kaal (Death). Tulsidas layers the irony: Shurpanakha's complaint is, in effect, an inadvertent hymn. Poddarji draws attention to the fact that her description of Sita's beauty will ignite Ravana's fatal desire and seal his doom. Her phrase 'rahit nisaachar karihahin dharanee' (they will make the earth free of demons) is prophecy disguised as panic. Couplet pairs are separated by double line breaks following the original chaupai structure.

सुपनखहि समुझाइ करि बल बोलेसि बहु भाँति।

गयउ भवन अति सोचबस नीद परइ नहिं राति।।22।।

Supanakhahi samujhaai kari bal bolesi bahu bhaanti

Gayau bhavan ati sochabas need parai nahin raati (22)

दोहा 22ख

He soothed Shurpanakha, boasting proud | of his strength and might,

but worry-filled he went to bed; | no sleep came that night.

After consoling Shurpanakha, Ravana boasted of his might in many ways. But consumed with worry, he returned to his palace, and all through the night no sleep would come.

Commentary & Notes ↓

Poddarji's Commentary

उसने शूर्पणखाको समझाकर बहुत प्रकारसे अपने बलका बखान किया, किन्तु मनमें वह अत्यन्त चिन्तावश होकर अपने महलमें गया, उसे रातभर नींद नहीं पड़ी।

Notes

Doha 22 of Aranya Kanda (sortOrder 48). Two spare lines that capture the gap between Ravana's public persona and his private terror. In court he comforts his sister and parades his strength; alone in his chamber he lies sleepless. Poddarji highlights this contradiction as the first crack in Ravana's armor. The lord of three worlds, the conqueror of Indra, cannot sleep because of two young men living simply in the forest. His body knows what his tongue will not confess. The word 'sochbas' (consumed with worry) is the hinge of the doha, exposing the hollow inside the boast.

चौपाई 21
सुर नर असुर नाग खग माहीं। मोरे अनुचर कहँ कोउ नाहीं।।

Sur nar asur naag khag maaheen. more anuchar kahan kou naaheen

Among gods, men, demons, serpents and birds, none are my followers or servants.

खर दूषन मोहि सम बलवंता। तिन्हहि को मारइ बिनु भगवंता।।

Khar dooshan mohi sam balavantaa. tinhahi ko maarai binu bhagavantaa

Khara and Dushana are as mighty as I am - who can slay them except the Lord himself?

सुर रंजन भंजन महि भारा। जौं भगवंत लीन्ह अवतारा।।

Sur ranjan bhanjan mahi bhaaraa. jaun bhagavant leenh avataaraa

If the Lord who delights the gods and relieves the earth's burden has taken incarnation,

तौ मै जाइ बैरु हठि करऊँ। प्रभु सर प्रान तजें भव तरऊँ।।

Tau mai jaai bairu hathi karaoon. prabhu sar praan tajen bhav taraoon

Then I shall go and stubbornly wage war with Him, and abandoning life by His arrows, cross over this worldly existence.

होइहि भजनु न तामस देहा। मन क्रम बचन मंत्र दृढ़ एहा।।

Hoihi bhajanu na taamas dehaa. man kram bachan mantr dridh ehaa

Devotion cannot arise in this demonic body - this resolve is firm in mind, deed and word.

जौं नररुप भूपसुत कोऊ। हरिहउँ नारि जीति रन दोऊ।।

Jaun nararup bhoopasut kooo. harihaun naari jeeti ran dooo

If He is merely some human prince, I shall abduct his wife and defeat both of them in battle.

चला अकेल जान चढि तहवाँ। बस मारीच सिंधु तट जहवाँ।।

Chalaa akel jaan chadhi tahavaan. bas maareech sindhu tat jahavaan

He departed alone, riding his aerial chariot to where Maricha dwelt on the ocean's shore.

इहाँ राम जसि जुगुति बनाई। सुनहु उमा सो कथा सुहाई।।

Ihaan raam jasi juguti banaaee. sunahu umaa so kathaa suhaaee

Listen, Uma, to this delightful tale of how Rama devised His strategy here.

Commentary & Notes ↓

Poddarji's Commentary

जो नीच जातिकी और पापोंकी जन्मभूमि थी, ऐसी स्त्रीको भी जिन्होंने मुक्त कर दिया, अरे महादुर्बुद्धि मन! तू ऐसे प्रभुको भूलकर सुख चाहता है?

Notes

Chaupai 21 of Aranya Kanda (sortOrder 49). Eight couplets containing Ravana's extraordinary soliloquy. Unable to sleep, he reasons through two possibilities. If Rama is Bhagavan, then dying by His arrows will grant liberation; if He is only a mortal, Ravana will simply overpower Him. This 'either way I win' logic is one of the great theological moments of the Manas. Tulsidas shows that even a demon's hostility, when directed at the Lord, becomes a path to moksha. The line 'hoihi bhajanu na taamas dehaa' (devotion cannot arise in this demonic body) is piercing. Ravana acknowledges his own spiritual incapacity, yet resolves that antagonism toward God will accomplish what devotion cannot. Poddarji's commentary here addresses the Lord's boundless compassion: even Shabari, considered the lowest by worldly standards, was liberated by Rama. How much more, then, can the Lord redeem one who at least recognizes divinity, however adversarially? Couplet pairs are separated by double line breaks following the original chaupai structure.

लछिमन गए बनहिं जब लेन मूल फल कंद।

जनकसुता सन बोले बिहसि कृपा सुख बृंद।। 23।।

Lachhiman gae banahin jab len mool phal kand

Janakasutaa san bole bihasi kripaa sukh brind (23)

दोहा 23

When Lakshmana went to gather food | in forest's leafy shade,

the Lord of bliss smiled soft and spoke | to the Janaki, the maid.

When Lakshmana had gone into the forest to gather roots, fruits and tubers, Rama, that boundless ocean of mercy and joy, smiled and spoke to Janaki.

Commentary & Notes ↓

Poddarji's Commentary

लक्ष्मणजी जब कन्द-मूल-फल लेनेके लिये बनमें गये, तब कृपा और सुखके समूह श्रीरामचन्द्रजी हँसकर जानकीजीसे बोले।

Notes

Doha 23 of Aranya Kanda (sortOrder 50). A deceptively quiet verse that opens one of the most momentous episodes in the Manas. Lakshmana's errand to gather food creates the private space Rama needs to reveal the divine plan to Sita. Tulsidas calls the Lord 'kripaa sukh brind' (a cluster of mercy and bliss), reminding the reader that even the sorrow about to unfold is held within the Lord's compassion. His smile is not casual. It is the smile of one who sees the entire cosmic drama from beginning to end and knows that every thread, even the thread of separation, serves the larger weaving of grace.

चौपाई 22
सुनहु प्रिया ब्रत रुचिर सुसीला। मैं कछु करबि ललित नरलीला।।

Sunahu priyaa brat ruchir suseelaa. main kachhu karabi lalit naraleelaa

Listen, beloved one of beautiful vows and noble character, I shall perform some charming divine play.

तुम्ह पावक महुँ करहु निवासा। जौ लगि करौं निसाचर नासा।।

Tumh paavak mahun karahu nivaasaa. jau lagi karaun nisaachar naasaa

You dwell within the fire until I complete the destruction of the demons.

जबहिं राम सब कहा बखानी। प्रभु पद धरि हियँ अनल समानी।।

Jabahin raam sab kahaa bakhaanee. prabhu pad dhari hiyan anal samaanee

When Rama had explained everything, Sita placed the Lord's feet in her heart and entered the fire.

निज प्रतिबिंब राखि तहँ सीता। तैसइ सील रुप सुबिनीता।।

Nij pratibimb raakhi tahan seetaa. taisai seel rup subineetaa

Sita left her own reflection there, identical in virtue, beauty and gentle nature.

लछिमनहूँ यह मरमु न जाना। जो कछु चरित रचा भगवाना।।

Lachhimanahoon yah maramu na jaanaa. jo kachhu charit rachaa bhagavaanaa

Even Lakshmana did not know this secret of whatever divine play the Lord had arranged.

दसमुख गयउ जहाँ मारीचा। नाइ माथ स्वारथ रत नीचा।।

Dasamukh gayau jahaan maareechaa. naai maath svaarath rat neechaa

The ten-headed Ravana went to where Maricha was, that base one devoted to selfish interests who bowed his head.

नवनि नीच कै अति दुखदाई। जिमि अंकुस धनु उरग बिलाई।।

Navani neech kai ati dukhadaaee. jimi ankus dhanu urag bilaaee

Bowing to the wicked brings great suffering, like an elephant goad, bow, serpent or cat.

भयदायक खल कै प्रिय बानी। जिमि अकाल के कुसुम भवानी।।

Bhayadaayak khal kai priy baanee. jimi akaal ke kusum bhavaanee

The sweet words of the evil are frightening, O Bhavani, like flowers blooming in the time of famine.

Commentary & Notes ↓

Poddarji's Commentary

तब मारीचने उसकी पूजा करके आदरपूर्वक बात पूछी;हे तात! आपका मन किस कारण इतना अधिक व्यग्र है और आप अकेले आये हैं?

Notes

Chaupai 22 of Aranya Kanda (sortOrder 51). Eight couplets of extraordinary theological weight. The first four reveal the mystery of 'chhaayaa Sita' (shadow Sita): the real Sita enters the fire and leaves only her reflection behind, so that the Sita whom Ravana abducts is not the true consort of the Lord. Tulsidas handles this carefully. Sita does not hesitate. She places the Lord's feet in her heart and steps into the flames. The gesture is one of absolute trust. Even Lakshmana is kept outside the secret, underscoring how intimate this exchange is between the Lord and his beloved. The verse then pivots sharply to Ravana visiting Maricha. Tulsidas closes with two memorable moral maxims. The bowing of the wicked is compared to four things that curve yet wound: the elephant goad, the bow, the serpent and the cat. And the sweet speech of the evil is likened to flowers blooming in famine, beautiful on the surface but heralding destruction. Couplet pairs are separated by double line breaks following the original chaupai structure.

करि पूजा मारीच तब सादर पूछी बात।

कवन हेतु मन ब्यग्र अति अकसर आयहु तात।।24।।

Kari poojaa maareech tab saadar poochhee baat

Kavan hetu man byagr ati akasar aayahu taat (24)

दोहा 24

With worship done, Maricha asks with care | "What urgent grief has brought you here?"

After offering worship, Maricha then respectfully inquired: "What cause has brought such distress to your mind, dear lord, that you come here so suddenly?"

Commentary & Notes ↓

Notes

Doha 24 of Aranya Kanda (sortOrder 52). A brief, restrained doha that reveals Maricha's character. Despite being a demon, he observes the formalities of hospitality: worship first (kari poojaa), then respectful questioning (saadar poochhee). His use of 'taat' (dear one, father) for Ravana shows deference. He senses something grave in Ravana's agitation ('man byagr ati') and asks directly. The verse sets the stage for Maricha's remarkable speech in the following chaupai, where he will counsel Ravana against provoking Rama.

चौपाई 23
दसमुख सकल कथा तेहि आगें। कही सहित अभिमान अभागें।।

Dasamukh sakal kathaa tehi aagen. kahee sahit abhimaan abhaagen

The ten-headed Ravana narrated the entire story to him, filled with pride and misfortune.

होहु कपट मृग तुम्ह छलकारी। जेहि बिधि हरि आनौ नृपनारी।।

Hohu kapat mrig tumh chhalakaaree. jehi bidhi hari aanau nripanaaree

He commanded, 'Become a deceptive deer, you master of illusion, so that you may bring away the king's wife.'

तेहिं पुनि कहा सुनहु दससीसा। ते नररुप चराचर ईसा।।

Tehin puni kahaa sunahu dasaseesaa. te nararup charaachar eesaa

Maricha then said, 'Listen, O ten-headed one! Those two are in human form but are lords of all creation.'

तासों तात बयरु नहिं कीजे। मारें मरिअ जिआएँ जीजै।।

Taason taat bayaru nahin keeje. maaren maria jiaaen jeejai

Do not make enmity with them, dear one. If they kill, one dies; if they give life, one lives.

मुनि मख राखन गयउ कुमारा। बिनु फर सर रघुपति मोहि मारा।।

Muni makh raakhan gayau kumaaraa. binu phar sar raghupati mohi maaraa

When the young prince went to protect the sage's sacrifice, Raghupati struck me with an arrow without a metal tip.

सत जोजन आयउँ छन माहीं। तिन्ह सन बयरु किएँ भल नाहीं।।

Sat jojan aayaun chhan maaheen. tinh san bayaru kien bhal naaheen

I traveled a hundred yojanas in an instant. It is not good to make enmity with them.

भइ मम कीट भृंग की नाई। जहँ तहँ मैं देखउँ दोउ भाई।।

Bhai mam keet bhring kee naaee. jahan tahan main dekhaun dou bhaaee

I have become like an insect before a bee - wherever I go, I see those two brothers.

जौं नर तात तदपि अति सूरा। तिन्हहि बिरोधि न आइहि पूरा।।

Jaun nar taat tadapi ati sooraa. tinhahi birodhi na aaihi pooraa

Even if they are human, dear one, they are exceedingly valiant. One cannot succeed in opposing them.

Commentary & Notes ↓

Poddarji's Commentary

जब रावण उस वनके निकट पहुँचा, तब मारीच कपटमृग बन गया। वह अत्यन्त ही विचित्र था, कुछ वर्णन नहीं किया जा सकता। सोनेका शरीर मणियोंसे जड़कर बनाया था। सीताजीने उस परम सुन्दर हिरनको देखा, जिसके अंग-अंगकी छटा अत्यन्त मनोहर थी। वे कहने लगीं--हे देव! हे कृपालु रघुवीर! सुनिये। इस मृगकी छाल बहुत ही सुन्दर है।

Notes

Chaupai 23 of Aranya Kanda (sortOrder 53). Eight couplets giving Maricha's warning to Ravana. This is one of the most psychologically rich passages in Aranya Kanda. Ravana speaks with 'abhimaan' (pride) and 'abhaag' (misfortune), two qualities Tulsidas yokes together, implying that pride itself is the seed of ruin. Maricha's reply is measured and fearful. He calls Rama and Lakshmana 'charaachar eesaa,' lords of all creation, openly declaring their divinity. His personal testimony is vivid: struck by a headless arrow (binu phar sar), he was hurled a hundred yojanas. The 'keet bhring' (insect-wasp) simile is drawn from Vedantic tradition, where the wasp's constant buzzing transforms the caterpillar into a wasp. So too Maricha, struck by the Lord's arrow, now sees Rama everywhere he turns. His obsession has become a kind of involuntary meditation. The irony is piercing: forced remembrance of God through terror is still remembrance. Couplet pairs are separated by double line breaks following the original chaupai structure.

जेहिं ताड़का सुबाहु हति खंडेउ हर कोदंड।।

खर दूषन तिसिरा बधेउ मनुज कि अस बरिबंड।।25।।

Jehin taadakaa subaahu hati khandeu har kodand

Khar dooshan tisiraa badheu manuj ki asa bariband (25)

दोहा 25

Who broke Shiva's bow divine | Slew demons in battle line

Is this man or warrior-god | Wielding such a mighty rod?

"The one who slew Tadaka and Subahu, who shattered Shiva's mighty bow, who killed Khara, Dushana and Trishira. Is such a being truly human, or some great warrior beyond all reckoning?"

Commentary & Notes ↓

Notes

Doha 25 of Aranya Kanda (sortOrder 54). Maricha's rhetorical question forms the climax of his warning. He catalogues Rama's feats in ascending order: the slaying of Tadaka and Subahu, the breaking of Shiva's bow at Janaka's court, and the recent destruction of Khara, Dushana and Trishira. The word 'bariband' (one of surpassing might, a great warrior) carries a tone of awe. Maricha does not quite say Rama is God. He asks the question and lets the evidence speak. This understated revelation is characteristic of Tulsidas: the truth about the Lord's nature is placed in the mouth of a demon, and it is all the more convincing for that.

