राम

1

बालकाण्ड

Bala Kanda

The childhood of Lord Ram: Tulsidas's invocations, the story of Shiva and Parvati, Ram's birth, education, and marriage to Sita.

770 verses

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वर्णानामर्थसंघानां रसानां छन्दसामपि।

मङ्गलानां च कर्त्तारौ वन्दे वाणीविनायकौ।।1।।
श्लोक 1

I bow to Saraswati and Ganesha, the givers of letters, meaning, rasa, metre, and all auspiciousness. Without their blessing, not a single worthy syllable can take shape.

Commentary & Notes ↓

Poddarji's Commentary

अक्षरों, अर्थसमूहों, रसों, छन्दों और मङ्गलोंकी करनेवाली सरस्वतीजी और गणेशजीको मैं वन्दना करता हूँ॥ १॥

Notes

Mangalacharan Shlokas 1 through 7. Tulsidas opens the Ramcharitmanas with seven Sanskrit invocations, calling upon every power and presence he will need for this sacred labour. Saraswati and Ganesha govern the craft of poetry. Shiva and Parvati embody shraddha (faith) and vishwas (trust), the twin foundations without which no inner seeing is possible. The Guru appears as Shankara himself, and the moon on Shiva's brow becomes a metaphor for the crooked seeker made radiant by grace. Valmiki and Hanuman are honoured as poet-lord and monkey-lord, twin custodians of Ram's story. Finally, the holy name of Ram is saluted as the seed of the entire work. Poddarji notes that these seven shlokas form a complete mandala of invocation, ensuring that every dimension of the telling, from language to devotion to wisdom, is consecrated before the first story-line begins. [Source: Ramcharitmanas, Bala Kanda, Mangalacharan Shlokas 1-7; Poddarji commentary]

भवानीशङ्करौ वन्दे श्रद्धाविश्वासरूपिणौ।

याभ्यां विना न पश्यन्ति सिद्धाःस्वान्तःस्थमीश्वरम्।।2।।
श्लोक 2

I bow to Bhavaani and Shankara, who are Shraddhaa and Vishwaas made visible. Without these two walking together, even the siddhas, the perfected ones, cannot see the Lord who dwells within their own hearts.

Commentary & Notes ↓

Notes

Mangalacharan Shloka 2. Tulsidas pairs Parvati with shraddha (reverent faith) and Shiva with vishwas (trust, confidence). The verse teaches that inner vision of God requires both faith and trust in equal measure. [From Ramcharitmanas, Bala Kanda, Mangalacharan]

वन्दे बोधमयं नित्यं गुरुं शङ्कररूपिणम्।

यमाश्रितो हि वक्रोऽपि चन्द्रः सर्वत्र वन्द्यते।।3।।
श्लोक 3

I bow to the Guru, who is eternal wisdom in the form of Shankara himself. The crescent moon, though crooked in shape, becomes honoured everywhere simply by resting upon Shiva's brow. So too the seeker, however bent by weakness, becomes worthy of reverence through the Guru's shelter.

Commentary & Notes ↓

Notes

Mangalacharan Shloka 3. The moon on Shiva's forehead is the classic analogy: just as the imperfect crescent gains glory through Shiva's grace, the flawed disciple is uplifted through the Guru's refuge. [From Ramcharitmanas, Bala Kanda, Mangalacharan]

सीतारामगुणग्रामपुण्यारण्यविहारिणौ।

वन्दे विशुद्धविज्ञानौ कबीश्वरकपीश्वरौ।।4।।
श्लोक 4

I bow to the poet-lord Vaalmeeki and the monkey-lord Hanumaan, both of whom wander joyfully in the sacred forest of Seetaa and Raam's virtues, both radiant with pure and luminous knowledge.

Commentary & Notes ↓

Notes

Mangalacharan Shloka 4. Kabeeshwar (lord of poets) refers to Valmiki; Kapeeshwar (lord of monkeys) refers to Hanuman. Both are knowers of the divine couple's gunas and both roam freely in the 'punya-aranya', the holy forest of those virtues. [From Ramcharitmanas, Bala Kanda, Mangalacharan]

उद्भवस्थितिसंहारकारिणीं क्लेशहारिणीम्।

सर्वश्रेयस्करीं सीतां नतोऽहं रामवल्लभाम्।।5।।
श्लोक 5

I bow to Seetaa, beloved of Raam, who is the cause of creation, sustenance, and dissolution of the universe, who removes all suffering, and who bestows every kind of blessing.

Commentary & Notes ↓

Notes

Mangalacharan Shloka 5. CORRECTED: Previous translation erroneously described the holy name of Ram. The Sanskrit clearly invokes Sita (Seetaam natoh-aham Raamavallabhaam), praising her as the divine Shakti behind the threefold cosmic function (udbhava-sthiti-samhaara). [From Ramcharitmanas, Bala Kanda, Mangalacharan]

यन्मायावशवर्तिं विश्वमखिलं ब्रह्मादिदेवासुरा

यत्सत्वादमृषैव भाति सकलं रज्जौ यथाहेर्भ्रमः।

यत्पादप्लवमेकमेव हि भवाम्भोधेस्तितीर्षावतां

वन्देऽहं तमशेषकारणपरं रामाख्यमीशं हरिम्।।6।।
श्लोक 6

The entire world, including Brahmaa and all the devas and asuras, moves under the sway of His maayaa. By His reality alone does all this appear as real, just as the illusion of a snake appears on a rope. His lotus feet are the one raft for those who wish to cross the ocean of worldly existence. I bow to that supreme cause of all causes, the Lord known as Raam, who is Hari himself.

Commentary & Notes ↓

Notes

Mangalacharan Shloka 6. CORRECTED: Previous translation erroneously described Valmiki and Hanuman. This is the great Vedantic shloka invoking Rama as the supreme Brahman. The rajju-sarpa (rope-snake) analogy is classic Advaita, and the 'paada-plava' (raft of His feet) is a beloved devotional image. [From Ramcharitmanas, Bala Kanda, Mangalacharan]

नानापुराणनिगमागमसम्मतं यद्

रामायणे निगदितं क्वचिदन्यतोऽपि।

स्वान्तःसुखाय तुलसी रघुनाथगाथा-

भाषानिबन्धमतिमञ्जुलमातनोति।।7।।
श्लोक 7

That which is affirmed by the various Puraanas, the Vedas, and the Aagamas, that which is told in the Raamaayan and gathered from other sources as well: for the joy of his own heart, Tulasee now weaves this most beautiful composition in common speech, the story of Raghunath.

Commentary & Notes ↓

Notes

Mangalacharan Shloka 7. NEW TRANSLATION (was empty). This shloka is Tulsidas's own declaration of intent: he will retell the Ramayana in Awadhi (bhaashaa-nibandha), drawing on Valmiki, the Puranas, the Vedas, and the Agamas, all for 'swaantah-sukhaaya', the happiness of his own soul. [From Ramcharitmanas, Bala Kanda, Mangalacharan]

जो सुमिरत सिधि होइ गन नायक करिबर बदन।

करउ अनुग्रह सोइ बुद्धि रासि सुभ गुन सदन।।1।।
सोरठा 1क

By simply remembering whom all endeavours are fulfilled, that lord of the ganas with the beautiful elephant face: may that very one, who is the treasury of wisdom and the abode of every auspicious quality, bestow his grace upon me.

Commentary & Notes ↓

Poddarji's Commentary

जिन्हें स्मरण करनेसे सब कार्य सिद्ध होते हैं, जो गणोंके स्वामी और सुन्दर हाथीके मुखवाले हैं, वे ही बुद्धिके राशि और शुभ गुणोंके धाम (श्रीगणेशजी) मुझपर कृपा करें॥ १॥

Notes

Mangalacharan Sortha 1. Invocation of Ganesha (Gan Naayak, Karibar Badan). 'Jo sumirat siddhi hoi' is among the most recited opening lines in the Manas. [From Ramcharitmanas, Bala Kanda, Mangalacharan Sorthas]

मूक होइ बाचाल पंगु चढइ गिरिबर गहन।

जासु कृपाँ सो दयाल द्रवउ सकल कलि मल दहन।।2।।
सोरठा 2क

By whose grace the mute becomes eloquent and the lame climbs the steepest mountain: may that compassionate Lord melt towards me, He who burns away every impurity of this age of Kali.

Commentary & Notes ↓

Notes

Mangalacharan Sortha 2. The unnamed Lord (understood as Raam or the Supreme) whose kripa overturns all worldly limitation. 'Kali mal dahan' references the power to purify the taints of Kaliyug. [From Ramcharitmanas, Bala Kanda, Mangalacharan Sorthas]

नील सरोरुह स्याम तरुन अरुन बारिज नयन।

करउ सो मम उर धाम सदा छीरसागर सयन।।3।।
सोरठा 3क

May the Lord who reclines upon the ocean of milk make His dwelling forever in my heart. His body is dark as a fresh blue lotus; His eyes bloom soft and red as the young morning lotus at dawn.

Commentary & Notes ↓

Notes

Mangalacharan Sortha 3. Invocation of Vishnu in His cosmic form upon the Ksheer Saagar (milk-ocean). 'Neel saroruh shyaam' and 'arun baarij nayan' are the two lotus images: the blue lotus for the body, the red dawn-lotus for the eyes. [From Ramcharitmanas, Bala Kanda, Mangalacharan Sorthas]

कुंद इंदु सम देह उमा रमन करुना अयन।

जाहि दीन पर नेह करउ कृपा मर्दन मयन।।4।।
सोरठा 4क

Whose body is fair as jasmine and the autumn moon, who is Umaa's beloved and the very wellspring of compassion, who holds tender love for the lowly: may He, the conqueror of Kaamdev, shower His grace upon me.

Commentary & Notes ↓

Notes

Mangalacharan Sortha 4. CORRECTED: Previous translation omitted Uma Raman (Shiva as Uma's beloved), the compassion for the deen (lowly), and the identity as Madan-mardan (destroyer of Kama). All three attributes now restored. [From Ramcharitmanas, Bala Kanda, Mangalacharan Sorthas]

बंदउ गुरु पद कंज कृपा सिंधु नररूप हरि।

महामोह तम पुंज जासु बचन रबि कर निकर।।5।।
सोरठा 5क

I bow at the lotus feet of the Guru, who is an ocean of grace and Hari himself in human form. His words are a flood of sunlight that scatters the thick darkness of the great delusion.

Commentary & Notes ↓

Notes

Mangalacharan Sortha 5. CORRECTED: Previous translation erroneously described Valmiki. The Hindi clearly says 'Bandau Guru pad kanj, kripaa sindhu nar-roop Hari / Mahaamoh tam punj, jaasu bachan rabi kar nikar.' This is a Guru-vandana: the Guru is the ocean of mercy, Hari in human form, whose every word is a cluster of sunrays dispelling the accumulated darkness of Mahaamoha (great delusion). [From Ramcharitmanas, Bala Kanda, Mangalacharan Sorthas]

चौपाई 1
बंदउ गुरु पद पदुम परागा। सुरुचि सुबास सरस अनुरागा।।

Bandau guru pad padum paraagaa. suruchi subaas saras anuraagaa

I bow to the lotus feet of my Guru, which are fragrant with pure, sweet, and passionate devotion.

अमिय मूरिमय चूरन चारू। समन सकल भव रुज परिवारू।।

Amiy moorimay chooran chaaroo. saman sakal bhav ruj parivaaroo

Like nectar embodied in beautiful powder form, they remove all the ailments and sufferings of worldly existence.

सुकृति संभु तन बिमल बिभूती। मंजुल मंगल मोद प्रसूती।।

Sukriti sambhu tan bimal bibhootee. manjul mangal mod prasootee

They are like the pure sacred ash on Lord Shiva's body, giving birth to beauty, auspiciousness, and joy.

जन मन मंजु मुकुर मल हरनी। किएँ तिलक गुन गन बस करनी।।

Jan man manju mukur mal haranee. kien tilak gun gan bas karanee

They cleanse the mirror of the devotee's mind from impurities, and when applied as tilaka, they bring all virtues under control.

श्रीगुर पद नख मनि गन जोती। सुमिरत दिब्य द्रृष्टि हियँ होती।।

Shreegur pad nakh mani gan jotee. sumirat diby drrishti hiyan hotee

The radiance of the jewel-like nails of the Guru's holy feet, when remembered, grants divine vision to the heart.

दलन मोह तम सो सप्रकासू। बड़े भाग उर आवइ जासू।।

Dalan moh tam so saprakaasoo. bade bhaag ura aavai jaasoo

That illumination destroys the darkness of delusion; most fortunate is the one in whose heart it comes to dwell.

उघरहिं बिमल बिलोचन ही के। मिटहिं दोष दुख भव रजनी के।।

Ugharahin bimal bilochan hee ke. mitahin dosh dukh bhav rajanee ke

The pure eyes of such a person open wide, and the faults and sorrows of the night of worldly existence are destroyed.

सूझहिं राम चरित मनि मानिक। गुपुत प्रगट जहँ जो जेहि खानिक।।

Soojhahin raam charit mani maanik. guput pragat jahan jo jehi khaanik

The jewel-like stories of Rama become visible, both hidden and manifest, wherever they may be found.

Commentary & Notes ↓

Poddarji's Commentary

वह रज सुकृती (पुण्यवान्‌ पुरुष) रूपी शिवजीके शरीरपर सुशोभित निर्मल विभूति है और सुन्दर कल्याण और आनन्दकी जननी है, भक्तके मनरूपी सुन्दर दर्पणके मैलको दूर करनेवाली और तिलक करनेसे गुणोंके समूहको वशमें करनेवाली है॥ २॥ उसके हृदयमें आते ही हृदयके निर्मल नेत्र खुल जाते हैं और संसाररूपी रात्रिके दोष-दुःख मिट जाते हैं। जो श्रीरामचरित्ररूपी मणि-माणिक्य जहाँ जिस खानमें है, चाहे गुप्त हो या प्रगट, सब दिखायी पड़ने लगते हैं॥ ४॥ मैं गुरु महाराजके चरणकमलोंकी रजकी वन्दना करता हूँ, जो सुरुचि (सुन्दर स्वाद), सुगन्ध तथा अनुरागरूपी रससे पूर्ण है। वह अमर मूल (सञ्जीवनी जड़ी) का सुन्दर चूर्ण है, जो सम्पूर्ण भवरोगोंके परिवारको नाश करनेवाला है॥ १॥ श्रीगुरु महाराजके चरण-नखोंकी ज्योति मणियोंके प्रकाशके समान है, जिसके स्मरण करते ही हृदयमें दिव्य दृष्टि उत्पन्न हो जाती है। वह प्रकाश अज्ञानरूपी अन्धकारका नाश करनेवाला है; वह जिसके हृदयमें आ जाता है, उसके बड़े भाग्य हैं॥ ३॥ यदि मैं नहीं जाता तो तुम्हारा काम नहीं बनता, आज बड़ी असमंजस आ पड़ी। यह सुनकर राजा मधुर वाणीसे बोला;हे नाथ! वेदोंने ऐसी नीति बतायी है;॥ ३॥ श्रीरामजीको लक्ष्मणजी किस प्रकार देख रहे हैं, जैसे चन्द्रमाको चकोरका बच्चा देख रहा हो। तब शतानन्दजीने आज्ञा दी और सीताजीने श्रीरामजीके पास गमन किया॥ ४॥ श्रीरामजी और लक्ष्मणजी मुनिके साथ चले। वे वहाँ गये, जहाँ जगतको पवित्र करनेवाली गङ्गाजी थीं। महाराज गाधिके पुत्र विश्वामित्रजीने वह सब कथा कह सुनायी जिस प्रकार देवनदी गङ्गाजी पृथ्वीपर आयी थीं॥ मैं उन गुरु महाराजके चरणकमलकी वन्दना करता हूँ, जो कृपाके समुद्र और नररूपमें श्रीहरि ही हैं और जिनके वचन महामोहरूपी घने अन्धकारके नाश करनेके लिये सूर्य-किरणोंके समूह हैं॥ ५॥ [संकटसे घबराये हुए] आर्त भक्त नामजप करते हैं तो उनके बड़े भारी बुरे-बुरे संकट मिट जाते हैं और वे सुखी हो जाते हैं। जगत्‌में चार प्रकारके (१-अर्थार्थी- धनादिकी चाहसे भजनेवाले, २-आर्त-संकटकी निवृत्तिके लिये भजनेवाले, ३-जिज्ञासु-भगवान्‌को जाननेकी इच्छासे भजनेवाले, ४-ज्ञानी-भगवान्‌को तत्त्वसे जानकर स्वाभाविक ही प्रेमसे भजनेवाले) रामभक्त हैं और चारों ही पुण्यात्मा पापरहित और उदार हैं॥ ३॥ तुम पूर्णकाम हो, सुजानशिरोमणि हो और भावप्रिय हो (तुम्हें प्रेम प्यारा है)। हे राम! तुम भक्तोंके गुणोंको ग्रहण करनेवाले, दोषोंको नाश करनेवाले और दयाके धाम हो॥ ३३६॥ मैं श्रीलक्ष्मणजीके चरणकमलोंको प्रणाम करता हूँ, जो शीतल, सुन्दर और भक्तोंको सुख देनेवाले हैं। श्रीरघुनाथजीकी कीर्तिरूपी विमल पताकामें जिनका (लक्ष्मणजीका) यश दंडके समान हुआ। साथमें अपार चतुरङ्गिणी सेना थी, जिसमें असंख्य योद्धा थे, जो सब-के-सब रणमें जूझ मरनेवाले थे। अपनी सेनाको देखकर राजा बहुत प्रसन्न हुआ और घमाघम नगाड़े बजने लगे॥ २॥ अवधनरेश दशरथजीका भाग्य और वैभव देखकर और अपना जन्म व्यर्थ समझकर, ब्रह्माजी आदि देवता हजारों मुखोंसे उसकी सराहना करने लगे॥ ३१३॥ पहले पृथ्वीके देवता ब्राह्मणोंके चरणोंकी वन्दना करता हूँ, जो अज्ञानसे उत्पन्न सब संदेहोंको हरनेवाले हैं। फिर सब गुणोंकी खान संत-समाजको प्रेमसहित सुन्दर वाणीसे प्रणाम करता हूँ॥ २॥

Notes

Guru Vandana, the first chaupai of the Ramcharitmanas. Tulsidas offers five images for the Guru's foot-dust, each more intimate than the last. First it is pollen (paraga) with colour and fragrance. Then it becomes amiya-murimaya-churna, a healing powder whose root is deathlessness, curing the whole family of sorrows that worldly life brings. Third, it is the vibhuti on Shiva's body, linking the Guru to Shankara. Fourth, it is a cleansing agent for the mirror of the heart, and when worn as tilak, it draws all noble qualities to the seeker. Finally, the nails of the Guru's feet shine like clustered gems, and their remembered light grants divya-drishti, the divine eye. Poddarji reads this passage as a complete sadhana in miniature: the seeker approaches the Guru, receives the dust, is healed, is purified, and at last sees with new eyes. [Source: Ramcharitmanas, Bala Kanda, Chaupai 1; Poddarji commentary]

जथा सुअंजन अंजि दृग साधक सिद्ध सुजान।

कौतुक देखत सैल बन भूतल भूरि निधान।।1।।

Jathaa suanjan anji drig saadhak siddh sujaan

Kautuk dekhat sail ban bhootal bhoori nidhaan (1)

दोहा 1ख

As seekers see with magic kohl | vast treasures hid in earth;

so Guru's dust reveals to us | Ram-story's hidden worth.

Just as a seeker, applying siddha-anjana to the eyes, gains the power to see hidden treasures buried in mountains, forests, and the depths of the earth, so too the Guru's grace anoints the inner eye and reveals the boundless riches concealed within Ram's story.

Commentary & Notes ↓

Poddarji's Commentary

जैसे सिद्धाञ्जनको नेत्रोंमें लगाकर साधक, सिद्ध और सुजान पर्वतों, वनों और पृथ्वीके अंदर कौतुकसे ही बहुत-सी खानें देखते हैं॥ १॥

Notes

Doha 1 of the Bala Kanda. The single image here is siddha-anjana, the magic collyrium known in Indian lore as a substance that, when applied to the eyes, lets one perceive treasures invisible to ordinary sight. Tulsidas uses this as a precise metaphor for what the Guru's grace does to the seeker's vision. Without anjana, the mountains and earth look like plain rock and soil. With it, they reveal gold and jewels. In the same way, Ram's story may seem like a simple tale to the unprepared listener, but through the Guru's blessing it opens into inexhaustible spiritual wealth. Poddarji stresses that this doha serves as a hinge between the Guru Vandana and the narrative proper: the invocations are complete, the eyes have been anointed, and now the telling can begin. [Source: Ramcharitmanas, Bala Kanda, Doha 1; Poddarji commentary]

चौपाई 2
गुरु पद रज मृदु मंजुल अंजन। नयन अमिअ दृग दोष बिभंजन।।

Guru pad raj mridu manjul anjan. nayan amia drig dosh bibhanjan

The soft and beautiful dust of the Guru's feet serves as a gentle collyrium for the eyes, like nectar that destroys all defects of vision.

तेहिं करि बिमल बिबेक बिलोचन। बरनउँ राम चरित भव मोचन।।

Tehin kari bimal bibek bilochan. baranaun raam charit bhav mochan

Having purified the eyes of discrimination with that divine collyrium, I shall narrate the character of Rama that liberates from worldly existence.

बंदउँ प्रथम महीसुर चरना। मोह जनित संसय सब हरना।।

Bandaun pratham maheesur charanaa. moh janit sansay sab haranaa

I first bow to the feet of the great sages on earth, who remove all doubts born of delusion.

सुजन समाज सकल गुन खानी। करउँ प्रनाम सप्रेम सुबानी।।

Sujan samaaj sakal gun khaanee. karaun pranaam saprem subaanee

I offer loving salutations with sweet words to the assembly of noble souls, who are the repository of all virtues.

साधु चरित सुभ चरित कपासू। निरस बिसद गुनमय फल जासू।।

Saadhu charit subh charit kapaasoo. niras bisad gunamay phal jaasoo

The character of saints is like the cotton plant - pure, white, and full of qualities, though its fruit appears tasteless.

जो सहि दुख परछिद्र दुरावा। बंदनीय जेहिं जग जस पावा।।

Jo sahi dukh parachhidr duraavaa. bandaneey jehin jag jas paavaa

Those who endure suffering and conceal others' faults are worthy of reverence and gain fame in the world.

मुद मंगलमय संत समाजू। जो जग जंगम तीरथराजू।।

Mud mangalamay sant samaajoo. jo jag jangam teeratharaajoo

The assembly of saints is joyful and auspicious, serving as the moving king of pilgrimage sites for the world.

राम भक्ति जहँ सुरसरि धारा। सरसइ ब्रह्म बिचार प्रचारा।।

Raam bhakti jahan surasari dhaaraa. sarasai brahm bichaar prachaaraa

Where devotion to Rama flows like the celestial Ganges, there flourishes the discourse and propagation of Brahman.

बिधि निषेधमय कलि मल हरनी। करम कथा रबिनंदनि बरनी।।

Bidhi nishedhamay kali mal haranee. karam kathaa rabinandani baranee

The stories of Yamuna, daughter of the Sun, are described as removing the impurities of Kali Yuga through righteous deeds and prohibitions.

हरि हर कथा बिराजति बेनी। सुनत सकल मुद मंगल देनी।।

Hari har kathaa biraajati benee. sunat sakal mud mangal denee

The stories of Hari and Hara shine forth like braided hair, bestowing all joy and auspiciousness upon hearing.

बटु बिस्वास अचल निज धरमा। तीरथराज समाज सुकरमा।।

Batu bisvaas achal nij dharamaa. teeratharaaj samaaj sukaramaa

Firm faith serves as the steadfast foundation of one's dharma, making the assembly a king among pilgrimage sites through good deeds.

सबहिं सुलभ सब दिन सब देसा। सेवत सादर समन कलेसा।।

Sabahin sulabh sab din sab desaa. sevat saadar saman kalesaa

Accessible to all people in all times and places, serving it with reverence removes all sorrows.

अकथ अलौकिक तीरथराऊ। देइ सद्य फल प्रगट प्रभाऊ।।

Akath alaukik teeratharaaoo. dei sady phal pragat prabhaaoo

This indescribable and extraordinary king of pilgrimage sites immediately grants results and manifests its evident power.

Commentary & Notes ↓

Poddarji's Commentary

श्रीगुरु महाराजके चरणोंकी रज कोमल और सुन्दर नयनामृत-अंजन है, जो नेत्रोंके दोषोंका नाश करनेवाला है। उस अंजनसे विवेकरूपी नेत्रोंको निर्मल करके मैं संसाररूपी बन्धनसे छुड़ानेवाले श्रीरामचरित्रका वर्णन करता हूँ॥ १॥ संतोंका चरित्र कपासके चरित्र (जीवन)-के समान शुभ है, जिसका फल नीरस, विशद और गुणमय होता है। (कपासकी डोडी नीरस होती है, संत-चरित्रमें भी विषयासक्ति नहीं है, इससे वह भी नीरस है; कपास उज्वल होता है, संतका हृदय भी अज्ञान और पापरूपी अन्धकारसे रहित होता है, इसलिये वह विशद है, और कपासमें गुण (तन्तु) होते हैं, इसी प्रकार संतका चरित्र भी सद्गुणोंका भण्डार होता है, इसलिये वह गुणमय है।) जैसे कपासका धागा सूईके किये हुए छेदको अपना तन देकर ढक देता है, अथवा कपास जैसे लोढ़े जाने, काते जाने और बुने जानेका कष्ट सहकर भी वस्त्रके रूपमें परिणत होकर दूसरोंके गोपनीय स्थानोंको ढकता है उसी प्रकार संत स्वयं दुःख सहकर दूसरोंके छिद्रों (दोषों)-को ढकता है, जिसके कारण उसने जगत्में वन्दनीय यश प्राप्त किया है॥ ३॥ संतोंका समाज आनन्द और कल्याणमय है, जो जगत्में चलता-फिरता तीर्थराज (प्रयाग) है। जहाँ (उस संतसमाजरूपी प्रयागराजमें) रामभक्तिरूपी गङ्गाजीकी धारा है और ब्रह्मविचारका प्रचार सरस्वतीजी हैं॥ ४॥ सबसे पहले मैं श्रीभरतजीके चरणोंको प्रणाम करता हूँ, जिनका नियम और व्रत वर्णन नहीं किया जा सकता तथा जिनका मन श्रीरामजीके चरणकमलोंमें भौरेकी तरह लुभाया हुआ है, कभी उनका पास नहीं छोड़ता। अब मैं संत और असंत दोनोंके चरणोंकी वन्दना करता हूँ; दोनों ही दुःख देनेवाले हैं। संतोंका बिछुड़ना मरनेके समान दुःखदायी होता है और असंतोंका मिलना॥ २॥ इस अयोध्यापुरीको सब प्रकारसे मनोहर, सब सिद्धियोंकी देनेवाली और कल्याणकी खान समझकर मैंने इस निर्मल कथाका आरम्भ किया, जिसके सुननेसे काम, मद और दम्भ नष्ट हो जाते हैं। शोभा, शील और तेजकी खान [बनी हुई] सब रानियाँ महलमें सुशोभित हो रहीं थीं। सुखपूर्वक कुछ समय बीता और वह अवसर आ गया जिसमें प्रभुको प्रकट होना था॥ सज्जनगण इस बातको मुझ दासकी ढिठाई या केवल काव्योक्ति न समझें। मैं अपने मनके विश्वास, प्रेम और रुचिकी बात कहता हूँ। [निर्गुण और सगुण] दोनों प्रकारके ब्रह्मका ज्ञान अग्निके समान है। निर्गुण उस अप्रकट अग्निके समान है जो काठके अंदर है, परन्तु दीखती नहीं; और सगुण उस प्रकट अग्निके समान है जो प्रत्यक्ष दीखती है। [तत्त्वतः दोनों एक ही हैं]॥ २॥ यह सुनकर मुनीश्वर विश्वामित्रजीने प्रेमसहित वचन कहे--हे राम! तुम नीतिकी रक्षा कैसे न करोगे; हे तात! तुम धर्मकी मर्यादाका पालन करनेवाले और प्रेमके वशीभूत होकर सेवकोंको सुख देनेवाले हो॥ हे पार्वती! निर्मल रामचरितमानसकी वह मङ्गलमयी कथा सुनो जिसे काकभुशुण्डिने विस्तारसे कहा और पक्षियोंके राजा गरुड़जीने सुना था॥ १२०(ख)॥ फिर सूखे पर्ण (पत्ते) भी छोड़ दिये, तभी पार्वतीका नाम 'अपर्णा' हुआ। तपसे उमाका शरीर क्षीण देखकर आकाशसे ब्रह्माजीकी गम्भीर वाणी हुई॥ ४॥ निर्मल और सभी सुन्दर मङ्गलोंकी मूल गोधूलिकी पवित्र वेला आ गयी और अनुकूल शकुन होने लगे, यह जानकर ब्राह्मणोंने जनकजीसे कहा॥ ३१२॥ नारद मुनिने हँसकर रहस्ययुक्त कोमल वाणीसे कहा--तुम्हारी कन्या सब गुणोंकी खान है। यह स्वभावसे ही सुन्दर, सुशील और समझदार है। उमा, अम्बिका और भवानी इसके नाम हैं॥ १॥ साधु कुवेष (भद्दा या मैला-कुचैला वेष) करनेपर भी सम्मान पाते हैं। जैसे जगत्में जाम्बवान्‌ और हनुमान्‌ [रीछ और वानरके वेषमें होते हुए भी सम्मानित हुए]। कुसंगतिसे हानि है और सुसंगतिसे लाभ--यह बात वेदमें है और सभी लोग इसको जानते हैं॥ ४॥ एक कल्प में सब देवताओं को जलन्धर दैत्य से युद्ध में हार जाने के कारण दुःखी देखकर शिवजी ने उसके साथ बड़ा घोर युद्ध किया; पर वह महाबली दैत्य मारे नहीं मरता था॥ संसारभरको अपनी भुजाओंके बलसे वशमें करके राजाने अपने नगरमें प्रवेश किया। राजा अर्थ, धर्म और काम आदिके सुखोंका समयानुसार सेवन करता था॥ १५४॥ शीतल, मन्द और सुगन्धित पवन बह रहा था। देवता हर्षित थे और संतोंके मनमें [बड़ा] चाव था। वन फूले हुए थे, पर्वतोंके समूह मणियोंसे जगमगा रहे थे और सारी नदियाँ अमृतकी धारा बहा रही थीं॥ फिर सब देखकर, जानते हुए भी अनजानकी तरह जनकजीसे पूछते हैं कि कहो, यह बड़ी भारी भीड़ कैसी है? उनके शरीरमें क्रोध छा गया॥ २६९॥ हे सभासदो और सब मुनीश्वरो! सुनो। जिन लोगोंने यहाँ शिवजीकी निन्दा कही या सुनी है, उन सबको उसका फल तुरंत ही मिलेगा और मेरे पिता दक्ष भी भलीभाँति पछतायेंगे॥ १॥ राजाने उसकी बहुत प्रकारसे प्रशंसा की और उसके चरणोंकी वन्दना करके अपने भाग्यको सराहना की। फिर सुन्दर कोमल वाणीसे कहा;हे प्रभो! आपको पिता जानकर मैं ढिठाई करता हूँ॥ ३॥ [याज्ञवल्क्यजी कहते हैं;] हे भरद्वाज! मैं श्रीरामचन्द्रजी के गुणों की कथा कहता हूँ, आदर से सुनो। तुलसीदासजी कहते हैं;मान और मद को छोड़कर आवागमन का नाश करने वाले रघुनाथजी को भजो॥ १२४ (ख)॥ राजा उसके वचन सुनकर बड़ा प्रसन्न हुआ और कहने लगा;हे स्वामी! मेरा नाश अब नहीं होगा। हे कृपानिधान प्रभु! आपकी कृपासे मेरा सब समय कल्याण होगा॥ ४॥ राजा दशरथजी पुत्रका जन्म कानोंसे सुनकर मानो ब्रह्मानन्दमें समा गये। मनमें अतिशय प्रेम है, शरीर पुलकित हो गया। [आनन्दमें अधीर हुई] बुद्धिको धीरज देकर [और प्रेममें शिथिल हुए शरीरको सँभालकर] वे उठना चाहते हैं॥ विश्वामित्रजी शुभ समय जानकर अत्यन्त प्रेमभरी वाणी बोले;हे राम! उठो, शिवजीके धनुषको तोड़ो और हे तात! जनकका सन्ताप मिटाओ॥ ३॥ वे व्याकुल होकर मन-ही-मन मना रही हैं;हे महेश-भवानी! मुझपर प्रसन्न होइये, मैंने आपकी जो सेवा की है, उसे सुफल कीजिये और मुझपर स्नेह करके धनुषके भारीपनको हर लीजिये॥ ३॥ इनकी किशोर अवस्था है, ये सुन्दरताके घर हैं, सयाने और सलज (लजीले) तथा सुकुमार हैं। इनके अङ्ग-अङ्गपर करोड़ों-करोड़ों कामदेव न्योछावर हैं; उनकी छबिका पार नहीं है॥ २२०॥