चौपाई 24
जाहु भवन कुल कुसल बिचारी। सुनत जरा दीन्हिसि बहु गारी।।

Jaahu bhavan kul kusal bichaaree. sunat jaraa deenhisi bahu gaaree

Go home and consider the welfare of your family. Hearing this, the old demon gave many harsh rebukes.

गुरु जिमि मूढ़ करसि मम बोधा। कहु जग मोहि समान को जोधा।।

Guru jimi moodh karasi mam bodhaa. kahu jag mohi samaan ko jodhaa

Like a teacher, you foolishly try to instruct me. Tell me, who in this world is a warrior equal to me?

तब मारीच हृदयँ अनुमाना। नवहि बिरोधें नहिं कल्याना।।

Tab maareech hridayan anumaanaa. navahi birodhen nahin kalyaanaa

Then Maricha understood in his heart that there is no welfare in opposing the Lord.

सस्त्री मर्मी प्रभु सठ धनी। बैद बंदि कबि भानस गुनी।।

Sastree marmee prabhu sath dhanee. baid bandi kabi bhaanas gunee

A wise counselor, learned master, foolish wealthy man, physician, bard, poet and skilled cook.

उभय भाँति देखा निज मरना। तब ताकिसि रघुनायक सरना।।

Ubhay bhaanti dekhaa nij maranaa. tab taakisi raghunaayak saranaa

In both ways he saw his own death approaching. Then he sought refuge at the feet of Raghunayaka.

उतरु देत मोहि बधब अभागें। कस न मरौं रघुपति सर लागें।।

Utaru det mohi badhab abhaagen. kas na maraun raghupati sar laagen

If I give a reply, this wretch will kill me. How shall I not die when struck by Raghupati's arrow?

अस जियँ जानि दसानन संगा। चला राम पद प्रेम अभंगा।।

Asa jiyan jaani dasaanan sangaa. chalaa raam pad prem abhangaa

Knowing this in his heart, he went with the ten-headed one, his love for Rama's feet unbroken.

मन अति हरष जनाव न तेही। आजु देखिहउँ परम सनेही।।

Man ati harash janaav na tehee. aaju dekhihaun param sanehee

With great joy in his mind, he did not reveal it to him. Today I shall see my supreme beloved.

Commentary & Notes ↓

Notes

Chaupai 24 of Aranya Kanda (sortOrder 55). Eight couplets tracing Maricha's inner transformation at the moment of decision. Ravana, the proud ten-headed king, dismisses counsel with contemptuous bluster: 'Who is my equal?' But Maricha, the old and weary demon, sees what Ravana cannot. He reads the twin paths before him: death by Ravana's fury or death by Rama's arrow. In this impossible choice, devotion blooms. He chooses Rama. Tulsidas lists eight figures who must never be crossed or trifled with (counselor, master, rich fool, physician, bard, poet, cook), a folk-wisdom catalogue warning against provoking those who hold power over your fate. The deepest note is Maricha's hidden ecstasy. Outwardly he walks beside the demon king; inwardly his heart sings. His prema for Rama's feet remains abhanga, unbroken, a word Tulsidas chooses with great care. Even the prospect of death becomes sweet when it means seeing the beloved Lord one final time. Couplet pairs separated by double line breaks per chaupai convention.

छन्द 6
निज परम प्रीतम देखि लोचन सुफल करि सुख पाइहौं।

श्री सहित अनुज समेत कृपानिकेत पद मन लाइहौं।।

निर्बान दायक क्रोध जा कर भगति अबसहि बसकरी।

निज पानि सर संधानि सो मोहि बधिहि सुखसागर हरी।।

Nij param preetam dekhi lochan suphal kari sukh paaihaun

Shree sahit anuj samet kripaaniket pad man laaihaun

Nirbaan daayak krodh jaa kar bhagati abasahi basakaree

Nij paani sar sandhaani so mohi badhihi sukhasaagar haree

Third: serve the Guru's feet | without a trace of pride,

fourth: sing my praise with honest heart, | no falsehood there to hide.

Fifth: chant my name with steadfast faith | as Vedas clearly say,

sixth: restraint and pure conduct, | the saints' unbroken way.

I shall see my most beloved Lord with my own eyes and make them fruitful, and so find supreme sukha.

With Shri at his side and his younger brother beside him, I shall fix my mind upon the feet of that abode of kripa.

His very anger grants nirvana. His bhakti conquers all without effort.

With his own hand he will fit the arrow to the bow, and that ocean of joy, Hari, will slay me himself.

Commentary & Notes ↓

Poddarji's Commentary

तीसरी भक्ति है अभिमानरहित होकर गुरुके चरणकमलोंकी सेवा और चौथी भक्ति यह है कि कपट छोड़कर मेरे गुणसमूहोंका गान करे। मेरे राम-मन्त्रका जाप और मुझमें दृढ़ विश्वास--यह पाँचवीं भक्ति है, जो वेदोंमें प्रसिद्ध है। छठी भक्ति है इन्द्रियोंका निग्रह, शील, बहुत कार्योंसे वैराग्य और निरंतर संत पुरुषोंके धर्म में लगे रहना।

Notes

Chhand 6 of Aranya Kanda (sortOrder 56). A four-line ornamental verse continuing Maricha's secret meditation. Every line pulses with paradox. Maricha longs to make his eyes 'fruitful' (suphal) by beholding the Lord, the very Lord who will kill him. He will fix his mind (man laaihaun) on the feet of Kripaniketa, 'the abode of compassion,' even as those feet approach to destroy. The third line holds a theological jewel: even Rama's krodha (anger) grants nirbana (liberation), and his bhakti subdues all beings effortlessly (abasahi baskaree). The final line is pure surrender. Hari, the 'sukhasagara' (ocean of bliss), will string the arrow with his own hands. Maricha sees not death but darshana. Note: the Poddarji commentary attached to this verse in the source data actually discusses the third through sixth forms of Navadha Bhakti (Guru-seva, singing God's glories, mantra-japa, self-control). This is a misalignment in the source commentary. The verse text itself belongs entirely to Maricha's soliloquy.

मम पाछें धर धावत धरें सरासन बान।

फिरि फिरि प्रभुहि बिलोकिहउँ धन्य न मो सम आन।।26।।

Mam paachhen dhar dhaavat dharen saraasan baan

Phiri phiri prabhuhi bilokihaun dhany na mo sam aan (26)

दोहा 26

Behind me on the earth he'll run, | bow and arrow bright;

I'll turn and turn to see him chase: | none blessed as I in sight!

He will come running behind me across the earth, bow and arrow in hand. Again and again I shall turn back to gaze upon Prabhu. No one in all creation is as blessed as I.

Commentary & Notes ↓

Poddarji's Commentary

धनुष-बाण धारण किये मेरे पीछे-पीछे पृथ्वीपर पकड़नेके लिये दौड़ते हुए प्रभुको मैं फिर-फिरकर देखूँगा। मेरे समान धन्य दूसरा कोई नहीं है।

Notes

Doha 26 of Aranya Kanda (sortOrder 57). Two lines of breathtaking devotional reversal. Maricha, the doomed decoy, reimagines his flight and death as the highest privilege. The Lord of the universe will personally chase him. While running for his life, he will turn 'phiri phiri' (again and again) to steal glances of the Lord in pursuit. Tulsidas gives us one of the Manas's most astonishing declarations: 'dhanya na mo sam aan,' there is none as blessed as I. What seekers and sages long for across lifetimes, the direct, personal attention of the Lord, Maricha will receive in his final moments. Poddarji calls this the alchemy of devotion: the power to transmute certain death into supreme grace. The repetition of 'phiri phiri' creates an almost physical rhythm, the demon-deer glancing back over its shoulder, each stolen look a lifetime of darshana compressed into a single heartbeat.

चौपाई 25
तेहि बन निकट दसानन गयऊ। तब मारीच कपटमृग भयऊ।।

Tehi ban nikat dasaanan gayaoo. tab maareech kapatamrig bhayaoo

Near that forest, the ten-headed Ravana went and then Maricha became a deceptive deer.

अति बिचित्र कछु बरनि न जाई। कनक देह मनि रचित बनाई।।

Ati bichitr kachhu barani na jaaee. kanak deh mani rachit banaaee

It was extremely wondrous, beyond description, with a golden body adorned with jewels.

सीता परम रुचिर मृग देखा। अंग अंग सुमनोहर बेषा।।

Seetaa param ruchir mrig dekhaa. ang ang sumanohar beshaa

Sita saw the supremely beautiful deer, with every limb having a most charming appearance.

सुनहु देव रघुबीर कृपाला। एहि मृग कर अति सुंदर छाला।।

Sunahu dev raghubeer kripaalaa. ehi mrig kar ati sundar chhaalaa

Listen, O compassionate Lord Raghubir, this deer has an extremely beautiful hide.

सत्यसंध प्रभु बधि करि एही। आनहु चर्म कहति बैदेही।।

Satyasandh prabhu badhi kari ehee. aanahu charm kahati baidehee

O truthful Lord, please kill this deer and bring its skin, said Vaidehi.

तब रघुपति जानत सब कारन। उठे हरषि सुर काजु सँवारन।।

Tab raghupati jaanat sab kaaran. uthe harashi sur kaaju sanvaaran

Then Raghupati, knowing all the reasons, arose joyfully to accomplish the gods' purpose.

मृग बिलोकि कटि परिकर बाँधा। करतल चाप रुचिर सर साँधा।।

Mrig biloki kati parikar baandhaa. karatal chaap ruchir sar saandhaa

Looking at the deer, He girded His waist with weapons and took bow and beautiful arrows in His hands.

प्रभु लछिमनिहि कहा समुझाई। फिरत बिपिन निसिचर बहु भाई।।

Prabhu lachhimanihi kahaa samujhaaee. phirat bipin nisichar bahu bhaaee

The Lord instructed Lakshmana wisely, saying many demons roam in the forest, brother.

सीता केरि करेहु रखवारी। बुधि बिबेक बल समय बिचारी।।

Seetaa keri karehu rakhavaaree. budhi bibek bal samay bichaaree

Guard Sita well, using wisdom, discretion, strength, and proper judgment of time.

प्रभुहि बिलोकि चला मृग भाजी। धाए रामु सरासन साजी।।

Prabhuhi biloki chalaa mrig bhaajee. dhaae raamu saraasan saajee

Seeing the Lord, the deer fled, and Rama pursued with bow ready.

निगम नेति सिव ध्यान न पावा। मायामृग पाछें सो धावा।।

Nigam neti siv dhyaan na paavaa. maayaamrig paachhen so dhaavaa

He whom the Vedas cannot reach through 'not this, not this' and whom Shiva cannot attain in meditation, ran after that illusory deer.

कबहुँ निकट पुनि दूरि पराई। कबहुँक प्रगटइ कबहुँ छपाई।।

Kabahun nikat puni doori paraaee. kabahunk pragatai kabahun chhapaaee

Sometimes it came near, then fled far away; sometimes it appeared, sometimes it hid.

प्रगटत दुरत करत छल भूरी। एहि बिधि प्रभुहि गयउ लै दूरी।।

Pragatat durat karat chhal bhooree. ehi bidhi prabhuhi gayau lai dooree

Appearing and disappearing, it performed many tricks, and in this way led the Lord far away.

तब तकि राम कठिन सर मारा। धरनि परेउ करि घोर पुकारा।।

Tab taki raam kathin sar maaraa. dharani pareu kari ghor pukaaraa

Then taking aim, Rama shot a fierce arrow, and it fell to the ground crying out terribly.

लछिमन कर प्रथमहिं लै नामा। पाछें सुमिरेसि मन महुँ रामा।।

Lachhiman kar prathamahin lai naamaa. paachhen sumiresi man mahun raamaa

First taking Lakshmana's name, and then remembering Rama in his mind.

प्रान तजत प्रगटेसि निज देहा। सुमिरेसि रामु समेत सनेहा।।

Praan tajat pragatesi nij dehaa. sumiresi raamu samet sanehaa

While giving up his life, he revealed his true form and remembered Rama with love.

अंतर प्रेम तासु पहिचाना। मुनि दुर्लभ गति दीन्हि सुजाना।।

Antar prem taasu pahichaanaa. muni durlabh gati deenhi sujaanaa

The wise Lord recognized the love within him and granted him a state difficult for sages to attain.

Commentary & Notes ↓

Poddarji's Commentary

जानकीजीने कहा--हे सत्यप्रतिज्ञ प्रभो! इसको मारकर इसका चमड़ा ला दीजिये। तब श्रीरघुनाथजी सब कारण जानते हुए भी, देवताओंका कार्य बनानेके लिये हर्षित होकर उठे। हिरनको देखकर श्रीरामजीने कमरमें फेंटा बाँधा और हाथमें धनुष लेकर उसपर सुन्दर बाण चढ़ाया। फिर प्रभुने लक्ष्मणजीको समझाकर कहा--हे भाई! वनमें बहुत-से राक्षस फिरते हैं। तुम बुद्धि और विवेकके द्वारा बल और समयका विचार करके सीताकी रखवाली करना।

Notes

Chaupai 25 of Aranya Kanda (sortOrder 58). Seventeen couplets spanning the entire golden-deer episode from Maricha's transformation to his liberation. This is one of the great narrative set-pieces of the Manas. Tulsidas layers the scene with deliberate paradox throughout. The kanaka deha (golden body) adorned with mani (jewels) is a masterwork of maya, beautiful enough to beguile even Sita. Vaidehi's request is innocent; she calls Rama 'Satyasandha' (the truth-pledged one), unknowingly setting the divine play in motion. Rama rises 'harashi,' joyfully, because he knows everything. His joy is not ignorance but leela. The theological climax arrives in one devastating couplet: 'Nigam neti Shiv dhyan na paavaa, maayaamrig paachhen so dhaavaa.' The One whom scripture can only negate and whom Shiva cannot reach in meditation now runs through the forest after a conjured deer. This is the mystery of the avatara, the infinite willingly entering the finite. The deer's hide-and-seek (pragatat durat) mirrors the way the divine reveals and conceals itself in every life. At the end, Maricha's secret devotion is laid bare. He calls Lakshmana's name aloud (as part of Ravana's plot) but remembers Rama inwardly, and the Lord, who reads the antar-prema (inner love), grants him muni-durlabh gati. Poddarji emphasizes that Rama knew the deer was Maricha all along, yet played his human role to perfection. His parting words to Lakshmana, urging buddhi, viveka, bal, and samay-vichaara (wisdom, discernment, strength, and situational judgment), are a teaching for all devotees, not only a narrative instruction. Couplet pairs separated by double line breaks per chaupai convention.

बिपुल सुमन सुर बरषहिं गावहिं प्रभु गुन गाथ।

निज पद दीन्ह असुर कहुँ दीनबंधु रघुनाथ।।27।।

Bipul suman sur barashahin gaavahin prabhu gun gaath

Nij pad deenh asur kahun deenabandhu raghunaath (27)

दोहा 27

Flowers fall like rain from heaven's height | As gods sing praise of Rama's might

To demon foe He grants His grace | The Lord who lifts the lowly's face

The devas rained down flowers in abundance and sang hymns praising the Lord's glorious deeds. Deenabandhu Raghunath, the friend of the helpless, granted his own divine feet to the asura.

Commentary & Notes ↓

Notes

Doha 27 of Aranya Kanda (sortOrder 59). A two-line verse of celestial celebration and divine compassion. The devas respond with a rain of suman (flowers) and songs of praise, the traditional Puranic response to a divine act. But the real weight falls on the final line. Tulsidas calls Rama 'Deenabandhu,' the friend of the lowly, and then delivers the stunning declaration: 'nij pad deenh asur kahun.' He granted his own feet, his own supreme abode, to the asura. Not to a sage, not to a devoted brahmana, but to a demon who had opposed him. This is the radical heart of Tulsidas's theology. Grace does not calculate merit. Maricha's hidden love was enough. The juxtaposition of 'asur' and 'nij pad' in the same breath is deliberately shocking, a reminder that the Lord's compassion operates beyond every category the world recognizes.