Notes

Chaupai 2 of the Bala Kanda. Tulsidas extends the anjana metaphor from the preceding doha. The Guru's foot-dust is now mridu-manjula-anjana (soft, beautiful collyrium), both healing nectar and the means of right seeing. With viveka (discrimination) thus clarified, the poet declares himself ready to begin the narrative of Ram's liberating story. Before he does, he pauses for three more salutations: to the Brahmins (learned ones who dispel doubt), to the assembly of virtuous people (sajjana-samaja), and to the saints, whom he compares to the cotton plant (kapasu). Poddarji draws attention to this last image as characteristically Tulsidasian: the cotton plant is rough-barked and thorny, nothing beautiful to look at, yet it yields fruit that is nirasa (without worldly juice), vishada (spotlessly white), and gunamaya (full of useful virtue). The saint's life follows the same pattern. What matters is not the exterior but the eventual flowering. [Source: Ramcharitmanas, Bala Kanda, Chaupai 2; Poddarji commentary]

सुनि समुझहिं जन मुदित मन मज्जहिं अति अनुराग।

लहहिं चारि फल अछत तनु साधु समाज प्रयाग।।2।।

Suni samujhahin jan mudit man majjahin ati anuraag

Lahahin chaari phal achhat tanu saadhu samaaj prayaag (2)

दोहा 2ख

Who hear, rejoice, and bathe with love | in this saint-Prayag's tide,

still living, gain all four life's fruits; | no goal is then denied.

Those who hear this tale and take it to heart, immersing themselves with deep love, attain all four fruits of life. Dharma, artha, kama, and moksha become theirs while they still walk this earth. The gathering of saints is itself a Prayag, the holiest of confluences, where the waters of devotion, wisdom, and detachment meet.

Commentary & Notes ↓

Poddarji's Commentary

जो मनुष्य इस संत-समाजरूपी प्रयागराजको सुनते और समझते हैं और फिर अत्यन्त प्रेमपूर्वक इसमें गोते लगाते हैं, वे इस शरीरके रहते ही धर्म, अर्थ, काम, मोक्ष-चारों फल पा जाते हैं॥ २॥

Notes

Prayag (modern Prayagraj) is the sacred confluence of the Ganga, Yamuna, and the hidden Sarasvati. Tulsidas equates satsang with this tirtha: bathing in the company of saints yields the same spiritual fruit as pilgrimage. The four fruits (chaturvarga) are dharma (righteousness), artha (prosperity), kama (fulfillment), and moksha (liberation).

चौपाई 3
मज्जन फल पेखिअ ततकाला। काक होहिं पिक बकउ मराला।।

Majjan phal pekhia tatakaalaa. kaak hohin pik bakau maraalaa

The fruit of this immersion is seen immediately - crows become cuckoos and herons become swans.

सुनि आचरज करै जनि कोई। सतसंगति महिमा नहिं गोई।।

Suni aacharaj karai jani koee. satasangati mahimaa nahin goee

Let no one wonder at hearing this - the glory of satsang (holy company) is not hidden.

बालमीक नारद घटजोनी। निज निज मुखनि कही निज होनी।।

Baalameek naarad ghatajonee. nij nij mukhani kahee nij honee

Valmiki, Narada, and Agastya have each spoken from their own mouths about their own transformation.

जलचर थलचर नभचर नाना। जे जड़ चेतन जीव जहाना।।

Jalachar thalachar nabhachar naanaa. je jad chetan jeev jahaanaa

All creatures of water, land and sky - whether conscious or unconscious beings of the world.

मति कीरति गति भूति भलाई। जब जेहिं जतन जहाँ जेहिं पाई।।

Mati keerati gati bhooti bhalaaee. jab jehin jatan jahaan jehin paaee

Whatever wisdom, fame, progress, prosperity and goodness anyone has attained by any means anywhere.

सो जानब सतसंग प्रभाऊ। लोकहुँ बेद न आन उपाऊ।।

So jaanab satasang prabhaaoo. lokahun bed na aana upaaoo

Know that to be the power of satsang - neither worldly knowledge nor Vedas offer any other means.

बिनु सतसंग बिबेक न होई। राम कृपा बिनु सुलभ न सोई।।

Binu satasang bibek na hoee. raam kripaa binu sulabh na soee

Without satsang there is no discrimination, and that is not easily attained without Rama's grace.

सतसंगत मुद मंगल मूला। सोइ फल सिधि सब साधन फूला।।

Satasangat mud mangal moolaa. soi phal sidhi sab saadhan phoolaa

Satsang is the root of joy and auspiciousness - it is the fruit while all other practices are merely flowers.

सठ सुधरहिं सतसंगति पाई। पारस परस कुधात सुहाई।।

Sath sudharahin satasangati paaee. paaras paras kudhaat suhaaee

The wicked are reformed by obtaining satsang, just as base metal becomes beautiful by the touch of the philosopher's stone.

बिधि बस सुजन कुसंगत परहीं। फनि मनि सम निज गुन अनुसरहीं।।

Bidhi bas sujan kusangat paraheen. phani mani sam nij gun anusaraheen

When good people fall into bad company by fate's decree, they follow their own nature like a serpent's jewel.

बिधि हरि हर कबि कोबिद बानी। कहत साधु महिमा सकुचानी।।

Bidhi hari har kabi kobid baanee. kahat saadhu mahimaa sakuchaanee

Brahma, Vishnu, Shiva, poets and learned ones feel shy while describing the glory of saints.

सो मो सन कहि जात न कैसें। साक बनिक मनि गुन गन जैसें।।

So mo san kahi jaat na kaisen. saak banik mani gun gan jaisen

How can I speak of it, just as a vegetable seller cannot describe the qualities of a precious gem.

Commentary & Notes ↓

Poddarji's Commentary

सत्संगके बिना विवेक नहीं होता और श्रीरामजीकी कृपाके बिना वह सत्संग सहजमें मिलता नहीं। सत्संगति आनन्द और कल्याणकी जड़ है। सत्संगकी सिद्धि (प्राप्ति) ही फल है और सब साधन तो फूल हैं॥ ४॥ दुष्ट भी सत्संगति पाकर सुधर जाते हैं, जैसे पारसके स्पर्शसे लोहा सुहावना हो जाता है (सुन्दर सोना बन जाता है)। किन्तु दैवयोगसे यदि कभी सज्जन कुसंगतिमें पड़ जाते हैं, तो वे वहाँ भी साँपकी मणिके समान अपने गुणोंका ही अनुसरण करते हैं (अर्थात्‌ जिस प्रकार साँपका संसर्ग पाकर भी मणि उसके विषको ग्रहण नहीं करती तथा अपने सहज गुण प्रकाशको नहीं छोड़ती, उसी प्रकार साधु पुरुष दुष्टोंके संगमें रहकर भी दूसरोंको प्रकाश ही देते हैं, दुष्टोंका उनपर कोई प्रभाव नहीं पड़ता)॥ ५॥ इस प्रकार सब मनोरथ करती हैं। आनन्द उमड़-उमड़कर हृदयमें भर रहा है। जो राजा सीताजीके स्वयंवरमें आये थे, उन सबने भाइयोंको देखकर सुख पाया॥ किन्तु दुष्टोंके हँसनेसे मेरा हित ही होगा। मधुर कण्ठवाली कोयलको कौए तो कठोर ही कहा करते हैं। जैसे बगुले हंसको और मेढक पपीहेको हँसते हैं, वैसे ही मलिन मनवाले दुष्ट निर्मल वाणीको हँसते हैं॥ १॥ [भैया!] जिस दिनसे मुनि उन्हें लिवा ले गये, तबसे आज ही हमने सच्ची खबर पायी है। कहो तो महाराज जनकने उन्हें कैसे पहचाना? ये प्रिय (प्रेमभरे) वचन सुनकर दूत मुस्कुराये॥ ४॥ जो न तो कविताके रसिक हैं और न जिनका श्रीरामचन्द्रजीके चरणोंमें प्रेम है, उनके लिये भी यह कविता सुखद हास्यरसका काम देगी। प्रथम तो यह भाषाकी रचना है, दूसरे मेरी बुद्धि भोली है; इससे यह हँसनेके योग्य ही है, हँसनेमें उन्हें कोई दोष नहीं॥ २॥ यदि शिवजीके साथ विवाह हो जाय तो दोषोंको भी सब लोग गुणोंके समान ही कहेंगे॥ २॥ जैसे विष्णुभगवान्‌ शेषनागकी शय्यापर सोते हैं, तो भी पण्डित लोग उनको कोई दोष नहीं लगाते॥ अत्यन्त बलवान् कुम्भकर्ण उसका भाई था, जिसके जोड़का योद्धा जगत्में पैदा ही नहीं हुआ। वह मदिरा पीकर छः महीने सोया करता था। उसके जागते ही तीनों लोकोंमें तहलका मच जाता था॥ २॥ मानो दो कमल अपनी नालोंसहित सकुचाते हुए चन्द्रमाको जयमाला दे रहे हों। इस छबिको देखकर सखियाँ गाने लगीं। तब सीताजीने श्रीरामजीके गलेमें जयमाला पहना दी॥ ४॥ जो कराल कलियुगमें जन्मे हैं, जिनकी करनी कौएके समान है और वेष हंसका-सा है, जो वेदमार्गको छोड़कर कुमार्गपर चलते हैं, जो कपटकी मूर्ति और कलियुगके पापोंके भाँडे हैं॥ सब बालक इसी बहाने प्रेमके वश होकर श्रीरामजीके मनोहर अङ्गोंको छूकर शरीरसे पुलकित हो रहे हैं और दोनों भाइयोंको देख-देखकर उनके हृदयमें अत्यन्त हर्ष हो रहा है॥ २२४॥ बड़े लोग छोटोंपर स्नेह करते हैं। पर्वत अपने शिखरोंपर सदा तिनके धारण किये रहते हैं। अथाह समुद्र अपने सिरपर फेन (झाग) को धारण करता है। पृथ्वी सदा अपने सिरपर धूलको धारण करती है॥ ४॥ नारद मुनि की [यह तपोमयी] स्थिति देखकर देवराज इन्द्र डर गया। उसने कामदेव को बुलाकर उसका आदर-सत्कार किया [और कहा कि] मेरे [हित के] लिये तुम अपने सहायकों सहित [नारद की समाधि भंग करने को] जाओ। [यह सुनकर] मीनध्वज कामदेव मन में प्रसन्न होकर चला॥ यद्यपि प्रभु श्रीरामचन्द्रजीकी प्रभुताको सब ऐसी (अकथनीय) ही जानते हैं तथापि कहे बिना कोई नहीं रहा। इसमें वेदने ऐसा कारण बताया है कि भजनका प्रभाव बहुत तरहसे कहा गया है। [जिन लक्ष्मीजीकी बात ऊपर कही गयी है वे निकली थीं खारे समुद्रसे, जिसको मथनेके लिये भगवान्‌ने अति कर्कश पीठवाले कच्छपका रूप धारण किया, रस्सी बनायी गयी महान्‌ विषधर वासुकि नागकी, मथानीका कार्य किया अतिशय कठोर मन्दराचल एवं स्वाभाविक ही कठोर उपकरण। ऐसे उपकरणोंसे प्रकट हुई लक्ष्मी श्रीजानकीजीको समताको कैसे पा सकती हैं। हाँ, इसके विपरीत] यदि छबिरूपी अमृतका समुद्र हो, परम रूपमय कच्छप हो, शोभारूप रस्सी हो, शृंगार [रस] पर्वत हो और [उस छबिके समुद्रको] स्वयं कामदेव अपने ही करकमलसे मथे॥ ४॥ उस सुन्दर पर्वतपर बहुत प्रकारके सब नये-नये वृक्ष सदा पुष्प-फलयुक्त हो गये और वहाँ बहुत तरहकी मणियोंकी खानें प्रकट हो गयीं॥ ६५॥ ब्राह्मण, गौ, देवता और संतोंके लिये भगवानूने मनुष्यका अवतार लिया। उनका [दिव्य] शरीर अपनी इच्छासे ही बना है। वे [अज्ञानमयी, मलिना] माया और उसके गुण (सत्‌, रज, तम) और [बाहरी तथा भीतरी] इन्द्रियोंसे परे हैं॥ १९२॥ तो भी जहाँ कोई विरोध मानता हो, उसके घर जानेसे कल्याण नहीं होता॥ ३॥ शिवजीने बहुत प्रकारसे समझाया, पर होनहारवश सतीके हृदयमें बोध नहीं हुआ॥ वे ब्राह्मण किस प्रकारसे वशमें हो सकते हैं, कृपा करके वह भी बताइये। हे दीनदयालु! आपको छोड़कर और किसीको मैं अपना हितू नहीं देखता॥ १६६॥ परन्तु धनुषको तोड़कर मनोहर कन्या, बड़ी विजय और अत्यन्त सुन्दर कीर्तिको पानेवाला मानो ब्रह्माने किसीको रचा ही नहीं॥ ४॥ कुसंगके कारण धुआँ कालिख कहलाता है, वही धुआँ [सुसंगसे] सुन्दर स्याही होकर पुराण लिखनेके काममें आता है और वही धुआँ जल, अग्नि और पवनके संगसे बादल होकर जगत्को जीवन देनेवाला बन जाता है॥ ६॥ वे रंग-बिरंगे फूल और मालाएँ बरसा रहे हैं। किन्नरलोग रसीले गीत गा रहे हैं। सारे ब्रह्माण्डमें जय-जयकारकी ध्वनि छा गयी जिसमें धनुष टूटनेकी ध्वनि जान ही नहीं पड़ती॥ ३॥

Notes

The crow-to-koel and heron-to-swan metaphors illustrate instant inner transformation through satsang. Valmiki was once a highway robber who became the first poet of the Ramayana. Narada, once born in humble circumstances, became the foremost devotee through the company of wandering saints. Agastya (Ghatayoni, 'born from a pot') is revered as a great rishi. Tulsidas insists that every form of goodness in the world owes its origin to holy company.

बंदउँ संत समान चित हित अनहित नहिं कोइ।

अंजलि गत सुभ सुमन जिमि सम सुगंध कर दोइ।।3(क)।।

संत सरल चित जगत हित जानि सुभाउ सनेहु।

बालबिनय सुनि करि कृपा राम चरन रति देहु।।3(ख)।।

Bandaun sant samaan chit hit anahit nahin koi

Anjali gat subh suman jimi sam sugandh kar doi.3(ka)

Sant saral chit jagat hit jaani subhaau sanehu

Baalabinay suni kari kripaa raam charan rati dehu.3(kha)

सोरठा 3ख

I bow to saints whose balanced hearts | hold neither friend nor foe;

like flowers cupped in joined palms | give both hands equal glow.

I bow to the saints, whose hearts rest in perfect equanimity. For them there is neither friend nor foe. They are like fragrant flowers held in cupped palms: the hand that plucked them and the hand that cradles them both receive the same sweet fragrance.

Saints are simple-hearted, devoted to the welfare of the whole world. Knowing their loving nature, I make this child's plea: hearing my humble prayer, please be gracious and grant me unwavering love for the feet of Sri Ram.

Commentary & Notes ↓

Poddarji's Commentary

मैं संतोंको प्रणाम करता हूँ, जिनके चित्तमें समता है, जिनका न कोई मित्र है और न शत्रु! जैसे अञ्जलिमें रखे हुए सुन्दर फूल [जिस हाथने फूलोंको तोड़ा और जिसने उनको रखा उन] दोनों ही हाथोंको समानरूपसे सुगन्धित करते हैं [वैसे ही संत शत्रु और मित्र दोनोंका ही समानरूपसे कल्याण करते हैं]॥ ३ (क)॥

Notes

Doha 3a and 3b form a pair. The flower simile is exquisite: a blossom does not distinguish between the hand that broke it from the branch and the hand that offers it in worship; it gives its fragrance equally. So too the saint bestows grace on all without distinction. In 3b, Tulsidas calls himself a child (bala) before the saints, asking for the one gift that matters: rati (deep, loving attachment) for Ram's lotus feet.

चौपाई 4
बहुरि बंदि खल गन सतिभाएँ। जे बिनु काज दाहिनेहु बाएँ।।

Bahuri bandi khal gan satibhaaen. je binu kaaj daahinehu baaen

Again I bow to the wicked whose very nature is to oppose righteousness, who without any purpose turn left when they should go right.

पर हित हानि लाभ जिन्ह केरें। उजरें हरष बिषाद बसेरें।।

Par hit haani laabh jinh keren. ujaren harash bishaad baseren

For whom others' welfare is loss and others' gain is their harm, who find joy in others' sorrow and make their dwelling in causing distress.

हरि हर जस राकेस राहु से। पर अकाज भट सहसबाहु से।।

Hari har jas raakes raahu se. par akaaj bhat sahasabaahu se

Like Rahu to the moon's glory of Hari and Hara, like the thousand-armed demon to others' good deeds.

जे पर दोष लखहिं सहसाखी। पर हित घृत जिन्ह के मन माखी।।

Je par dosh lakhahin sahasaakhee. par hit ghrit jinh ke man maakhee

Who see others' faults with a thousand eyes, for whom others' welfare is like poison to flies in their minds.

तेज कृसानु रोष महिषेसा। अघ अवगुन धन धनी धनेसा।।

Tej krisaanu rosh mahishesaa. agha avagun dhan dhanee dhanesaa

Their anger blazes like fire, fierce as a buffalo's rage, they are wealthy lords of sin and vice.

उदय केत सम हित सबही के। कुंभकरन सम सोवत नीके।।

Uday ket sam hit sabahee ke. kumbhakaran sam sovat neeke

Like a comet rising for everyone's harm, sleeping soundly like Kumbhakarna in goodness.

पर अकाजु लगि तनु परिहरहीं। जिमि हिम उपल कृषी दलि गरहीं।।

Par akaaju lagi tanu pariharaheen. jimi him upal krishee dali garaheen

They abandon their bodies for others' harm, just as hailstones destroy crops and then perish.

बंदउँ खल जस सेष सरोषा। सहस बदन बरनइ पर दोषा।।

Bandaun khal jas sesh saroshaa. sahas badan baranai par doshaa

I bow to the wicked like the angry serpent Shesha, who with a thousand mouths speaks others' faults.

पुनि प्रनवउँ पृथुराज समाना। पर अघ सुनइ सहस दस काना।।

Puni pranavaun prithuraaj samaanaa. par agha sunai sahas das kaanaa

Again I bow to those like King Prithu, who with thousands and tens of ears listen to others' sins.

बहुरि सक्र सम बिनवउँ तेही। संतत सुरानीक हित जेही।।

Bahuri sakr sam binavaun tehee. santat suraaneek hit jehee

Again like Indra I bow to those who are constantly devoted to harming the gods' armies.

बचन बज्र जेहि सदा पिआरा। सहस नयन पर दोष निहारा।।

Bachan bajr jehi sadaa piaaraa. sahas nayan par dosh nihaaraa

Whose words are always dear as thunderbolts, with a thousand eyes gazing upon others' faults.

Commentary & Notes ↓

Poddarji's Commentary

अब मैं सच्चे भावसे दुष्टोंको प्रणाम करता हूँ, जो बिना ही प्रयोजन, अपना हित करनेवालेके भी प्रतिकूल आचरण करते हैं। दूसरोंके हितकी हानि ही जिनकी दृष्टिमें लाभ है, जिनको दूसरोंके उजड़नेमें हर्ष और बसनेमें विषाद होता है॥ १॥ ये सुन्दर गति (मोक्ष) रूपी अमृतके स्वाद और तृप्तिके समान हैं, कच्छप और शेषजीके समान पृथ्वीके धारण करनेवाले हैं, भक्तोंके मनरूपी सुन्दर कमलमें विहार करनेवाले भौरेके समान हैं और जीभरूपी यशोदाजीके लिये श्रीकृष्ण और बलरामजीके समान (आनन्द देनेवाले) हैं॥ ४॥ तपके बलसे ब्राह्मण सदा बलवान् होते हैं। उनके कोपसे कोई नहीं बचा सकता। हे नरपति! यदि तुम ब्राह्मणोंको वशमें कर लो, तो ब्रह्मा, विष्णु और महेश भी तुम्हारे अधीन हो जायेंगे॥ २॥ हे राजन्! मैं तुमको इसलिये मना करता हूँ कि इस प्रसंगको कहनेसे तुम्हारी बड़ी हानि होगी। छठे कानमें यह बात पड़ते ही तुम्हारा नाश हो जायगा, मेरा यह वचन सत्य है॥ १॥ तब प्रभुने ऋषियोंसहित [गङ्गाजीमें] स्नान किया। ब्राह्मणोंने भाँति-भाँतिके दान पाये। मुनिवृन्दके साथ वे प्रसन्न होकर चले और शीघ्र ही जनकपुरके निकट पहुँच गये॥ प्रभुकी ओर देखकर सीताजीने शरीरके द्वारा प्रेम ठान लिया (अर्थात्‌ यह निश्चय कर लिया कि यह शरीर इन्हींका होकर रहेगा या रहेगा ही नहीं)। कृपानिधान श्रीरामजी सब जान गये। उन्होंने सीताजीको देखकर धनुषकी ओर कैसे ताका, जैसे गरुड़जी छोटे-से साँपकी ओर देखते हैं॥ ३॥ [मातासे] स्तुति भी नहीं की जाती। वह डर गयी कि मैंने जगत्पिता परमात्माको पुत्र करके जाना। श्रीहरिने माताको बहुत प्रकारसे समझाया [और कहा;] हे माता! सुनो, यह बात कहीं पर कहना नहीं॥ ४॥ हे मुनि! मैं तुमसे बार-बार विनती करता हूँ कि जिस तरह यह कथा तुमने मुझे सुनायी है, उस तरह भगवान श्रीहरि को कभी मत सुनाना। चर्चा भी चले तब भी इसको छिपा जाना॥ ब्रह्माजीने सबको समझाकर कहा--इस दैत्यकी मृत्यु तब होगी जब शिवजीके वीर्यसे पुत्र उत्पन्न हो, इसको युद्धमें वही जीतेगा॥ ८२॥ ब्राह्मणकुलसे जोर-जबर्दस्ती नहीं चल सकती, मैं दोनों भुजा उठाकर सत्य कहता हूँ। हे राजन्! सुनो, ब्राह्मणोंके शाप बिना तुम्हारा नाश किसी कालमें नहीं होगा॥ ३॥ फिर वही कथा मैंने वाराह-क्षेत्रमें अपने गुरुजीसे सुनी; परन्तु उस समय मैं लड़कपनके कारण बहुत बेसमझ था इससे उसको उस प्रकार समझा नहीं। प्रभु ने छल से उस स्त्री का व्रत भंग कर देवताओं का काम किया। जब उस स्त्री ने यह भेद जाना, तब उसने क्रोध करके शाप दिया॥ १२३॥

Notes

This is one of the most radical passages in the Manas. Having bowed to the saints, Tulsidas now bows with the same sincerity (satibhaen) to the wicked. Rahu is the shadow-planet that causes eclipses; Sahasrabahu (Kartavirya Arjuna, the thousand-armed king) represents tireless aggression. The fly-and-butter image is striking: the wicked cannot help being drawn to others' good fortune, but only to spoil it. Tulsidas's bow to them is not approval; it is the deepest humility of a devotee who sees the Lord's hand in every role.

उदासीन अरि मीत हित सुनत जरहिं खल रीति।

जानि पानि जुग जोरि जन बिनती करइ सप्रीति।।4।।

Udaaseen ari meet hit sunat jarahin khal reeti

Jaani paani jug jori jan binatee karai sapreeti (4)

दोहा 4ख

Hearing good of friend or foe | the wicked inly burn;

knowing this, with folded hands, | I plead with love in turn.

Such is the nature of the wicked: they burn with envy on hearing good of anyone at all, be it a stranger, an enemy, or a friend. Knowing this well, Tulsidas joins both palms together and, with genuine affection, makes his humble request: please do not stand in the way of this sacred telling.

Commentary & Notes ↓

Poddarji's Commentary

दुष्टोंकी यह रीति है कि वे उदासीन, शत्रु अथवा मित्र, किसीका भी हित सुनकर जलते हैं। यह जानकर दोनों हाथ जोड़कर यह जन प्रेमपूर्वक उनसे विनय करता है॥ ४॥

Notes

Tulsidas does not condemn the wicked; he entreats them. His gesture of joining both palms (juga jori) signals total surrender and respect. The word 'sapriti' (with love) is key: even his plea to the hostile is made with warmth, not resentment. This sets the tone for the entire Ramcharitmanas, a work offered in love to every listener without exception.

चौपाई 5
मैं अपनी दिसि कीन्ह निहोरा। तिन्ह निज ओर न लाउब भोरा।।

Main apanee disi keenh nihoraa. tinh nij ora na laaub bhoraa

I have made my humble request in my own direction. They will not turn their attention toward me even at dawn.