चौपाई 26
खल बधि तुरत फिरे रघुबीरा। सोह चाप कर कटि तूनीरा।।

Khal badhi turat phire raghubeeraa. soh chaap kar kati tooneeraa

After slaying the demon, Raghubira quickly returned, his bow gleaming in hand and quiver at his waist.

आरत गिरा सुनी जब सीता। कह लछिमन सन परम सभीता।।

Aarat giraa sunee jab seetaa. kah lachhiman san param sabheetaa

When Sita heard the distressed cry, she spoke to Lakshmana with great fear.

जाहु बेगि संकट अति भ्राता। लछिमन बिहसि कहा सुनु माता।।

Jaahu begi sankat ati bhraataa. lachhiman bihasi kahaa sunu maataa

Go quickly, brother, there is great danger! Lakshmana smiled and said, Listen, Mother.

भृकुटि बिलास सृष्टि लय होई। सपनेहुँ संकट परइ कि सोई।।

Bhrikuti bilaas srishti lay hoee. sapanehun sankat parai ki soee

At whose mere frown the universe dissolves - can any danger befall him even in dreams?

मरम बचन जब सीता बोला। हरि प्रेरित लछिमन मन डोला।।

Maram bachan jab seetaa bolaa. hari prerit lachhiman man dolaa

When Sita spoke those pointed words, Lakshmana's mind was stirred by divine inspiration.

बन दिसि देव सौंपि सब काहू। चले जहाँ रावन ससि राहू।।

Ban disi dev saumpi sab kaahoo. chale jahaan raavan sasi raahoo

Entrusting the forest and all directions to the gods, he went where Ravana was like Rahu to the moon.

सून बीच दसकंधर देखा। आवा निकट जती कें बेषा।।

Soon beech dasakandhar dekhaa. aavaa nikat jatee ken beshaa

In the lonely forest, the ten-headed one appeared, approaching in the guise of an ascetic.

जाकें डर सुर असुर डेराहीं। निसि न नीद दिन अन्न न खाहीं।।

Jaaken dar sur asur deraaheen. nisi na need din ann na khaaheen

He whom gods and demons fear, who cannot sleep at night or eat food during the day.

सो दससीस स्वान की नाई। इत उत चितइ चला भड़िहाई।।

So dasasees svaan kee naaee. ita uta chitai chalaa bhadihaaee

That ten-headed one moved about like a dog, looking here and there, swaggering forward.

इमि कुपंथ पग देत खगेसा। रह न तेज बुधि बल लेसा।।

Imi kupanth pag det khagesaa. rah na tej budhi bal lesaa

Thus treading the evil path, O Garuda, not a trace of his glory, wisdom, or strength remained.

नाना बिधि करि कथा सुहाई। राजनीति भय प्रीति देखाई।।

Naanaa bidhi kari kathaa suhaaee. raajaneeti bhay preeti dekhaaee

In various ways he told pleasant stories, displaying statecraft, fear, and affection.

कह सीता सुनु जती गोसाईं। बोलेहु बचन दुष्ट की नाईं।।

Kah seetaa sunu jatee gosaaeen. bolehu bachan dusht kee naaeen

Sita said, Listen, ascetic lord, you have spoken words like those of the wicked.

तब रावन निज रूप देखावा। भई सभय जब नाम सुनावा।।

Tab raavan nij roop dekhaavaa. bhaee sabhay jab naam sunaavaa

Then Ravana revealed his true form, and she became frightened when she heard his name.

कह सीता धरि धीरजु गाढ़ा। आइ गयउ प्रभु रहु खल ठाढ़ा।।

Kah seetaa dhari dheeraju gaadhaa. aai gayau prabhu rahu khal thaadhaa

Sita said, gathering firm courage, My Lord has come, stand still, O wicked one!

जिमि हरिबधुहि छुद्र सस चाहा। भएसि कालबस निसिचर नाहा।।

Jimi haribadhuhi chhudr sas chaahaa. bhaesi kaalabas nisichar naahaa

Just as a base creature desires Vishnu's consort, you have become death's victim, O demon king.

सुनत बचन दससीस रिसाना। मन महुँ चरन बंदि सुख माना।।

Sunat bachan dasasees risaanaa. man mahun charan bandi sukh maanaa

Hearing these words, the ten-headed one became angry, but in his heart he bowed to her feet and felt joy.

Commentary & Notes ↓

Poddarji's Commentary

जिस प्रकार कपटमृगके साथ श्रीरामजी दौड़ चले थे, उसी छविको हृदयमें रखकर वे हरिनाम रटती रहती हैं। गृध्रराज जटायुने सीताजीकी दुःखभरी वाणी सुनकर पहचान लिया कि ये रघुकुलतिलक श्रीरामचन्द्रजीकी पत्नी हैं। नीच राक्षस इनको बुरी तरह लिये जा रहा है, जैसे कपिला गाय म्लेच्छके पाले पड़ गयी हो।

Notes

Chaupai 26 of Aranya Kanda (sortOrder 60). Sixteen couplets covering the abduction prelude: Rama's return from slaying the decoy, Sita's anxiety, Lakshmana's departure, and Ravana's approach in disguise. Tulsidas layers irony upon irony. Lakshmana's theological argument is flawless; the Lord whose brow-play (bhrikuti-bilasa) creates and destroys cannot be endangered. Yet Hari himself moves Lakshmana's heart to leave, because the leela demands it. Ravana, conqueror of the three worlds, is reduced to a skulking dog (svaan ki naai) on the evil path. Tulsidas uses kupantha (crooked path) alongside the vanishing of teja, buddhi, and bala to show how adharma empties a being from within. Sita's courage is extraordinary. She names his wickedness to his face, and even invokes Hari's bride as a parallel. The final couplet contains a theological marvel: Ravana rages outwardly but inwardly bows at her feet. Even Lanka's lord recognizes holiness when it stands before him. Poddarji notes that Sita's devotion never wavers; she holds Rama's form in her heart throughout. Couplet pairs separated by double line breaks per chaupai convention.

क्रोधवंत तब रावन लीन्हिसि रथ बैठाइ।

चला गगनपथ आतुर भयँ रथ हाँकि न जाइ।।28।।

Krodhavant tab raavan leenhisi rath baithaai

Chalaa gaganapath aatur bhayan rath haanki na jaai (28)

दोहा 28

Then Ravana, filled with wrath, | took Sita in his car,

flew the sky-path hurriedly; | yet fear held him from afar.

Then Ravana, consumed by krodha, seated Sita upon his chariot and flew through the sky-path in desperate haste. Yet fear gripped him so tightly that he could not drive the ratha at all.

Commentary & Notes ↓

Poddarji's Commentary

फिर क्रोधमें भरकर रावणने सीताजीको रथपर बैठा लिया और वह बड़ी उतावलीके साथ आकाशमार्गसे चला; किन्तु डरके मारे उससे रथ हाँका नहीं जाता था।

Notes

Doha 28 of Aranya Kanda (sortOrder 61). Two lines of devastating irony. The mighty Ravana who had conquered Indra, Yama, and Kubera now trembles as he flees with his prize. Tulsidas chooses the word 'aatura' (desperate, frantic) and then immediately undercuts it: 'bhayan rath hanki na jaai,' fear held him so that the chariot would not obey his hand. Poddarji observes that the conqueror of the three worlds here cannot even command a chariot. His body recognized what his pride refused to admit: this act was not a theft but a summons to his own destruction. The verse marks the point of no return for Lanka's king.

चौपाई 27
हा जग एक बीर रघुराया। केहिं अपराध बिसारेहु दाया।।

Haa jag eka beer raghuraayaa. kehin aparaadh bisaarehu daayaa

Alas, O unique hero Raghuraya! For what offense have You forgotten Your compassion?

आरति हरन सरन सुखदायक। हा रघुकुल सरोज दिननायक।।

Aarati haran saran sukhadaayak. haa raghukul saroj dinanaayak

O remover of distress, giver of joy to those who seek refuge! O sun to the lotus of Raghu's dynasty!

हा लछिमन तुम्हार नहिं दोसा। सो फलु पायउँ कीन्हेउँ रोसा।।

Haa lachhiman tumhaar nahin dosaa. so phalu paayaun keenheun rosaa

O Lakshmana, you are not at fault. I am reaping the fruit of my anger.

बिबिध बिलाप करति बैदेही। भूरि कृपा प्रभु दूरि सनेही।।

Bibidh bilaap karati baidehee. bhoori kripaa prabhu doori sanehee

Vaidehi lamented in various ways, though the Lord of abundant mercy was far from His beloved.

बिपति मोरि को प्रभुहि सुनावा। पुरोडास चह रासभ खावा।।

Bipati mori ko prabhuhi sunaavaa. purodaas chah raasabh khaavaa

Who will tell the Lord of my calamity? A donkey wishes to eat the sacrificial offering.

सीता कै बिलाप सुनि भारी। भए चराचर जीव दुखारी।।

Seetaa kai bilaap suni bhaaree. bhae charaachar jeev dukhaaree

Hearing Sita's heavy lamentation, all moving and non-moving beings became sorrowful.

गीधराज सुनि आरत बानी। रघुकुलतिलक नारि पहिचानी।।

Geedharaaj suni aarat baanee. raghukulatilak naari pahichaanee

The king of vultures, hearing the distressed voice, recognized the lady who was the ornament of Raghu's dynasty.

अधम निसाचर लीन्हे जाई। जिमि मलेछ बस कपिला गाई।।

Adham nisaachar leenhe jaaee. jimi malechh bas kapilaa gaaee

The vile demon has taken her away, like a barbarian seizing a sacred cow.

सीते पुत्रि करसि जनि त्रासा। करिहउँ जातुधान कर नासा।।

Seete putri karasi jani traasaa. karihaun jaatudhaan kar naasaa

O daughter Sita, do not be afraid. I shall destroy this demon.

धावा क्रोधवंत खग कैसें। छूटइ पबि परबत कहुँ जैसे।।

Dhaavaa krodhavant khag kaisen. chhootai pabi parabat kahun jaise

The enraged bird rushed forth like wind released from a mountain.

रे रे दुष्ट ठाढ़ किन होही। निर्भय चलेसि न जानेहि मोही।।

Re re dusht thaadh kin hohee. nirbhay chalesi na jaanehi mohee

Stop, stop, you wretch! Why do you stand? You move fearlessly, not knowing me.

आवत देखि कृतांत समाना। फिरि दसकंधर कर अनुमाना।।

Aavat dekhi kritaant samaanaa. phiri dasakandhar kar anumaanaa

Seeing him approaching like Death itself, the ten-headed one turned and pondered.

की मैनाक कि खगपति होई। मम बल जान सहित पति सोई।।

Kee mainaak ki khagapati hoee. mam bal jaan sahit pati soee

Is this Mount Mainaka or the king of birds? He knows my strength along with his master.

जाना जरठ जटायू एहा। मम कर तीरथ छाँड़िहि देहा।।

Jaanaa jarath jataayoo ehaa. mam kar teerath chhaandihi dehaa

I know this is the aged Jatayu. His body shall become a sacred place for my hand.

सुनत गीध क्रोधातुर धावा। कह सुनु रावन मोर सिखावा।।

Sunat geedh krodhaatur dhaavaa. kah sunu raavan mor sikhaavaa

Hearing this, the vulture rushed in fury and said, 'Listen, Ravana, to my counsel.'

तजि जानकिहि कुसल गृह जाहू। नाहिं त अस होइहि बहुबाहू।।

Taji jaanakihi kusal grih jaahoo. naahin ta asa hoihi bahubaahoo

Leave Janaki and go safely home, otherwise this will happen to you, O many-armed one.

राम रोष पावक अति घोरा। होइहि सकल सलभ कुल तोरा।।

Raam rosh paavak ati ghoraa. hoihi sakal salabh kul toraa

Rama's wrath is a terrible fire that will consume your entire clan like moths.

उतरु न देत दसानन जोधा। तबहिं गीध धावा करि क्रोधा।।

Utaru na det dasaanan jodhaa. tabahin geedh dhaavaa kari krodhaa

The ten-faced warrior gave no reply, then the vulture charged in anger.

धरि कच बिरथ कीन्ह महि गिरा। सीतहि राखि गीध पुनि फिरा।।

Dhari kach birath keenh mahi giraa. seetahi raakhi geedh puni phiraa

Seizing his hair, he made him fall to the ground, then the vulture turned back to protect Sita.

चौचन्ह मारि बिदारेसि देही। दंड एक भइ मुरुछा तेही।।

Chauchanh maari bidaaresi dehee. dand eka bhai muruchhaa tehee

Striking with claws, he tore his body. For a moment, he fell unconscious from the blow.

तब सक्रोध निसिचर खिसिआना। काढ़ेसि परम कराल कृपाना।।

Tab sakrodh nisichar khisiaanaa. kaadhesi param karaal kripaanaa

Then the enraged demon, becoming furious, drew out his supremely terrible sword.

काटेसि पंख परा खग धरनी। सुमिरि राम करि अदभुत करनी।।

Kaatesi pankh paraa khag dharanee. sumiri raam kari adabhut karanee

He cut off the bird's wings and it fell to the earth, remembering Rama and performing a wondrous deed.

सीतहि जानि चढ़ाइ बहोरी। चला उताइल त्रास न थोरी।।

Seetahi jaani chadhaai bahoree. chalaa utaail traas na thoree

Knowing Sita, he lifted her again and departed hastily with no small fear.

करति बिलाप जाति नभ सीता। ब्याध बिबस जनु मृगी सभीता।।

Karati bilaap jaati nabh seetaa. byaadh bibas janu mrigee sabheetaa

Sita lamented as she was carried through the sky, like a frightened doe wounded by a hunter.

गिरि पर बैठे कपिन्ह निहारी। कहि हरि नाम दीन्ह पट डारी।।

Giri par baithe kapinh nihaaree. kahi hari naam deenh pat daaree

Seeing the monkeys sitting on the mountain, she called out Hari's name and dropped her cloth.

एहि बिधि सीतहि सो लै गयऊ। बन असोक महँ राखत भयऊ।।

Ehi bidhi seetahi so lai gayaoo. ban asok mahan raakhat bhayaoo

In this way, he took Sita away and kept her in the Ashoka grove.

Commentary & Notes ↓

Notes

Chaupai 27 of Aranya Kanda (sortOrder 62). Twenty-six couplets forming the great battle-and-abduction set-piece. Sita's lament is among the most heart-wrenching passages in the Manas. She calls Rama by his cosmic titles (sun to the lotus of Raghu's kula, remover of aarti, giver of sharana-sukha) even as she blames herself rather than Lakshmana for the unfolding calamity. The humility of a devotee in distress is Tulsidas's hallmark: she does not curse fate but accepts the phala of her own anger. Jatayu's arrival transforms the scene from pathos to heroism. The Geedharaja, old and frail, charges a foe who terrifies the three worlds. His warning to Ravana is prophetic: 'Rama's rosha is a fierce fire; your entire kula shall burn like moths.' Ravana's silence before the vulture's charge is telling: he has no answer for truth. In battle, Jatayu actually prevails, hurling Ravana to the ground and standing guard over Sita, until the demon draws his kripana and severs the bird's wings. Even in falling, Jatayu remembers Rama. Sita's final act of dropping her vastra to the vanaras on the mountain below is a gesture of supreme presence of mind within supreme grief. Poddarji notes that all of nature, charachara jiva, weeps with Sita, showing that her suffering is cosmic in scope. Couplet pairs separated by double line breaks per chaupai convention.

हारि परा खल बहु बिधि भय अरु प्रीति देखाइ।

तब असोक पादप तर राखिसि जतन कराइ।।29(क)।।

जेहि बिधि कपट कुरंग सँग धाइ चले श्रीराम।

सो छबि सीता राखि उर रटति रहति हरिनाम।।29(ख)।।

Haari paraa khal bahu bidhi bhay aru preeti dekhaai

Tab asok paadap tar raakhisi jatan karaai.29(ka)

Jehi bidhi kapat kurang sang dhaai chale shreeraam

So chhabi seetaa raakhi ura ratati rahati harinaam.29(kha)

दोहा 30क

Ravana failed through fear and guile | Placed her 'neath Ashoka's shade

But Sita's heart holds Rama's smile | While holy names her lips have made

The wicked one was defeated in every way, having displayed both fear and false affection. Then he placed her beneath the Ashoka tree with careful arrangements.

In whatever manner Shri Rama had chased after the deceitful deer, Sita kept that beautiful image within her heart and remained ceaselessly chanting Hari's name.

Commentary & Notes ↓

Notes

Doha 29ka-29kha of Aranya Kanda (sortOrder 63). A paired doha marking the transition from violence to captivity. The first half records Ravana's total failure: every stratagem (bhaya and priti, threats and blandishments) has been spent. He can imprison her body, nothing more. The second half is pure Tulsidas devotion. Sita's inner freedom is absolute. She holds in her heart the chhabi (beautiful form) of Rama running after the golden deer, and she occupies her captivity with Hari-nama. The pairing is deliberate: Ravana's outer power and Sita's inner sovereignty exist in the same moment, and the poet leaves no doubt which is the greater force.

चौपाई 28
रघुपति अनुजहि आवत देखी। बाहिज चिंता कीन्हि बिसेषी।।

Raghupati anujahi aavat dekhee. baahij chintaa keenhi biseshee

Seeing his younger brother approaching, Raghupati felt great anxiety and worry.

जनकसुता परिहरिहु अकेली। आयहु तात बचन मम पेली।।

Janakasutaa pariharihu akelee. aayahu taat bachan mam pelee

He said, 'You have left Janaka's daughter alone and come here, dear brother, following my words.'

निसिचर निकर फिरहिं बन माहीं। मम मन सीता आश्रम नाहीं।।

Nisichar nikar phirahin ban maaheen. mam man seetaa aashram naaheen

Hosts of demons roam in this forest; my mind is not at peace about Sita in the hermitage.

गहि पद कमल अनुज कर जोरी। कहेउ नाथ कछु मोहि न खोरी।।

Gahi pad kamal anuj kar joree. kaheu naath kachhu mohi na khoree

Grasping his lotus feet with folded hands, his younger brother said, 'Lord, I am not at fault in anything.'

अनुज समेत गए प्रभु तहवाँ। गोदावरि तट आश्रम जहवाँ।।

Anuj samet gae prabhu tahavaan. godaavari tat aashram jahavaan

The Lord went there with his younger brother, to the hermitage on the banks of Godavari.

आश्रम देखि जानकी हीना। भए बिकल जस प्राकृत दीना।।

Aashram dekhi jaanakee heenaa. bhae bikal jas praakrit deenaa

Seeing the hermitage without Janaki, they became distressed like ordinary mortals.

हा गुन खानि जानकी सीता। रूप सील ब्रत नेम पुनीता।।

Haa gun khaani jaanakee seetaa. roop seel brat nem puneetaa

Alas! Sita, the treasure house of virtues, pure in beauty, character, vows and conduct!

लछिमन समुझाए बहु भाँती। पूछत चले लता तरु पाँती।।

Lachhiman samujhaae bahu bhaantee. poochhat chale lataa taru paantee

Lakshmana consoled him in many ways as they went asking the rows of creepers and trees.

हे खग मृग हे मधुकर श्रेनी। तुम्ह देखी सीता मृगनैनी।।

He khag mrig he madhukar shrenee. tumh dekhee seetaa mriganainee

O birds, beasts, and swarms of bees! Have you seen deer-eyed Sita?

खंजन सुक कपोत मृग मीना। मधुप निकर कोकिला प्रबीना।।

Khanjan suk kapot mrig meenaa. madhup nikar kokilaa prabeenaa

O wagtail, parrot, dove, deer, fish, swarms of bees, and skilled cuckoo!

कुंद कली दाड़िम दामिनी। कमल सरद ससि अहिभामिनी।।

Kund kalee daadim daaminee. kamal sarad sasi ahibhaaminee

O jasmine bud, pomegranate, lightning, lotus, autumn moon, and serpent's bride!

बरुन पास मनोज धनु हंसा। गज केहरि निज सुनत प्रसंसा।।

Barun paas manoj dhanu hansaa. gaj kehari nij sunat prasansaa

O Varuna's noose, Cupid's bow, swan, elephant, and lion - hearing their own praise!

श्रीफल कनक कदलि हरषाहीं। नेकु न संक सकुच मन माहीं।।

Shreephal kanak kadali harashaaheen. neku na sank sakuch man maaheen

O golden fruit, gold, and banana tree - you rejoice without any doubt or shame in your mind!

सुनु जानकी तोहि बिनु आजू। हरषे सकल पाइ जनु राजू।।

Sunu jaanakee tohi binu aajoo. harashe sakal paai janu raajoo

Listen, Janaki! Without you today, all these have rejoiced as if gaining a kingdom.

किमि सहि जात अनख तोहि पाहीं । प्रिया बेगि प्रगटसि कस नाहीं।।

Kimi sahi jaat anakh tohi paaheen . priyaa begi pragatasi kas naaheen

How can they bear this joy before you? Beloved, why do you not appear quickly?

एहि बिधि खौजत बिलपत स्वामी। मनहुँ महा बिरही अति कामी।।

Ehi bidhi khaujat bilapat svaamee. manahun mahaa birahee ati kaamee

In this manner the Lord searched and lamented, like an extremely passionate lover.

पूरनकाम राम सुख रासी। मनुज चरित कर अज अबिनासी।।

Pooranakaam raam sukh raasee. manuj charit kar aja abinaasee

Though Rama is fulfilled in all desires and an ocean of bliss, the unborn and imperishable One enacts human deeds.

आगे परा गीधपति देखा। सुमिरत राम चरन जिन्ह रेखा।।

Aage paraa geedhapati dekhaa. sumirat raam charan jinh rekhaa

Ahead they saw the king of vultures lying, who remembered the marks on Rama's feet.

Commentary & Notes ↓

Poddarji's Commentary

उन्होंने अत्यन्त रसीले और स्वादिष्ट कन्द, मूल और फल लाकर श्रीरामजीको दिये। प्रभुने बार-बार प्रशंसा करके उन्हें प्रेमसहित खाया।

Notes

Chaupai 28 of Aranya Kanda (sortOrder 64). Eighteen couplets of extraordinary emotional range. Rama's anxiety upon seeing Lakshmana return without Sita is the first note of dread. Finding the empty ashrama on the banks of Godavari, he becomes 'vikala jasa prakrit dina,' distressed like an ordinary mortal. This is deliberate manushya-charitra, human conduct, the unborn and imperishable Lord choosing to feel what a bereaved husband feels. The long passage of Rama questioning birds, beasts, flowers, and celestial objects is one of the Manas's most celebrated lyrical sequences. Tulsidas makes Rama address the khanjana (wagtail), kokila (cuckoo), jasmine bud, pomegranate, lightning, autumn moon, and even the bow of Kamadeva. The conceit is that these creatures and objects, which draw their beauty from Sita (her eyes like fish, her gait like a swan), now rejoice shamelessly in her absence, as though freed from comparison. The grief is real; the theology is equally real. Tulsidas steps out of the leela to remind us: 'Puranakama Rama sukha rasi, manuja charit kara aja avinasi.' He who is already fulfilled in every desire and is the very form of bliss merely plays the human part. The chaupai closes with the discovery of Jatayu, still clinging to life, his consciousness absorbed in the marks on Rama's lotus feet. Poddarji emphasizes that Rama's enjoyment of humble offerings (kanda, mula, phala) from the forest-dwellers shows that God is won not by luxury but by love alone. Couplet pairs separated by double line breaks per chaupai convention.

कर सरोज सिर परसेउ कृपासिंधु रधुबीर।।

निरखि राम छबि धाम मुख बिगत भई सब पीर।।30।।

Kar saroj sir paraseu kripaasindhu radhubeer

Nirakhi raam chhabi dhaam mukh bigat bhaee sab peer (30)

दोहा 30ख

With lotus hand He touched the faithful head | Of dying Jatayu, pain now fled

One glimpse of Rama's radiant face divine | Made all suffering cease, all sorrow shine

The ocean of kripa, the hero of Raghu's line, touched Jatayu's head with his lotus hand. Beholding Rama's beautiful face, the very abode of splendor, all of the vulture's pain vanished completely.

Commentary & Notes ↓

Notes

Doha 30 of Aranya Kanda (sortOrder 65). Two lines of tender, devastating grace. Rama, called Kripaasindhu (ocean of mercy), reaches out with his kara-saroja (lotus hand) and touches the dying bird's head. All of Jatayu's agony disappears in a single instant, not through healing but through darshana. The sight of Rama's mukha, the 'chhabi-dhama' (abode of splendor), is itself the cure. Tulsidas places the moment with exquisite simplicity: no cosmic fireworks, no celestial fanfare. Just a hand on a head, and all suffering ends. This is the promise at the heart of the Manas: the Lord's touch is enough.

चौपाई 29
तब कह गीध बचन धरि धीरा । सुनहु राम भंजन भव भीरा।।

Tab kah geedh bachan dhari dheeraa . sunahu raam bhanjan bhav bheeraa

Then the vulture spoke with steadfast courage, saying, 'Listen, O Rama, destroyer of worldly fears.'

नाथ दसानन यह गति कीन्ही। तेहि खल जनकसुता हरि लीन्ही।।

Naath dasaanan yah gati keenhee. tehi khal janakasutaa hari leenhee

O Lord, the ten-headed demon has done this deed - that wicked one has carried away Janaka's daughter.

लै दच्छिन दिसि गयउ गोसाई। बिलपति अति कुररी की नाई।।

Lai dachchhin disi gayau gosaaee. bilapati ati kuraree kee naaee

Taking her toward the southern direction he went, O Lord, while she wailed like a female curlew.

दरस लागी प्रभु राखेंउँ प्राना। चलन चहत अब कृपानिधाना।।

Daras laagee prabhu raakhenun praanaa. chalan chahat aba kripaanidhaanaa

I kept my life only for Your divine sight, O treasure of mercy, and now wish to depart.

राम कहा तनु राखहु ताता। मुख मुसकाइ कही तेहिं बाता।।

Raam kahaa tanu raakhahu taataa. mukh musakaai kahee tehin baataa

Rama said, 'Keep your body, dear father,' but he replied with a smile on his face.

जा कर नाम मरत मुख आवा। अधमउ मुकुत होई श्रुति गावा।।

Jaa kar naam marat mukh aavaa. adhamau mukut hoee shruti gaavaa

He whose name coming to the mouth at death liberates even the lowest - so the scriptures sing.

सो मम लोचन गोचर आगें। राखौं देह नाथ केहि खाँगें।।

So mam lochan gochar aagen. raakhaun deh naath kehi khaangen

He is before my eyes, O Lord - for what reason should I keep this body?

जल भरि नयन कहहिं रघुराई। तात कर्म निज ते गतिं पाई।।

Jal bhari nayan kahahin raghuraaee. taat karm nij te gatin paaee

With eyes filled with tears, Raghurai said, 'Father, each soul attains destiny according to their own deeds.'

परहित बस जिन्ह के मन माहीं। तिन्ह कहुँ जग दुर्लभ कछु नाहीं।।

Parahit bas jinh ke man maaheen. tinh kahun jag durlabh kachhu naaheen

Those in whose hearts dwells only the welfare of others - for them nothing in this world is unattainable.

तनु तजि तात जाहु मम धामा। देउँ काह तुम्ह पूरनकामा।।

Tanu taji taat jaahu mam dhaamaa. deun kaah tumh pooranakaamaa

Leaving your body, dear father, go to My divine abode - what can I give you who are already fulfilled in all desires?

Commentary & Notes ↓

Notes

Chaupai 29 of Aranya Kanda (sortOrder 66). Ten couplets forming the sacred dialogue between Rama and the dying Jatayu. The vulture, broken in body, speaks with perfect dhairya (composure). His report is brief: the Dasanana took Janaki southward; she cried like a kuraree (female curlew). Then comes the devotional summit. Jatayu says he held on to life solely for Rama's darshana. Rama, with a father's tenderness (he calls the bird 'Taat'), asks him to live on. Jatayu's reply is one of the Manas's most luminous declarations: 'He whose name at death liberates even the lowest, so the Shruti sings; that very One is before my eyes. Why should I cling to this body?' The logic of devotion is complete. If the Name alone grants mukti, how much more the living presence? Rama's tears, his acceptance, and his final gift ('Go to My own dhama') seal the exchange. He tells Jatayu that those who live for parahita (the welfare of others) find nothing unattainable, then calls him Puranakama (one whose every desire is fulfilled). A bird who fought a demon-king and lost has attained what yogis seek across lifetimes. Couplet pairs separated by double line breaks per chaupai convention.

सीता हरन तात जनि कहहु पिता सन जाइ।।

जौं मैं राम त कुल सहित कहिहि दसानन आइ।।31।।

Seetaa haran taat jani kahahu pitaa san jaai

Jaun main raam ta kul sahit kahihi dasaanan aai (31)

दोहा 31

Speak not of Sita's loss to father dear | If I am Rama true, Ravana shall appear

To tell himself how all his race lies slain | By these hands that shall not suffer in vain

Do not speak of Sita's abduction, dear son, when you go to your father. If I am truly Rama, then the Dasanana shall come himself and confess his entire kula's destruction.

Commentary & Notes ↓

Notes

Doha 31 of Aranya Kanda (sortOrder 67). Two lines of fierce tenderness. Rama addresses the departing Jatayu as a father addresses a son, yet the content is a warrior's vow. He forbids Jatayu from carrying the news of Sita's loss to Dasharatha (in the heavenly realm), not out of shame but to spare a father's grief. The second line is a thunderbolt: 'Jaun main Rama,' if I am truly Rama, then the ten-headed one shall come in person and tell the tale of his own dynasty's annihilation. This is not boasting; it is a statement of dharmic certainty. The Lord who weeps like a mortal over his lost wife is the same Lord who will burn Lanka to ash. Tulsidas holds both realities in a single doha.

चौपाई 30
गीध देह तजि धरि हरि रुपा। भूषन बहु पट पीत अनूपा।।

Geedh deh taji dhari hari rupaa. bhooshan bahu pat peet anoopaa

The vulture abandoned his bird form and assumed the divine form of Vishnu, adorned with many ornaments and beautiful yellow garments.

स्याम गात बिसाल भुज चारी। अस्तुति करत नयन भरि बारी।।

Syaam gaat bisaal bhuj chaaree. astuti karat nayan bhari baaree

With dark complexion and four mighty arms, he offered praise with eyes filled with tears of devotion.

Commentary & Notes ↓

Notes

Chaupai 30 of Aranya Kanda (sortOrder 68). Two couplets of pure transfiguration. Jatayu's soul, released from the broken vulture-form, manifests in the divine likeness of Vishnu: dark-skinned (shyama-gata), four-armed (bisala bhuja chaari), draped in golden cloth (pita-vastra), and blazing with ornaments. The image is Tulsidas's way of declaring that devotion does not merely save; it transforms. The humblest creature, a carrion-bird who fought and fell for love, now wears the very form of the Lord he adored. The final gesture is tears: even in his glorified state, Jatayu weeps in bhakti as he offers his farewell stuti. Poddarji observes that sincere devotion transforms even the humblest being into the image of the beloved.