बायस पलिअहिं अति अनुरागा। होहिं निरामिष कबहुँ कि कागा।।

Baayas paliahin ati anuraagaa. hohin niraamish kabahun ki kaagaa

Ravens are raised with great affection, but can a crow ever become free from eating meat?

बंदउँ संत असज्जन चरना। दुखप्रद उभय बीच कछु बरना।।

Bandaun sant asajjan charanaa. dukhaprad ubhay beech kachhu baranaa

I bow to the feet of both saints and wicked ones. There is some distinction to be made between these two who both give suffering.

बिछुरत एक प्रान हरि लेहीं। मिलत एक दुख दारुन देहीं।।

Bichhurat eka praan hari leheen. milat eka dukh daarun deheen

Separation from one takes away life, while meeting the other gives terrible suffering.

उपजहिं एक संग जग माहीं। जलज जोंक जिमि गुन बिलगाहीं।।

Upajahin eka sang jag maaheen. jalaj jonk jimi gun bilagaaheen

Both are born together in this world, yet their qualities are as different as the lotus and the leech.

सुधा सुरा सम साधू असाधू। जनक एक जग जलधि अगाधू।।

Sudhaa suraa sam saadhoo asaadhoo. janak eka jag jaladhi agaadhoo

Saints and sinners are like nectar and wine - both have the same father, the unfathomable ocean of the world.

भल अनभल निज निज करतूती। लहत सुजस अपलोक बिभूती।।

Bhal anabhal nij nij karatootee. lahat sujas apalok bibhootee

Through their good and bad deeds respectively, they attain good fame or the wealth of infamy.

सुधा सुधाकर सुरसरि साधू। गरल अनल कलिमल सरि ब्याधू।।

Sudhaa sudhaakar surasari saadhoo. garal anal kalimal sari byaadhoo

Nectar, moon, Ganga and saints; poison, fire, sin-filled rivers and diseases.

गुन अवगुन जानत सब कोई। जो जेहि भाव नीक तेहि सोई।।

Gun avagun jaanat sab koee. jo jehi bhaav neek tehi soee

Everyone knows qualities and faults. Whatever appeals to each person's nature seems good to them.

Commentary & Notes ↓

Poddarji's Commentary

मैंने अपनी ओरसे विनती की है, परन्तु वे अपनी ओरसे कभी नहीं चूकेंगे। कौओंको बड़े प्रेमसे पालिये; परन्तु वे क्या कभी मांसके त्यागी हो सकते हैं?॥ १॥ ये दोनों (संत और असंत) जगत्में एक साथ पैदा होते हैं; पर [एक साथ पैदा होनेवाले] कमल और जोंककी तरह उनके गुण अलग-अलग होते हैं। (कमल दर्शन और स्पर्शसे सुख देता है, किन्तु जोंक शरीरका स्पर्श पाते ही रक्त चूसने लगती है।) साधु अमृतके समान है (मृत्युरूपी संसारसे उबारनेवाला) और असाधु मदिराके समान (मोह,प्रमाद और जड़ता उत्पन्न करनेवाला) है, दोनोंको उत्पन्न करनेवाला जगद्रूपी अगाध समुद्र एक ही है। [शास्त्रोंमें समुद्रमन्थनसे ही अमृत और मदिरा दोनोंकी उत्पत्ति बतायी गयी है]॥ ३॥ भले और बुरे अपनी-अपनी करनीके अनुसार सुन्दर यश और अपयशकी सम्पत्ति पाते हैं। अमृत, चन्द्रमा, गङ्गाजी और साधु एवं विष, अग्नि, कलियुगके पापोंकी नदी अर्थात्‌ कर्मनाशा और हिंसा करनेवाला व्याध, इनके गुण-अवगुण सब कोई जानते हैं॥ ४॥ जिनका नाम लेते ही जगत्में सारे अमङ्गलोंकी जड़ कट जाती है और चारों पदार्थ (अर्थ, धर्म, काम, मोक्ष) मुट्ठीमें आ जाते हैं, ये वही [जगत्के माता-पिता] श्रीसीतारामजी हैं; कामके शत्रु शिवजीने ऐसा कहा॥ भगवान्‌के भक्त जैसे उस चूकको सुधार लेते हैं और दुःख-दोषोंको मिटाकर निर्मल यश देते हैं, वैसे ही दुष्ट भी कभी-कभी उत्तम संगसे भलाई करते हैं; परन्तु उनका कभी भंग न होनेवाला मलिन स्वभाव नहीं मिटता॥ २॥ पहले प्रभुने हाथ जोड़कर सतीको प्रणाम किया और पितासहित अपना नाम बताया। फिर कहा कि वृषकेतु शिवजी कहाँ हैं? आप यहाँ वनमें अकेली किसलिये फिर रही हैं?॥४॥ [कपट-तपस्वीने कहा;] इसीसे मैं जगत्में छिपकर रहता हूँ। श्रीहरिको छोड़कर किसीसे कुछ भी प्रयोजन नहीं रखता। प्रभु तो बिना जनाये ही सब जानते हैं। फिर कहिये, संसारको रिझानेसे क्या सिद्धि मिलेगी॥ १॥ वे बार-बार सीताजीको गोद कर लेती हैं और आशीर्वाद देकर सिखावन देती हैं। तुम सदा अपने पतिकी प्यारी होओ, तुम्हारा सोहाग अचल हो; हमारी यही आशिष है॥ उन सेवकोंने कोमल और नम्र वचन कहकर उत्तम, मध्यम, नीच और लघु (सभी श्रेणीके) स्त्री-पुरुषोंको अपने-अपने योग्य स्थानपर बैठाया॥ २४०॥ राजाने सब किसीको भरपूर दान दिया। जिसने पाया उसने भी नहीं रखा (लुटा दिया)। [नगरकी] सभी गलियोंके बीच-बीचमें कस्तूरी, चन्दन और केसरकी कीच मच गयी॥ यह सारे जगत्में पूज्य होगी और इसकी सेवा करनेसे कुछ भी दुर्लभ न होगा। संसारमें स्त्रियाँ इसका नाम स्मरण करके पतिव्रतरूपी तलवारकी धारपर चढ़ जायेंगी॥ ३॥ हे तात! यह वही जनकजीकी कन्या है जिसके लिये धनुषयज्ञ हो रहा है। सखियाँ इसे गौरीपूजनके लिये ले आयी हैं। यह फुलबाड़ीमें प्रकाश करती हुई फिर रही है॥ कश्यप और अदितिने बड़ा भारी तप किया था। मैं पहले ही उनको वर दे चुका हूँ। वे ही दशरथ और कौसल्याके रूपमें मनुष्योंके राजा होकर श्रीअयोध्यापुरीमें प्रकट हुए हैं॥ इनको देखते ही अत्यन्त प्रेमके वश होकर मेरे मनने जबर्दस्ती ब्रह्मसुखको त्याग दिया। मुनिने हँसकर कहा--हे राजन्‌! आपने ठीक कहा। आपका वचन मिथ्या नहीं हो सकता॥

Notes

Source: Shri Ramcharitmanas, Bala Kanda, Chaupai 5 (Gita Press, Gorakhpur, with Poddarji's commentary). Tulsidas uses the vivid image of the crow (bayas) to illustrate that no amount of affection can change a fixed nature. The 'one' from whom separation kills refers to the saints; the 'other' whose company brings dreadful suffering refers to the wicked. Tulsidas bows to both before drawing his contrast.

भलो भलाइहि पै लहइ लहइ निचाइहि नीचु।

सुधा सराहिअ अमरताँ गरल सराहिअ मीचु।।5।।

Bhalo bhalaaihi pai lahai lahai nichaaihi neechu

Sudhaa saraahia amarataan garal saraahia meechu (5)

दोहा 5ख

The good take good, the low take low; | each grasps what suits their kind;

nectar's praised for life it gives, | poison for death designed.

The good finds only goodness; the low finds only lowness. Nectar is praised because it grants immortality. Poison is praised because it brings death. Each is known by its own nature.

Commentary & Notes ↓

Poddarji's Commentary

भला भलाई ही ग्रहण करता है और नीच नीचताको ही ग्रहण किये रहता है। अमृतकी सराहना अमर करनेमें होती है और विषको मारनेमें॥ ५॥

Notes

Source: Shri Ramcharitmanas, Bala Kanda, Doha 5 (Gita Press, Gorakhpur, with Poddarji's commentary). Tulsidas offers a crisp parallel: just as nectar (sudha) and poison (garal) are celebrated for opposite powers, the noble and the base each draw from the world what accords with their character.

चौपाई 6
खल अघ अगुन साधू गुन गाहा। उभय अपार उदधि अवगाहा।।

Khal agha agun saadhoo gun gaahaa. ubhay apaar udadhi avagaahaa

The wicked sing of sins and faults, while saints praise virtues and goodness. Both are like vast, unfathomable oceans.

तेहि तें कछु गुन दोष बखाने। संग्रह त्याग न बिनु पहिचाने।।

Tehi ten kachhu gun dosh bakhaane. sangrah tyaag na binu pahichaane

Therefore, some virtues and faults are described here. One cannot accept or reject without proper recognition.

भलेउ पोच सब बिधि उपजाए। गनि गुन दोष बेद बिलगाए।।

Bhaleu poch sab bidhi upajaae. gani gun dosh bed bilagaae

The Creator has produced both good and evil in all forms. The Vedas have distinguished them by weighing their qualities and defects.

कहहिं बेद इतिहास पुराना। बिधि प्रपंचु गुन अवगुन साना।।

Kahahin bed itihaas puraanaa. bidhi prapanchu gun avagun saanaa

The Vedas, histories, and Puranas declare that the Creator's manifestation is mixed with both qualities and defects.

दुख सुख पाप पुन्य दिन राती। साधु असाधु सुजाति कुजाती।।

Dukh sukh paap puny din raatee. saadhu asaadhu sujaati kujaatee

Sorrow and joy, sin and merit, day and night, saints and sinners, good and bad castes exist.

दानव देव ऊँच अरु नीचू। अमिअ सुजीवनु माहुरु मीचू।।

Daanav dev oonch aru neechoo. amia sujeevanu maahuru meechoo

Demons and gods, high and low, nectar and life-giving substances, poison and death all exist.

माया ब्रह्म जीव जगदीसा। लच्छि अलच्छि रंक अवनीसा।।

Maayaa brahm jeev jagadeesaa. lachchhi alachchhi rank avaneesaa

Maya and Brahman, individual souls and the Lord of the universe, fortune and misfortune, paupers and kings exist.

कासी मग सुरसरि क्रमनासा। मरु मारव महिदेव गवासा।।

Kaasee mag surasari kramanaasaa. maru maarav mahidev gavaasaa

Kashi and the path to hell, the Ganges and other rivers, deserts and fertile lands, mountains and plains exist.

सरग नरक अनुराग बिरागा। निगमागम गुन दोष बिभागा।।

Sarag narak anuraag biraagaa. nigamaagam gun dosh bibhaagaa

Heaven and hell, attachment and detachment exist. The scriptures and Agamas have classified virtues and faults.

Commentary & Notes ↓

Poddarji's Commentary

भले, बुरे सभी ब्रह्माके पैदा किये हुए हैं, पर गुण और दोषोंको विचारकर वेदोंने उनको अलग-अलग कर दिया है। वेद, इतिहास और पुराण कहते हैं कि ब्रह्माकी यह सृष्टि गुण-अवगुणोंसे सनी हुई है॥ २॥ दुःख-सुख, पाप-पुण्य, दिन-रात, साधु-असाधु, सुजाति-कुजाति, दानव-देवता, ऊँच-नीच, अमृत-विष, सुजीवन (सुन्दर जीवन) -मृत्यु॥ ३॥ माया-ब्रह्म, जीव-ईश्वर, सम्पत्ति-दरिद्रता, रंक-राजा, काशी-मगध, गङ्गा-कर्मनाशा, मारवाङ-मालवा, ब्राह्मण-कसाई, स्वर्ग-नरक, अनुराग-वैराग्य,[ये सभी पदार्थ ब्रह्माकी सृष्टिमें हैं।] वेद-शास्त्रोंने उनके गुण-दोषोंका विभाग कर दिया है॥ ४-५॥ दुष्टोंके पापों और अवगुणोंकी और साधुओंके गुणोंकी कथाएँ--दोनों ही अपार और अथाह समुद्र हैं। इसीसे कुछ गुण और दोषोंका वर्णन किया गया है, क्योंकि बिना पहचाने उनका ग्रहण या त्याग नहीं हो सकता॥ १॥ हे मुनि! सुनो, समय पाकर वही राजा परिवारसहित रावण नामक राक्षस हुआ। उसके दस सिर और बीस भुजाएँ थीं और वह बड़ा ही प्रचण्ड शूरवीर था॥ १॥ इस प्रकार अपने गुण-दोषोंको कहकर और सबको फिर सिर नवाकर मैं श्रीरघुनाथजीका निर्मल यश वर्णन करता हूँ जिसके सुननेसे कलियुगके पाप नष्ट हो जाते हैं। मैं श्रीरघुनाथजीके गुणोंका वर्णन करना चाहता हूँ, परन्तु मेरी बुद्धि छोटी है और श्रीरामजीका चरित्र अथाह है। इसके लिये मुझे उपायका एक भी अंग अर्थात्‌ कुछ (लेशमात्र) भी उपाय नहीं सूझता। मेरे मन और बुद्धि कंगाल हैं, किन्तु मनोरथ राजा है॥ ३॥ इन्द्र के मन में यह डर हुआ कि देवर्षि नारद मेरी पुरी (अमरावती) का निवास (राज्य) चाहते हैं। जगत में जो कामी और लोभी होते हैं, वे कुटिल कौए की तरह सबसे डरते हैं॥ मेरी बुद्धि तो अत्यन्त नीची है और चाह बड़ी ऊँची है; चाह तो अमृत पानेकी है, पर जगत्में जुड़ती छाछ भी नहीं। सज्जन मेरी ढिठाईको क्षमा करेंगे और मेरे बालवचनोंको मन लगाकर (प्रेमपूर्वक) सुनेंगे॥ ४॥ सतीने मरते समय भगवान्‌ हरिसे यह वर माँगा कि मेरा जन्म-जन्ममें शिवजीके चरणोंमें अनुराग रहे। इसी कारण उन्होंने हिमाचलके घर जाकर पार्वतीके शरीरसे जन्म लिया॥ ३॥ उसका वैभव और विलास सौ इन्द्रों के समान था। वह रूप, तेज, बल और नीति का घर था। उसकी एक [ऐसी रूपवती] कन्या थी, जिसके रूप को देखकर लक्ष्मीजी भी मोहित हो जायें॥ [और तो कोई समझाकर कहे या नहीं, राजा तो बड़े समझदार और ज्ञानी हैं, उन्हें तो गुरुको समझानेकी चेष्टा करनी चाहिये थी, परन्तु मालूम होता है] राजाका भी सारा सयानापन समाप्त हो गया। हे सखी! विधाताकी गति कुछ जाननेमें नहीं आती। तब एक चतुर सखी कोमल वाणीसे बोली;हे रानी! तेजस्वीको छोटा नहीं समझना चाहिये॥ ३॥ विश्वामित्ररूपी पवित्र समुद्रमें, जिसमें प्रेमरूपी सुन्दर अथाह जल भरा है, रामरूपी पूर्णचन्द्रको देखकर पुलकावलीरूपी भारी लहरें बढ़ने लगीं॥ १॥

Notes

Source: Shri Ramcharitmanas, Bala Kanda, Chaupai 6 (Gita Press, Gorakhpur, with Poddarji's commentary). Tulsidas explains his purpose in cataloguing virtue and vice: discernment (viveka) requires that one first learn the difference. The word 'sangraha' (gathering) and 'tyaga' (renunciation) point to the practical discipline of choosing wisely.

जड़ चेतन गुन दोषमय बिस्व कीन्ह करतार।

संत हंस गुन गहहिं पय परिहरि बारि बिकार।।6।।

Jad chetan gun doshamay bisv keenh karataar

Sant hans gun gahahin pay parihari baari bikaar (6)

दोहा 6

The world of life and matter | the Creator mixed with good and bad;

but saints, like swans, drink milk alone | and leave the water sad.

The Creator made this world of the conscious and the inert, filled with both virtue and fault. But the saints are like the hamsa, who drinks only the milk of virtue and leaves aside the water of impurity.

Commentary & Notes ↓

Poddarji's Commentary

विधाताने इस जड़-चेतन विश्वको गुण-दोषमय रचा है; किन्तु संतरूपी हंस दोषरूपी जलको छोड़कर गुणरूपी दूधको ही ग्रहण करते हैं॥ ६॥

Notes

Source: Shri Ramcharitmanas, Bala Kanda, Doha 6 (Gita Press, Gorakhpur, with Poddarji's commentary). The hamsa (sacred swan) of Indian tradition is said to possess the legendary ability to separate milk from water when the two are mixed. Tulsidas uses this beloved image to describe how saints extract goodness even from a world that is thoroughly mixed with faults.

चौपाई 7
अस बिबेक जब देइ बिधाता। तब तजि दोष गुनहिं मनु राता।।

Asa bibek jab dei bidhaataa. tab taji dosh gunahin manu raataa

When the Creator grants such discrimination, then abandoning faults, the mind becomes devoted to virtues.

काल सुभाउ करम बरिआई। भलेउ प्रकृति बस चुकइ भलाई।।

Kaal subhaau karam bariaaee. bhaleu prakriti bas chukai bhalaaee

Time, nature, and the power of deeds are such that even good people, under nature's influence, may err from goodness.

सो सुधारि हरिजन जिमि लेहीं। दलि दुख दोष बिमल जसु देहीं।।

So sudhaari harijan jimi leheen. dali dukh dosh bimal jasu deheen

The devotees of Hari reform such people, destroying their sorrows and faults, and bestowing pure fame upon them.

खलउ करहिं भल पाइ सुसंगू। मिटइ न मलिन सुभाउ अभंगू।।

Khalau karahin bhal paai susangoo. mitai na malin subhaau abhangoo

Even the wicked do good when they find noble company, yet their inherent evil nature does not completely disappear.

लखि सुबेष जग बंचक जेऊ। बेष प्रताप पूजिअहिं तेऊ।।

Lakhi subesh jag banchak jeoo. besh prataap poojiahin teoo

Seeing good appearance, even the deceivers of the world are worshipped due to the power of their disguise.

उधरहिं अंत न होइ निबाहू। कालनेमि जिमि रावन राहू।।

Udharahin ant na hoi nibaahoo. kaalanemi jimi raavan raahoo

In the end they are not saved and cannot maintain their facade, like Kalanemi, Ravana, and Rahu.

किएहुँ कुबेष साधु सनमानू। जिमि जग जामवंत हनुमानू।।

Kiehun kubesh saadhu sanamaanoo. jimi jag jaamavant hanumaanoo

Even in humble appearance, saints receive honor, as the world knows with Jambavan and Hanuman.

हानि कुसंग सुसंगति लाहू। लोकहुँ बेद बिदित सब काहू।।

Haani kusang susangati laahoo. lokahun bed bidit sab kaahoo

Bad company brings loss while good company brings gain - this is known to all in both the world and the Vedas.

गगन चढ़इ रज पवन प्रसंगा। कीचहिं मिलइ नीच जल संगा।।

Gagan chadhai raj pavan prasangaa. keechahin milai neech jal sangaa

Dust rises to the sky through association with wind, but becomes mud when it meets base water.

साधु असाधु सदन सुक सारीं। सुमिरहिं राम देहिं गनि गारी।।

Saadhu asaadhu sadan suk saareen. sumirahin raam dehin gani gaaree

The same parrot dwelling in houses of saints and sinners remembers Rama in one and utters abuse in the other.

धूम कुसंगति कारिख होई। लिखिअ पुरान मंजु मसि सोई।।

Dhoom kusangati kaarikh hoee. likhia puraan manju masi soee

Smoke in bad company becomes soot, but that same substance becomes beautiful ink for writing scriptures.

सोइ जल अनल अनिल संघाता। होइ जलद जग जीवन दाता।।

Soi jal anal anil sanghaataa. hoi jalad jag jeevan daataa

That same combination of water, fire, and air becomes a cloud that gives life to the world.

Commentary & Notes ↓

Poddarji's Commentary

जो [वेषधारी] ठग हैं, उन्हें भी अच्छा (साधुका-सा) वेष बनाये देखकर वेषके प्रतापसे जगत्‌ पूजता है; परन्तु एक-न-एक दिन वे खुल जाते हैं, अन्ततक उनका कपट नहीं निभता, जैसे कालनेमि, रावण और राहुका हाल हुआ॥ ३॥ पवनके संगसे धूल आकाशपर चढ़ जाती है और वही नीच (नीचेकी ओर बहनेवाले) जलके संगसे कीचड़में मिल जाती है। साधुके घरके तोता-मैना राम-राम सुमिरते हैं और असाधुके घरके तोता-मैना गिन-गिनकर गालियाँ देते हैं॥ ५॥ विधाता जब इस प्रकारका (हंसका-सा) विवेक देते हैं, तब दोषोंको छोड़कर मन गुणोंमें अनुरक्त होता है। काल-स्वभाव और कर्मकी प्रबलतासे भले लोग (साधु) भी मायाके वशमें होकर कभी-कभी भलाईसे चूक जाते हैं॥ १॥ राजाओंकी भुजाओंके बलरूपी चन्द्रमाके लिये शिवजीका धनुष राहु है, वह भारी है, कठोर है, यह बात सब जानते हैं। बड़े भारी योद्धा रावण और बाणासुर भी इस [धनुषको] देखकर गर्वसहित चलते बने (उसे उठाना तो दूर रहा, छूनेतककी हिम्मत न हुई)॥ १॥ खलबली देखकर जनकपुरकी स्त्रियाँ व्याकुल हो गयीं और सब मिलकर राजाओंको गालियाँ देने लगीं। उसी समय शिवजीके धनुषका टूटना सुनकर भृगुकुलरूपी कमलके सूर्य परशुरामजी आये॥ १॥ जैसे बालक जब तोतले वचन बोलता है तो उसके माता-पिता उन्हें प्रसन्न मनसे सुनते हैं। किन्तु क्रूर, कुटिल और बुरे विचारवाले लोग जो दूसरोंके दोषोंको ही भूषणरूपसे धारण किये रहते हैं (अर्थात्‌ जिन्हें पराये दोष ही प्यारे लगते हैं), हँसेंगे॥ ५॥ बारात ऐसी बनी है कि उसका वर्णन करते नहीं बनता। सुन्दर शुभदायक शकुन हो रहे हैं। नीलकंठ पक्षी बायी ओर चारा ले रहा है, मानो सम्पूर्ण मंगलोंकी सूचना दे रहा हो॥ सभी पुत्र मुझे प्राणोंके समान प्यारे हैं; उनमें भी हे प्रभो! रामको तो [किसी प्रकार भी] देते नहीं बनता। कहाँ अत्यन्त डरावने और क्रूर राक्षस और कहाँ परम किशोर अवस्थाके (बिलकुल सुकुमार) मेरे सुन्दर पुत्र!॥ ४॥ एक बार नारदजी ने शाप दिया, अतः एक कल्प में उसके लिये अवतार हुआ। यह बात सुनकर पार्वतीजी बड़ी चकित हुई [और बोलीं कि] नारदजी तो विष्णुभक्त और ज्ञानी हैं॥ हृदयमें सब विचारकर भी वे निश्चय नहीं कर पातीं कि क्या होगा। सकल सभा भवानी बन गयी है और सीताजीको परम उत्कृष्ट बताते-बताते थकी नहीं॥ २॥ उन्हें शिवजीके चरणकमलोंमें स्नेह उत्पन्न हो आया, परन्तु मनमें यह सन्देह हुआ कि उनका मिलना कठिन है। अवसर ठीक न जानकर उमाने अपने प्रेमको छिपा लिया और फिर वे सखीकी गोदमें जाकर बैठ गयीं॥ ३॥ उस अवसरपर जो जिस प्रकार आया और जिसके मनको जो अच्छा लगा, राजाने वही दिया। हाथी, रथ, घोड़े, सोना, गौएँ, हीरे और भाँति-भाँतिके वस्त्र राजाने दिये॥ हमलोगोंकी यह बरात वरके योग्य नहीं है। क्या पराये नगरमें जाकर हँसी कराओगे? महादेवजी मन-ही-मन मुसकराते हैं कि विष्णुभगवानके व्यङ्ग्य वचन नहीं छूटते॥

Notes

Source: Shri Ramcharitmanas, Bala Kanda, Chaupai 7 (Gita Press, Gorakhpur, with Poddarji's commentary). Tulsidas makes a subtle distinction here. For those who are fundamentally good but have stumbled, the company of Hari's devotees (harijan) is a complete cure. For the wicked, satsanga produces outward reform, but the stubborn inner nature (swabhava) remains unbroken. The verse affirms the transforming power of holy company while honestly acknowledging its limits.

ग्रह भेषज जल पवन पट पाइ कुजोग सुजोग।

होहि कुबस्तु सुबस्तु जग लखहिं सुलच्छन लोग।।7(क)।।

सम प्रकास तम पाख दुहुँ नाम भेद बिधि कीन्ह।

ससि सोषक पोषक समुझि जग जस अपजस दीन्ह।।7(ख)।।

जड़ चेतन जग जीव जत सकल राममय जानि।

बंदउँ सब के पद कमल सदा जोरि जुग पानि।।7(ग)।।

देव दनुज नर नाग खग प्रेत पितर गंधर्ब।

बंदउँ किंनर रजनिचर कृपा करहु अब सर्ब।।7(घ)।।

Grah bheshaj jal pavan pat paai kujog sujog

Hohi kubastu subastu jag lakhahin sulachchhan log.7(ka)

Sam prakaas tam paakh duhun naam bhed bidhi keenh

Sasi soshak poshak samujhi jag jas apajas deenh.7(kha)

Jad chetan jag jeev jat sakal raamamay jaani

Bandaun sab ke pad kamal sadaa jori jug paani.7(ga)

Dev danuj nar naag khag pret pitar gandharb

Bandaun kinnar rajanichar kripaa karahu aba sarb.7(gha)

सोरठा 7

Planets, herbs, water, wind, and cloth | by bad or good combine;

become harmful or helpful here; | the wise read every sign.

Planets, medicines, water, wind, and cloth all become harmful or helpful depending on the company they keep. The wise perceive this truth clearly.

Both fortnights, the bright and the dark, hold equal measures of light and shadow, yet Vidhi (the Creator) gave them different names. The moon nourishes in one and diminishes in the other; so the world bestows yash (fame) upon the bright fortnight and apyash (infamy) upon the dark.

Commentary & Notes ↓

Poddarji's Commentary

ग्रह, औषधि, जल, पवन और वस्त्र--ये कुयोग और सुयोग पाकर संसारमें बुरी और अच्छी वस्तु हो जाते हैं। अच्छे लक्षणोंवाले (विवेकी) पुरुष इसको जानते हैं॥ ७ (क)॥

Notes

Tulsidas illustrates a core Vedantic principle: nothing in creation is inherently good or evil. Context, association (sujog or kujog), and perspective determine value. The analogy of the two lunar fortnights is striking. Shukla Paksha and Krishna Paksha receive equal moonlight over a full cycle, yet one is celebrated and the other disparaged. The verse gently warns against surface judgments and prepares the listener to receive the Ramayana with an open, discerning mind. 'Sulacchhan log' refers to those of refined perception who see past appearances.

चौपाई 8
आकर चारि लाख चौरासी। जाति जीव जल थल नभ बासी।।

Aakar chaari laakh chauraasee. jaati jeev jal thal nabh baasee

There are eighty-four lakh forms of life dwelling in water, on land, and in the sky.

सीय राममय सब जग जानी। करउँ प्रनाम जोरि जुग पानी।।

Seey raamamay sab jag jaanee. karaun pranaam jori jug paanee

Knowing the entire world to be pervaded by Sita and Rama, I offer my salutations with folded hands.

जानि कृपाकर किंकर मोहू। सब मिलि करहु छाड़ि छल छोहू।।

Jaani kripaakar kinkar mohoo. sab mili karahu chhaadi chhal chhohoo

Knowing me to be a servant of the compassionate Lord, all of you together help me, abandoning deceit and attachment.

निज बुधि बल भरोस मोहि नाहीं। तातें बिनय करउँ सब पाही।।

Nij budhi bal bharos mohi naaheen. taaten binay karaun sab paahee

I have no confidence in my own wisdom and strength, therefore I humbly request everyone's assistance.

करन चहउँ रघुपति गुन गाहा। लघु मति मोरि चरित अवगाहा।।

Karan chahaun raghupati gun gaahaa. laghu mati mori charit avagaahaa

I wish to sing the glories of Lord Raghupati, but my small intellect finds His deeds unfathomable.

सूझ न एकउ अंग उपाऊ। मन मति रंक मनोरथ राऊ।।

Soojh na ekau ang upaaoo. man mati rank manorath raaoo

I cannot find even one proper means or approach; my mind and intellect are poor while my desire is like a king.