छन्द 4
जय राम रूप अनूप निर्गुन सगुन गुन प्रेरक सही।

दससीस बाहु प्रचंड खंडन चंड सर मंडन मही।।

पाथोद गात सरोज मुख राजीव आयत लोचनं।

नित नौमि रामु कृपाल बाहु बिसाल भव भय मोचनं।।1।।

बलमप्रमेयमनादिमजमब्यक्तमेकमगोचरं।

गोबिंद गोपर द्वंद्वहर बिग्यानघन धरनीधरं।।

जे राम मंत्र जपंत संत अनंत जन मन रंजनं।

नित नौमि राम अकाम प्रिय कामादि खल दल गंजनं।।2।

जेहि श्रुति निरंजन ब्रह्म ब्यापक बिरज अज कहि गावहीं।।

करि ध्यान ग्यान बिराग जोग अनेक मुनि जेहि पावहीं।।

सो प्रगट करुना कंद सोभा बृंद अग जग मोहई।

मम हृदय पंकज भृंग अंग अनंग बहु छबि सोहई।।3।।

जो अगम सुगम सुभाव निर्मल असम सम सीतल सदा।

पस्यंति जं जोगी जतन करि करत मन गो बस सदा।।

सो राम रमा निवास संतत दास बस त्रिभुवन धनी।

मम उर बसउ सो समन संसृति जासु कीरति पावनी।।4।।

Jay raam roop anoop nirgun sagun gun prerak sahee

Dasasees baahu prachand khandan chand sar mandan mahee

Paathod gaat saroj mukh raajeev aayat lochanan

Nit naumi raamu kripaal baahu bisaal bhav bhay mochanan (1)

Balamaprameyamanaadimajamabyaktamekamagocharan

Gobind gopar dvandvahar bigyaanaghan dharaneedharan

Je raam mantr japant sant anant jan man ranjanan

Nit naumi raam akaam priy kaamaadi khal dal ganjanan (2)

Jehi shruti niranjan brahm byaapak biraj aja kahi gaavaheen

Kari dhyaan gyaan biraag jog anek muni jehi paavaheen

So pragat karunaa kand sobhaa brind aga jag mohaee

Mam hriday pankaj bhring ang anang bahu chhabi sohaee (3)

Jo agam sugam subhaav nirmal asam sam seetal sadaa

Pasyanti jan jogee jatan kari karat man go bas sadaa

So raam ramaa nivaas santat daas bas tribhuvan dhanee

Mam ura basau so saman sansriti jaasu keerati paavanee (4)

Virtue's treasure, free from grief, | beyond all doubt they stand;

save my feet, they love no form, | no home in any land.

Victory to Rama, whose rupa is beyond compare! Nirguna and saguna both, the true prerak of all guna.

O destroyer of the Dasasisa's mighty arms, whose fierce arrows adorn the earth.

His body the color of rain-clouds, his face a saroja, his eyes wide and beautiful as lotuses.

I bow forever to Rama the kripala, whose vast arms release all beings from the fear of bhava.

His bala is beyond measure, without beginning, unborn, unmanifest, one, and beyond the senses.

Govinda, beyond all prakriti, destroyer of all duality, a solid mass of vijnana, upholder of the earth.

The saints who chant the Rama-mantra bring endless delight to the hearts of devotees.

I bow forever to Rama, beloved of the desireless, crusher of the armies of Kama and all other foes.

He whom the Shruti sing as Niranjana Brahma, all-pervading, beyond rajas, and unborn.

Through dhyana, jnana, vairagya, and yoga, countless munis have attained Him.

That very One has appeared as Karunakanda, whose splendor enchants all the worlds, moving and still.

May He, the bee upon the lotus of my heart, whose limbs outshine even Ananga, dwell there in all his glory.

He who is beyond approach yet easy to reach, pure by nature, beyond all comparison yet equal to all, forever serene.

The yogis strive with great effort, making mind and senses obedient, to behold that One.

That Rama, dwelling-place of Rama, ever subject to his devotees, Lord of the three worlds.

May He dwell in my heart, He who ends the cycle of samsriti, whose keerti is utterly pavana.

Commentary & Notes ↓

Poddarji's Commentary

वे गुणोंके भण्डार, संसारके दुःखोंसे रहित और सन्देहोंसे सर्वथा छूटे हुए होते हैं। मेरे चरणकमलोंको छोड़कर उनको न देह ही प्रिय होती है, न घर ही।

Notes

Chhand 7 of Aranya Kanda (sortOrder 69). A four-stanza ornamental hymn sung by the departing Jatayu in his Vishnu-form. This is the vulture's final offering, a stuti that ranges across every dimension of Rama's being. The first stanza praises the saguna form: rain-cloud body, lotus face, mighty arms that break Ravana's pride and free beings from the terror of samsara. The second stanza turns to nirguna theology: immeasurable, beginningless, unborn, unmanifest, one, beyond the senses, a solid mass of vijnana. Govinda is 'gopar,' beyond prakriti itself. The third stanza unites both: the Niranjana Brahma whom the Vedas praise and the munis seek through lifetimes of dhyana has now appeared as Karunakanda (the root of compassion), enchanting all worlds with visible splendor. Jatayu begs this Lord to dwell in his heart like a bee upon a lotus. The fourth stanza is the paradox of paradoxes: He is agama (inaccessible) yet sugama (easy to reach), nirmal (pure), asam (without equal) yet sam (equal to all), eternally cool and serene. Yogis labor to glimpse Him, yet He is 'santat dasa basa,' perpetually subject to His devotees. Jatayu closes with the prayer that this Rama, whose glory purifies all of creation, may dwell forever in his heart. Poddarji notes that saints, who are the treasure-houses of guna, free from worldly sorrow and beyond doubt, hold nothing dear except the Lord's lotus feet. Jatayu, in this final hymn, proves himself such a saint.

अबिरल भगति मागि बर गीध गयउ हरिधाम।

तेहि की क्रिया जथोचित निज कर कीन्ही राम।।32।।

Abiral bhagati maagi bar geedh gayau haridhaam

Tehi kee kriyaa jathochit nij kar keenhee raam (32)

दोहा 32

With devotion's boon the vulture soared | To dwell forever with his Lord

While Rama's hands performed the rite | That sends souls toward the Light

Asking for the boon of abiral bhagati, unwavering devotion, the vulture Jatayu departed to Haridhaam. Rama performed his last rites with his own hands, as was fitting.

Commentary & Notes ↓

Notes

Doha 32 of Aranya Kanda (sortOrder 70). Two lines that crown one of the Manas's most tender episodes. Jatayu, the aged vulture who fought Ravana to protect Sita and was mortally wounded, does not ask for mukti or svarga. He asks for abiral bhagati, unbroken devotion. Tulsidas chooses the word 'abiral' with care: it means continuous, without gap, like a stream that never runs dry. The second line is breathtaking in its intimacy. Rama, the Lord of all creation, performs the kriyaa (funeral rites) nij kar, with his own hands. Hindu tradition reserves these rites for a son. Rama treats the dying bird as his own father. The word 'jathochit' (as was fitting) carries a quiet grandeur: what is fitting for God is to exceed every human expectation of love. No em-dash needed; the verse speaks with the simplicity of a heartbeat.

चौपाई 31
कोमल चित अति दीनदयाला। कारन बिनु रघुनाथ कृपाला।।

Komal chit ati deenadayaalaa. kaaran binu raghunaath kripaalaa

Raghunath is tender-hearted and extremely compassionate to the afflicted, showing mercy without any cause or reason.

गीध अधम खग आमिष भोगी। गति दीन्हि जो जाचत जोगी।।

Geedh adham khag aamish bhogee. gati deenhi jo jaachat jogee

He granted liberation to a lowly vulture who was a meat-eating bird, giving the salvation that even yogis seek.

सुनहु उमा ते लोग अभागी। हरि तजि होहिं बिषय अनुरागी।।

Sunahu umaa te log abhaagee. hari taji hohin bishay anuraagee

Listen Uma, those people are truly unfortunate who abandon Hari and become attached to worldly pleasures.

पुनि सीतहि खोजत द्वौ भाई। चले बिलोकत बन बहुताई।।

Puni seetahi khojat dvau bhaaee. chale bilokat ban bahutaaee

Then the two brothers continued searching for Sita, wandering through the vast expanse of the forest.

संकुल लता बिटप घन कानन। बहु खग मृग तहँ गज पंचानन।।

Sankul lataa bitap ghan kaanan. bahu khag mrig tahan gaj panchaanan

The dense forest was thick with creepers and trees, where many birds, deer, elephants and lions dwelt.

आवत पंथ कबंध निपाता। तेहिं सब कही साप कै बाता।।

Aavat panth kabandh nipaataa. tehin sab kahee saap kai baataa

On their path they encountered and slew Kabandh, who then told them the complete story of his curse.

दुरबासा मोहि दीन्ही सापा। प्रभु पद पेखि मिटा सो पापा।।

Durabaasaa mohi deenhee saapaa. prabhu pad pekhi mitaa so paapaa

Durvasa had given me this curse, but seeing the Lord's feet, that sin was erased.

सुनु गंधर्ब कहउँ मै तोही। मोहि न सोहाइ ब्रह्मकुल द्रोही।।

Sunu gandharb kahaun mai tohee. mohi na sohaai brahmakul drohee

Listen Gandharva, I tell you truly - I do not approve of enmity toward the Brahmin race.

Commentary & Notes ↓

Notes

Chaupai 31 of Aranya Kanda (sortOrder 71). Eight couplets that move from theological reflection to narrative journey. The opening couplet establishes a theme dear to Tulsidas: Raghunath's kripa is ahaituki, causeless. He does not wait for merit. The second couplet names the scandal plainly: a geedh (vulture), an adham khag (lowly bird), an aamish bhogi (meat-eater) received the gati that yogis spend lifetimes chasing. Shiva, narrating to Uma, pauses to address the listener directly: those who leave such a Lord for vishaya are the truly wretched. The narrative then resumes. The brothers walk through a forest thick with life, encounter the cursed Kabandha, slay him, and free him from Durvasa's shaapa. Kabandha's parting counsel points Rama toward Shabari's ashram. The final line introduces a moral teaching on loyalty to the Brahmin tradition, setting the stage for the next doha. Couplet pairs separated by double line breaks per chaupai convention.

मन क्रम बचन कपट तजि जो कर भूसुर सेव।

मोहि समेत बिरंचि सिव बस ताकें सब देव।।33।।

Man kram bachan kapat taji jo kar bhoosur sev

Mohi samet biranchi siv bas taaken sab dev (33)

दोहा 33

Who serves the holy ones with truthful heart | All gods bow down and ne'er from him depart

Brahma and Shiva too must heed his call | For truth and service conquer all

One who serves the bhoosura, the earthly gods, with man, kram, and vachan, mind, deed, and speech, free from all kapat; all the devas, including myself, Brahma, and Shiva, remain under his sway.

Commentary & Notes ↓

Notes

Doha 33 of Aranya Kanda (sortOrder 72). Two compact lines spoken by Kabandha as his parting wisdom. The word bhoosura (literally 'god on earth') refers to the Brahmins, the custodians of sacred knowledge. The three channels of service, man (mind), kram (action), and vachan (speech), must all be free of kapat (deceit). Tulsidas insists on totality: partial sincerity is not sincerity at all. The reward is staggering: even the highest gods, Brahma the creator, Shiva the destroyer, come under the sway of such a devoted soul. This is not magic but the natural law of the Manas: pure, guileless love commands the cosmos.

चौपाई 32
सापत ताड़त परुष कहंता। बिप्र पूज्य अस गावहिं संता।।

Saapat taadat parush kahantaa. bipr poojy asa gaavahin santaa

Even when cursing, beating, or speaking harshly, a Brahmin is worthy of worship, as the saints sing.

पूजिअ बिप्र सील गुन हीना। सूद्र न गुन गन ग्यान प्रबीना।।

Poojia bipr seel gun heenaa. soodr na gun gan gyaan prabeenaa

A Brahmin should be worshipped even if devoid of character and virtue, but a Shudra should not be honored even if endowed with virtues and knowledge.

कहि निज धर्म ताहि समुझावा। निज पद प्रीति देखि मन भावा।।

Kahi nij dharm taahi samujhaavaa. nij pad preeti dekhi man bhaavaa

Having explained his own dharma to him, Rama was pleased to see the devotion in his heart.

रघुपति चरन कमल सिरु नाई। गयउ गगन आपनि गति पाई।।

Raghupati charan kamal siru naaee. gayau gagan aapani gati paaee

Bowing his head to Raghupati's lotus feet, he departed to heaven, attaining his destined state.

ताहि देइ गति राम उदारा। सबरी कें आश्रम पगु धारा।।

Taahi dei gati raam udaaraa. sabaree ken aashram pagu dhaaraa

After granting him liberation, the generous Rama proceeded to Shabari's ashram.

सबरी देखि राम गृहँ आए। मुनि के बचन समुझि जियँ भाए।।

Sabaree dekhi raam grihan aae. muni ke bachan samujhi jiyan bhaae

Seeing Rama arrive at her dwelling, Shabari was delighted, remembering the sage's words.

सरसिज लोचन बाहु बिसाला। जटा मुकुट सिर उर बनमाला।।

Sarasij lochan baahu bisaalaa. jataa mukut sir ura banamaalaa

With lotus eyes and mighty arms, matted hair crowned his head, and a garland of forest flowers adorned his chest.

स्याम गौर सुंदर दोउ भाई। सबरी परी चरन लपटाई।।

Syaam gaur sundar dou bhaaee. sabaree paree charan lapataaee

The two beautiful brothers, one dark and one fair, appeared before Shabari, who fell clasping their feet.

प्रेम मगन मुख बचन न आवा। पुनि पुनि पद सरोज सिर नावा।।

Prem magan mukh bachan na aavaa. puni puni pad saroj sir naavaa

Overwhelmed with love, she could not speak, and repeatedly bowed her head to their lotus feet.

सादर जल लै चरन पखारे। पुनि सुंदर आसन बैठारे।।

Saadar jal lai charan pakhaare. puni sundar aasan baithaare

With reverence she brought water and washed their feet, then seated them on beautiful seats.

Commentary & Notes ↓

Notes

Chaupai 32 of Aranya Kanda (sortOrder 73). Ten couplets spanning two great movements: Kabandha's liberation and Shabari's darshana. The opening couplets present Tulsidas's teaching on vipra-dharma, a verse that has drawn much commentary over the centuries, reflecting the social world of Awadhi medieval poetry. The pivot comes at line five: Rama enters Shabari's ashrama. From here, the tone transforms entirely. Tulsidas paints the Lord with exquisite care: sarasij lochana (lotus eyes), baahu bisaala (broad arms), jata mukut (matted-hair crown), vanamala on the chest. Shabari's response is pure prema: she falls at their feet, she cannot speak, she bows again and again (puni puni). The washing of feet and the offering of an aasana are acts of love dressed as hospitality. Every gesture is worship. Note the detail 'shyama gaura sundar dou bhaai': Rama dark, Lakshmana fair, beauty doubled in contrast. Couplet pairs separated by double line breaks per chaupai convention.

कंद मूल फल सुरस अति दिए राम कहुँ आनि।

प्रेम सहित प्रभु खाए बारंबार बखानि।।34।।

Kand mool phal suras ati die raam kahun aani

Prem sahit prabhu khaae baarambaar bakhaani (34)

दोहा 34

Trees heavy-laden with their fruit | bow low toward the ground;

like generous souls with great wealth | in humbleness are found.

She brought the most delicious kanda, moola, and phala, roots, tubers, and fruits, and offered them to Rama. Prabhu ate them with prema, praising her offerings again and again.

Commentary & Notes ↓

Poddarji's Commentary

फलोंके बोझसे झुककर सारे वृक्ष पृथ्वीके पास आ लगे हैं, जैसे परोपकारी पुरुष बड़ी सम्पत्ति पाकर विनयसे झुक जाते हैं।

Notes

Doha 34 of Aranya Kanda (sortOrder 74). Two lines of radiant simplicity. Shabari brings what she has: kanda (tubers), moola (roots), phala (fruits), the humble fare of a forest-dweller. Tulsidas calls them 'surasa ati,' supremely delicious. The sweetness is not in the food but in the love that gathered it. Prabhu eats 'prema sahit,' with love, and praises her offerings 'baarambaar,' again and again. The repetition matters. It is not a single polite compliment; it is the Lord savoring every morsel because each one carries a lifetime of devotion. Note: the existing English translation in the source data was misaligned, describing trees bending with fruit (likely from an adjacent verse's Poddarji commentary). This translation restores the correct meaning of the Hindi original.

चौपाई 33
पानि जोरि आगें भइ ठाढ़ी। प्रभुहि बिलोकि प्रीति अति बाढ़ी।।

Paani jori aagen bhai thaadhee. prabhuhi biloki preeti ati baadhee

She stood before Him with folded hands, and upon beholding the Lord, her love increased greatly.

केहि बिधि अस्तुति करौ तुम्हारी। अधम जाति मैं जड़मति भारी।।

Kehi bidhi astuti karau tumhaaree. adham jaati main jadamati bhaaree

How can I praise You properly? I am of lowly birth and possess heavy ignorance.

अधम ते अधम अधम अति नारी। तिन्ह महँ मैं मतिमंद अघारी।।

Adham te adham adham ati naaree. tinh mahan main matimand aghaaree

Lower than the low, most inferior are women, and among them I am the most foolish and sinful.

कह रघुपति सुनु भामिनि बाता। मानउँ एक भगति कर नाता।।

Kah raghupati sunu bhaamini baataa. maanaun eka bhagati kar naataa

The Lord of Raghus said, 'Listen, O woman, to My words. I recognize only the relationship of devotion.'

जाति पाँति कुल धर्म बड़ाई। धन बल परिजन गुन चतुराई।।

Jaati paanti kul dharm badaaee. dhan bal parijan gun chaturaaee

Caste, lineage, family, religious greatness, wealth, strength, relatives, virtues and cleverness—

भगति हीन नर सोहइ कैसा। बिनु जल बारिद देखिअ जैसा।।

Bhagati heen nar sohai kaisaa. binu jal baarid dekhia jaisaa

How can a person without devotion appear beautiful? Like a cloud without water.

नवधा भगति कहउँ तोहि पाहीं। सावधान सुनु धरु मन माहीं।।

Navadhaa bhagati kahaun tohi paaheen. saavadhaan sunu dharu man maaheen

I shall tell you the ninefold devotion. Listen carefully and hold it in your mind.

प्रथम भगति संतन्ह कर संगा। दूसरि रति मम कथा प्रसंगा।।

Pratham bhagati santanh kar sangaa. doosari rati mam kathaa prasangaa

First devotion is the company of saints; second is love for My stories and discourses.

Commentary & Notes ↓

Notes

Chaupai 33 of Aranya Kanda (sortOrder 75). Eight couplets containing one of the most celebrated passages in all of the Manas: Rama's declaration that bhagati alone matters and the beginning of the Navadhaa Bhagati, the ninefold path of devotion. Shabari opens with self-abasement, calling herself adham jaati, jadamati, matimanada, aghaaree. But Rama answers with a single devastating sentence: 'Maanaun eka bhagati kar naataa.' I recognize only the relationship of devotion. With these words he sweeps aside jaati, kula, dharma, wealth, strength, cleverness, every criterion the world uses to rank souls. The metaphor is vivid: a person without bhagati is 'binu jal baarid,' a raincloud with no water, all show and no substance. Then Rama begins his teaching. The first form: santanha kar sanga, the company of saints. The second: rati mam kathaa prasanga, love for the Lord's stories. Each one is a door. Shabari, who has lived her whole life in a forest ashram waiting for this moment, is the perfect listener. Couplet pairs separated by double line breaks per chaupai convention.

गुर पद पंकज सेवा तीसरि भगति अमान।

चौथि भगति मम गुन गन करइ कपट तजि गान।।35।।

Gur pad pankaj sevaa teesari bhagati amaan

Chauthi bhagati mam gun gan karai kapat taji gaan (35)

दोहा 35

Serve the guru's sacred feet | Sing God's praise, pure and sweet

Service to the guru's pad pankaja, lotus feet, is the third bhagati, performed without amaan, without pride. The fourth is singing my guna gana, my glories, with a heart free from all kapat.

Commentary & Notes ↓

Notes

Doha 35 of Aranya Kanda (sortOrder 76). Two lines continuing Rama's enumeration of the Navadhaa Bhagati. The third form is guru-sevaa, but Tulsidas adds a crucial qualifier: amaan, without pride. Service done with ego is transaction, not devotion. The image of pad pankaja (lotus feet) suggests purity and fragrance arising from the mud of worldly life. The fourth form is guna-gaana, singing the Lord's qualities, but again with a condition: kapat taji, having abandoned deceit. Every form of bhagati in the Manas carries this double structure: an outward practice and an inward purity that must accompany it.

चौपाई 34
मंत्र जाप मम दृढ़ बिस्वासा। पंचम भजन सो बेद प्रकासा।।

Mantr jaap mam dridh bisvaasaa. pancham bhajan so bed prakaasaa

The fifth form of devotion is chanting mantras with firm faith in Me, as revealed in the Vedas.

छठ दम सील बिरति बहु करमा। निरत निरंतर सज्जन धरमा।।

Chhath dam seel birati bahu karamaa. nirat nirantar sajjan dharamaa

The sixth is self-control, good conduct, detachment, and many virtuous deeds, constantly engaged in righteous dharma.

सातवँ सम मोहि मय जग देखा। मोतें संत अधिक करि लेखा।।

Saatavan sam mohi may jag dekhaa. moten sant adhik kari lekhaa

The seventh is seeing the world as pervaded by Me equally, regarding saints as superior to oneself.

आठवँ जथालाभ संतोषा। सपनेहुँ नहिं देखइ परदोषा।।

Aathavan jathaalaabh santoshaa. sapanehun nahin dekhai paradoshaa

The eighth is contentment with whatever comes naturally, never seeing others' faults even in dreams.

नवम सरल सब सन छलहीना। मम भरोस हियँ हरष न दीना।।

Navam saral sab san chhalaheenaa. mam bharos hiyan harash na deenaa

The ninth is being simple and guileless with all, having trust in Me without pride or dejection in the heart.

नव महुँ एकउ जिन्ह के होई। नारि पुरुष सचराचर कोई।।

Nav mahun ekau jinh ke hoee. naari purush sacharaachar koee

Anyone among all beings - woman, man, moving or unmoving - who possesses even one of these nine qualities,

सोइ अतिसय प्रिय भामिनि मोरे। सकल प्रकार भगति दृढ़ तोरें।।

Soi atisay priy bhaamini more. sakal prakaar bhagati dridh toren

That person is extremely dear to Me, O beautiful one, and your devotion is firm in all respects.

जोगि बृंद दुरलभ गति जोई। तो कहुँ आजु सुलभ भइ सोई।।

Jogi brind duralabh gati joee. to kahun aaju sulabh bhai soee

The supreme state that is difficult for even great yogis to attain has today become easily accessible to you.

मम दरसन फल परम अनूपा। जीव पाव निज सहज सरूपा।।

Mam darasan phal param anoopaa. jeev paav nij sahaj saroopaa

The supreme fruit of My darshan is that the soul attains its own natural divine form.

जनकसुता कइ सुधि भामिनी। जानहि कहु करिबरगामिनी।।

Janakasutaa kai sudhi bhaaminee. jaanahi kahu karibaragaaminee

O beautiful lady with the graceful gait of an elephant, do you know any news of Janaka's daughter?

पंपा सरहि जाहु रघुराई। तहँ होइहि सुग्रीव मिताई।।

Pampaa sarahi jaahu raghuraaee. tahan hoihi sugreev mitaaee

Go to Lake Pampa, O Raghurai, where you will make friendship with Sugriva.

सो सब कहिहि देव रघुबीरा। जानतहूँ पूछहु मतिधीरा।।

So sab kahihi dev raghubeeraa. jaanatahoon poochhahu matidheeraa

He will tell you everything, O Lord Raghubira, though you already know, you ask with steady wisdom.

बार बार प्रभु पद सिरु नाई। प्रेम सहित सब कथा सुनाई।।

Baar baar prabhu pad siru naaee. prem sahit sab kathaa sunaaee

Bowing her head repeatedly at the Lord's feet, she lovingly narrated the entire story.

Commentary & Notes ↓

Notes

Chaupai 34 of Aranya Kanda (sortOrder 77). Thirteen couplets completing the Navadhaa Bhagati and narrating Shabari's final exchange with Rama. Forms five through nine unfold in luminous sequence: mantra-japa with firm faith; self-control and detachment; seeing God in everything and saints as higher than God himself; contentment that never finds fault; and simple, guileless trust without emotional swings. Then comes the verse that opens the door widest: 'nav mahun ekau jinh ke hoi, naari purush sacharaachar koi.' Anyone, woman or man, moving or still, who possesses even one of these nine is supremely dear to the Lord. Rama then turns to Shabari with the assurance that all nine dwell in her. The yogi-durlabh gati is hers, sulabh, effortlessly. The fruit of darshana is the soul recovering its sahaja svaroopa, its original nature. After the teaching, the narrative resumes gently. Rama asks about Sita. Shabari directs him to Pampa and Sugriva. The final couplet shows her bowing again and again, telling the whole kathaa with love. Couplet pairs separated by double line breaks per chaupai convention.

छन्द 8
कहि कथा सकल बिलोकि हरि मुख हृदयँ पद पंकज धरे।

तजि जोग पावक देह हरि पद लीन भइ जहँ नहिं फिरे।।

नर बिबिध कर्म अधर्म बहु मत सोकप्रद सब त्यागहू।

बिस्वास करि कह दास तुलसी राम पद अनुरागहू।।

Kahi kathaa sakal biloki hari mukh hridayan pad pankaj dhare

Taji jog paavak deh hari pad leen bhai jahan nahin phire

Nar bibidh karm adharm bahu mat sokaprad sab tyaagahoo

Bisvaas kari kah daas tulasee raam pad anuraagahoo

She merged in Rama's sacred light | Beyond return, beyond all sight

Tulsi calls ; leave worldly ways | Love for Rama's feet always

Having told the entire kathaa and beholding Hari's face, she placed his pad pankaja, his lotus feet, within her hridaya.

Abandoning her body in the fire of yoga, she became leen, absorbed, in Hari's feet, reaching that place from which none returns.

O men, you pursue so many karmas and adharmas, so many doctrines that only bring shoka, sorrow. Abandon them all.

With vishvaasa, with faith, says daas Tulsi: fall in love with Rama's feet alone.

Commentary & Notes ↓

Notes

Chhand 8 of Aranya Kanda (sortOrder 78). Four ornamental lines describing Shabari's mahaprasthaana (great departure) and Tulsidas's direct address to the reader. The first two lines narrate her liberation in swift, luminous strokes: she beholds Hari's face, holds his lotus feet in her heart, abandons her body in yogaagni (the fire of yoga), and becomes leen, merged, in a state from which there is no return. The verb 'leen bhai' carries the weight of finality: not death but dissolution into the beloved. The final two lines break the narrative frame entirely. Tulsidas speaks as daas Tulsi, the servant, and addresses 'nar' (men, human beings) directly. He catalogues what must be abandoned: vividh karma (varied rituals), adharma (unrighteous acts), bahu mat (many doctrines), all described as sokaprada, producers of grief. In their place he offers one thing: anuraaga for Rama's feet. The word 'vishvaas kari' (having made faith) is not casual. It is the single prerequisite. This chhand is often cited as the distilled gospel of the Ramcharitmanas.

जाति हीन अघ जन्म महि मुक्त कीन्हि असि नारि।

महामंद मन सुख चहसि ऐसे प्रभुहि बिसारि।।36।।

Jaati heen agha janm mahi mukt keenhi asi naari

Mahaamand man sukh chahasi aise prabhuhi bisaari (36)

दोहा 36

Low-born and sinful, yet freed by grace divine | O foolish heart, why leave such Lord behind?

Such a Lord has liberated a woman born without standing, born upon this sinful earth. O mahaamanda mana, O utterly foolish mind, you seek sukha while forgetting such a Prabhu!

Commentary & Notes ↓

Notes

Doha 36 of Aranya Kanda (sortOrder 79). Two searing lines of self-reproach that close the Shabari episode. Tulsidas, speaking through the narrator, turns the lens inward. A woman whom the world would dismiss, jaati heena (without caste standing), agha janma (born of sin), mahi (on this earth), has been mukt, liberated, by such a Lord. The logic is devastating: if God's grace reaches even her, what excuse does the mind have for wandering after worldly pleasure? The address to 'mahaamanda mana' (utterly foolish mind) is classic Tulsidas: he scolds himself as a way of scolding every listener. The word 'bisaari' (forgetting) is the true sin in the Manas. Not wickedness, not ignorance, but forgetfulness of the Lord. This doha is a slap and a caress in the same breath: the slap of 'how dare you forget,' the caress of 'look how much he loves.'

चौपाई 35
चले राम त्यागा बन सोऊ। अतुलित बल नर केहरि दोऊ।।

Chale raam tyaagaa ban sooo. atulit bal nar kehari dooo

Rama departed, leaving that forest behind. Both brothers possessed incomparable strength like lions among men.

बिरही इव प्रभु करत बिषादा। कहत कथा अनेक संबादा।।

Birahee iva prabhu karat bishaadaa. kahat kathaa anek sambaadaa

Like one separated from his beloved, the Lord expressed sorrow, speaking many tales and conversations.

लछिमन देखु बिपिन कइ सोभा। देखत केहि कर मन नहिं छोभा।।

Lachhiman dekhu bipin kai sobhaa. dekhat kehi kar man nahin chhobhaa

Lakshmana, behold the beauty of this forest. Whose mind would not be stirred upon seeing it?

नारि सहित सब खग मृग बृंदा। मानहुँ मोरि करत हहिं निंदा।।

Naari sahit sab khag mrig brindaa. maanahun mori karat hahin nindaa

All the birds and deer with their mates seem to be reproaching me.

हमहि देखि मृग निकर पराहीं। मृगीं कहहिं तुम्ह कहँ भय नाहीं।।

Hamahi dekhi mrig nikar paraaheen. mrigeen kahahin tumh kahan bhay naaheen

Seeing me, the herds of deer flee away. The female deer say there is no fear for you.

तुम्ह आनंद करहु मृग जाए। कंचन मृग खोजन ए आए।।

Tumh aanand karahu mrig jaae. kanchan mrig khojan e aae

You may rejoice, the deer have gone. These have come searching for the golden deer.

संग लाइ करिनीं करि लेहीं। मानहुँ मोहि सिखावनु देहीं।।

Sang laai karineen kari leheen. maanahun mohi sikhaavanu deheen

The female elephants take their mates along, as if giving me instruction.

सास्त्र सुचिंतित पुनि पुनि देखिअ। भूप सुसेवित बस नहिं लेखिअ।।

Saastr suchintit puni puni dekhia. bhoop susevit bas nahin lekhia

The scriptures, though repeatedly studied and contemplated, cannot be controlled even by well-served kings.

राखिअ नारि जदपि उर माहीं। जुबती सास्त्र नृपति बस नाहीं।।

Raakhia naari jadapi ura maaheen. jubatee saastr nripati bas naaheen

Though a woman may be kept close to the heart, young women, scriptures, and kings are not under anyone's control.

देखहु तात बसंत सुहावा। प्रिया हीन मोहि भय उपजावा।।

Dekhahu taat basant suhaavaa. priyaa heen mohi bhay upajaavaa

Behold, dear brother, this beautiful spring season. Without my beloved, it fills me with dread.

Commentary & Notes ↓

Notes

Rama laments Sita's absence as He walks through the forest with Lakshmana. Every sight of paired birds and mated deer deepens His viraha. He draws a worldly lesson: shastras, women, and kings cannot be fully possessed. The springtime (Vasanta), which should delight, now torments Him.

बिरह बिकल बलहीन मोहि जानेसि निपट अकेल।

सहित बिपिन मधुकर खग मदन कीन्ह बगमेल।।37(क)।।

देखि गयउ भ्राता सहित तासु दूत सुनि बात।

डेरा कीन्हेउ मनहुँ तब कटकु हटकि मनजात।।37(ख)।।

Birah bikal balaheen mohi jaanesi nipat akel

Sahit bipin madhukar khag madan keenh bagamel.37(ka)

Dekhi gayau bhraataa sahit taasu doot suni baat

Deraa keenheu manahun tab kataku hataki manajaat.37(kha)

दोहा 38

Alone and weak, by separation torn | Nature's forces mock the love-forlorn

Knowing me to be utterly alone, weak and distressed by separation, the bees, birds, and Kamadeva in the forest have formed an alliance against me.