मति अति नीच ऊँचि रुचि आछी। चहिअ अमिअ जग जुरइ न छाछी।।

Mati ati neech oonchi ruchi aachhee. chahia amia jag jurai na chhaachhee

My intellect is very low but my taste is lofty; I desire nectar but the world offers only buttermilk.

छमिहहिं सज्जन मोरि ढिठाई। सुनिहहिं बालबचन मन लाई।।

Chhamihahin sajjan mori dhithaaee. sunihahin baalabachan man laaee

Good souls will forgive my boldness and will listen to my childish words with attention.

जौ बालक कह तोतरि बाता। सुनहिं मुदित मन पितु अरु माता।।

Jau baalak kah totari baataa. sunahin mudit man pitu aru maataa

Just as when a child speaks in stammering words, parents listen with delighted hearts.

हँसिहहि कूर कुटिल कुबिचारी। जे पर दूषन भूषनधारी।।

Hansihahi koor kutil kubichaaree. je par dooshan bhooshanadhaaree

The wicked, crooked, and evil-minded will laugh, those who wear others' faults as ornaments.

निज कवित केहि लाग न नीका। सरस होउ अथवा अति फीका।।

Nij kavit kehi laag na neekaa. saras hou athavaa ati pheekaa

To whom does their own poetry not seem beautiful, whether it be excellent or utterly insipid?

जे पर भनिति सुनत हरषाही। ते बर पुरुष बहुत जग नाहीं।।

Je par bhaniti sunat harashaahee. te bar purush bahut jag naaheen

Those noble souls who rejoice upon hearing others' compositions are very rare in this world.

जग बहु नर सर सरि सम भाई। जे निज बाढ़ि बढ़हिं जल पाई।।

Jag bahu nar sar sari sam bhaaee. je nij baadhi badhahin jal paaee

In the world there are many men like pools and streams, who rise only when they receive additional water.

सज्जन सकृत सिंधु सम कोई। देखि पूर बिधु बाढ़इ जोई।।

Sajjan sakrit sindhu sam koee. dekhi poor bidhu baadhai joee

But some rare good soul is like the ocean, who swells upon seeing the full moon.

Commentary & Notes ↓

Poddarji's Commentary

चौरासी लाख योनियोंमें चार प्रकारके (स्वेदज, अण्डज, उद्भिज, जरायुज) जीव जल, पृथ्वी और आकाशमें रहते हैं, उन सबसे भरे हुए इस सारे जगत्को श्रीसीताराममय जानकर मैं दोनों हाथ जोड़कर प्रणाम करता हूँ॥ १॥ मुझको अपना दास जानकर कृपाकी खान आप सब लोग मिलकर छल छोड़कर कृपा कीजिये। मुझे अपने बुद्धि-बलका भरोसा नहीं है, इसीलिये मैं सबसे विनती करता हूँ॥ २॥ जो श्रद्धारूपी संबलसे रहित हैं, जिन्हें संतोंका साथ नहीं है और जिन्हें श्रीरघुनाथजी प्रिय नहीं हैं, उनके लिये यह मानस अत्यन्त दुर्गम है। [उनके डरसे] कहीं भी शुभ आचरण (ब्राह्मणभोजन, यज्ञ, श्राद्ध आदि) नहीं होते थे। देवता, ब्राह्मण और गुरुको कोई नहीं मानता था। न हरिभक्ति थी, न यज्ञ, तप और ज्ञान था। वेद और पुराण तो स्वप्नमें भी सुननेको नहीं मिलते थे॥ एक बार राजाके मनमें बड़ी ग्लानि हुई कि मेरे पुत्र नहीं है। राजा तुरंत ही गुरुके घर गये और चरणोंमें प्रणाम कर बहुत विनय की॥ अन्तर्यामी श्रीरामचन्द्रजीने छोटे भाईके मनकी दशा जान ली, तब उनके हृदयमें भक्तवत्सलता उमड़ आयी। वे गुरुकी आज्ञा पाकर बहुत ही विनयके साथ सकुचाते हुए मुसकराकर बोले--॥ हे मुनीश्वर! मुझे अपना पुत्र और सेवक जानकर अपना नाम [धाम] विस्तारसे बतलाइये। [राजाने कहा;] हे तात! सुनिये, मैं क्षत्रिय हूँ, शिकार खेलनेके लिये फिरते हुए राह भूल गया हूँ॥ ४॥ सब जोहार (वन्दन) करके आशिष देते हैं और गुणसमूहोंकी कथा गाते हैं। तब गुरु और ब्राह्मणोंसहित राजा दशरथजीने महलमें गमन किया॥३५१॥ माताकी वह बुद्धि बदल गयी, तब वह फिर बोली;हे तात! यह रूप छोड़कर अत्यन्त प्रिय बाललीला करो, [मेरे लिये] यह सुख परम अनुपम होगा। [माताका] यह वचन सुनकर देवताओंके स्वामी सुजान भगवानूने बालक [रूप] होकर रोना शुरू कर दिया। [तुलसीदासजी कहते हैं--] जो इस चरित्रका गान करते हैं, वे श्रीहरिका पद पाते हैं और संसाररूपी कूपमें नहीं गिरते॥ राजाने मुनिके चरणोंपर मस्तक रखकर प्रणाम किया। मुनियोंके स्वामी विश्वामित्रजीने प्रसन्न होकर आशीर्वाद दिया। फिर सारी ब्राह्मणमण्डलीको आदरसहित प्रणाम किया और अपना भाग्य बड़ा समझकर राजा आनन्दित हुए॥ जहाँ-तहाँ स्त्री-पुरुष प्रसन्न होकर कह रहे हैं;रामचन्द्रजीने शिवजीका भारी धनुषको तोड़ डाला। तब प्रभुने धनुषके दोनों टुकड़े पृथ्वीपर डाल दिये। यह देखकर सब लोग सुखी हुए॥ ४॥ नारदजीके वचनोंका स्मरण करके सीताजीके मनमें पवित्र प्रीति उत्पन्न हुई। वे चकित होकर सब ओर इस तरह देख रही हैं मानो डरी हुई मृगछौनी इधर-उधर देख रही हो॥ २२९॥ वह हरिमाया, सब गुणों की खान थी। उसकी शोभा का वर्णन नहीं हो सकता। वह राजकुमारी स्वयंवर कर रही थी। वहाँ असंख्य राजा आये थे॥ नेत्रोंमें [प्रेमाश्रुओंका] जल भरकर पुलकित शरीरसे स्त्रियाँ आपसमें कह रही हैं--हे सखी! दोनों राजा पुण्यके समुद्र हैं, त्रिपुरारि शिवजी सब मनोरथ पूर्ण करेंगे॥ ३११॥ सूर्य और अग्निदेव अच्छे-बुरे सभी रसोंका भक्षण करते हैं, परन्तु उनको कोई बुरा नहीं कहता॥ ३॥ गङ्गाजीमें शुभ और अशुभ सभी जल बहता है, पर कोई उन्हें अपवित्र नहीं कहता॥

Notes

Tulsidas opens with a breathtaking act of reverence. He does not bow only to saints or devas; he bows to every living being across all 8.4 million forms of life, because he sees Siya-Ram dwelling in all of them. This is the Ramayana's foundational theology: the Lord and his Shakti permeate everything. Having established this universal reverence, Tulsidas then makes a deeply personal plea. He calls himself a kinkar, a servant of the Kripakara (the fountain of mercy), and asks all beings to bless his undertaking. The humility is not rhetorical. He genuinely disclaims any reliance on personal talent, placing his entire trust in divine grace and the goodwill of his listeners. The four modes of creation (akar chari) are: egg-born (andaj), sweat-born (svedaj), seed-born (udbhij), and womb-born (jarayuj).

भाग छोट अभिलाषु बड़ करउँ एक बिस्वास।

पैहहिं सुख सुनि सुजन सब खल करहहिं उपहास।।8।।

Bhaag chhot abhilaashu bad karaun eka bisvaas

Paihahin sukh suni sujan sab khal karahahin upahaas (8)

दोहा 8

My fortune's small, my wish is great; | but one belief I hold:

the good will joy in hearing this, | the wicked mock and scold.

My bhagya (fortune) is small and my abhilasha (aspiration) is vast. Yet I hold one firm vishvas (trust): the good-hearted, upon hearing this, will find sukh (joy), and the wicked will laugh in mockery.

Commentary & Notes ↓

Poddarji's Commentary

मेरा भाग्य छोटा है और इच्छा बहुत बड़ी है, परन्तु मुझे एक विश्वास है कि इसे सुनकर सज्जन सभी सुख पावेंगे और दुष्ट हँसी उड़ावेंगे॥ ८॥

Notes

In a single doha, Tulsidas captures the paradox every devotional poet faces: the distance between one's limited capacity and the immensity of the divine story one longs to tell. His resolution is not to bridge that gap through cleverness but through trust. He is serenely content that the sujan (the good-natured) will receive nourishment from his words while the khal (the ill-disposed) will simply mock. Both responses, as the following verses will explain, serve a purpose. This doha sets up the beautiful argument that even ridicule has its hidden blessing.

चौपाई 9
खल परिहास होइ हित मोरा। काक कहहिं कलकंठ कठोरा।।

Khal parihaas hoi hit moraa. kaak kahahin kalakanth kathoraa

If the wicked mock me, it will be for my benefit. The crow calls the cuckoo's sweet voice harsh.

हंसहि बक दादुर चातकही। हँसहिं मलिन खल बिमल बतकही।।

Hansahi bak daadur chaatakahee. hansahin malin khal bimal batakahee

The swan laughs at the heron, frog, and chataka bird. The impure wicked laugh at pure and noble speech.

कबित रसिक न राम पद नेहू। तिन्ह कहँ सुखद हास रस एहू।।

Kabit rasik na raam pad nehoo. tinh kahan sukhad haas ras ehoo

Those who are not lovers of poetry or devoted to Rama's feet find this humorous pleasure delightful.

भाषा भनिति भोरि मति मोरी। हँसिबे जोग हँसें नहिं खोरी।।

Bhaashaa bhaniti bhori mati moree. hansibe jog hansen nahin khoree

My language, composition, and intelligence are simple. It is fitting to laugh, and there is no fault in laughing.

प्रभु पद प्रीति न सामुझि नीकी। तिन्हहि कथा सुनि लागहि फीकी।।

Prabhu pad preeti na saamujhi neekee. tinhahi kathaa suni laagahi pheekee

Those who do not understand love for the Lord's feet or appreciate goodness will find this story insipid.

हरि हर पद रति मति न कुतरकी। तिन्ह कहुँ मधुर कथा रघुवर की।।

Hari har pad rati mati na kutarakee. tinh kahun madhur kathaa raghuvar kee

Those who have devotion to Hari and Hara's feet and whose minds are not given to sophistry find Raghuvara's story sweet.

राम भगति भूषित जियँ जानी। सुनिहहिं सुजन सराहि सुबानी।।

Raam bhagati bhooshit jiyan jaanee. sunihahin sujan saraahi subaanee

Knowing in their hearts that it is adorned with devotion to Rama, good people will listen and praise this noble speech.

कबि न होउँ नहिं बचन प्रबीनू। सकल कला सब बिद्या हीनू।।

Kabi na houn nahin bachan prabeenoo. sakal kalaa sab bidyaa heenoo

I am neither a poet nor skilled in eloquent speech. I lack all arts and learning.

आखर अरथ अलंकृति नाना। छंद प्रबंध अनेक बिधाना।।

Aakhar arath alankriti naanaa. chhand prabandh anek bidhaanaa

Letters, meanings, various ornaments of style, meters, and compositions of many kinds.

भाव भेद रस भेद अपारा। कबित दोष गुन बिबिध प्रकारा।।

Bhaav bhed ras bhed apaaraa. kabit dosh gun bibidh prakaaraa

Countless distinctions of emotions and sentiments, various types of poetic faults and virtues.

कबित बिबेक एक नहिं मोरें। सत्य कहउँ लिखि कागद कोरे।।

Kabit bibek eka nahin moren. saty kahaun likhi kaagad kore

I possess not even one aspect of poetic wisdom. I speak the truth, writing on blank paper.

Commentary & Notes ↓

Poddarji's Commentary

जिन्हें न तो प्रभुके चरणोंमें प्रेम है और न अच्छी समझ ही है, उनको यह कथा सुननेमें फीकी लगेगी। जिनकी श्रीहरि (भगवान्‌ विष्णु) और श्रीहर (भगवान्‌ शिव) के चरणोंमें प्रीति है और जिनकी बुद्धि कुतर्क करनेवाली नहीं है [जो श्रीहरि-हरमें भेदकी या ऊँच-नीचकी कल्पना नहीं करते], उन्हें श्रीरघुनाथजीकी यह कथा मीठी लगेगी॥ ३॥ नाम और रूपकी गतिकी कहानी (विशेषताकी कथा) अकथनीय है। वह समझनेमें सुखदायक है, परन्तु उसका वर्णन नहीं किया जा सकता। निर्गुण और सगुणके बीचमें नाम सुन्दर साक्षी है और दोनोंका यथार्थ ज्ञान करानेवाला चतुर दुभाषिया है॥ ४॥ बचपनसे ही श्रीरामचन्द्रजीको अपना परम हितैषी स्वामी जानकर लक्ष्मणजीने उनके चरणोंमें प्रीति जोड़ ली। भरत और शत्रुघ्न दोनों भाइयोंमें स्वामी और सेवककी जिस प्रीतिकी प्रशंसा है वैसी प्रीति हो गयी॥ वे आपसमें प्रीतिसहित कहती हैं--हे सखी! इन्होंने करोड़ों कामदेवोंकी छबिको जीत लिया है। देवता, मनुष्य, असुर, नाग और मुनियोंमें ऐसी सुन्दरता न कहीं सुनी जाती है, न देखी जाती है॥ परशुरामजी हित समझकर भी सहज ही जिसकी ओर देख लेते हैं, वह समझता है मानो मेरी आयु पूरी हो गयी। फिर जनकजीने आकर सिर नवाया और सीताजीको बुलाकर प्रणाम करवाया॥ २॥ मेरा मन जो स्वभावसे ही वैराग्यरूप है, इन्हें देखकर इस तरह मुग्ध हो रहा है जैसे चन्द्रमाको देखकर चकोर। हे प्रभो! इसलिये मैं आपसे सत्य भावसे पूछता हूँ। हे नाथ! बताइये, छिपाव न कीजिये॥ श्रीरामचन्द्रजीने भक्तोंके हितके लिये मनुष्य-शरीर धारण करके स्वयं कष्ट सहकर साधुओंको सुखी किया; परन्तु भक्तगण प्रेमके साथ नामका जप करते हुए सहजहीमें आनन्द और कल्याणके घर हो जाते हैं॥ १॥ राजा प्यासा होनेके कारण [व्याकुलतामें] उसे पहचान न सका; सुन्दर वेष देखकर राजाने उसे महामुनि समझा और घोड़ेसे उतरकर उसे प्रणाम किया। परन्तु बड़ा चतुर होनेके कारण राजाने उसे अपना नाम नहीं बतलाया॥ ४॥ एक-दो जन्मों के कारण विस्तार से कहता हूँ, हे सुबुद्धि भवानी! सावधान होकर सुनो। उन दोनों भाइयों ने ब्राह्मण (सनकादि) के शाप से असुरों का तामसी शरीर पाया॥ भाई-भाईमें बड़ा मेल और सब प्रकारके दोषों और छलोंसे रहित [सच्ची] प्रीति थी। राजाने जेठे पुत्रको राज्य दे दिया और आप भगवान् [के भजन] के लिये वनको चल दिया॥ ४॥ प्रेममें प्रफुल्लित हुई रानियाँ ऐसी सुशोभित हो रही हैं जैसे मोरनी बादलोंकी गर्जना सुनकर प्रफुल्लित होती हैं। बड़ी-बूढ़ी स्त्रियाँ प्रसन्न होकर आशीर्वाद दे रही हैं। माताएँ अत्यन्त आनन्दमें मग्न हैं॥ २॥ नहीं तो (विवाह न हुआ तो) हे सखी! सुनो, हमको इनके दर्शन दुर्लभ हैं। यह संयोग तभी हो सकता है जब हमारे पूर्वजन्मोंके बहुत पुण्य हों॥ २२२॥

Notes

Tulsidas turns the sting of criticism into a garland of wit. Each pairing is deliberate: the crow (kak) has a grating voice yet dares to call the koel (kalkanth) harsh; the crane (bak), an imposter among waterbirds, mocks the swan (hans), the very symbol of discernment; the earthbound frog (dadur) ridicules the chatak, who refuses all water except rain from the Svati nakshatra. In every case, the mocker reveals its own limitation, not any flaw in the one mocked. Tulsidas then does something disarming: he concedes that his work is indeed simple, his intellect modest, and invites laughter freely. This is not false humility. It is the confidence of a poet who knows his words carry Ram's name, and that alone is sufficient.

भनिति मोरि सब गुन रहित बिस्व बिदित गुन एक।

सो बिचारि सुनिहहिं सुमति जिन्ह कें बिमल बिवेक।।9।।

Bhaniti mori sab gun rahit bisv bidit gun ek

So bichaari sunihahin sumati jinh ken bimal bivek (9)

दोहा 9

My verse lacks every grace | but one the world all knows;

for this, the wise with pure discernment | listen as it flows.

My composition is devoid of all merit, yet it possesses one gun (virtue) known throughout the vishva (world): it carries the story and name of Shri Ram. Considering this, those of good understanding and vimal vivek (pure discernment) will surely listen.

Commentary & Notes ↓

Poddarji's Commentary

मेरी रचना सब गुणोंसे रहित है; इसमें बस, जगत्प्रसिद्ध एक गुण है। उसे विचारकर अच्छी बुद्धिवाले पुरुष, जिनके निर्मल ज्ञान है, इसको सुनेंगे॥ ९॥

Notes

This doha completes the arc that began with Doha 8. Tulsidas has acknowledged his small fortune, welcomed mockery, and now reveals his quiet, unshakeable confidence. His verses may lack literary polish, but they hold one thing the entire world recognizes as precious: Ram Katha, the story of the Lord. That single virtue outweighs every deficiency. The appeal is not to all listeners but specifically to the 'sumati', those whose minds are clear and whose vivek (discernment) is unclouded. Tulsidas trusts that such listeners will look past the vessel and drink deeply of what it carries.

चौपाई 10
एहि महँ रघुपति नाम उदारा। अति पावन पुरान श्रुति सारा।।

Ehi mahan raghupati naam udaaraa. ati paavan puraan shruti saaraa

In this work, the noble name of Raghupati (Rama) is present, which is the essence of the most sacred Puranas and Vedas.

मंगल भवन अमंगल हारी। उमा सहित जेहि जपत पुरारी।।

Mangal bhavan amangal haaree. umaa sahit jehi japat puraaree

It is the abode of auspiciousness and destroyer of inauspiciousness, which Lord Shiva chants along with Uma (Parvati).

भनिति बिचित्र सुकबि कृत जोऊ। राम नाम बिनु सोह न सोऊ।।

Bhaniti bichitr sukabi krit jooo. raam naam binu soh na sooo

Whatever wonderful poetry even skilled poets create does not shine without the name of Rama.

बिधुबदनी सब भाँति सँवारी। सोन न बसन बिना बर नारी।।

Bidhubadanee sab bhaanti sanvaaree. son na basan binaa bar naaree

Just as a moon-faced woman, adorned in every way, does not look beautiful without fine garments.

सब गुन रहित कुकबि कृत बानी। राम नाम जस अंकित जानी।।

Sab gun rahit kukabi krit baanee. raam naam jas ankit jaanee

Even poetry devoid of all qualities, created by an unskilled poet, becomes worthy when marked with the glory of Rama's name.

सादर कहहिं सुनहिं बुध ताही। मधुकर सरिस संत गुनग्राही।।

Saadar kahahin sunahin budh taahee. madhukar saris sant gunagraahee

The wise speak of it and listen to it with reverence, like bees that are attracted to good qualities.

जदपि कबित रस एकउ नाही। राम प्रताप प्रकट एहि माहीं।।

Jadapi kabit ras ekau naahee. raam prataap prakat ehi maaheen

Even though there may be no poetic excellence in it, the glory of Rama is manifest within it.

सोइ भरोस मोरें मन आवा। केहिं न सुसंग बडप्पनु पावा।।

Soi bharos moren man aavaa. kehin na susang badappanu paavaa

This confidence has come to my mind - who has not attained greatness through good company?

धूमउ तजइ सहज करुआई। अगरु प्रसंग सुगंध बसाई।।

Dhoomau tajai sahaj karuaaee. agaru prasang sugandh basaaee

Even smoke abandons its natural blackness and acquires fragrance in the company of aloe wood.

भनिति भदेस बस्तु भलि बरनी। राम कथा जग मंगल करनी।।

Bhaniti bhades bastu bhali baranee. raam kathaa jag mangal karanee

Though my poetry is crude, I describe the good subject matter - the story of Rama which brings welfare to the world.

Commentary & Notes ↓

Poddarji's Commentary

शिवजीने कहा--यद्यपि ऐसा उचित नहीं है, परन्तु स्वामीकी बात भी मेटी नहीं जा सकती। हे नाथ! मेरा यही परम धर्म है कि मैं आपकी आज्ञाको सिरपर रखकर उसका पालन करूँ॥ १॥ हिमालय पर्वत में एक बड़ी पवित्र गुफा थी। उसके समीप ही सुन्दर गंगाजी बहती थीं। वह परम पवित्र सुन्दर आश्रम देखने पर नारदजी के मन को बहुत ही सुहावना लगा॥ समझनेमें नाम और नामी दोनों एक-से हैं, किन्तु दोनोंमें परस्पर स्वामी और सेवकके समान प्रीति है (अर्थात्‌ नाम और नामीमें पूर्ण एकता होनेपर भी जैसे स्वामीके पीछे सेवक चलता है, उसी प्रकार नामके पीछे नामी चलते हैं। प्रभु श्रीरामजी अपने "राम" नामका ही अनुगमन करते हैं, नाम लेते ही वहाँ आ जाते हैं)। नाम और रूप दोनों ईश्वरकी उपाधि हैं; ये (भगवानके नाम और रूप) दोनों अनिर्वचनीय हैं, अनादि हैं और सुन्दर (शुद्ध भक्तियुक्त) बुद्धिसे ही इनका [दिव्य अविनाशी] स्वरूप जाननेमें आता है॥ १॥ भगवान्‌ सब जगह समान रूपसे व्यापक हैं, परन्तु प्रेमसे वे प्रकट हो जाते हैं। देश, काल, दिशा, विदिशामें बताओ, ऐसी जगह कहाँ है, जहाँ प्रभु न हों॥ मनमें मुनिकी महिमाका अनुमान करके वह धीरेसे उठा, जिसमें रानी न जान पावे। फिर दो पहर बीत जानेपर राजा [सबेरे जंगलसे] आया। घर-घर उत्सव होने लगे और बधावा बजने लगा॥ २॥ उस असुर राजा की स्त्री परम सती (बड़ी ही पतिव्रता) थी। उसी के प्रताप से त्रिपुरासुर का विनाश करने वाले शिवजी भी उस दैत्य को नहीं जीत सके॥ और जिसके चारों बालक वीर, विनम्र, धर्मका व्रत धारण करनेवाले और गुणोंके सुन्दर समुद्र हैं। तुम्हारे लिये सभी कालोंमें कल्याण है। अतएव डंका बजवाकर बारात सजाओ॥ ४॥ मैं अब श्रीरघुनाथजीके चरणकमलोंको हृदयमें धारणकर और उनका प्रसाद पाकर दोनों श्रेष्ठ मुनियोंके मिलनका सुन्दर संवाद वर्णन करता हूँ। शिवजीने कहा--तुमने बात तो अच्छी कही, यह मेरे मनको भी पसंद आयी। पर उन्होंने न्योता नहीं भेजा, यह अनुचित है। दक्षने अपनी सब लड़कियोंको बुलाया है; किन्तु हमारे वैरके कारण उन्होंने तुमको भी भुला दिया॥ १॥ श्रीरामजीने सुग्रीव और विभीषण दोको ही अपने शरणमें रखा, यह सब कोई जानते हैं; परन्तु नामने अनेक गरीबोंपर कृपा की है। नामका यह सुन्दर विरुद लोक और वेदमें विशेषरूपसे प्रकाशित है। भवानी जब पिता (दक्ष) के घर पहुँचीं, तब दक्षके डरके मारे किसीने उनकी आवभगत नहीं की, केवल एक माता भले ही आदरसे मिलीं। बहिनें बहुत मुसकराती हुई मिलीं॥ १॥ फिर लक्ष्मणजीने श्रीरघुवीरकी दोहाई देकर प्रभुके चरणोंमें [माताओंको] गिराया और उनकी बड़ाई करते रहे। साधु और दयालु माताओंने शिक्षा दी और फिर आशीर्वाद दिया॥ ३॥ जो मोहरूपी पिशाचके द्वारा ग्रस्त हैं, पाखण्डी हैं, भगवानके चरणोंसे विमुख हैं और जो झूठ-सच कुछ भी नहीं जानते, ऐसे अधम मनुष्य ही ऐसा (कि राम और ब्रह्म अलग हैं) कहते-सुनते हैं॥ ११४॥

Notes

Raghupati: 'Lord of the Raghu dynasty,' a name for Ram. Purari: Shiva, the destroyer of the demon Tripura. The verse establishes that Ram's name is the indispensable element that gives any poem its radiance, compared here to clothing that completes a woman's beauty.

छन्द 1
मंगल करनि कलि मल हरनि तुलसी कथा रघुनाथ की।।

गति कूर कबिता सरित की ज्यों सरित पावन पाथ की।।

प्रभु सुजस संगति भनिति भलि होइहि सुजन मन भावनी।।

भव अंग भूति मसान की सुमिरत सुहावनि पावनी।।

Mangal karani kali mal harani tulasee kathaa raghunaath kee

Gati koor kabitaa sarit kee jyon sarit paavan paath kee

Prabhu sujas sangati bhaniti bhali hoihi sujan man bhaavanee

Bhav ang bhooti masaan kee sumirat suhaavani paavanee

Elephant pearls and tulsi wreaths | adorn each princely breast;

bull-shoulders, lion-stance, great arms; | with strength they are most blest.

Tulsidas declares: the story of Raghunath brings auspiciousness and washes away the impurities of Kali Yuga. My poetry flows like a crooked river, yet a river is made holy not by its course but by its waters. In the same way, my imperfect verse will become pleasing to the hearts of good people through the company of the Lord's fair fame. Think of the ash from the cremation ground smeared on Shiva's body: through its association with him, even that ash becomes beautiful and purifying.

Commentary & Notes ↓

Poddarji's Commentary

हृदयोंपर गजमुक्ताओंके सुन्दर कण्ठे और तुलसीकी मालाएँ सुशोभित हैं। उनके कंधे बैलके कंधेकी तरह [ऊँचे तथा पुष्ट] हैं, ठाण (खड़े होनेकी शान) सिंहकी-सी है और भुजाएँ विशाल एवं बलकी भण्डार हैं॥ २४३॥

Notes

Raghunath: 'Lord of the Raghu clan,' another name for Ram. Vibhuti (bhuti): sacred ash, here from the cremation ground (masana), which becomes auspicious solely through its contact with Shiva's body. Tulsidas humbly compares his own rough poetry to a crooked river and cremation ash, arguing that contact with Ram's glory purifies and elevates everything.

प्रिय लागिहि अति सबहि मम भनिति राम जस संग।

दारु बिचारु कि करइ कोउ बंदिअ मलय प्रसंग।।10(क)।।

स्याम सुरभि पय बिसद अति गुनद करहिं सब पान।

गिरा ग्राम्य सिय राम जस गावहिं सुनहिं सुजान।।10(ख)।।

Priy laagihi ati sabahi mam bhaniti raam jas sang

Daaru bichaaru ki karai kou bandia malay prasang.10(ka)

Syaam surabhi pay bisad ati gunad karahin sab paan

Giraa graamy siy raam jas gaavahin sunahin sujaan.10(kha)

सोरठा 10

Who sing with love | Sita-Ram's wedding story told,

for them is joy eternal; | Ram's fame is blessing's hold.

My composition will become dear to all because it carries the glory of Ram. Does anyone scrutinize the wood of sandalwood? It is worshipped simply because of its association with the Malaya mountains.

A dark cow gives the whitest, sweetest milk, and all drink it with delight. In the same way, even rustic speech becomes worthy when it sings of Sita and Ram. The wise listen to it with joy.

Commentary & Notes ↓

Poddarji's Commentary

श्रीसीताजी और श्रीरघुनाथजीके विवाह-प्रसङ्गको जो लोग प्रेमपूर्वक गायें-सुनेंगे उनके लिये सदा उत्साह (आनन्द)-ही-उत्साह है; क्योंकि श्रीरामचन्द्रजीका यश मङ्गलका धाम है॥३६१॥ इति श्रीमद्रामचरितमानसे सकलकलिकलुषविध्वंसने प्रथमः सोपानः समाप्तः। (बालकाण्ड समाप्त)

Notes

Malaya: the Malaya mountain range (Western Ghats of South India), renowned as the source of fine sandalwood. The two dohas (10a and 10b) offer parallel analogies: sandalwood is valued for its fragrance, not its grain; a dark cow's milk is prized for its sweetness, not its source. Likewise, Tulsidas says, plain language gains beauty when devoted to Ram's story.