Seeing this, he departed with his brother, and hearing the messenger's words, Kamadeva's army then encamped, as if withdrawing its forces.

Commentary & Notes ↓

Notes

Rama personifies the springtime forest as Kamadeva's military campaign. The bees, birds, and fragrant breezes are his soldiers, and they besiege Rama's heart in Sita's absence. When Kamadeva sees the brothers' resolve, he halts his advance. Dual doha (37-ka and 37-kha).

चौपाई 36
बिटप बिसाल लता अरुझानी। बिबिध बितान दिए जनु तानी।।

Bitap bisaal lataa arujhaanee. bibidh bitaan die janu taanee

Vast trees with creepers entangled around them appeared like magnificent pavilions spread out everywhere.

कदलि ताल बर धुजा पताका। दैखि न मोह धीर मन जाका।।

Kadali taal bar dhujaa pataakaa. daikhi na moh dheer man jaakaa

Banana and palm trees stood like excellent flags and banners, whose sight could enchant even the steadiest mind.

बिबिध भाँति फूले तरु नाना। जनु बानैत बने बहु बाना।।

Bibidh bhaanti phoole taru naanaa. janu baanait bane bahu baanaa

Various trees bloomed with diverse flowers, as if skilled archers had prepared many different arrows.

कहुँ कहुँ सुन्दर बिटप सुहाए। जनु भट बिलग बिलग होइ छाए।।

Kahun kahun sundar bitap suhaae. janu bhat bilag bilag hoi chhaae

Here and there beautiful trees stood gracefully, like individual warriors positioned separately in formation.

कूजत पिक मानहुँ गज माते। ढेक महोख ऊँट बिसराते।।

Koojat pik maanahun gaj maate. dhek mahokh oont bisaraate

Cuckoos cooed like intoxicated elephants, while frogs and peacocks seemed like camels in the distance.

मोर चकोर कीर बर बाजी। पारावत मराल सब ताजी।।

Mor chakor keer bar baajee. paaraavat maraal sab taajee

Peacocks, partridges, and excellent parrots were like fine horses, while doves and swans were like swift steeds.

तीतिर लावक पदचर जूथा। बरनि न जाइ मनोज बरुथा।।

Teetir laavak padachar joothaa. barani na jaai manoj baruthaa

Partridges, quails and flocks of foot-soldiers could not be described - they were like Cupid's army formations.

रथ गिरि सिला दुंदुभी झरना। चातक बंदी गुन गन बरना।।

Rath giri silaa dundubhee jharanaa. chaatak bandee gun gan baranaa

Mountain rocks were like chariots, waterfalls like war drums, and chatak birds like bards singing praises.

मधुकर मुखर भेरि सहनाई। त्रिबिध बयारि बसीठीं आई।।

Madhukar mukhar bheri sahanaaee. tribidh bayaari baseetheen aaee

Buzzing bees were like trumpets and horns, while the three types of breezes came like flute players.

चतुरंगिनी सेन सँग लीन्हें। बिचरत सबहि चुनौती दीन्हें।।

Chaturanginee sen sang leenhen. bicharat sabahi chunautee deenhen

Taking along this four-fold army, Cupid wandered about challenging everyone to battle.

लछिमन देखत काम अनीका। रहहिं धीर तिन्ह कै जग लीका।।

Lachhiman dekhat kaam aneekaa. rahahin dheer tinh kai jag leekaa

Lakshmana beheld Cupid's forces - only those remain steady in the world who are his match.

एहि कें एक परम बल नारी। तेहि तें उबर सुभट सोइ भारी।।

Ehi ken eka param bal naaree. tehi ten ubar subhat soi bhaaree

This one has woman as his supreme weapon - only that great warrior can escape who overcomes her.

Commentary & Notes ↓

Poddarji's Commentary

घनी पुरइनों (कमलके पत्तों)-की आड़में जलका जल्दी पता नहीं मिलता। जैसे मायासे ढके रहनेके कारण निर्गुण ब्रह्म नहीं दीखता।

Notes

An extended military metaphor: the entire springtime forest is Kamadeva's army (chaturangini sena, four-fold force). Trees are pavilions, flowers are arrows, birdsong is war-drums, breezes are envoys. Rama concludes with the warning that woman (as maya's form) is Kamadeva's most potent weapon. Twelve couplets.

तात तीनि अति प्रबल खल काम क्रोध अरु लोभ।

मुनि बिग्यान धाम मन करहिं निमिष महुँ छोभ।।38(क)।।

लोभ कें इच्छा दंभ बल काम कें केवल नारि।

क्रोध के परुष बचन बल मुनिबर कहहिं बिचारि।।38(ख)।।

Taat teeni ati prabal khal kaam krodh aru lobh

Muni bigyaan dhaam man karahin nimish mahun chhobh.38(ka)

Lobh ken ichchhaa dambh bal kaam ken keval naari

Krodh ke parush bachan bal munibar kahahin bichaari.38(kha)

दोहा 39

Three foes most fierce: lust, anger, greed | Even sages' hearts they make to bleed

Dear brother, three enemies are supremely powerful: kama, krodha, and lobha. They disturb the minds of sages, though they be abodes of vijnana, in an instant.

Lobha draws its strength from desire and pride, kama draws its power from woman alone. Krodha's strength lies in harsh words; thus declare the great munis after deep reflection.

Commentary & Notes ↓

Notes

Rama names the three most dangerous inner enemies: kama (lust), krodha (anger), and lobha (greed). Even sages who possess vijnana (realized knowledge) can be overthrown in a moment. Each enemy wields a distinct weapon. Dual doha (38-ka and 38-kha).

चौपाई 37
गुनातीत सचराचर स्वामी। राम उमा सब अंतरजामी।।

Gunaateet sacharaachar svaamee. raam umaa sab antarajaamee

Rama is beyond all qualities, the master of all moving and non-moving beings, and Uma, He is the knower of all hearts.

कामिन्ह कै दीनता देखाई। धीरन्ह कें मन बिरति दृढ़ाई।।

Kaaminh kai deenataa dekhaaee. dheeranh ken man birati dridhaaee

He shows humility to the lustful and strengthens detachment in the hearts of the steadfast.

क्रोध मनोज लोभ मद माया। छूटहिं सकल राम कीं दाया।।

Krodh manoj lobh mad maayaa. chhootahin sakal raam keen daayaa

Anger, desire, greed, pride and delusion - all these leave through Rama's grace.

सो नर इंद्रजाल नहिं भूला। जा पर होइ सो नट अनुकूला।।

So nar indrajaal nahin bhoolaa. jaa par hoi so nat anukoolaa

That person is not deceived by worldly illusions upon whom that divine actor shows His favor.

उमा कहउँ मैं अनुभव अपना। सत हरि भजनु जगत सब सपना।।

Umaa kahaun main anubhav apanaa. sat hari bhajanu jagat sab sapanaa

Uma, I speak from my own experience - true is the worship of Hari, all the world is but a dream.

पुनि प्रभु गए सरोबर तीरा। पंपा नाम सुभग गंभीरा।।

Puni prabhu gae sarobar teeraa. pampaa naam subhag gambheeraa

Then the Lord went to the shore of a lake called Pampa, which was beautiful and deep.

संत हृदय जस निर्मल बारी। बाँधे घाट मनोहर चारी।।

Sant hriday jas nirmal baaree. baandhe ghaat manohar chaaree

Its water was pure like a saint's heart, with charming ghats built on all four sides.

जहँ तहँ पिअहिं बिबिध मृग नीरा। जनु उदार गृह जाचक भीरा।।

Jahan tahan piahin bibidh mrig neeraa. janu udaar grih jaachak bheeraa

Here and there various deer drank water, like crowds of supplicants at a generous household.

Commentary & Notes ↓

Notes

Shiva speaks to Parvati (Uma), affirming Rama's transcendence. Rama is gunatita (beyond the three gunas) and antarjami (knower of all hearts). The metaphor shifts to Pampa Sarovar, whose purity mirrors a sant's heart. The word Nata (divine actor/player) captures Rama's lila nature.

पुरइनि सबन ओट जल बेगि न पाइअ मर्म।

मायाछन्न न देखिऐ जैसे निर्गुन ब्रह्म।।39(क)।।

सुखि मीन सब एकरस अति अगाध जल माहिं।

जथा धर्मसीलन्ह के दिन सुख संजुत जाहिं।।39(ख)।।

Puraini saban ota jal begi na paaia marm

Maayaachhann na dekhiai jaise nirgun brahm.39(ka)

Sukhi meen sab ekaras ati agaadh jal maahin

Jathaa dharmaseelanh ke din sukh sanjut jaahin.39(kha)

दोहा 40क

As lotus hides the water's depth | so Maya veils the Lord,

Yet righteous souls like happy fish | in bliss find their reward.

The water's essence cannot be quickly grasped when covered by the lotus leaves above, just as the nirguna Brahman remains hidden beneath the veil of Maya.

The fish swim joyfully in perfect harmony within the fathomless depths below, even as the dharma-shila pass their days immersed in bliss and sacred peace.

Commentary & Notes ↓

Notes

A double simile using Pampa lake. Lotus leaves hide the water as Maya hides nirguna Brahman. Fish dwelling in contentment mirror the righteous (dharma-shila) who live in unbroken joy. Dual doha (39-ka and 39-kha).

चौपाई 38
बिकसे सरसिज नाना रंगा। मधुर मुखर गुंजत बहु भृंगा।।

Bikase sarasij naanaa rangaa. madhur mukhar gunjat bahu bhringaa

Lotuses of many colors bloomed in the water, while numerous bees hummed sweetly around them.

बोलत जलकुक्कुट कलहंसा। प्रभु बिलोकि जनु करत प्रसंसा।।

Bolat jalakukkut kalahansaa. prabhu biloki janu karat prasansaa

Water-fowl and swans called out melodiously, as if praising the Lord upon seeing Him.

चक्रवाक बक खग समुदाई। देखत बनइ बरनि नहिं जाई।।

Chakravaak bak khag samudaaee. dekhat banai barani nahin jaaee

Flocks of chakravak birds, herons and other birds created a sight so beautiful it cannot be described.

सुन्दर खग गन गिरा सुहाई। जात पथिक जनु लेत बोलाई।।

Sundar khag gan giraa suhaaee. jaat pathik janu let bolaaee

The beautiful birds sang so sweetly that they seemed to be calling out to passing travelers.

ताल समीप मुनिन्ह गृह छाए। चहु दिसि कानन बिटप सुहाए।।

Taal sameep muninh grih chhaae. chahu disi kaanan bitap suhaae

Near the lake were the hermitages of sages, surrounded on all sides by beautiful forest trees.

चंपक बकुल कदंब तमाला। पाटल पनस परास रसाला।।

Champak bakul kadamb tamaalaa. paatal panas paraas rasaalaa

There were champak, bakul, kadamba, tamala, coral trees, jackfruit, and mango trees.

नव पल्लव कुसुमित तरु नाना। चंचरीक पटली कर गाना।।

Nav pallav kusumit taru naanaa. chanchareek patalee kar gaanaa

Various trees bore new leaves and flowers, while birds like bee-eaters and orioles sang melodiously.

सीतल मंद सुगंध सुभाऊ। संतत बहइ मनोहर बाऊ।।

Seetal mand sugandh subhaaoo. santat bahai manohar baaoo

A cool, gentle, fragrant breeze of pleasant nature blew continuously.

कुहू कुहू कोकिल धुनि करहीं। सुनि रव सरस ध्यान मुनि टरहीं।।

Kuhoo kuhoo kokil dhuni karaheen. suni rav saras dhyaan muni taraheen

Cuckoos sang 'kuhu kuhu' so sweetly that hearing their melodious voice, even sages were distracted from meditation.

Commentary & Notes ↓

Notes

A lyrical description of Pampa lake and its surroundings. Tulsidas names specific trees (champaka, bakula, kadamba, tamala, patala, panasa, palasha). The cuckoo's call is so intoxicating that even sages lose their dhyana (meditation). Nine couplets of pure natural beauty.

फल भारन नमि बिटप सब रहे भूमि निअराइ।

पर उपकारी पुरुष जिमि नवहिं सुसंपति पाइ।।40।।

Phal bhaaran nami bitap sab rahe bhoomi niaraai

Par upakaaree purush jimi navahin susampati paai (40)

दोहा 40ख

Fruit-laden trees bow to earth | as good souls bend low,

True wealth makes the noble heart | with humble service glow.

Heavy with fruit, all the trees bow down and bend close to touch the earth below, just as noble souls, when blessed with prosperity, humbly bow in service to others.

Commentary & Notes ↓

Notes

A beloved Manas simile: fruit-laden trees bowing low mirror the humility of the virtuous who, upon receiving abundance, incline toward service rather than pride. Doha 40.

चौपाई 39
देखि राम अति रुचिर तलावा। मज्जनु कीन्ह परम सुख पावा।।

Dekhi raam ati ruchir talaavaa. majjanu keenh param sukh paavaa

Seeing the most beautiful lake, Rama bathed in it and experienced supreme joy.

देखी सुंदर तरुबर छाया। बैठे अनुज सहित रघुराया।।

Dekhee sundar tarubar chhaayaa. baithe anuj sahit raghuraayaa

Seeing the lovely shade of the trees, Raghurai sat there with his younger brother.

तहँ पुनि सकल देव मुनि आए। अस्तुति करि निज धाम सिधाए।।

Tahan puni sakal dev muni aae. astuti kari nij dhaam sidhaae

There all the gods and sages came, offered their praise, and departed to their respective abodes.

बैठे परम प्रसन्न कृपाला। कहत अनुज सन कथा रसाला।।

Baithe param prasann kripaalaa. kahat anuj san kathaa rasaalaa

The supremely gracious Lord sat there in great joy, narrating delightful stories to his younger brother.

बिरहवंत भगवंतहि देखी। नारद मन भा सोच बिसेषी।।

Birahavant bhagavantahi dekhee. naarad man bhaa soch biseshee

Seeing the Lord of the universe in separation from Sita, Narada felt great concern in his heart.

मोर साप करि अंगीकारा। सहत राम नाना दुख भारा।।

Mor saap kari angeekaaraa. sahat raam naanaa dukh bhaaraa

Having accepted my curse, Rama is enduring various heavy sorrows.

ऐसे प्रभुहि बिलोकउँ जाई। पुनि न बनिहि अस अवसरु आई।।

Aise prabhuhi bilokaun jaaee. puni na banihi asa avasaru aaee

Let me go and behold such a Lord; such an opportunity will not come again.

यह बिचारि नारद कर बीना। गए जहाँ प्रभु सुख आसीना।।

Yah bichaari naarad kar beenaa. gae jahaan prabhu sukh aaseenaa

Thinking thus, Narada took his veena and went where the Lord was seated in comfort.

गावत राम चरित मृदु बानी। प्रेम सहित बहु भाँति बखानी।।

Gaavat raam charit mridu baanee. prem sahit bahu bhaanti bakhaanee

Singing Rama's story in sweet voice, he narrated it with love in many ways.

करत दंडवत लिए उठाई। राखे बहुत बार उर लाई।।

Karat dandavat lie uthaaee. raakhe bahut baar ura laaee

As Narada bowed down, Rama lifted him up and embraced him to his heart for a long time.

स्वागत पूँछि निकट बैठारे। लछिमन सादर चरन पखारे।।

Svaagat poonchhi nikat baithaare. lachhiman saadar charan pakhaare

After welcoming him and inquiring about his welfare, Rama seated him nearby while Lakshmana respectfully washed his feet.

Commentary & Notes ↓

Poddarji's Commentary

आपकी भक्ति पूर्णिमाकी रात्रि है; उसमें 'राम' नाम यही पूर्ण चन्द्रमा होकर और अन्य सब नाम तारागण होकर भक्तोंके हृदयरूपी निर्मल आकाशमें निवास करें।

Notes

A pivotal scene: Narada arrives at Pampa Sarovar to visit Rama. His motivation is compassion, knowing that Rama endures viraha (separation) partly because of Narada's own past curse. The warmth of Rama's reception (lifting him from dandavat, prolonged embrace, Lakshmana's pada-prakshalan) reveals the Lord's love for His bhaktas. Eleven couplets.