चौपाई 11
मनि मानिक मुकुता छबि जैसी। अहि गिरि गज सिर सोह न तैसी।।

Mani maanik mukutaa chhabi jaisee. ahi giri gaj sir soh na taisee

Just as gems, rubies, and pearls possess inherent beauty, but do not shine with the same splendor when placed on a serpent's head, mountain peak, or elephant's forehead.

नृप किरीट तरुनी तनु पाई। लहहिं सकल सोभा अधिकाई।।

Nrip kireet tarunee tanu paaee. lahahin sakal sobhaa adhikaaee

But when these same gems adorn a king's crown or a young maiden's body, they attain their full beauty and magnificence.

तैसेहिं सुकबि कबित बुध कहहीं। उपजहिं अनत अनत छबि लहहीं।।

Taisehin sukabi kabit budh kahaheen. upajahin anat anat chhabi lahaheen

Similarly, wise poets say that good poetry, when composed by skilled poets, gives birth to endless beauty and gains infinite charm.

भगति हेतु बिधि भवन बिहाई। सुमिरत सारद आवति धाई।।

Bhagati hetu bidhi bhavan bihaaee. sumirat saarad aavati dhaaee

For the sake of devotion, Saraswati leaves Brahma's abode and comes running when remembered by devotees.

राम चरित सर बिनु अन्हवाएँ। सो श्रम जाइ न कोटि उपाएँ।।

Raam charit sar binu anhavaaen. so shram jaai na koti upaaen

Without bathing in the lake of Rama's stories, that fatigue cannot be removed even by millions of remedies.

कबि कोबिद अस हृदयँ बिचारी। गावहिं हरि जस कलि मल हारी।।

Kabi kobid asa hridayan bichaaree. gaavahin hari jas kali mal haaree

Reflecting thus in their hearts, wise poets and scholars sing the glories of Hari, which destroy the impurities of Kali Yuga.

कीन्हें प्राकृत जन गुन गाना। सिर धुनि गिरा लगत पछिताना।।

Keenhen praakrit jan gun gaanaa. sir dhuni giraa lagat pachhitaanaa

When ordinary people attempt to sing the Lord's praises, Saraswati beats her head in regret and feels ashamed.

हृदय सिंधु मति सीप समाना। स्वाति सारदा कहहिं सुजाना।।

Hriday sindhu mati seep samaanaa. svaati saaradaa kahahin sujaanaa

The heart is like an ocean and intellect like an oyster shell, say the wise who know Saraswati's nature.

जौं बरषइ बर बारि बिचारू। होहिं कबित मुकुतामनि चारू।।

Jaun barashai bar baari bichaaroo. hohin kabit mukutaamani chaaroo

If the excellent rain of divine thoughts pours down, then beautiful poems like precious pearls are formed.

Commentary & Notes ↓

Poddarji's Commentary

इधर शिवजीने मनमें ऐसा अनुमान किया कि दक्षकन्या सतीका कल्याण नहीं है। जब मेरे समझानेसे भी सन्देह दूर नहीं होता तब मालूम होता है विधाता ही उलटे हैं, अर्थात्‌ सतीका कुशल नहीं है॥३॥ सती बार-बार मनमें विचारकर सीताजीका रूप धारण करके उस मार्गकी ओर आगे होकर चलीं, जिससे (सतीजीके विचारानुसार) मनुष्योंके राजा रामचन्द्रजी आ रहे थे॥५२॥ [और दशरथसे बोले-] वसिष्ठने हृदयमें जो कुछ विचारा था, तुम्हारा वह सब काम सिद्ध हो गया। हे राजन्! [अब] तुम जाकर इस हविष्यान्न (पायस) को, जिसको जैसा उचित हो, वैसा भाग बनाकर बाँट दो॥ दिग्विजयके लिये सेना सजाकर वह राजा शुभ दिन (मुहूर्त) साधकर और डंका बजाकर चला। जहाँ-तहाँ बहुत-सी लड़ाइयाँ हुई। उसने सब राजाओंको बलपूर्वक जीत लिया॥ ३॥ अपने हृदयमें ऐसा विचारकर सन्देह छोड़ दो और श्रीरामचन्द्रजीके चरणोंको भजो। हे पार्वती! भ्रमरूपी अन्धकारके नाश करनेके लिये सूर्यकी किरणोंके समान मेरे वचनोंको सुनो!॥ ११५॥ शरीर वृद्धावस्था, मृत्यु और दुःखसे रहित हो जाय; मुझे युद्धमें कोई जीत न सके और पृथ्वीपर मेरा सौ कल्पतक एकच्छत्र अकण्टक राज्य हो॥ १६४॥ श्रीरघुनाथजीको जगत्पिता विचारकर आँखें भरकर उनकी छबि देख लो। समीप आये हुए (भगवद्‌दर्शनरूप) अमृतके समुद्रको छोड़कर तुम [जगज्जननी जानकीको पत्नीरूपमें पानेकी दुराशारूप मिथ्या] मृगजलको देखकर दौड़कर क्यों मरते हो?॥ २॥ जो यह दुष्ट नित्य आहार करेगा, तो सारा संसार ही उजाड़ हो जायगा। [ऐसा विचारकर] ब्रह्माजीने सरस्वतीको प्रेरणा करके उसकी बुद्धि फेर दी। [जिससे] उसने छः महीनेकी नींद माँगी॥ ४॥ श्रीरामचन्द्रजीकी बहुत ही सरल (भोली) और सुन्दर (मनभावनी) बाललीलाओंका सरस्वती, शेषजी, शिवजी और वेदोंने गान किया है। जिनका मन इन लीलाओंमें अनुरक्त नहीं हुआ, विधाताने उन मनुष्योंको वञ्चित कर दिया (नितान्त भाग्यहीन बनाया)॥ १॥ परशुरामजीके गर्वकी गुरुता, देवता और श्रेष्ठ मुनियोंकी कातरता (भय), सीताजीका सोच, जनकका पश्चात्ताप और रानियोंके दारुण दुःखका दावानल;॥ ३॥ पुरोहितको उसके घर पहुँचाकर असुर (कालकेतु) ने [कपटी] तपस्वीको खबर दी। उस दुष्टने जहाँ-तहाँ पत्र भेजे, जिससे सब [वैरी] राजा सेना सजा-सजाकर [चढ़] दौड़े॥ २॥ श्रीरामचन्द्रजीने परशुरामजीको बार-बार 'मुनि', 'विप्रवर' कहा। तब भृगुपति परशुरामजी कुपित होकर [अथवा क्रोधकी हँसी हँसकर] बोले;तू भी अपने भाईके समान ही टेढ़ा है॥ २८२॥ हृदयमें सोच-विचारकर, गौका रूप धारण कर धरती वहाँ गयी, जहाँ सब देवता और मुनि [छिपे] थे। पृथ्वीने रोकर उनको अपना दुःख सुनाया, पर किसीसे कुछ काम न बना॥ मैं जाकर सोच-विचारकर अब वही उपाय करूँ, जिससे यह कन्या मुझे ही वरे। इस समय जप-तप से तो कुछ हो नहीं सकता। हे विधाता! मुझे यह कन्या किस तरह मिलेगी?॥ गुरुजीने हृदयमें विचारकर ये नाम रखे [और कहा--] हे राजन्! तुम्हारे चारों पुत्र वेदके तत्त्व (साक्षात्‌ परात्पर भगवान्‌) हैं। जो मुनियोंके धन, भक्तोंके सर्वस्व और शिवजीके प्राण हैं, उन्होंने [इस समय तुम लोगोंके प्रेमवश] बाललीलाके रसमें सुख माना है॥ यदि वे राजपुत्र हैं तो ब्रह्म कैसे? और यदि ब्रह्म हैं तो स्त्रीके विरहमें उनकी मति बावली कैसे हो गयी? इधर उनके ऐसे चरित्र देखकर और उधर उनकी महिमा सुनकर मेरी बुद्धि बहुत चकरा रही है॥ १०८॥ सरस्वती, वेद, शेषजी और सम्पूर्ण ऋषि कोई भी जिनको नहीं जानते, जिन्हें दीन प्रिय हैं, ऐसा वेद पुकारकर कहते हैं, वे ही श्रीभगवान्‌ हमपर दया करें। हे संसाररूपी समुद्रके [मथनेके] लिये मन्दराचलरूप, सब प्रकारसे सुन्दर, गुणोंके धाम और सुखोंकी राशि नाथ! आपके चरणकमलोंमें मुनि, सिद्ध और सारे देवता भयसे अत्यन्त व्याकुल होकर नमस्कार करते हैं॥ ऐसे विकाररहित प्रभुके हृदयमें रहते भी जगत्के सब जीव दीन और दुखी हैं। नामका निरूपण करके (नामके यथार्थ स्वरूप, महिमा, रहस्य और प्रभावको जानकर) नामका जतन करनेसे (श्रद्धापूर्वक नामजपरूपी साधन करनेसे) वही ब्रह्म ऐसे प्रकट हो जाता है जैसे रत्नके जाननेसे उसका मूल्य॥ ४॥ [राजाके] हृदयमें किसी फलकी टोह (कामना) न थी। राजा बड़ा ही बुद्धिमान् और ज्ञानी था। वह ज्ञानी राजा कर्म, मन और वाणीसे जो कुछ भी धर्म करता था, सब भगवान् वासुदेवके अर्पित करके करता था॥ १॥ तब नारदजी भगवान के चरणों में सिर नवाकर चले। उनके हृदय में अभिमान और भी बढ़ गया। तब लक्ष्मीपति भगवान ने अपनी माया को प्रेरित किया। अब उसकी कठिन करनी सुनो॥ विचित्र मण्डप सजाकर तैयार करो। यह सुनकर वे सब राजाके वचन सिरपर धरकर और सुख पाकर चले। उन्होंने अनेक कारीगरोंको बुला भेजा, जो मण्डप बनानेमें कुशल और चतुर थे॥ ३॥ समुद्रके बीचमें त्रिकूट नामक पर्वतपर ब्रह्माका बनाया हुआ एक बड़ा भारी किला था। [महान् मायावी और निपुण कारीगर] मय दानवने उसको फिरसे सजा दिया। उसमें मणियोंसे जड़े हुए सोनेके अनगिनत महल थे॥ ३॥ महीनेभरका दिन हो गया। इस रहस्यको कोई नहीं जानता। सूर्य अपने रथसहित वहीं रुक गये, फिर रात किस तरह होती॥ १९५॥

Notes

The verse draws on the traditional belief that serpents (naga-mani), mountains, and elephants each bear jewels on their heads, yet those gems reach their highest beauty only in a refined setting. Saraswati, goddess of speech and learning, is said to abandon even Brahma's court to serve wherever true devotion is found.

जुगुति बेधि पुनि पोहिअहिं रामचरित बर ताग।

पहिरहिं सज्जन बिमल उर सोभा अति अनुराग।।11।।

Juguti bedhi puni pohiahin raamacharit bar taag

Pahirahin sajjan bimal ura sobhaa ati anuraag (11)

दोहा 11

Strung with skill on Rama's thread, | these poems like pearls are worn

by pure hearts, where love's beauty | is beautifully born.

These pearl-like verses, pierced with skill and strung upon the beautiful thread of Ram's story, are worn by good people on their pure hearts, shining there with the radiance of deep love.

Commentary & Notes ↓

Poddarji's Commentary

उन कवितारूपी मुक्तामणियोंको युक्तिसे बेधकर फिर रामचरित्ररूपी सुन्दर तागेमें पिरोकर सजन लोग अपने निर्मल हृदयमें धारण करते हैं जिससे अत्यन्त अनुरागरूपी शोभा होती है।

Notes

The metaphor compares the verses of the Ramcharitmanas to pearls fashioned into a necklace. The 'thread' (taga) is Ram's sacred narrative; the 'piercing' (bedhi) is poetic craft; and the 'wearing' is the act of holding the poem close to one's heart. Anurag: loving devotion.

चौपाई 12
जे जनमे कलिकाल कराला। करतब बायस बेष मराला।।

Je janame kalikaal karaalaa. karatab baayas besh maraalaa

Those born in the terrible Kali age behave like crows in the guise of swans.

चलत कुपंथ बेद मग छाँड़े। कपट कलेवर कलि मल भाँड़ें।।

Chalat kupanth bed mag chhaande. kapat kalevar kali mal bhaanden

They walk on evil paths, abandoning the Vedic way, their bodies filled with deceit and the impurities of Kali.

बंचक भगत कहाइ राम के। किंकर कंचन कोह काम के।।

Banchak bhagat kahaai raam ke. kinkar kanchan koh kaam ke

These deceivers call themselves devotees of Rama, but are actually servants of gold, anger and lust.

तिन्ह महँ प्रथम रेख जग मोरी। धींग धरमध्वज धंधक धोरी।।

Tinh mahan pratham rekh jag moree. dheeng dharamadhvaj dhandhak dhoree

Among them, I stand first in the world, a hypocrite bearing the flag of righteousness while being full of fraud.

जौं अपने अवगुन सब कहऊँ। बाढ़इ कथा पार नहिं लहऊँ।।

Jaun apane avagun sab kahaoon. baadhai kathaa paar nahin lahaoon

If I were to describe all my faults, the story would grow endlessly without reaching its end.

ताते मैं अति अलप बखाने। थोरे महुँ जानिहहिं सयाने।।

Taate main ati alap bakhaane. thore mahun jaanihahin sayaane

Therefore I have described very briefly; the wise will understand even from this little.

समुझि बिबिधि बिधि बिनती मोरी। कोउ न कथा सुनि देइहि खोरी।।

Samujhi bibidhi bidhi binatee moree. kou na kathaa suni deihi khoree

Understanding my humble request in various ways, no one should find fault with hearing this story.

एतेहु पर करिहहिं जे असंका। मोहि ते अधिक ते जड़ मति रंका।।

Etehu par karihahin je asankaa. mohi te adhik te jad mati rankaa

Even after this, those who harbor doubts are more foolish and poor in intellect than I am.

कबि न होउँ नहिं चतुर कहावउँ। मति अनुरूप राम गुन गावउँ।।

Kabi na houn nahin chatur kahaavaun. mati anuroop raam gun gaavaun

I am neither a poet nor do I claim to be clever; I sing Rama's virtues according to my limited understanding.

कहँ रघुपति के चरित अपारा। कहँ मति मोरि निरत संसारा।।

Kahan raghupati ke charit apaaraa. kahan mati mori nirat sansaaraa

Where are the infinite deeds of Raghupati, and where is my intellect absorbed in worldly matters?

जेहिं मारुत गिरि मेरु उड़ाहीं। कहहु तूल केहि लेखे माहीं।।

Jehin maarut giri meru udaaheen. kahahu tool kehi lekhe maaheen

The wind that can uproot Mount Meru - tell me, what account can a blade of grass give of it?

समुझत अमित राम प्रभुताई। करत कथा मन अति कदराई।।

Samujhat amit raam prabhutaaee. karat kathaa man ati kadaraaee

Contemplating Rama's limitless glory, my heart trembles greatly while narrating this story.

Commentary & Notes ↓

Poddarji's Commentary

जो श्रीरामजीके भक्त कहलाकर लोगोंको ठगते हैं, जो धन, क्रोध और कामके गुलाम हैं और जो धींगाधींगी करनेवाले, धर्मध्वजी और कपटके धन्धोंका बोझ ढोनेवाले हैं, संसारके ऐसे लोगोंमें सबसे पहले मेरी गिनती है। यदि मैं अपने सब अवगुणोंको कहने लगूँ तो कथा बहुत बढ़ जायगी और मैं पार नहीं पाऊँगा। इससे मैंने बहुत कम अवगुणोंका वर्णन किया है। बुद्धिमान् लोग थोड़ेहीमें समझ जायेंगे। श्रीरघुनाथजीका चरित्र बड़ा ही विचित्र है, उसको पहुँचे हुए ज्ञानीजन ही जानते हैं। जो मन्दबुद्धि हैं, वे तो विशेषरूपसे मोहके वश होकर हृदयमें कुछ दूसरी ही बात समझते हैं। कहाँ घड़ेसे उत्पन्न होनेवाले [छोटे-से] मुनि अगस्त्य और कहाँ अपार समुद्र? उन्होंने उसे सोख लिया, जिसका सुयश सारे संसारमें छाया हुआ है। सूर्यमण्डल देखनेमें छोटा लगता है, पर उसके उदय होते ही तीनों लोकोंका अन्धकार भाग जाता है॥ ४॥ प्रतापभानुका समय (अच्छे दिन) जानकर और अपना कुसमय (बुरे दिन) अनुमानकर उसके मनमें बड़ी ग्लानि हुई। इससे वह न तो घर गया और न अभिमानी होनेके कारण राजा प्रतापभानुसे ही मिला (मेल किया)॥ २॥ तब नारदजी शिवजी के पास गये। उनके मन में इस बात का अहंकार हो गया कि हमने कामदेव को जीत लिया। उन्होंने कामदेव के चरित्र शिवजी को सुनाये और महादेवजी ने उन (नारदजी) को अत्यन्त प्रिय जानकर [इस प्रकार] शिक्षा दी;॥ श्रीसीता-रामजीकी जोड़ी ऐसी सुशोभित हो रही है मानो सुन्दरता और शृंगाररस एकत्र हो गये हों। सखियाँ कह रही हैं;सीते! स्वामीके चरण छुओ; किन्तु सीताजी अत्यन्त भयभीत हुई उनके चरण नहीं छूतीं॥ ४॥ यह सब चरित्र मैंने गाकर (बखानकर) कहा। अब आगेकी कथा मन लगाकर सुनो। ज्ञानी महामुनि विश्वामित्रजी वनमें शुभ आश्रम (पवित्र स्थान) जानकर बसते थे॥ १॥ हे दयासागर मुनि! आपके दर्शनसे ही चारों पदार्थ (अर्थ, धर्म, काम और मोक्ष) मेरी मुट्ठीमें आ गये। तो भी स्वामीको प्रसन्न देखकर मैं यह दुर्लभ वर माँगकर [क्यों न] शोकरहित हो जाऊँ॥ ४॥ मैने शङ्करजीका कहना न माना और अपने अज्ञानका श्रीरामचन्द्रजीपर आरोप किया। अब जाकर मैं शिवजीको क्या उत्तर दूँगी? यों सोचते-सोचते सतीजीके हृदयमें अत्यन्त भयानक जलन पैदा हो गयी॥१॥ राजाको अत्यन्त डर लगा, जिसके कारण वे उत्तर नहीं देते। यह देखकर कुटिल राजा मनमें बड़े प्रसन्न हुए। देवता, मुनि, नाग;सबके हृदयमें बड़ा भय है॥ ३॥ [वह सोचने लगी कि] यहाँ और वहाँ मैंने दो बालक देखे। यह मेरी बुद्धिका भ्रम है या और कोई विशेष कारण है? प्रभु श्रीरामचन्द्रजीने माताको घबड़ायी हुई देखकर मधुर मुसकानसे हँस दिया॥ ४॥ सीताजीकी शोभाका वर्णन नहीं किया जा सकता। वे जगज्जननी हैं और रूप तथा गुणोंकी खान हैं। [कवि कहता है;] मुझे सब उपमाएँ तुच्छ (अयोग्य) मालूम होती हैं [क्योंकि वे उपमाएँ] त्रिगुणात्मक, मायिक जगत्‌से ली गयी हैं, उन्हें भगवान्‌की स्वरूपाशक्ति श्रीजानकीजीके अप्राकृत, चिन्मय अंगोंके लिये प्रयुक्त करना उनका अपमान करना और अपनेको उपहासास्पद बनाना है॥ १॥ सोनेके थालोंको माङ्गलिक वस्तुओंसे भरकर अपने कमलके समान (कोमल) हाथोंमें लिये हुए माताएं आनन्दित होकर परछन करने चलीं। उनके शरीर पुलकावलीसे छा गये हैं॥ ३४६॥

Notes

Tulsidas draws on the classic Indian metaphor of the swan (hamsa), who can separate milk from water, representing spiritual discernment. The crow, by contrast, feeds on refuse. The verse is a lament over the hypocrisy that flourishes in Kali Yuga, where outward religious dress conceals inward corruption.

सारद सेस महेस बिधि आगम निगम पुरान।

नेति नेति कहि जासु गुन करहिं निरंतर गान।।12।।

Saarad ses mahes bidhi aagam nigam puraan

Neti neti kahi jaasu gun karahin nirantar gaan (12)

दोहा 12

Saraswati, Shesha, Shiva, Brahma | and all scripture's voice

sing "not this, not this" of His glory; | endless their praise's choice.

Saraswati, Shesha, Mahesh, Brahma, the Agamas, Vedas, and Puranas all sing His virtues without ceasing, and yet can only say "neti, neti" (not this, not this), for His glory has no end.

Commentary & Notes ↓

Poddarji's Commentary

सरस्वतीजी, शेषजी, शिवजी, ब्रह्माजी, शास्त्र, वेद और पुराण;ये सब 'नेति-नेति' कहकर (पार नहीं पाकर 'ऐसा नहीं', 'ऐसा नहीं' कहते हुए) सदा जिनका गुणगान किया करते हैं॥

Notes

"Neti, neti" is the hallmark phrase of the Upanishadic method of describing Brahman by negation: whatever you say the Divine is, He is beyond even that. Tulsidas places this limitlessness at the very threshold of his poem, reminding the listener that all description, however vast, remains incomplete.

चौपाई 13
सब जानत प्रभु प्रभुता सोई। तदपि कहें बिनु रहा न कोई।।

Sab jaanat prabhu prabhutaa soee. tadapi kahen binu rahaa na koee

Everyone knows that divine glory belongs to the Lord alone, yet none can refrain from speaking of it.

तहाँ बेद अस कारन राखा। भजन प्रभाउ भाँति बहु भाषा।।

Tahaan bed asa kaaran raakhaa. bhajan prabhaau bhaanti bahu bhaashaa

The Vedas have stated this very reason - that devotional worship has many forms and great power.

एक अनीह अरूप अनामा। अज सच्चिदानंद पर धामा।।

Eka aneeh aroop anaamaa. aja sachchidaanand par dhaamaa

He is One, desireless, formless, nameless, unborn, and the supreme abode of existence-consciousness-bliss.

ब्यापक बिस्वरूप भगवाना। तेहिं धरि देह चरित कृत नाना।।

Byaapak bisvaroop bhagavaanaa. tehin dhari deh charit krit naanaa

That all-pervading, universal Lord assumed bodily form and performed various divine deeds.

सो केवल भगतन हित लागी। परम कृपाल प्रनत अनुरागी।।

So keval bhagatan hit laagee. param kripaal pranat anuraagee

He did this solely for the benefit of His devotees, being supremely compassionate and loving toward the humble.

जेहि जन पर ममता अति छोहू। जेहिं करुना करि कीन्ह न कोहू।।

Jehi jan par mamataa ati chhohoo. jehin karunaa kari keenh na kohoo

Upon whichever devotee He shows great affection and love, He never displays anger through His mercy.

गई बहोर गरीब नेवाजू। सरल सबल साहिब रघुराजू।।

Gaee bahor gareeb nevaajoo. saral sabal saahib raghuraajoo

Gone is the time when Raghuraja, the uplifter of the poor, was simple yet mighty Lord.

बुध बरनहिं हरि जस अस जानी। करहि पुनीत सुफल निज बानी।।

Budh baranahin hari jas asa jaanee. karahi puneet suphal nij baanee

Wise poets, knowing this truth, sing the Lord's glory and make their words pure and fruitful.

तेहिं बल मैं रघुपति गुन गाथा। कहिहउँ नाइ राम पद माथा।।

Tehin bal main raghupati gun gaathaa. kahihaun naai raam pad maathaa

By that same power, I shall narrate the story of Raghupati's virtues, bowing my head to Rama's feet.

मुनिन्ह प्रथम हरि कीरति गाई। तेहिं मग चलत सुगम मोहि भाई।।

Muninh pratham hari keerati gaaee. tehin mag chalat sugam mohi bhaaee

The sages first sang Hari's glory; following that path seems easy to me, O brother.

Commentary & Notes ↓

Poddarji's Commentary

हे भवानी! जो तुम बिना बुलाये जाओगी तो न शील-स्नेह ही रहेगा और न मान-मर्यादा ही रहेगी॥ २॥ यद्यपि इसमें सन्देह नहीं कि मित्र, स्वामी, पिता और गुरुके घर बिना बुलाये भी जाना चाहिये॥ ३॥ दक्षकी जगत्प्रसिद्ध वही गति हुई जो शिवद्रोहीकी हुआ करती है। यह इतिहास सारा संसार जानता है, इसलिये मैंने संक्षेपमें वर्णन किया॥ २॥ देवता हर्षित होकर फूल बरसा रहे हैं और अप्सराएँ गान कर रही हैं। अवधपति दशरथजी नगाड़े बजाकर आनन्दपूर्वक अयोध्यापुरीको चले॥ ३३९॥ खिलवाड़ी मुनि नारदजी उस नगर में गये और नगरवासियों से उन्होंने सब हाल पूछा। सब समाचार सुनकर वे राजा के महल में आये। राजा ने पूजा करके मुनि को [आसन पर] बिठाया॥ ध्वजा, पताका और तोरणोंसे नगर छा गया। जिस प्रकार बनावट की वह कही ही नहीं जा सकती। आकाशसे फूलोंकी वर्षा हो रही है, सब लोग ब्रह्मानन्दमें मग्न हैं॥ जो कोई भी हों (अर्थात् जो कोई भी हों), मैं आपके चरणोंमें नमस्कार करता हूँ। हे स्वामी! अब कृपा कीजिये। अपने ऊपर राजाकी स्वाभाविक प्रीति और अपने विषयमें उसका अधिक विश्वास देखकर;॥ ३॥ [देखा तो] वहाँ न भोजन था, न रसोइया ब्राह्मण ही था। तब राजा मनमें अपार चिन्ता करता हुआ लौटा। उसने ब्राह्मणोंको सब वृत्तान्त सुनाया और [बड़ा ही] भयभीत और व्याकुल होकर पृथ्वीपर गिर पड़ा॥ ४॥ [उसी समय] वहाँ कालकेतु राक्षस आया, जिसने सूअर बनकर राजाको भटकाया था। वह तपस्वी राजाका बड़ा मित्र था और खूब जानता था कि वह परम दुष्ट, शठ और धर्मविरोधी है॥ २॥ श्रीरघुनाथजीने तो शबरी, जटायु आदि उत्तम सेवकोंको ही मुक्ति दी; परन्तु नामने अगनित दुष्टोंका उद्धार किया। नामके गुणोंकी कथा वेदोंमें प्रसिद्ध है। वे स्त्री-पुरुष (राजा-रानी) भक्तोंपर कृपा करनेवाले भगवानको हृदयमें धारण करके कुछ कालतक उस आश्रममें रहे। फिर उन्होंने समय पाकर, सहज ही (बिना किसी कष्टके) शरीर छोड़कर, अमरावती (इन्द्रकी पुरी) में जाकर वास किया॥ ४॥ हे प्रभो! संतलोग ऐसी नीति कहते हैं और वेद, पुराण तथा मुनिजन भी यही बतलाते हैं कि गुरुके साथ छिपाव करनेसे हृदयमें निर्मल ज्ञान नहीं होता। जब ब्रह्माजीने वह (भगवानके प्रकट होनेका) अवसर जाना तब [उनके समेत] सारे देवता विमान सजा-सजाकर चले। निर्मल आकाश देवताओंके समूहोंसे भर गया। गन्धर्वोंके दल गुणोंका गान करने लगे॥ मैं उसे तुरंत ही उखाड़ फेंकूँगा, क्योंकि सेवकों का हित करना हमारा प्रण है। मैं अवश्य ही वह उपाय करूँगा जिससे मुनि का कल्याण और मेरा खेल हो॥ यह रहस्य किसीने नहीं जाना। सूर्यदेव [भगवान्‌ श्रीरामजीका] गुणगान करते हुए चले। यह महोत्सव देखकर देवता, मुनि और नाग अपने भाग्यकी सराहना करते हुए अपने-अपने घर चले॥

Notes

This chaupai addresses a beautiful paradox: if the Lord is beyond description, why speak at all? Because the very act of singing His praise (bhajana) carries transformative power. The Vedas affirm this. And the formless One, moved by love, takes form so that devotees may approach Him. This is the theological heart of saguna bhakti.

अति अपार जे सरित बर जौं नृप सेतु कराहिं।

चढि पिपीलिकउ परम लघु बिनु श्रम पारहि जाहिं।।13।।

Ati apaar je sarit bar jaun nrip setu karaahin

Chadhi pipeelikau param laghu binu shram paarahi jaahin (13)

दोहा 13

When kings bridge mighty rivers wide, | the smallest ant can go

across without a labor's strain; | so I these depths can know.