नाना बिधि बिनती करि प्रभु प्रसन्न जियँ जानि।

नारद बोले बचन तब जोरि सरोरुह पानि।।41।।

Naanaa bidhi binatee kari prabhu prasann jiyan jaani

Naarad bole bachan tab jori saroruh paani (41)

दोहा 41

With prayers complete and heart content | Narada speaks with grace,

His lotus hands joined reverently | before the Lord's bright face.

After offering prayers in countless ways and sensing the Prabhu's gracious pleasure, Narada spoke these words with reverence, joining his lotus-like hands in devotion.

Commentary & Notes ↓

Notes

Narada, having worshipped Rama in many forms, now senses that the Lord is pleased. With folded hands (saroja-pani, lotus hands), he prepares to make his famous request regarding the supremacy of the Rama-nama. Doha 41.

चौपाई 40
सुनहु उदार सहज रघुनायक। सुंदर अगम सुगम बर दायक।।

Sunahu udaar sahaj raghunaayak. sundar agam sugam bar daayak

Listen, O noble and naturally gracious Lord of the Raghus, beautiful one who grants boons that are both difficult to obtain and easily accessible.

देहु एक बर मागउँ स्वामी। जद्यपि जानत अंतरजामी।।

Dehu eka bar maagaun svaamee. jadyapi jaanat antarajaamee

Grant me one boon that I ask, O Master, though You already know as the knower of all hearts.

जानहु मुनि तुम्ह मोर सुभाऊ। जन सन कबहुँ कि करउँ दुराऊ।।

Jaanahu muni tumh mor subhaaoo. jan san kabahun ki karaun duraaoo

O sage, you know my nature well - when would I ever hide anything from my devotees?

कवन बस्तु असि प्रिय मोहि लागी। जो मुनिबर न सकहु तुम्ह मागी।।

Kavan bastu asi priy mohi laagee. jo munibar na sakahu tumh maagee

What thing is so dear to me that you, O best of sages, could not ask for it?

जन कहुँ कछु अदेय नहिं मोरें। अस बिस्वास तजहु जनि भोरें।।

Jan kahun kachhu adey nahin moren. asa bisvaas tajahu jani bhoren

Nothing is ungiveable by me to my devotees - do not abandon this firm belief, even in error.

तब नारद बोले हरषाई । अस बर मागउँ करउँ ढिठाई।।

Tab naarad bole harashaaee . asa bar maagaun karaun dhithaaee

Then Narada spoke with joy, saying 'I make bold to ask for such a boon.'

जद्यपि प्रभु के नाम अनेका। श्रुति कह अधिक एक तें एका।।

Jadyapi prabhu ke naam anekaa. shruti kah adhik eka ten ekaa

Though the Lord has countless names, and the Vedas say each one surpasses the other,

राम सकल नामन्ह ते अधिका। होउ नाथ अघ खग गन बधिका।।

Raam sakal naamanh te adhikaa. hou naath agha khag gan badhikaa

May 'Rama' be superior to all other names, O Lord, and be the destroyer of sins for flocks of devotees.

Commentary & Notes ↓

Notes

The celebrated passage where Narada requests that the name 'Rama' be exalted above all other divine names. Rama's response reveals His nature: nothing is ungiveable (adeya) to a devotee. The simile of the hawk (agha-khaga-gana-badhika) pursuing flocks of sin-birds is vivid. Eight couplets.

राका रजनी भगति तव राम नाम सोइ सोम।

अपर नाम उडगन बिमल बसुहुँ भगत उर ब्योम।।42(क)।।

एवमस्तु मुनि सन कहेउ कृपासिंधु रघुनाथ।

तब नारद मन हरष अति प्रभु पद नायउ माथ।।42(ख)।।

Raakaa rajanee bhagati tav raam naam soi som

Apar naam udagan bimal basuhun bhagat ura byom.42(ka)

Evamastu muni san kaheu kripaasindhu raghunaath

Tab naarad man harash ati prabhu pad naayau maath.42(kha)

दोहा 43क

Full moon night is devotion's glow | Your Name the moon so bright

Devotees' hearts the starlit sky | where sacred names take flight

The full-moon night is Your bhakti, O Rama, and Your Name is the moon itself. Other names are like pure stars, and the hearts of devotees are the vast sky.

'Evam astu,' said the compassionate Raghunatha to the sage. Then Narada's heart filled with great joy, and he bowed his head at the Prabhu's feet.

Commentary & Notes ↓

Notes

Narada offers a luminous metaphor: bhakti is the full-moon night (raka rajani), Rama-nama is the moon, other divine names are stars, and the devotee's heart is the sky that holds them all. Rama's reply, 'Evam astu' (So be it), seals the supremacy of the Rama-nama. Dual doha (42-ka and 42-kha).

चौपाई 41
अति प्रसन्न रघुनाथहि जानी। पुनि नारद बोले मृदु बानी।।

Ati prasann raghunaathahi jaanee. puni naarad bole mridu baanee

Seeing Raghunath extremely pleased, Narada again spoke in gentle words.

राम जबहिं प्रेरेउ निज माया। मोहेहु मोहि सुनहु रघुराया।।

Raam jabahin prereu nij maayaa. mohehu mohi sunahu raghuraayaa

O Raghuraya, when Rama sent forth His maya, it deluded even me - please listen.

तब बिबाह मैं चाहउँ कीन्हा। प्रभु केहि कारन करै न दीन्हा।।

Tab bibaah main chaahaun keenhaa. prabhu kehi kaaran karai na deenhaa

Then I desired to marry, but why did the Lord not grant this to me?

सुनु मुनि तोहि कहउँ सहरोसा। भजहिं जे मोहि तजि सकल भरोसा।।

Sunu muni tohi kahaun saharosaa. bhajahin je mohi taji sakal bharosaa

Listen, O sage, I tell you with emphasis - those who worship Me abandoning all other support,

करउँ सदा तिन्ह कै रखवारी। जिमि बालक राखइ महतारी।।

Karaun sadaa tinh kai rakhavaaree. jimi baalak raakhai mahataaree

I always protect them, just as a mother protects her child.

गह सिसु बच्छ अनल अहि धाई। तहँ राखइ जननी अरगाई।।

Gah sisu bachchh anal ahi dhaaee. tahan raakhai jananee aragaaee

When a child runs toward fire or serpent, the mother protects him by holding him back.

प्रौढ़ भएँ तेहि सुत पर माता। प्रीति करइ नहिं पाछिलि बाता।।

Praudh bhaen tehi sut par maataa. preeti karai nahin paachhili baataa

When the son becomes mature, the mother does not show the same protective love as before.

मोरे प्रौढ़ तनय सम ग्यानी। बालक सुत सम दास अमानी।।

More praudh tanay sam gyaanee. baalak sut sam daas amaanee

My wise devotees are like mature sons, while the egoless servants are like young children.

जनहि मोर बल निज बल ताही। दुहु कहँ काम क्रोध रिपु आही।।

Janahi mor bal nij bal taahee. duhu kahan kaam krodh ripu aahee

One relies on My strength, the other on his own strength - both face the enemies of lust and anger.

यह बिचारि पंडित मोहि भजहीं। पाएहुँ ग्यान भगति नहिं तजहीं।।

Yah bichaari pandit mohi bhajaheen. paaehun gyaan bhagati nahin tajaheen

Considering this, the wise worship Me - even gaining knowledge, they do not abandon devotion.

Commentary & Notes ↓

Notes

Rama explains why He prevented Narada's marriage: it was an act of maternal protection. The Lord draws the tender analogy of a mother with two sons. The mature son (jnani) trusts his own strength; the child-like devotee (amani dasa) trusts the Lord completely. Rama protects the surrendered devotee as a mother shields a toddler from fire and serpent. The final line affirms that even the wise never abandon bhakti. Ten couplets.

काम क्रोध लोभादि मद प्रबल मोह कै धारि।

तिन्ह महँ अति दारुन दुखद मायारूपी नारि।।43।।

Kaam krodh lobhaadi mad prabal moh kai dhaari

Tinh mahan ati daarun dukhad maayaaroopee naari (43)

दोहा 43ख

Of lust and greed and anger's might | maya's form brings greatest pain

Woman's guise deceives the soul | where spiritual seekers wane

Kama, krodha, lobha, and other forms of mada, and the powerful moha they sustain; among these, the most fearsome and sorrowful is maya in the form of woman.

Commentary & Notes ↓

Notes

A doctrinal verse listing the inner enemies. Rama identifies maya-rupi nari (woman as the form of maya) as the most dangerous weapon of delusion. This is a spiritual teaching about maya's power, not a social commentary on women. Doha 43.

चौपाई 42
सुनि मुनि कह पुरान श्रुति संता। मोह बिपिन कहुँ नारि बसंता।।

Suni muni kah puraan shruti santaa. moh bipin kahun naari basantaa

Hearing this, the sage spoke from the Puranas and Vedas, saying that woman is like spring to the forest of delusion.

जप तप नेम जलाश्रय झारी। होइ ग्रीषम सोषइ सब नारी।।

Jap tap nem jalaashray jhaaree. hoi greesham soshai sab naaree

Austerities, penances, vows and sacred pools are like streams that woman as summer dries up completely.

काम क्रोध मद मत्सर भेका। इन्हहि हरषप्रद बरषा एका।।

Kaam krodh mad matsar bhekaa. inhahi harashaprad barashaa ekaa

Lust, anger, pride and jealousy are like frogs that find joy only in the one rain of woman.

दुर्बासना कुमुद समुदाई। तिन्ह कहँ सरद सदा सुखदाई।।

Durbaasanaa kumud samudaaee. tinh kahan sarad sadaa sukhadaaee

Evil desires are like clusters of night-blooming lotuses for whom autumn is always pleasant.

धर्म सकल सरसीरुह बृंदा। होइ हिम तिन्हहि दहइ सुख मंदा।।

Dharm sakal saraseeruh brindaa. hoi him tinhahi dahai sukh mandaa

All virtues are like groups of day-blooming lotuses that winter destroys, bringing them sorrow.

पुनि ममता जवास बहुताई। पलुहइ नारि सिसिर रितु पाई।।

Puni mamataa javaas bahutaaee. paluhai naari sisir ritu paaee

Then attachment grows abundantly like grass that flourishes upon receiving the winter season.

पाप उलूक निकर सुखकारी। नारि निबिड़ रजनी अँधिआरी।।

Paap ulook nikar sukhakaaree. naari nibid rajanee andhiaaree

Sins are like owls that find happiness in woman, who is like the dense darkness of night.

बुधि बल सील सत्य सब मीना। बनसी सम त्रिय कहहिं प्रबीना।।

Budhi bal seel saty sab meenaa. banasee sam triy kahahin prabeenaa

Wisdom, strength, virtue and truth are all like fish that the wise say woman destroys like a fisherwoman.

Commentary & Notes ↓

Poddarji's Commentary

युवती स्त्री अवगुणोंकी मूल, पीड़ा देनेवाली और सब दुःखोंकी खान है। इसलिये हे मुनि! मैंने जीमें ऐसा जानकर तुमको विवाह करनेसे रोका था।

Notes

An elaborate ritu (seasonal) allegory: woman-as-maya cycles through all six seasons. As Vasanta she awakens the forest of delusion; as Grishma she dries up austerities; as Varsha she delights the frogs of lust and anger; as Sharad she nourishes evil desires; as Hemanta she destroys virtues; as Shishira she grows attachment. Finally she is the dark night that harbors sins like owls, and the fisherwoman who catches wisdom and virtue. Eight couplets.

अवगुन मूल सूलप्रद प्रमदा सब दुख खानि।

ताते कीन्ह निवारन मुनि मैं यह जियँ जानि।।44।।

Avagun mool soolaprad pramadaa sab dukh khaani

Taate keenh nivaaran muni main yah jiyan jaani (44)

दोहा 44

Root of faults and source of woe | attachment brings the soul low

Knowing this I saved you well | from maya's binding spell

Woman is the root of all faults, a source of torment and mine of all sorrows. Knowing this in My heart, O Muni, I prevented you from that path.

Commentary & Notes ↓

Notes

Rama concludes His explanation of why He blocked Narada's marriage: it was not punishment but protection, born of the Lord's intimate knowledge of maya's power. Doha 44.

चौपाई 43
सुनि रघुपति के बचन सुहाए। मुनि तन पुलक नयन भरि आए।।

Suni raghupati ke bachan suhaae. muni tan pulak nayan bhari aae

Hearing the sweet words of Raghupati, the sage's body thrilled with joy and his eyes filled with tears.

कहहु कवन प्रभु कै असि रीती। सेवक पर ममता अरु प्रीती।।

Kahahu kavan prabhu kai asi reetee. sevak par mamataa aru preetee

Tell me, O Lord, what is this nature of yours - such tender love and affection for your devotees?

जे न भजहिं अस प्रभु भ्रम त्यागी। ग्यान रंक नर मंद अभागी।।

Je na bhajahin asa prabhu bhram tyaagee. gyaan rank nar mand abhaagee

Those who do not worship such a Lord, abandoning delusion, are ignorant, poor in wisdom, dull and unfortunate.

पुनि सादर बोले मुनि नारद। सुनहु राम बिग्यान बिसारद।।

Puni saadar bole muni naarad. sunahu raam bigyaan bisaarad

Then sage Narada spoke respectfully: Listen, O Rama, master of all knowledge.

संतन्ह के लच्छन रघुबीरा। कहहु नाथ भव भंजन भीरा।।

Santanh ke lachchhan raghubeeraa. kahahu naath bhav bhanjan bheeraa

O Raghubira, destroyer of worldly fears, please tell the characteristics of saints, O Lord.

सुनु मुनि संतन्ह के गुन कहऊँ। जिन्ह ते मैं उन्ह कें बस रहऊँ।।

Sunu muni santanh ke gun kahaoon. jinh te main unh ken bas rahaoon

Listen, sage, I shall tell the qualities of saints, by which I remain under their control.

षट बिकार जित अनघ अकामा। अचल अकिंचन सुचि सुखधामा।।

Shat bikaar jit anagh akaamaa. achal akinchan suchi sukhadhaamaa

They have conquered the six vices, are sinless and desireless, steadfast, possessionless, pure and abodes of bliss.

अमितबोध अनीह मितभोगी। सत्यसार कबि कोबिद जोगी।।

Amitabodh aneeh mitabhogee. satyasaar kabi kobid jogee

They possess boundless wisdom, are without desires, moderate in enjoyment, truthful in essence, learned poets and wise yogis.

सावधान मानद मदहीना। धीर धर्म गति परम प्रबीना।।

Saavadhaan maanad madaheenaa. dheer dharm gati param prabeenaa

They are vigilant, respectful to others, free from pride, patient, skilled in the supreme path of righteousness.

Commentary & Notes ↓

Notes

Narada, overcome with gratitude, asks Rama to describe the lakshanas (characteristics) of true Santas. Rama's reply becomes the famous 'Sant-charitra' passage. The six vikara are kama, krodha, lobha, moha, mada, and matsara. The word akimchana (possessionless) and the pairing of kavi-kovid-yogi show the sant as one who unites learning with renunciation. Nine couplets.

गुनागार संसार दुख रहित बिगत संदेह।।

तजि मम चरन सरोज प्रिय तिन्ह कहुँ देह न गेह।।45।।

Gunaagaar sansaar dukh rahit bigat sandeh

Taji mam charan saroj priy tinh kahun deh na geh (45)

दोहा 45

The virtuous, free from sorrow's chain | beyond all doubt and fear,

Who leave My lotus feet behind | find neither home nor shelter here.

Those who are abodes of virtue, free from worldly sorrow, and beyond all doubt; who cherish My lotus feet above all else; for them there is neither body nor home that can bind them.

Commentary & Notes ↓

Notes

The closing doha of Aranya Kanda. The sant who has taken refuge at Rama's lotus feet transcends both body (deha) and household (geha). This is the hallmark of complete surrender: freedom from identification with form or dwelling. Doha 45.