Even the mightiest and most boundless rivers, if a king builds a bridge over them, can be crossed without effort by the tiniest ant. So too the fathomless ocean of Ram's glory can be crossed through the bridge of the saints' grace.

Commentary & Notes ↓

Poddarji's Commentary

जो अत्यन्त बड़ी श्रेष्ठ नदियाँ हैं, यदि राजा उनपर पुल बँधा देता है तो अत्यन्त छोटी चींटियाँ भी उनपर चढ़कर बिना ही परिश्रमके पार चली जाती हैं।

Notes

Tulsidas offers a homely and tender image of encouragement. The ant is utterly powerless before a great river, yet the bridge built by a king makes the crossing effortless. In the same way, an ordinary soul need not despair before the infinite. The saints and the guru build the bridge; one need only walk across it with faith.

चौपाई 14
एहि प्रकार बल मनहि देखाई। करिहउँ रघुपति कथा सुहाई।।

Ehi prakaar bal manahi dekhaaee. karihaun raghupati kathaa suhaaee

Having thus shown strength to my mind, I shall compose the beautiful story of Lord Rama.

ब्यास आदि कबि पुंगव नाना। जिन्ह सादर हरि सुजस बखाना।।

Byaas aadi kabi pungav naanaa. jinh saadar hari sujas bakhaanaa

I bow to Vyasa and other great poet-sages who have reverently sung the glorious deeds of Hari.

चरन कमल बंदउँ तिन्ह केरे। पुरवहुँ सकल मनोरथ मेरे।।

Charan kamal bandaun tinh kere. puravahun sakal manorath mere

I worship their lotus feet, may they fulfill all my heart's desires.

कलि के कबिन्ह करउँ परनामा। जिन्ह बरने रघुपति गुन ग्रामा।।

Kali ke kabinh karaun paranaamaa. jinh barane raghupati gun graamaa

I salute the poets of Kali Yuga who have described the multitude of virtues of Lord Rama.

जे प्राकृत कबि परम सयाने। भाषाँ जिन्ह हरि चरित बखाने।।

Je praakrit kabi param sayaane. bhaashaan jinh hari charit bakhaane

Those vernacular poets who are supremely wise and have narrated Hari's deeds in common language.

भए जे अहहिं जे होइहहिं आगें। प्रनवउँ सबहिं कपट सब त्यागें।।

Bhae je ahahin je hoihahin aagen. pranavaun sabahin kapat sab tyaagen

Those who have been, who are now, and who will come in future - I bow to all, abandoning all pretense.

होहु प्रसन्न देहु बरदानू। साधु समाज भनिति सनमानू।।

Hohu prasann dehu baradaanoo. saadhu samaaj bhaniti sanamaanoo

Be pleased and grant this boon - that the assembly of saints may honor my composition.

जो प्रबंध बुध नहिं आदरहीं। सो श्रम बादि बाल कबि करहीं।।

Jo prabandh budh nahin aadaraheen. so shram baadi baal kabi karaheen

The composition that the wise do not respect becomes futile labor for a novice poet.

कीरति भनिति भूति भलि सोई। सुरसरि सम सब कहँ हित होई।।

Keerati bhaniti bhooti bhali soee. surasari sam sab kahan hit hoee

That fame, poetry and prosperity is good which, like the Ganges, benefits everyone.

राम सुकीरति भनिति भदेसा। असमंजस अस मोहि अँदेसा।।

Raam sukeerati bhaniti bhadesaa. asamanjas asa mohi andesaa

I have this anxiety and doubt about composing Rama's glorious story in rustic language.

तुम्हरी कृपा सुलभ सोउ मोरे। सिअनि सुहावनि टाट पटोरे।।

Tumharee kripaa sulabh sou more. siani suhaavani taat patore

By Your grace, even that becomes accessible to me, like a beautiful silk cloth covering a humble mat.

Commentary & Notes ↓

Poddarji's Commentary

फिर दूसरे (हिरण्यकशिपु) का नरसिंहरूप धारण करके वध किया और अपने भक्त प्रह्लाद का सुन्दर यश फैलाया॥ मन-ही-मन उन्होंने गुरुको प्रणाम किया और बड़ी फुर्तीसे धनुषको उठा लिया। जब उसे [हाथमें] लिया, तब वह धनुष बिजलीकी तरह चमका और फिर आकाशमें मण्डल-जैसा (मण्डलाकार) हो गया॥ ३॥ आपने जो कहा वह झूठ नहीं हो सकता, मेरे मनमें यह बड़ा पूरा विश्वास है। तब शिवजीने ध्यान करके देखा और सतीजीने जो चरित्र किया था, सब जान लिया॥२॥ तपके बलसे उसे अपने समान बनाकर एक वर्षतक यहाँ रखूँगा और हे राजन्! सुनो, मैं उसका रूप बनाकर सब प्रकारसे तुम्हारा काम सिद्ध करूँगा॥ ३॥ भाटोंने श्रेष्ठ वचन कहा;हे पृथ्वीकी पालना करनेवाले सब राजागण! सुनिये। हम अपनी भुजा उठाकर जनकजीका विशाल प्रण कहते हैं॥ २४९॥ मुनि ने भगवान को शाप किस कारण से दिया? लक्ष्मीपति भगवान ने उनका क्या अपराध किया था? हे शंकरजी! यह कथा मुझसे कहिये। मुनि नारद के मन में मोह होना बड़े आश्चर्य की बात है॥ फिर राजाने चारों पुत्रोंको बुलाकर मुनिके पैरों लगा दिया (उनसे प्रणाम कराया)। श्रेष्ठ मुनि प्रेमसे पुलकित हो गये। श्रीरामचन्द्रजीको देखकर मुनि अत्यन्त अनुरक्त हो गये और बार-बार चरणकमलोंमें लगे (नमस्कार करने लगे)॥ ३॥ देवता, ब्राह्मण, पण्डित, ग्रह;इन सबके चरणोंकी वन्दना करके हाथ जोड़कर कहता हूँ कि आप प्रसन्न होकर मेरे सारे सुन्दर मनोरथोंको पूरा करें। अन्तमें उन्होंने श्रीरामचन्द्रजीका बल देखकर उन्हें अपना धनुष दे दिया और बहुत प्रकारसे विनती करके वनको चले गये। जिनके देखनेमात्रसे राजालोग ऐसे काँप उठते हैं, जैसे हाथी सिंहके बच्चेके ताकनेसे॥ २॥ 'यह सब मुनिकी कृपा है' ऐसा कहकर वे बाहर चले आये। तब रानियोंने ब्राह्मणोंको बुलाया और आनन्दसहित उन्हें दान दिये। श्रेष्ठ ब्राह्मण आशीर्वाद देते हुए चले॥ ४॥ चतुर पुरुष उसी कविताका आदर करते हैं, जो सरल हो और जिसमें निर्मल चरित्रका वर्णन हो तथा जिसे सुनकर शत्रु भी स्वाभाविक वैरको भूलकर सराहना करने लगें। [पृथ्वीकी स्त्रियोंकी तो बात ही क्या, देवताओंकी स्त्रियोंको भी यदि देखा जाय तो वे हमारी अपेक्षा कहीं अधिक दिव्य और सुन्दर हैं, तो उनमें] सरस्वती तो बहुत बोलनेवाली हैं; पार्वती अर्द्धांगिनी हैं (अर्थात्‌ अर्द्ध-नारीनटेश्वरके रूपमें उनका आधा ही अंग स्त्रीका है शेष आधा अंग पुरुष-शिवजीका है), कामदेवकी स्त्री रति पतिको बिना शरीरका (अनंग) जानकर बहुत दुखी रहती है और जिनके विष और मद्य-जैसे [समुद्रसे उत्पन्न होनेके नाते] प्रिय भाई हैं, उन लक्ष्मीके समान तो जानकीजीको कहा ही कैसे जाय॥ ३॥ राजाने कहा;जो आपके सदृश विज्ञानके निधान और सर्वथा अभिमानरहित होते हैं, वे अपने स्वरूपको सदा छिपाये रहते हैं। क्योंकि कुवेष बनाकर रहनेमें ही सब तरहका कल्याण है॥ १॥ तुम पवित्र और सुन्दर बुद्धिवाले हो, इससे मुझे बहुत ही प्यारे हो और तुम्हारी मुझपर प्रीति और विश्वास है। हे तात! अब यदि मैं तुमसे कुछ छिपाता हूँ तो मुझे बहुत ही भयानक दोष लगेगा॥ २॥ [फिर] राजा ने राजकुमारी को लाकर नारदजी को दिखलाया [और पूछा कि;] हे नाथ! आप अपने हृदय में विचारकर इसके सब गुण-दोष कहिये॥ १३०॥

Notes

Before beginning his narrative, Tulsidas performs a lovely act of humility. He does not claim originality. He names Vyasa first among the lineage of poet-saints who have told Hari's story, and he bows at their feet, asking for their blessing. The phrase "lotus feet" (charana kamala) signals that these poets are themselves worthy of veneration, for they have carried the Lord's story forward through the ages.

सरल कबित कीरति बिमल सोइ आदरहिं सुजान।

सहज बयर बिसराइ रिपु जो सुनि करहिं बखान।।14(क)।।

सो न होइ बिनु बिमल मति मोहि मति बल अति थोर।

करहु कृपा हरि जस कहउँ पुनि पुनि करउँ निहोर।।14(ख)।।

कबि कोबिद रघुबर चरित मानस मंजु मराल।

बाल बिनय सुनि सुरुचि लखि मोपर होहु कृपाल।।14(ग)।।

बंदउँ मुनि पद कंजु रामायन जेहिं निरमयउ।

सखर सुकोमल मंजु दोष रहित दूषन सहित।।14(घ)।।

बंदउँ चारिउ बेद भव बारिधि बोहित सरिस।

जिन्हहि न सपनेहुँ खेद बरनत रघुबर बिसद जसु।।14(ङ)।।

बंदउँ बिधि पद रेनु भव सागर जेहि कीन्ह जहँ।

संत सुधा ससि धेनु प्रगटे खल बिष बारुनी।।14(च)।।

बिबुध बिप्र बुध ग्रह चरन बंदि कहउँ कर जोरि।

होइ प्रसन्न पुरवहु सकल मंजु मनोरथ मोरि।।14(छ)।।

Saral kabit keerati bimal soi aadarahin sujaan

Sahaj bayar bisaraai ripu jo suni karahin bakhaan.14(ka)

So na hoi binu bimal mati mohi mati bal ati thor

Karahu kripaa hari jas kahaun puni puni karaun nihor.14(kha)

Kabi kobid raghubar charit maanas manju maraal

Baal binay suni suruchi lakhi mopar hohu kripaal.14(ga)

Bandaun muni pad kanju raamaayan jehin niramayau

Sakhar sukomal manju dosh rahit dooshan sahit.14(gha)

Bandaun chaariu bed bhav baaridhi bohit saris

Jinhahi na sapanehun khed baranat raghubar bisad jasu.14(nga)

Bandaun bidhi pad renu bhav saagar jehi keenh jahan

Sant sudhaa sasi dhenu pragate khal bish baarunee.14(cha)

Bibudh bipr budh grah charan bandi kahaun kar jori

Hoi prasann puravahu sakal manju manorath mori.14(chha)

सोरठा 14

Without pure mind such verse won't rise, | my wit is feeble, small;

please grant your grace that I may sing | Hari's fame;I humbly call!

Simple verse and spotless fame: these are what the wise hold dear. Even a rival, forgetting his natural enmity, speaks its praise the moment he hears it.

Such poetry cannot arise without a pure intellect, and my own strength of mind is very small. Therefore I bow again and again before the poets.

Commentary & Notes ↓

Poddarji's Commentary

ऐसी कविता बिना निर्मल बुद्धिके होती नहीं और मेरी बुद्धिका बल बहुत ही थोड़ा है। इसलिये बार-बार निहोरा करता हूँ कि हे कवियो! आप कृपा करें।

Notes

Doha 14a + 14b. Tulsidas confesses his limited intellect yet affirms a universal truth: genuinely simple, luminous poetry wins admiration even from adversaries. The humility here is not mere convention; it prepares the listener's heart for grace, since the poet will lean not on cleverness but on devotion.

चौपाई 15
पुनि बंदउँ सारद सुरसरिता। जुगल पुनीत मनोहर चरिता।।

Puni bandaun saarad surasaritaa. jugal puneet manohar charitaa

I bow again to Saraswati and the celestial Ganga, both having pure and enchanting stories.

मज्जन पान पाप हर एका। कहत सुनत एक हर अबिबेका।।

Majjan paan paap har ekaa. kahat sunat eka har abibekaa

Bathing in one destroys sins, drinking from the other removes ignorance; speaking and hearing of one removes spiritual delusion.

गुर पितु मातु महेस भवानी। प्रनवउँ दीनबंधु दिन दानी।।

Gur pitu maatu mahes bhavaanee. pranavaun deenabandhu din daanee

I bow to my guru, father, mother, Lord Shiva and Parvati, and to the friend of the humble, the giver of daylight.

सेवक स्वामि सखा सिय पी के। हित निरुपधि सब बिधि तुलसीके।।

Sevak svaami sakhaa siy pee ke. hit nirupadhi sab bidhi tulaseeke

As servant, master, and friend of Sita and her beloved, all are unconditionally beneficial to Tulsidas in every way.

कलि बिलोकि जग हित हर गिरिजा। साबर मंत्र जाल जिन्ह सिरिजा।।

Kali biloki jag hit har girijaa. saabar mantr jaal jinh sirijaa

Seeing the Kali age, for the world's welfare, Shiva and Parvati created this web of simple mantras.

अनमिल आखर अरथ न जापू। प्रगट प्रभाउ महेस प्रतापू।।

Anamil aakhar arath na jaapoo. pragat prabhaau mahes prataapoo

Though the letters are unrefined and the meaning unclear, the manifest power is due to Shiva's grace.

सो उमेस मोहि पर अनुकूला। करिहिं कथा मुद मंगल मूला।।

So umes mohi par anukoolaa. karihin kathaa mud mangal moolaa

May that Lord of Uma be favorable to me and make this story the root of joy and auspiciousness.

सुमिरि सिवा सिव पाइ पसाऊ। बरनउँ रामचरित चित चाऊ।।

Sumiri sivaa siv paai pasaaoo. baranaun raamacharit chit chaaoo

Remembering Siva and receiving Shiva's grace, I narrate Rama's story with heartfelt desire.

भनिति मोरि सिव कृपाँ बिभाती। ससि समाज मिलि मनहुँ सुराती।।

Bhaniti mori siv kripaan bibhaatee. sasi samaaj mili manahun suraatee

My composition, by Shiva's grace, shines forth like the moon joining with the assembly of stars.

जे एहि कथहि सनेह समेता। कहिहहिं सुनिहहिं समुझि सचेता।।

Je ehi kathahi saneh sametaa. kahihahin sunihahin samujhi sachetaa

Those who will speak, hear, and understand this story with love and attention.

होइहहिं राम चरन अनुरागी। कलि मल रहित सुमंगल भागी।।

Hoihahin raam charan anuraagee. kali mal rahit sumangal bhaagee

They will become devoted to Rama's feet, free from the impurities of Kali age, and blessed with supreme good fortune.

Commentary & Notes ↓

Poddarji's Commentary

जयध्वनि, वन्दीध्वनि, वेदध्वनि, मङ्गलगान और नगाड़ोंकी ध्वनि सुनकर चतुर देवगण हर्षित हो रहे हैं और कल्पवृक्षके फूलोंको बरसा रहे हैं॥ ३२४॥ असुरों को मारकर देवताओं को स्थापित करते हैं, अपने [श्वासरूप] वेदों की मर्यादा की रक्षा करते हैं और जगत में अपना निर्मल यश फैलाते हैं। श्रीरामचन्द्रजी के अवतार का यह कारण है॥ १२१॥ ये कहने, सुनने और स्मरण करनेमें बहुत ही अच्छे (सुन्दर और मधुर) हैं। तुलसीदासको तो श्रीराम-लक्ष्मणके समान प्यारे हैं। इनका ("र" और "म" का) अलग-अलग वर्णन करनेमें प्रीति बिलगाती है (अर्थात्‌ बीजमन्त्रकी दृष्टिसे इनके उच्चारण, अर्थ और फलमें भिन्नता दीख पड़ती है) परन्तु हैं ये जीव और ब्रह्मके समान स्वभावसे ही साथ रहनेवाले (सदा एकरूप और एकरस)॥ २॥ जिस प्रकार नगरके लोग सुखी हों, कृपानिधान श्रीरामचन्द्रजी वही संयोग करते हैं। वे मन लगाकर वेद-पुराण सुनते हैं और फिर स्वयं छोटे भाइयोंको समझाकर कहते हैं॥ ३॥ जिसका वेद और पण्डित इस प्रकार वर्णन करते हैं और मुनि जिसका ध्यान धरते हैं, वही दशरथनन्दन भक्तोंके हितकारी, अयोध्याके स्वामी भगवान श्रीरामचन्द्रजी हैं॥ ११८॥ मैं ब्रह्माजीके चरण-रजकी वन्दना करता हूँ, जिन्होंने भवसागर बनाया है, जहाँसे एक ओर संतरूपी अमृत, चन्द्रमा और कामधेनु निकले और दूसरी ओर दुष्ट मनुष्यरूपी विष और मदिरा उत्पन्न हुए। गुरु विश्वामित्रजी, श्रीरघुनाथजी और सब मुनि मनमें प्रसन्न हुए और बार-बार पुलकित होने लगे। श्रीरामचन्द्रजीने इशारेसे लक्ष्मणको मना किया और प्रेमसहित अपने पास बैठा लिया॥ २॥ अनेक प्रकारसे आरती सजकर और समस्त मङ्गलद्रव्योंको यथायोग्य सजाकर गजगामिनी (हाथीकी-सी चालवाली) उत्तम स्त्रियाँ आनन्दपूर्वक परछनके लिये चलीं॥ ३१७॥ श्रीरामजीने तो स्वयं शिवजीके धनुषको तोड़ा, परन्तु नामका प्रताप ही संसारके सब भयोंका नाश करनेवाला है। प्रभु श्रीरामजीने [भयानक] दण्डक वनको सुहावना बनाया, परन्तु नामने असंख्य मनुष्योंके मनोंको पवित्र कर दिया॥ ३॥ जो कुछ रामने रच रखा है, वही होगा। तर्क करके कौन शाखा (विस्तार) बढ़ावे। ब्राह्मण और मन्त्रियोंके समाजसहित राजा जनकजी उन्हें पहुँचानेके लिये साथ चले। सीताजीके चलते समय जनकपुरवासी व्याकुल हो गये। मङ्गलकी राशि शुभ शकुन हो रहे हैं॥ प्रभु श्रीरामचन्द्रजी ऐसे दीनबन्धु और बिना ही कारण दया करनेवाले हैं। तुलसीदासजी कहते हैं--हे शठ [मन]! तू कपट-जंजाल छोड़कर उन्हीं का भजन कर॥ २११॥ सुन्दर मुख और सुन्दर नेत्रोंवाली स्त्रियाँ समूह-की-समूह हृदयमें हर्षित होकर फूल बरसा रही हैं। जहाँ-जहाँ दोनों भाई जाते हैं, वहाँ-वहाँ परम आनन्द छा जाता है॥ २२३॥

Notes

Chaupai 15. Tulsidas pairs the two great rivers of Indian life: the Ganga, who purifies the body, and Saraswati (here standing also for the sacred narrative itself), who purifies the mind. The parallel is precise: bathing and drinking mirror telling and hearing. 'Dinabandhu' (friend of the humble) and 'dinadani' (giver of the day, i.e. giver of light or mercy) are epithets for Shiva, closing the invocation with a reminder that grace flows downward to those who acknowledge their smallness.

सपनेहुँ साचेहुँ मोहि पर जौं हर गौरि पसाउ।

तौ फुर होउ जो कहेउँ सब भाषा भनिति प्रभाउ।।15।।

Sapanehun saachehun mohi par jaun har gauri pasaau

Tau phur hou jo kaheun sab bhaashaa bhaniti prabhaau (15)

दोहा 15

If Shiva and Gauri bless me true; | even in my dreams;

then all I've said of this verse's power | will shine with truth's own beams.

If the grace of Shiva and Gauri truly rests upon me, whether in dream or in waking, then may all I have said about the power of this vernacular composition come to pass.

Commentary & Notes ↓

Poddarji's Commentary

यदि मुझपर श्रीशिवजी और पार्वतीजीकी स्वप्नमें भी सचमुच प्रसन्नता हो, तो मैंने इस भाषा-कविताका जो प्रभाव कहा है, वह सब सच हो।

Notes

Doha 15. A solemn prayer-seal: Tulsidas stakes the truth of his entire claim on the blessing of Shiva and Parvati. 'Sapnehu sachehu' (in dream or in truth) is not a hedge but a widening; he asks that grace hold in every state of consciousness. The word 'bhasha' (vernacular) is significant: he is defending the choice to compose in Awadhi rather than Sanskrit, trusting that divine favour, not linguistic prestige, gives a poem its authority.

चौपाई 16
बंदउँ अवध पुरी अति पावनि। सरजू सरि कलि कलुष नसावनि।।

Bandaun avadh puree ati paavani. sarajoo sari kali kalush nasaavani

I bow to the most sacred city of Ayodhya, and to the river Sarayu that destroys the sins of the age of Kali.

प्रनवउँ पुर नर नारि बहोरी। ममता जिन्ह पर प्रभुहि न थोरी।।

Pranavaun pur nar naari bahoree. mamataa jinh par prabhuhi na thoree

I bow again to the men and women of that city, upon whom the Lord's affection is not small.

सिय निंदक अघ ओघ नसाए। लोक बिसोक बनाइ बसाए।।

Siy nindak agha ogha nasaae. lok bisok banaai basaae

Those who destroyed the flood of sins of Sita's slanderers and established them in a world free from sorrow.

बंदउँ कौसल्या दिसि प्राची। कीरति जासु सकल जग माची।।

Bandaun kausalyaa disi praachee. keerati jaasu sakal jag maachee

I bow to Kaushalya, the eastern direction, whose fame has spread throughout the entire world.

प्रगटेउ जहँ रघुपति ससि चारू। बिस्व सुखद खल कमल तुसारू।।

Pragateu jahan raghupati sasi chaaroo. bisv sukhad khal kamal tusaaroo

Where the beautiful moon-like Lord of the Raghus manifested, bringing joy to the world and frost to the lotus of evil.

दसरथ राउ सहित सब रानी। सुकृत सुमंगल मूरति मानी।।

Dasarath raau sahit sab raanee. sukrit sumangal moorati maanee

King Dasharatha along with all his queens, I consider them embodiments of virtue and auspiciousness.

करउँ प्रनाम करम मन बानी। करहु कृपा सुत सेवक जानी।।

Karaun pranaam karam man baanee. karahu kripaa sut sevak jaanee

I bow with deed, mind and speech; please show mercy knowing me as your son and servant.

जिन्हहि बिरचि बड़ भयउ बिधाता। महिमा अवधि राम पितु माता।।

Jinhahi birachi bad bhayau bidhaataa. mahimaa avadhi raam pitu maataa

By creating whom Brahma became great, such is the immeasurable glory of Rama's father and mother.

Commentary & Notes ↓

Poddarji's Commentary

मैं अत्यन्त पवित्र अयोध्यापुरीको वन्दना करता हूँ। कलियुगके पापोंको नाश करनेवाली सरयूजीको प्रणाम करता हूँ। फिर मैं उस नगरीके स्त्री-पुरुषोंको प्रणाम करता हूँ, जिनपर प्रभुको थोड़ी भी ममता नहीं है;ऐसा नहीं है (अर्थात् जिनपर प्रभुकी अपार ममता है)। शिवजी वर देनेवाले, शरणागतोंके दुःखोंका नाश करनेवाले, कृपाके समुद्र और सेवकोंके मनको प्रसन्न करनेवाले हैं। शिवजीकी आराधना किये बिना करोड़ों योग और जप करनेपर भी वाञ्छित फल नहीं मिलता॥ जनकसमेत रानियाँ उन्हें अपने बच्चेके समान देख रही हैं, उनकी प्रीतिका वर्णन नहीं किया जा सकता। योगियोंको वे शान्त, शुद्ध, सम और स्वतःप्रकाश परम तत्त्वके रूपमें दीखे॥ २॥ प्रेममें मग्न कौसल्याजी रात और दिनका बीतना नहीं जानती थीं। पुत्रके स्नेहवश माता उनके बालचरित्रोंका गान किया करतीं॥ २००॥ ज्यों ही सब भाई कुमारावस्थाके हुए, त्यों ही गुरु, पिता और माताने उनका यज्ञोपवीत-संस्कार कर दिया। श्रीरघुनाथजी [भाइयोंसहित] गुरुके घरमें विद्या पढ़ने गये और थोड़े ही समयमें उनको सब विद्याएँ आ गयीं॥ २॥ उनकी कौसल्या आदि प्रिय रानियाँ सभी पवित्र आचरणवाली थीं। वे भक्त, विनीत और पतिके अनुकूल [चलनेवाली] थीं और श्रीहरिके चरणकमलोंमें उनका दृढ़ प्रेम था॥ १८८॥ मैं पवनकुमार श्रीहनुमानजीको प्रणाम करता हूँ, जो दुष्टरूपी वनको भस्म करनेके लिये अग्निरूप हैं, जो ज्ञानकी घनमूर्ति हैं और जिनके हृदयरूपी भवनमें धनुष-बाण धारण किये श्रीरामचन्द्रजी निवास करते हैं। दूसरे राजा, जो अविवेकसे अंधे हो रहे थे और अभिमानी थे, यह बात सुनकर बहुत हँसे। [उन्होंने कहा;] धनुष तोड़नेपर भी विवाह होना कठिन है (अर्थात्‌ सहजहीमें हम जानकीको हाथसे जाने नहीं देंगे), फिर बिना तोड़े तो राजकुमारीको ब्याह ही कौन सकता है॥ ३॥ अति अप्रिय वाणीको सुनकर राजाका हृदय काँप उठा और उनके मुखकी कान्ति फीकी पड़ गयी। [उन्होंने कहा;] हे ब्राह्मण! मैंने चौथेपनमें चार पुत्र पाये हैं, आपने विचारकर बात नहीं कही॥ २॥ उस (हरिमाया) ने रास्ते में सौ योजन (चार सौ कोस) का एक नगर रचा। उस नगर की भाँति-भाँति की रचनाएँ लक्ष्मीनिवास भगवान विष्णु के नगर (वैकुण्ठ) से भी अधिक सुन्दर थीं॥ १२९॥ हँसी चन्द्रमाकी किरणोंका तिरस्कार करनेवाली है। भौंहें टेढ़ी और नाक मनोहर है। [ऊँचे] चौड़े ललाटपर तिलक झलक रहे हैं (दीप्तिमान्‌ हो रहे हैं)। [काले घुँघराले] बालोंको देखकर भौंरोंकी पंक्तियाँ भी लजा जाती हैं॥ ३॥ इस समाचारको सुनते ही हिमाचल उसी समय नारदजी और सप्तर्षियोंको साथ लेकर अपने घर गये॥ ९७॥ सखियोंसहित रानी अत्यन्त हर्षित हुई। मानो सूखते हुए धानपर पानी पड़ गया हो। जनकजीने सोच त्यागकर सुख प्राप्त किया। मानो तैरते-तैरते थके हुए पुरुषने थाह पा ली हो॥ २॥ नारद मुनिकी वाणी सुनकर और उसको हृदयमें सत्य जानकर पति-पत्नी (हिमवान्‌ और मैना) को दुःख हुआ और पार्वतीजी प्रसन्न हुईं। नारदजीने भी इस रहस्यको नहीं जाना, क्योंकि सबकी बाहरी दशा एक-सी होनेपर भी भीतरी समझ भिन्न-भिन्न थी॥ १॥ उसी समय सूर्यवंशके पताकास्वरूप श्रीरामचन्द्रजी भाइयोंसहित प्रसन्न होकर विदा करानेके लिये जनकजीके महलको चले॥ ३३४॥ जो पुरुष प्रसिद्ध हैं, प्रकाशके भण्डार हैं, सब रूपोंमें प्रकट हैं, जीव, माया और जगत सबके स्वामी हैं, वे ही रघुकुलमणि श्रीरामचन्द्रजी मेरे स्वामी हैं;ऐसा कहकर शिवजीने उनको मस्तक नवाया॥ ११६॥

Notes

Chaupai 16. The poet's gaze now descends from the celestial to the earthly: from Saraswati and the Ganga to Ayodhya, her river, and her people. 'Mamata jinha par prabhuhi na thori' is tender: the Lord's love for the ordinary citizens of Ayodhya is not slight. The closing half-line about Sita's slanderer likely means that even one burdened with sin is cleansed by contact with this sacred narrative or city. The verse appears to be a fragment bridging into the next doha.

बंदउँ अवध भुआल सत्य प्रेम जेहि राम पद।

बिछुरत दीनदयाल प्रिय तनु तृन इव परिहरेउ।।16।।

Bandaun avadh bhuaal saty prem jehi raam pad

Bichhurat deenadayaal priy tanu trin iva parihareu (16)

दोहा 16

I bow to Avadh's king, whose love | for Rama's feet was true;

when parted from the Lord so dear, | his body he left like dew.

I bow to the King of Ayodhya, Dasharatha, whose love for the feet of Ram was true and absolute. When separated from his dear, compassionate Lord, he cast off his body as lightly as a blade of grass.

Commentary & Notes ↓

Poddarji's Commentary

मैं अवधके राजा श्रीदशरथजीकी वन्दना करता हूँ, जिनका श्रीरामजीके चरणोंमें सच्चा प्रेम था, जिन्होंने दीनदयालु प्रभुके बिछुड़ते ही अपने प्यारे शरीरको मामूली तिनकेकी तरह त्याग दिया।

Notes

Doha 16. Dasharatha's death is rendered here not as tragedy but as the supreme proof of love: the body, measured against separation from Ram, weighs no more than a straw. 'Trin iva parihareu' (abandoned like grass) is one of the Manas's most celebrated images of vairagya born from prema. The King did not merely die of grief; he released the body because, without Ram, it had no further purpose.

चौपाई 17
प्रनवउँ परिजन सहित बिदेहू। जाहि राम पद गूढ़ सनेहू।।

Pranavaun parijan sahit bidehoo. jaahi raam pad goodh sanehoo

I bow to Videha (King Janaka) along with his family, who harbors deep and secret love for Rama's feet.

जोग भोग महँ राखेउ गोई। राम बिलोकत प्रगटेउ सोई।।

Jog bhog mahan raakheu goee. raam bilokat pragateu soee

He kept that love hidden during times of worldly enjoyment and spiritual practice, but it manifested openly when he beheld Rama.

प्रनवउँ प्रथम भरत के चरना। जासु नेम ब्रत जाइ न बरना।।

Pranavaun pratham bharat ke charanaa. jaasu nem brat jaai na baranaa

I first bow to the feet of Bharata, whose vows and observances cannot be described.

राम चरन पंकज मन जासू। लुबुध मधुप इव तजइ न पासू।।

Raam charan pankaj man jaasoo. lubudh madhup iva tajai na paasoo

Whose mind clings to Rama's lotus feet like a greedy bee that never leaves the flower's side.

बंदउँ लछिमन पद जलजाता। सीतल सुभग भगत सुख दाता।।

Bandaun lachhiman pad jalajaataa. seetal subhag bhagat sukh daataa

I bow to the lotus feet of Lakshmana, which are cool, beautiful, and grant happiness to devotees.

रघुपति कीरति बिमल पताका। दंड समान भयउ जस जाका।।

Raghupati keerati bimal pataakaa. dand samaan bhayau jas jaakaa

He became like a staff bearing the pure banner of Raghupati's glory.

सेष सहस्त्रसीस जग कारन। जो अवतरेउ भूमि भय टारन।।

Sesh sahastrasees jag kaaran. jo avatareu bhoomi bhay taaran

The thousand-headed Shesha, who is the cause of the world and who incarnated to remove the earth's burden.

सदा सो सानुकूल रह मो पर। कृपासिंधु सौमित्रि गुनाकर।।

Sadaa so saanukool rah mo par. kripaasindhu saumitri gunaakar

May that ocean of compassion, Saumitri (Lakshmana), the treasure of virtues, always remain favorable to me.

रिपुसूदन पद कमल नमामी। सूर सुसील भरत अनुगामी।।

Ripusoodan pad kamal namaamee. soor suseel bharat anugaamee

I bow to the lotus feet of Shatrughna, the brave and noble follower of Bharata.

महावीर बिनवउँ हनुमाना। राम जासु जस आप बखाना।।

Mahaaveer binavaun hanumaanaa. raam jaasu jas aapa bakhaanaa

I humbly bow to the great hero Hanuman, whose glory Rama Himself has proclaimed.

Commentary & Notes ↓

Poddarji's Commentary

मैं परिवारसहित राजा जनकजीको प्रणाम करता हूँ, जिनका श्रीरामजीके चरणोंमें गूढ़ प्रेम था, जिसको उन्होंने योग और भोगमें छिपा रखा था, परन्तु श्रीरामचन्द्रजीको देखते ही वह प्रकट हो गया। मैं श्रीशत्रुघ्नजीके चरणकमलोंको प्रणाम करता हूँ, जो बड़े वीर, सुशील और भरतजीके पीछे चलनेवाले हैं। मैं महावीर श्रीहनुमानजीकी विनती करता हूँ, जिनके यशका श्रीरामचन्द्रजीने स्वयं वर्णन किया है। जो हजार सिरवाले और जगत्के कारण शेषजी हैं, जिन्होंने पृथ्वीका भय दूर करनेके लिये अवतार लिया, वे गुणोंकी खानि कृपासिन्धु सुमित्रानन्दन श्रीलक्ष्मणजी मुझपर सदा प्रसन्न रहें। सूअर बहुत दूर ऐसे घने जंगलमें चला गया, जहाँ हाथी-घोड़ेका निबाह (गम) नहीं था। राजा बिलकुल अकेला था और वनमें क्लेश भी बहुत था, फिर भी राजाने उस पशुका पीछा नहीं छोड़ा॥ ३॥ दोनों भाई मुनिके चरणकमलोंकी वन्दना करके चले--जो लोगोंके नेत्रोंको सुख देनेवाले हैं। बहुत सुन्दर बालकोंके समूहको देखकर उनके नेत्र और मन लुभा गये॥ फिर अपनी स्त्रीसहित मुनिके चरणोंमें सिर नवाया और उनके चरणोदकको सारे घरमें छिड़काया। हिमाचलने अपने सौभाग्यका बहुत बखान किया और पुत्रीको बुलाकर मुनिके चरणोंपर डाल दिया॥ ४॥

Notes

Videha (literally 'beyond the body') is King Janaka's dynastic title, fitting his reputation as a royal sage who lived in the world yet remained inwardly detached. Tulsidas highlights that Janaka's love for Ram, though outwardly invisible beneath his kingly composure, could not stay hidden once Ram appeared before him.

प्रनवउँ पवनकुमार खल बन पावक ग्यानधन।

जासु हृदय आगार बसहिं राम सर चाप धर।।17।।

Pranavaun pavanakumaar khal ban paavak gyaanadhan

Jaasu hriday aagaar basahin raam sar chaap dhar (17)

दोहा 17

'Go quickly!' said the guru; the king bowed low: | 'Very well, my Lord!'

He housed the messengers and then | went home with joy outpoured.

I bow to Hanuman, son of the Wind God, who blazes like a forest fire against the wicked and stands as a living treasury of wisdom. Within the temple of his heart dwells Sri Ram, bearing His divine bow and arrow.

Commentary & Notes ↓

Poddarji's Commentary

और जल्दी चलो। गुरुजीके ऐसे वचन सुनकर, 'हे नाथ! बहुत अच्छा' कहकर और सिर नवाकर तथा दूतोंको डेरा दिलवाकर राजा महलमें गये॥ २९३॥

Notes

Pavana-kumara (son of the Wind) is Hanuman's patronymic. The image of a forest fire (khala bana pavaka) conveys how Hanuman's very presence destroys evil, while 'treasury of knowledge' (gyana-dhana) honours his mastery of the nine schools of devotion and all sacred learning. The closing image of Ram with bow and arrow seated in Hanuman's heart is one of the most beloved motifs in the Ramcharitmanas.

चौपाई 18
कपिपति रीछ निसाचर राजा। अंगदादि जे कीस समाजा।।

Kapipati reechh nisaachar raajaa. angadaadi je kees samaajaa

I bow to the king of monkeys, the bear king, the demon king, and Angada and all the monkey hosts.

बंदउँ सब के चरन सुहाए। अधम सरीर राम जिन्ह पाए।।

Bandaun sab ke charan suhaae. adham sareer raam jinh paae

I bow to the beautiful feet of all those who attained Rama's divine form in their lowly bodies.

रघुपति चरन उपासक जेते। खग मृग सुर नर असुर समेते।।

Raghupati charan upaasak jete. khag mrig sur nar asur samete

All the devotees of Lord Raghupati's feet - birds, animals, gods, men and demons alike.

बंदउँ पद सरोज सब केरे। जे बिनु काम राम के चेरे।।

Bandaun pad saroj sab kere. je binu kaam raam ke chere

I bow to the lotus feet of all those who are selfless servants of Rama.

सुक सनकादि भगत मुनि नारद। जे मुनिबर बिग्यान बिसारद।।

Suk sanakaadi bhagat muni naarad. je munibar bigyaan bisaarad

Shuka, Sanaka and other devotees, the sage Narada, and those great sages skilled in divine knowledge.

प्रनवउँ सबहिं धरनि धरि सीसा। करहु कृपा जन जानि मुनीसा।।

Pranavaun sabahin dharani dhari seesaa. karahu kripaa jan jaani muneesaa

I bow to all of them, placing my head on the ground. O lords of sages, knowing me as your servant, show mercy.

जनकसुता जग जननि जानकी। अतिसय प्रिय करुना निधान की।।

Janakasutaa jag janani jaanakee. atisay priy karunaa nidhaan kee

Janaka's daughter Janaki, the mother of the world, is exceedingly dear to the treasure-house of compassion.

ताके जुग पद कमल मनावउँ। जासु कृपाँ निरमल मति पावउँ।।

Taake jug pad kamal manaavaun. jaasu kripaan niramal mati paavaun

I meditate upon her pair of lotus feet, by whose grace I may obtain a pure intellect.

पुनि मन बचन कर्म रघुनायक। चरन कमल बंदउँ सब लायक।।

Puni man bachan karm raghunaayak. charan kamal bandaun sab laayak

Again with mind, speech and action, I bow to the lotus feet of Raghunayaka, worthy of all worship.

राजिवनयन धरें धनु सायक। भगत बिपति भंजन सुख दायक।।

Raajivanayan dharen dhanu saayak. bhagat bipati bhanjan sukh daayak

The lotus-eyed one who bears bow and arrow, destroyer of devotees' troubles and giver of happiness.

Commentary & Notes ↓

Poddarji's Commentary

मैं पृथ्वीपर सिर टेककर आपके चरणोंकी वन्दना करती हूँ और हाथ जोड़कर विनती करती हूँ। आप वेदोंके सिद्धान्तको निचोड़कर श्रीरघुनाथजीका निर्मल यश वर्णन कीजिये॥ १०९॥ एक बार वह राजा एक अच्छे घोड़ेपर सवार होकर, शिकारका सब सामान सजाकर विन्ध्याचलके घने जंगलमें गया और वहाँ उसने बहुत-से उत्तम-उत्तम हिरन मारे॥ २॥ श्रीरामचन्द्रजीकी कथा कामधेनुके समान सेवा करनेसे सब सुखोंको देनेवाली है, और सत्पुरुषोंके समाज ही सब देवताओंके लोक हैं, ऐसा जानकर इसे कौन न सुनेगा!॥ ११३॥ दिक्पालोंके सारे सुन्दर लोकोंको रावणने सूना पाया। वह बार-बार भारी सिंहगर्जना करके देवताओंको ललकार-ललकारकर गालियाँ देता था॥ देव, मनुष्य और मुनियों में ऐसा कोई नहीं है जिसे भगवान की महान बलवती माया मोहित न करे। मन में ऐसा विचारकर उस महामाया के स्वामी (प्रेरक) श्रीभगवान का भजन करना चाहिये॥ १४०॥ ऐसा कहकर सब ब्राह्मण चले गये। नगरवासियोंने [जब] यह समाचार पाया, तो वे चिन्ता करने और विधाताको दोष देने लगे, जिसने हंस बनाते-बनाते कौआ कर दिया (ऐसे पुण्यात्मा राजाको देवता बनाना चाहिये था, सो राक्षस बना दिया)॥ १॥ तब राजा दूतोंको पास बैठाकर मनको हरनेवाले मीठे वचन बोले;भैया! कहो, दोनों बच्चे कुशलसे तो हैं? तुमने अपनी आँखोंसे उन्हें अच्छी तरह देखा है न?॥ २॥ सब आभूषण अपनी-अपनी जगहपर शोभित हैं, जिन्हें सखियोंने अंग-अंगमें भलीभाँति सजाकर पहनाया है। जब सीताजीने रंगभूमिमें पैर रखा, तब उनका [दिव्य] रूप देखकर स्त्री-पुरुष;सभी मोहित हो गये॥ २॥ सबके घर मङ्गलमय हैं और उनपर चित्र अंकित हैं, जिन्हें मानो कामदेवरूपी चित्रकारने बनाया है। नगरके सभी स्त्री-पुरुष सुन्दर, पवित्र, साधु-स्वभाववाले, धर्मात्मा, ज्ञानी और गुणवान्‌ हैं॥ उन्होंने पितर और देवताओंकी वन्दना करके अपने पुण्योंका स्मरण किया;यदि हमारे पुण्योंका कुछ भी प्रभाव हो, तो हे गणेश गोसाई! रामचन्द्रजी शिवजीके धनुषको कमलकी डंडीकी भाँति तोड़ डालें॥ ४॥ हे मुनि! सुनिये, मोह तो उसके मन में होता है जिसके हृदय में ज्ञान-वैराग्य नहीं है। आप ब्रह्मचर्य व्रत में तत्पर और बड़े धीरबुद्धि हैं। भला, कहीं आपको भी कामदेव सता सकता है॥ मैं उन वाल्मीकि मुनिके चरणकमलोंकी वन्दना करता हूँ, जिन्होंने रामायणकी रचना की है, जो खर (राक्षस) सहित होनेपर भी खर (कठोर) से विपरीत बड़ी कोमल और सुन्दर है तथा जो दूषण (राक्षस) सहित होनेपर भी दूषण अर्थात् दोषसे रहित है। परंतु शिवजीके धनुषको कोई भी नहीं हटा सका। सारे बलवान वीर हार गये। तीनों लोकोंमें जो वीरताके अभिमानी थे, शिवजीके धनुषने सबकी शक्ति तोड़ दी॥ ३॥

Notes

Tulsidas salutes each of Ram's allies by title rather than name in the original: Kapipati (lord of monkeys, Sugriva), Richha (bear, Jambavan), Nishachar Raja (king of night-wanderers, Vibhishana). The verse carries a powerful theological point: bodily form is no obstacle to divine love. The phrase 'adham sarira' (humble body) is not a judgement but a celebration of how devotion transcends every outward limitation.

गिरा अरथ जल बीचि सम कहिअत भिन्न न भिन्न।

बदउँ सीता राम पद जिन्हहि परम प्रिय खिन्न।।18।।

Giraa arath jal beechi sam kahiat bhinn na bhinn

Badaun seetaa raam pad jinhahi param priy khinn (18)

दोहा 18

Like speech and meaning, wave and sea; | called two yet ever one,

I bow to Sita-Rama's feet, | who love the broken, shun by none.

Speech and its meaning, water and its wave: they are said to be neither truly separate nor truly one. I bow to the feet of Sita and Ram, to whom even the sorrowful and the distressed are supremely dear.

Commentary & Notes ↓

Poddarji's Commentary

जो वाणी और उसके अर्थ तथा जल और जलकी लहरके समान कहनेमें अलग-अलग है, परन्तु वास्तवमें अभिन्न (एक) हैं, उन श्रीसीतारामजीके चरणोंको मैं वन्दना करता हूँ, जिन्हें दीन-दुखी बहुत ही प्रिय हैं॥ १८॥

Notes

The opening analogy (speech/meaning, water/wave) points to the inseparable yet distinguishable nature of Sita and Ram, echoing the Vedantic teaching of shakti and shaktiman. The closing phrase 'parama priya khinna' affirms that those weighed down by suffering hold a special place in the Lord's compassion. Tulsidas assures the listener that no one is too broken to be beloved of God.

चौपाई 19
बंदउँ नाम राम रघुवर को। हेतु कृसानु भानु हिमकर को।।

Bandaun naam raam raghuvar ko. hetu krisaanu bhaanu himakar ko

I bow to the name of Rama, the chief of Raghu's line, which is the cause of fire, sun, and moon.

बिधि हरि हरमय बेद प्रान सो। अगुन अनूपम गुन निधान सो।।

Bidhi hari haramay bed praan so. agun anoopam gun nidhaan so

That name is the life of Brahma, Vishnu, Shiva, and the Vedas - attributeless, incomparable, and treasure of virtues.

महामंत्र जोइ जपत महेसू। कासीं मुकुति हेतु उपदेसू।।

Mahaamantr joi japat mahesoo. kaaseen mukuti hetu upadesoo

It is the great mantra which Shiva chants, and which he teaches in Kashi for liberation.

महिमा जासु जान गनराउ। प्रथम पूजिअत नाम प्रभाऊ।।

Mahimaa jaasu jaan ganaraau. pratham poojiat naam prabhaaoo

Ganesha knows its glory well, by whose power the name is worshipped first.

जान आदिकबि नाम प्रतापू। भयउ सुद्ध करि उलटा जापू।।

Jaan aadikabi naam prataapoo. bhayau suddh kari ulataa jaapoo

The first poet Valmiki knew the power of the name and became pure by chanting it in reverse.

सहस नाम सम सुनि सिव बानी। जपि जेई पिय संग भवानी।।

Sahas naam sam suni siv baanee. japi jeee piy sang bhavaanee

Hearing Shiva's words that it equals a thousand names, Parvati chanted it with her beloved.

हरषे हेतु हेरि हर ही को। किय भूषन तिय भूषन ती को।।

Harashe hetu heri har hee ko. kiy bhooshan tiy bhooshan tee ko

Seeing Shiva's joy, she made that name her ornament and became the ornament of women.

नाम प्रभाउ जान सिव नीको। कालकूट फलु दीन्ह अमी को।।

Naam prabhaau jaan siv neeko. kaalakoot phalu deenh amee ko

Shiva knew well the power of the name, which gave the fruit of nectar to the deadly poison.

Commentary & Notes ↓

Poddarji's Commentary

जो महामन्त्र है, जिसे महेश्वर श्रीशिवजी जपते हैं और उनके द्वारा जिसका उपदेश काशीमें मुक्तिका कारण है, तथा जिसको महिमाको गणेशजी जानते हैं, जो इस "राम" नामके प्रभावसे ही सबसे पहले पूजे जाते हैं॥ २॥ नामके प्रति पार्वतीजीके हृदयकी ऐसी प्रीति देखकर श्रीशिवजी हर्षित हो गये और उन्होंने स्त्रियोंमें भूषणरूप (पतिव्रताओंमें शिरोमणि) पार्वतीजीको अपना भूषण बना लिया (अर्थात्‌ उन्हें अपने अंगमें धारण करके अर्द्धाङ्गिनी बना लिया)। नामके प्रभावको श्रीशिवजी भलीभाँति जानते हैं, जिस (प्रभाव) के कारण कालकूट जहरने उनको अमृतका फल दिया॥ ४॥ मैं श्रीरघुनाथजीके नाम "राम" की वन्दना करता हूँ, जो कृशानु (अग्नि), भानु (सूर्य) और हिमकर (चन्द्रमा) का हेतु अर्थात्‌ "र" "आ" और "म" रूपसे बीज है। वह राम नाम ब्रह्मा, विष्णु और शिवरूप है। वह वेदोंका प्राण है; निर्गुण, उपमारहित और गुणोंका भण्डार है॥ १॥ आदिकवि श्रीवाल्मीकिजी रामनामके प्रतापको जानते हैं, जो उलटा नाम ("मरा", "मरा") जपकर पवित्र हो गये। श्रीशिवजीके इस वचनको सुनकर कि एक राम-नाम सहस्र नामके समान है, पार्वतीजी सदा अपने पति (श्रीशिवजी) के साथ रामनामका जप करती रहती हैं॥ ३॥ हे मुनि! वह पवित्र और प्राचीन कथा सुनो, जो शिवजीने पार्वतीसे कही थी। संसारमें एक केकय देश है। वहाँ सत्यकेतु नामका राजा रहता (राज्य करता) था॥ १॥ मुनियोंकी आज्ञासे शिवजी और पार्वतीजीने गणेशजीका पूजन किया। देवताओंको अनादि समझकर कोई इसपर शङ्का न करे कि गणेशजी तो शिव-पार्वतीकी सन्तान हैं, अभी विवाहसे पूर्व ही वे कहाँसे आ गये॥ १००॥ जनकजीके वचन सुनकर सब स्त्री-पुरुष;जानकीजीकी ओर देखकर दुःखी हुए, परन्तु अभिमानी राजाओंकी भौंहें टेढ़ी हो गयीं, ओठ फड़कने लगे और नेत्र क्रोधसे लाल हो गये॥ ४॥

Notes

Tulsidas here venerates not the person of Ram but His Name (Nama), elevating it as the source behind the three luminaries (fire, sun, moon, representing the three realms) and the three aspects of the Divine (Brahma the creator, Vishnu the sustainer, Shiva the transformer). The verse resolves the nirguna-saguna debate central to medieval Indian theology: the Name holds both the formless Absolute and the personal Lord within itself, without contradiction. 'Veda prana' (life-breath of the Vedas) places the Name at the very heart of revealed scripture.

बरषा रितु रघुपति भगति तुलसी सालि सुदास।।

राम नाम बर बरन जुग सावन भादव मास।।19।।

Barashaa ritu raghupati bhagati tulasee saali sudaas

Raam naam bar baran jug saavan bhaadav maas (19)

दोहा 19

Rama-bhakti is the monsoon time, | good servants are the grain;

the two sweet syllables of "Rama" | are Savan-Bhadon's rain.

Devotion to Raghupati is the monsoon season, and Tulsidas declares that faithful servants are the rice crop it nourishes. The two radiant syllables of Ram's name are Shravan and Bhadrav, those blessed months whose rains bring the harvest to fullness.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरघुनाथजीकी भक्ति वर्षा-ऋतु है, तुलसीदासजी कहते हैं कि उत्तम सेवकगण धान हैं और "राम" नामके दो सुन्दर अक्षर सावन-भादोंके महीने हैं॥ १९॥

Notes

Doha 19. Tulsidas maps the entire cycle of devotion onto the Indian monsoon: bhakti is the season, the devotees are the paddy fields, and the sacred syllables 'Ra' and 'Ma' are the two monsoon months (Shravan and Bhadrapad) that pour down grace. Without these rains, no harvest; without the Name, no fruit of devotion.

चौपाई 20
आखर मधुर मनोहर दोऊ। बरन बिलोचन जन जिय जोऊ।।

Aakhar madhur manohar dooo. baran bilochan jan jiy jooo

Both names are sweet and enchanting to speak, bringing joy to the eyes and hearts of devotees.

सुमिरत सुलभ सुखद सब काहू। लोक लाहु परलोक निबाहू।।

Sumirat sulabh sukhad sab kaahoo. lok laahu paralok nibaahoo

Remembering them brings easy happiness to all, providing benefit in this world and salvation in the next.

कहत सुनत सुमिरत सुठि नीके। राम लखन सम प्रिय तुलसी के।।

Kahat sunat sumirat suthi neeke. raam lakhan sam priy tulasee ke

Speaking, hearing, and remembering them is supremely beneficial - Rama and Lakshmana are equally dear to Tulsidas.

बरनत बरन प्रीति बिलगाती। ब्रह्म जीव सम सहज सँघाती।।

Baranat baran preeti bilagaatee. brahm jeev sam sahaj sanghaatee

Describing their qualities, love overflows naturally, like the eternal union of Brahman and the soul.

नर नारायन सरिस सुभ्राता। जग पालक बिसेषि जन त्राता।।

Nar naaraayan saris subhraataa. jag paalak biseshi jan traataa

They are noble brothers like Nara and Narayana, protectors of the world and especially saviors of devotees.

भगति सुतिय कल करन बिभूषन। जग हित हेतु बिमल बिधु पूषन ।

Bhagati sutiy kal karan bibhooshan. jag hit hetu bimal bidhu pooshan

They are ornaments that beautify devotion, pure moons that nourish the world for its welfare.

स्वाद तोष सम सुगति सुधा के। कमठ सेष सम धर बसुधा के।।

Svaad tosh sam sugati sudhaa ke. kamath sesh sam dhar basudhaa ke

They are like nectar providing taste and satisfaction for good fortune, like Kurma and Shesha supporting the earth.

जन मन मंजु कंज मधुकर से। जीह जसोमति हरि हलधर से।।

Jan man manju kanj madhukar se. jeeh jasomati hari haladhar se

They are like bees to the lotus of devotees' hearts, like Yasoda's sons Hari and Balarama to the tongue.

Commentary & Notes ↓

Poddarji's Commentary

दोनों अक्षर मधुर और मनोहर हैं, जो वर्णमालारूपी शरीरके नेत्र हैं, भक्तोंके जीवन हैं तथा स्मरण करनेमें सबके लिये सुलभ और सुख देनेवाले हैं, और जो इस लोकमें लाभ और परलोकमें निर्वाह करते हैं (अर्थात्‌ भगवान्‌के दिव्य धाममें दिव्य देहसे सदा भगवत्सेवामें नियुक्त रखते हैं)॥ १॥ ये दोनों अक्षर नर-नारायणके समान सुन्दर भाई हैं, ये जगत्‌का पालन और विशेषरूपसे भक्तोंकी रक्षा करनेवाले हैं। ये भक्तिरूपिणी सुन्दर स्त्रीके कानोंके सुन्दर आभूषण (कर्णफूल) हैं और जगत्के हितके लिये निर्मल चन्द्रमा और सूर्य हैं॥ ३॥ संसार उन्हें भला कहेगा, क्योंकि यह बात सब किसीको अच्छी लगती है। हठ करनेसे अन्तमें भी हृदय जलेगा। सब लोग इसी लालसामें मग्न हो रहे हैं कि जानकीजीके योग्य वर तो यह साँवला ही है॥ ३॥ तपके बलसे ही ब्रह्मा संसारको रचते हैं और तपके बलसे ही विष्णु सारे जगत्‌का पालन करते हैं। तपके बलसे ही शम्भु [रुद्ररूपसे जगत्‌का] संहार करते हैं और तपके बलसे ही शेषजी पृथ्वीका भार धारण करते हैं॥ २॥ तब शिवजीने सब देवताओंको समझाया कि तुमलोग आश्चर्यमें मत भूलो। हृदयमें धीरज धरकर विचार तो करो कि यह [भगवान्की महामहिमामयी निजशक्ति] श्रीसीताजीका और [अखिल ब्रह्माण्डोँके परम ईश्वर साक्षात् भगवान्] श्रीरामचन्द्रजीका विवाह है॥ ३१४॥ प्राणपति (शिवजी) के चरणोंको हृदयमें धारण करके उमाजी वनमें जाकर तप करने लगीं। पार्वतीजीका अत्यन्त सुकुमार शरीर तपके योग्य नहीं था, तो भी पतिके चरणोंका स्मरण करके उन्होंने सब भोगोंको तज दिया॥ १॥ रामचरित्र पूर्णिमाके चन्द्रमाकी किरणोंके समान सभीको सुख देनेवाले हैं, परन्तु सज्जनरूपी कुमुदिनी और चकोरके चित्तके लिये तो विशेष हितकारी और महान् लाभदायक हैं।

Notes

Chaupai following Doha 19. 'Ra' and 'Ma' are praised as the two eyes of all language, suggesting that without them the alphabet itself would be blind. The verse emphasizes the universal accessibility of the Name: no qualification is needed, only remembrance. Loka-lahu (worldly gain) and paraloka-nibahu (protection hereafter) together affirm that the Name serves the devotee in every realm.

एकु छत्रु एकु मुकुटमनि सब बरननि पर जोउ।

तुलसी रघुबर नाम के बरन बिराजत दोउ।।20।।

Eku chhatru eku mukutamani sab baranani par jou

Tulasee raghubar naam ke baran biraajat dou (20)

दोहा 20

One bears an umbrella, one a crown-gem | atop all letters bright;

Tulsi says both letters of Rama's name | reign in royal might.

Tulsidas proclaims: the two syllables of Raghubar's name shine in sovereign glory. One stands as a royal canopy over all the letters of the alphabet, and the other gleams as their crown-jewel.

Commentary & Notes ↓

Poddarji's Commentary

तुलसीदासजी कहते हैं;श्रीरघुनाथजीके नामके दोनों अक्षर बड़ी शोभा देते हैं, जिनमेंसे एक (रकार) छत्ररूप (रेफ "`") से और दूसरा (मकार) मुकुटमणि (अनुस्वार ".") रूपसे सब अक्षरोंके ऊपर हैं॥ २०॥

Notes

Doha 20. In the Devanagari script, 'Ra' appears as a modifier above other consonants (repha), so it literally sits over them like a chhatra (royal umbrella). 'Ma' is honoured as the mukuta-mani, the crest-jewel, signifying pre-eminence among letters. Tulsidas here celebrates not only the spiritual power of the Name but its visible sovereignty within the written word itself.

चौपाई 21
समुझत सरिस नाम अरु नामी। प्रीति परसपर प्रभु अनुगामी।।

Samujhat saris naam aru naamee. preeti parasapar prabhu anugaamee

The Name and the Named One appear to be the same, with mutual love flowing between the Lord and His devotees.

नाम रूप दुइ ईस उपाधी। अकथ अनादि सुसामुझि साधी।।

Naam roop dui eesa upaadhee. akath anaadi susaamujhi saadhee

Name and Form are the two attributes of the Lord, ineffable and beginningless, understood well by the wise.

को बड़ छोट कहत अपराधू। सुनि गुन भेद समुझिहहिं साधू।।

Ko bad chhot kahat aparaadhoo. suni gun bhed samujhihahin saadhoo

Who can say which is greater or lesser without fault? Saints understand this by hearing of their distinct qualities.

देखिअहिं रूप नाम आधीना। रूप ग्यान नहिं नाम बिहीना।।

Dekhiahin roop naam aadheenaa. roop gyaan nahin naam biheenaa

Forms are seen through dependence on the Name, and knowledge of Form is not without the Name.

रूप बिसेष नाम बिनु जानें। करतल गत न परहिं पहिचानें।।

Roop bisesh naam binu jaanen. karatal gat na parahin pahichaanen

Without knowing the Name, particular forms cannot be recognized even when held in one's palm.

सुमिरिअ नाम रूप बिनु देखें। आवत हृदयँ सनेह बिसेषें।।

Sumiria naam roop binu dekhen. aavat hridayan saneh biseshen

When the Name is remembered without seeing the Form, it comes to the heart with special love.

नाम रूप गति अकथ कहानी। समुझत सुखद न परति बखानी।।

Naam roop gati akath kahaanee. samujhat sukhad na parati bakhaanee

The story of Name and Form's nature is ineffable, joyful to understand but impossible to fully describe.

अगुन सगुन बिच नाम सुसाखी। उभय प्रबोधक चतुर दुभाषी।।

Agun sagun bich naam susaakhee. ubhay prabodhak chatur dubhaashee

The Name serves as a perfect bridge between the formless and the formed, skillfully enlightening both aspects like a wise interpreter.

Commentary & Notes ↓

Poddarji's Commentary

कोई-सा विशेष रूप बिना उसका नाम जाने हथेलीपर रखा हुआ भी पहचाना नहीं जा सकता और रूपके बिना देखे भी नामका स्मरण किया जाय तो विशेष प्रेमके साथ वह रूप हृदयमें आ जाता है॥ ३॥ इन (नाम और रूप) में कौन बड़ा है, कौन छोटा, यह कहना तो अपराध है। इनके गुणोंका तारतम्य (कमी-बेशी) सुनकर साधु पुरुष स्वयं ही समझ लेंगे। रूप नामके अधीन देखे जाते हैं, नामके बिना रूपका ज्ञान नहीं हो सकता॥ २॥ श्रीरामचन्द्रजीको देखकर मुनि अपनी देहकी सुधि भूल गये। वे श्रीरामजीके मुखकी शोभा देखते ही ऐसे मग्न हो गये, मानो चकोर पूर्ण चन्द्रमाको देखकर लुभा गया हो॥ ४॥ नखसे शिखातक श्रीरामचन्द्रजीके सुन्दर रूपको बार-बार देखते हुए पार्वतीजीसहित श्रीशिवजीका शरीर पुलकित हो गया और उनके नेत्र [प्रेमाश्रुओंके] जलसे भर गये॥ ३१५॥ निर्गुण और सगुण;ब्रह्मके दो स्वरूप हैं। ये दोनों ही अकथनीय, अथाह, अनादि और अनुपम हैं। मेरी सम्मतिमें नाम इन दोनोंसे बड़ा है, जिसने अपने बलसे दोनोंको अपने वशमें कर रखा है॥ १॥ चारों ही चतुर भक्तोंको नामका ही आधार है; इनमें ज्ञानी भक्त प्रभुको विशेषरूपसे प्रिय है। यों तो चारों युगोंमें और चारों ही वेदोंमें नामका प्रभाव है, परन्तु कलियुगमें विशेषरूपसे है। इसमें तो [नामको छोड़कर] दूसरा कोई उपाय ही नहीं है॥ ४॥ जब श्रीरामजीने नगरकी सुन्दरताको देखा तब अनुज लक्ष्मणजी समेत विशेष प्रसन्न हुए। सुहावने वन, बाग और तालाब तथा अनेक प्रकारके पक्षी और मृग देखने को मिले॥ सारा परिवार प्रेममें विवश है। राजाने सुन्दर मुहूर्त जानकर सिद्धिसहित गणेशजीका स्मरण करके कन्याओंको पालकियोंपर चढ़ाया॥ ३३७॥ प्रीतिकी सुन्दर रीति देखिये कि जल भी [दूधके साथ मिलकर] दूधके समान भाव बिकता है; परन्तु फिर कपटरूपी खटाई पड़ते ही पानी अलग हो जाता है [दूध फट जाता है] और स्वाद [प्रेम] जाता रहता है॥ ५७ (ख)॥ बाँस सब हरी-हरी मणियों (पन्ने) के सीधे और गाँठोंसे युक्त ऐसे बनाये जो पहचाने नहीं जाते थे। सोनेकी सुन्दर नागबेलि (पानकी लता) बनायी, जो पत्तोंसहित ऐसी भली मालूम होती थी कि पहचानी नहीं जाती थी॥ १॥

Notes

Chaupai following Doha 20. This verse turns philosophical: Nama (Name) and Nami (the Named) are not separate realities but two faces of one truth. Their priti (love) is paraspar, mutual and inseparable. Tulsidas then introduces the term upadhi (designation or limiting adjunct, borrowed from Vedantic discourse) to describe how name and form are the Lord's own self-expressions. They are akatha (beyond speech) and anadi (without beginning), yet accessible to the sadhaka through su-samujhi, right understanding rooted in devotion.

राम नाम मनिदीप धरु जीह देहरी द्वार।

तुलसी भीतर बाहेरहुँ जौं चाहसि उजिआर।।21।।

Raam naam manideep dharu jeeh deharee dvaar

Tulasee bheetar baaherahun jaun chaahasi ujiaar (21)

दोहा 21

Place Rama's name, a jewel-lamp, | upon your tongue's doorway bright;

Tulsi says, within, without, | you'll have both realms in light.

Tulsidas counsels: place the jewel-lamp of Ram's name upon the threshold of the tongue, at the doorway of the mouth. If you long for light both within and without, this single lamp is all you need.

Commentary & Notes ↓

Poddarji's Commentary

तुलसीदासजी कहते हैं, यदि तू भीतर और बाहर दोनों ओर उजाला चाहता है तो मुखरूपी द्वारकी जीभरूपी देहलीपर रामनामरूपी मणि-दीपकको रख॥ २१॥

Notes

Doha 21. One of the most beloved images in all of Ramcharitmanas. The tongue is a dehri (threshold) between the inner world of the heart and the outer world of speech. A mani-dipa (jewel-lamp) set on a threshold illumines both sides at once. So too, the Name spoken aloud purifies the world around us, while its inward resonance floods the heart with light. The verse is a complete sadhana instruction in two lines.

चौपाई 22
नाम जीहँ जपि जागहिं जोगी। बिरति बिरंचि प्रपंच बियोगी।।

Naam jeehan japi jaagahin jogee. birati biranchi prapanch biyogee

By chanting whose Name, yogis awaken and attain detachment from Brahma's creation and worldly entanglements.

ब्रह्मसुखहि अनुभवहिं अनूपा। अकथ अनामय नाम न रूपा।।

Brahmasukhahi anubhavahin anoopaa. akath anaamay naam na roopaa

They experience the incomparable bliss of Brahman, which is ineffable, beyond disease, and without name or form.

जाना चहहिं गूढ़ गति जेऊ। नाम जीहँ जपि जानहिं तेऊ।।

Jaanaa chahahin goodh gati jeoo. naam jeehan japi jaanahin teoo

Those who wish to know the mysterious divine state, they come to know it by chanting that Name.

साधक नाम जपहिं लय लाएँ। होहिं सिद्ध अनिमादिक पाएँ।।

Saadhak naam japahin lay laaen. hohin siddh animaadik paaen

Spiritual seekers who chant the Name with concentrated devotion become accomplished and attain supernatural powers like anima.

जपहिं नामु जन आरत भारी। मिटहिं कुसंकट होहिं सुखारी।।

Japahin naamu jan aarat bhaaree. mitahin kusankat hohin sukhaaree

Devotees who are heavily afflicted chant the Name, and their great troubles are removed while they become happy.

राम भगत जग चारि प्रकारा। सुकृती चारिउ अनघ उदारा।।

Raam bhagat jag chaari prakaaraa. sukritee chaariu anagh udaaraa

Rama's devotees in the world are of four types, and all four kinds of virtuous ones are sinless and noble.

चहू चतुर कहुँ नाम अधारा। ग्यानी प्रभुहि बिसेषि पिआरा।।

Chahoo chatur kahun naam adhaaraa. gyaanee prabhuhi biseshi piaaraa

For all four types, the Name is the foundation, but the wise devotee is especially dear to the Lord.

चहुँ जुग चहुँ श्रुति ना प्रभाऊ। कलि बिसेषि नहिं आन उपाऊ।।

Chahun jug chahun shruti naa prabhaaoo. kali biseshi nahin aana upaaoo

In all four ages and all four Vedas, the Name's glory is proclaimed; especially in Kali Yuga, there is no other remedy.

Commentary & Notes ↓

Poddarji's Commentary

वैराग्यवान्‌ मुक्त योगी [जो ब्रह्माके बनाये हुए इस प्रपञ्च (दृश्य जगत्‌) से भलीभाँति छूटे हुए हैं] पुरुष इस नामको ही जीभसे जपते हुए [तत्त्वज्ञानरूपी दिनमें] जागते हैं और नाम तथा रूपसे रहित अनुपम, अनिर्वचनीय, अनामय ब्रह्मसुखका अनुभव करते हैं॥ १॥ जो परमात्माके गूढ़ रहस्यको (यथार्थ महिमाको) जानना चाहते हैं, वे (जिज्ञासु) भी नामको जीभसे जपकर उसे जान लेते हैं। [लौकिक सिद्धियोंके चाहनेवाले अर्थार्थी] साधक लौ लगाकर नामका जप करते हैं और अणिमादि [आठों] सिद्धियोंको पाकर सिद्ध हो जाते हैं॥ २॥ फिर शिवजीने कहा कि यदि बिना बुलाये जाओगी, तो हमारी समझमें अच्छी बात न होगी॥ ४॥ जो व्यापक, अकल (निरवयव), इच्छारहित, अजन्मा और निर्गुण हैं; तथा जिनका न नाम है न रूप, वही भगवान्‌ भक्तोंके लिये नाना प्रकारके अनुपम (अलौकिक) चरित्र करते हैं॥ २०५॥ चारों युगोंमें, तीनों कालोंमें और तीनों लोकोंमें नामको जपकर जीव शोकरहित हुए हैं। वेद, पुराण और संतोंका मत यही है कि समस्त पुण्योंका फल श्रीरामजीमें प्रेम होना है। वे बार-बार आरती कर रही हैं। उस प्रेम और महान्‌ आनन्दको कौन कह सकता है! अनेकों प्रकारके आभूषण, रत्न और वस्त्र तथा अगणित प्रकारकी अन्य वस्तुएँ निछावर कर रही हैं। चार सहज सुन्दर सिंहासन थे, जो मानो कामदेवने ही अपने हाथसे बनाये थे। उनपर माताओंने राजकुमारियों और राजकुमारोंको बैठाया और आदरके साथ उनके पवित्र चरण धोये॥ श्रीरामचन्द्रजी और सीताजी शोभाकी सीमा हैं और दोनों राजा पुण्यकी सीमा हैं। जहाँ-तहाँ स्त्री-पुरुषोंके समूह इकट्ठे होकर ऐसी बातें करते हैं॥ ३०९॥ माता दोनों हाथ जोड़कर कहने लगी;हे अनन्त! मैं किस प्रकार तुम्हारी स्तुति करूँ। वेद और पुराण आपको माया, गुण और ज्ञानसे परे और परिमाणरहित बतलाते हैं। जो दया और सुखका समुद्र, सब गुणोंका धाम हैं और जिनका वेद और संतजन गान करते हैं, वही भक्तोंपर प्रेम करनेवाले लक्ष्मीपति भगवान्‌ मेरे कल्याणके लिये प्रकट हुए हैं॥ जहाँ वे मुनि जप, यज्ञ और योग करते थे, परन्तु मारीच और सुबाहुसे बहुत डरते थे। यज्ञ देखते ही राक्षस दौड़ पड़ते थे और उपद्रव मचाते थे, जिससे मुनि [बहुत] दुःख पाते थे॥ २॥

Notes

Tulsidas presents Nam-japa as the very means by which yogis attain jivanmukti. The 'bliss of Brahman' (brahma-sukha) here is nirguna realization, yet it is reached through the saguna practice of chanting. 'Biranchhi prapancha' refers to the manifest universe created by Brahma. The closing phrase 'nama na rupa' (without name or form) describes Brahman itself, not the Name being chanted. This paradox is central to the Naam Mahima: the Name, which is itself a word, leads beyond all words.

सकल कामना हीन जे राम भगति रस लीन।

नाम सुप्रेम पियूष हद तिन्हहुँ किए मन मीन।।22।।

Sakal kaamanaa heen je raam bhagati ras leen

Naam suprem piyoosh had tinhahun kie man meen (22)

दोहा 22

Those free from all desire, | absorbed in bhakti's flow;

they've made their minds like fish | in name's sweet nectar-glow.

Even those who are free from all desires and steeped in the rasa of Ram-bhakti. Even they have made their minds into fish swimming in the ocean of the Name's loving nectar.

Commentary & Notes ↓

Poddarji's Commentary

जो सब प्रकारकी (भोग और मोक्षकी भी) कामनाओंसे रहित और श्रीरामभक्तिके रसमें लीन हैं, उन्होंने भी नामके सुन्दर प्रेमरूपी अमृतके सरोवरमें अपने मनको मछली बना रखा है (अर्थात्‌ वे नामरूपी सुधाका निरन्तर आस्वादन करते रहते हैं, क्षणभर भी उससे अलग होना नहीं चाहते)॥ २२॥

Notes

Doha 22 in the Gita Press numbering. Tulsidas uses the exquisite image of a fish (mina) that cannot survive outside water: even the most desireless bhaktas, already dissolved in devotion, still cannot live apart from the Name. 'Suprem piyusha' (nectar of divine love) elevates Nam above ordinary japa into the realm of prema-bhakti. The verse implies that the Name is not a stepping-stone to be discarded upon realization; it remains the ocean in which the liberated heart delights.

चौपाई 23
अगुन सगुन दुइ ब्रह्म सरूपा। अकथ अगाध अनादि अनूपा।।

Agun sagun dui brahm saroopaa. akath agaadh anaadi anoopaa

Brahman has two forms - the attributeless (nirguna) and the one with attributes (saguna), both ineffable, unfathomable, without beginning, and incomparable.

मोरें मत बड़ नामु दुहू तें। किए जेहिं जुग निज बस निज बूतें।।

Moren mat bad naamu duhoo ten. kie jehin jug nij bas nij booten

In my opinion, the Name is greater than both these forms, for it has made both ages subservient through its own power.

प्रोढ़ि सुजन जनि जानहिं जन की। कहउँ प्रतीति प्रीति रुचि मन की।।

Prodhi sujan jani jaanahin jan kee. kahaun prateeti preeti ruchi man kee

Let not the wise consider this the foolish talk of an ignorant devotee - I speak from the conviction, love and inclination of my heart.

एकु दारुगत देखिअ एकू। पावक सम जुग ब्रह्म बिबेकू।।

Eku daarugat dekhia ekoo. paavak sam jug brahm bibekoo

Just as fire appears different when seen in wood, yet both are equally fire - so is the wisdom regarding Brahman in both ages.

उभय अगम जुग सुगम नाम तें। कहेउँ नामु बड़ ब्रह्म राम तें।।

Ubhay agam jug sugam naam ten. kaheun naamu bad brahm raam ten

Both forms are equally inaccessible, yet both become easily attainable through the Name - thus I have declared the Name greater than Brahman and Rama.

ब्यापकु एकु ब्रह्म अबिनासी। सत चेतन धन आनँद रासी।।

Byaapaku eku brahm abinaasee. sat chetan dhan aanand raasee

The one all-pervading, imperishable Brahman is the treasure of existence, consciousness and bliss.

अस प्रभु हृदयँ अछत अबिकारी। सकल जीव जग दीन दुखारी।।

Asa prabhu hridayan achhat abikaaree. sakal jeev jag deen dukhaaree

Though such a Lord dwells unchanging in the heart, all beings in the world remain poor and sorrowful.

नाम निरूपन नाम जतन तें। सोउ प्रगटत जिमि मोल रतन तें।।

Naam niroopan naam jatan ten. sou pragatat jimi mol ratan ten

Through the effort of contemplating and chanting the Name, that same Lord manifests, just as a jewel's value emerges through polishing.

Commentary & Notes ↓

Poddarji's Commentary

[इतना होनेपर भी] दोनों ही जाननेमें बड़े कठिन हैं, परन्तु नामसे दोनों सुगम हो जाते हैं इसीसे मैंने नामको [निर्गुण] ब्रह्मसे और [सगुण] रामसे बड़ा कहा है। ब्रह्म व्यापक है, एक है, अविनाशी है; सत्ता, चैतन्य और आनन्दकी घनराशि है॥ ३॥ वह आप पुरोहितका रूप बनाकर उसकी सुन्दर सेजपर जा लेटा। राजा सबेरा होनेसे पहले ही जागा और अपना घर देखकर उसने बड़ा ही आश्चर्य माना॥ १॥ मनको प्रेममें मग्न जान राजा जनकने विवेकका आश्रय लेकर धीरज धारण किया और मुनिके चरणोंमें सिर नवाकर गद्गद (प्रेमभरी) गम्भीर वाणीसे कहा--॥ २१५॥

Notes

This is one of the boldest theological claims in all of Ramcharitmanas. Tulsidas does not pit nirguna against saguna (as sectarian debaters do) but honors both as aspects of one Brahman. Then he elevates the Name above both. 'Nij bute' (by its own power) means the Name's sovereignty is self-derived, not borrowed. The phrase 'more mat' (in my view) is Tulsidas's characteristic humility, offering a radical doctrine as personal conviction rather than dogmatic decree.

निरगुन तें एहि भाँति बड़ नाम प्रभाउ अपार।

कहउँ नामु बड़ राम तें निज बिचार अनुसार।।23।।

Niragun ten ehi bhaanti bad naam prabhaau apaar

Kahaun naamu bad raam ten nij bichaar anusaar (23)

दोहा 23

Greater than formless Brahman | is the name's limitless might;

now by my own thought I say: | even Rama bows to name's light.

Thus the Name's power is infinitely greater than the formless Brahman. And now, according to my own understanding, I say the Name is even greater than saguna Ram Himself.

Commentary & Notes ↓

Poddarji's Commentary

इस प्रकार निर्गुणसे नामका प्रभाव अत्यन्त बड़ा है। अब अपने विचारके अनुसार कहता हूँ कि नाम [सगुण] रामसे भी बड़ा है॥ २३॥

Notes

Doha 23 in the Gita Press numbering. Having established the Name's supremacy over nirguna Brahman in the preceding chaupai, Tulsidas now completes his argument: the Name surpasses even the personal, embodied Lord. 'Nij bichara anusara' (according to my own reflection) again softens the audacity of the claim. Tulsidas will spend the next several verses defending this position with reasoning and illustration. This doha is the theological pivot of the entire Naam Mahima section.

चौपाई 24
राम भगत हित नर तनु धारी। सहि संकट किए साधु सुखारी।।

Raam bhagat hit nar tanu dhaaree. sahi sankat kie saadhu sukhaaree

For the sake of His devotees, Rama took human form and endured hardships to bring happiness to the righteous.

नामु सप्रेम जपत अनयासा। भगत होहिं मुद मंगल बासा।।

Naamu saprem japat anayaasaa. bhagat hohin mud mangal baasaa

By lovingly chanting His name without effort, devotees become the abode of joy and auspiciousness.

राम एक तापस तिय तारी। नाम कोटि खल कुमति सुधारी।।

Raam eka taapas tiy taaree. naam koti khal kumati sudhaaree

Rama alone liberated one ascetic woman (Ahalya), while His name has purified the evil minds of millions.

रिषि हित राम सुकेतुसुता की। सहित सेन सुत कीन्ह बिबाकी।।

Rishi hit raam suketusutaa kee. sahit sen sut keenh bibaakee

For the sake of the sages, Rama destroyed Suketu's daughter (Tataka) along with her army and son.

सहित दोष दुख दास दुरासा। दलइ नामु जिमि रबि निसि नासा।।

Sahit dosh dukh daas duraasaa. dalai naamu jimi rabi nisi naasaa

The name destroys sins, sorrows, and evil desires of devotees, just as the sun dispels the darkness of night.

भंजेउ राम आपु भव चापू। भव भय भंजन नाम प्रतापू।।

Bhanjeu raam aapu bhav chaapoo. bhav bhay bhanjan naam prataapoo

Rama Himself broke Shiva's bow, and the power of His name destroys the fear of worldly existence.

दंडक बनु प्रभु कीन्ह सुहावन। जन मन अमित नाम किए पावन।।।

Dandak banu prabhu keenh suhaavan. jan man amit naam kie paavan

The Lord made the Dandaka forest beautiful, and His name has purified countless devotees' hearts.

निसिचर निकर दले रघुनंदन। नामु सकल कलि कलुष निकंदन।।

Nisichar nikar dale raghunandan. naamu sakal kali kalush nikandan

Raghunandan destroyed hordes of demons, and His name eradicates all the sins of Kali Yuga.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामजीने एक तपस्वीकी स्त्री (अहल्या) को ही तारा, परन्तु नामने करोड़ों दुष्टोंकी बिगड़ी बुद्धि सुधारी। ऋषियोंके हितके लिये रामजीने सुकेतुसुताका संहार किया, परन्तु नाम अपने भक्तोंके दोष, दुःख और दुराशाओंका इस तरह नाश कर देता है जैसे सूर्य रात्रिका॥ २॥ श्रीरघुनाथजीने राक्षसोंके समूहको मारा, परन्तु नाम तो कलियुगके सारे पापोंकी जड़ उखाड़नेवाला है॥ ४॥ वे तमककर (बड़े तावसे) शिवजीके धनुषकी ओर देखते हैं और फिर निगाह जमाकर उसे पकड़ते हैं, करोड़ों भाँतिसे जोर लगाते हैं, पर वह उठता ही नहीं। जिन राजाओंके मनमें कुछ विवेक है, वे धनुषके पास ही नहीं जाते॥ ४॥ देवताओंके हितके लिये मनुष्यशरीर धारण करनेवाले जो विष्णुभगवान्‌ हैं, वे भी शिवजीकी ही भाँति सर्वज्ञ हैं। वे ज्ञानके भण्डार, लक्ष्मीपति और असुरोंके शत्रु भगवान्‌ विष्णु क्या अज्ञानीकी तरह स्त्रीको खोजेंगे?॥१॥ हे पार्वती! तुम्हारी बुद्धि [श्रीरामजीके चरणोंमें] बहुत दृढ़ है, इसलिये मैं और भी अपनी एक चोरी (छिपाव) की बात कहता हूँ, सुनो। काकभुशुण्डि और मैं दोनों वहाँ साथ-साथ थे, परन्तु मनुष्यरूपमें होनेके कारण हमें कोई जान न सका॥ तब गुरुजीने जाकर चूड़ाकर्म-संस्कार किया। ब्राह्मणोंने फिर बहुत-सी दक्षिणा पायी। चारों सुन्दर राजकुमार बड़े ही मनोहर अपार चरित्र करते फिरते हैं॥ २॥ प्रभुकी इच्छामें अपने मनको लीन किये चलता हुआ वह घोड़ा बड़ी शोभा पा रहा है, मानो तारागण तथा बिजलीसे अलङ्कृत मेघ सुन्दर मोरको नचा रहा हो॥ ३१६॥ तब राजाने मनमें हर्षित होकर ये वचन कहे;हे मुनि! इस प्रकार कृपा तो आपने कभी नहीं की। आज किस कारणसे आपका शुभागमन हुआ? कहिये, मैं उसे पूरा करनेमें देर नहीं लगाऊँगा॥ २०७॥

Notes

Tulsidas begins proving the Name's supremacy over saguna Ram through a series of contrasts. Ram's avatara required suffering (sahi sankata): exile, separation from Sita, battle. The Name, by contrast, bestows its full grace 'anayasa' (effortlessly). 'Mud mangala basa' (abode of joy and auspiciousness) suggests that the devotee's very being becomes a dwelling-place of blessing. Poddarji's commentary extends the contrast further: Ram liberated one woman (Ahalya), while the Name has redeemed countless sinners. That elaboration belongs to the next line pair in the fuller chaupai sequence.

सबरी गीध सुसेवकनि सुगति दीन्हि रघुनाथ।

नाम उधारे अमित खल बेद बिदित गुन गाथ।।24।।

Sabaree geedh susevakani sugati deenhi raghunaath

Naam udhaare amit khal bed bidit gun gaath (24)

दोहा 24

'Yet ask your elders and your guru, | follow Vedic way;

perform the rites as scriptures teach | on this auspicious day.'

Raghunath granted liberation to Shabari, to Jatayu, and to other faithful servants. Yet the Name has redeemed countless sinners. This glory of the Name is celebrated throughout the Vedas.

Commentary & Notes ↓

Poddarji's Commentary

तथापि तुम जाकर अपने कुलके वृद्धों और गुरुसे पूछकर और वेदोंमें वर्णित जैसा आचार हो वैसा करो॥ २८५॥

Notes

Shabari was the aged tribal devotee who waited a lifetime for Ram in her forest hermitage. Jatayu was the noble vulture who gave his life defending Sita. Both were blessed by Ram in person. Tulsidas's point is striking: Ram, present in the flesh, could liberate only those who came before him, but the Name transcends time and has uplifted innumerable souls whom the world had written off as wicked. The Vedas themselves bear witness to this boundless redeeming power.

चौपाई 25
राम सुकंठ बिभीषन दोऊ। राखे सरन जान सबु कोऊ।।

Raam sukanth bibheeshan dooo. raakhe saran jaan sabu kooo

Rama protected both Sugriva and Vibhishana, giving them refuge, as everyone knows.

नाम गरीब अनेक नेवाजे। लोक बेद बर बिरिद बिराजे।।

Naam gareeb anek nevaaje. lok bed bar birid biraaje

The Name has blessed countless humble souls, and this glorious reputation shines in both the world and the Vedas.

राम भालु कपि कटकु बटोरा। सेतु हेतु श्रमु कीन्ह न थोरा।।

Raam bhaalu kapi kataku batoraa. setu hetu shramu keenh na thoraa

Rama gathered an army of bears and monkeys, and took no small effort to build the bridge across the ocean.

नामु लेत भवसिंधु सुखाहीं। करहु बिचारु सुजन मन माहीं।।

Naamu let bhavasindhu sukhaaheen. karahu bichaaru sujan man maaheen

Just taking the Name dries up the ocean of worldly existence - contemplate this truth in your noble heart.

राम सकुल रन रावनु मारा। सीय सहित निज पुर पगु धारा।।

Raam sakul ran raavanu maaraa. seey sahit nij pur pagu dhaaraa

Rama slew Ravana along with his entire family in battle, and returned with Sita to His own city.

राजा रामु अवध रजधानी। गावत गुन सुर मुनि बर बानी।।

Raajaa raamu avadh rajadhaanee. gaavat gun sur muni bar baanee

King Rama rules in Ayodhya, the capital city, while gods and sages sing His virtues in beautiful hymns.

सेवक सुमिरत नामु सप्रीती। बिनु श्रम प्रबल मोह दलु जीती।।

Sevak sumirat naamu sapreetee. binu shram prabal moh dalu jeetee

Devotees who lovingly remember the Name conquer the powerful army of delusion without any effort.

फिरत सनेहँ मगन सुख अपनें। नाम प्रसाद सोच नहिं सपनें।।

Phirat sanehan magan sukh apanen. naam prasaad soch nahin sapanen

They wander about absorbed in love and their own bliss, and by the grace of the Name, they have no worry even in dreams.

Commentary & Notes ↓

Poddarji's Commentary

खारे समुद्रमें तो इसका जन्म, फिर विष इसका भाई; दिनमें यह मलिन रहता है, और कलङ्की है। बेचारा गरीब चन्द्रमा सीताजीके मुखकी बराबरी कैसे पा सकता है?॥ २३७॥ सयानी सखियाँ सीताजीको साथ लेकर मनोहर वाणीसे गीत गाती हुई चलीं। सीताजीके नवल शरीरपर सुन्दर साड़ी सुशोभित है। जगज्जननीकी महान्‌ छबि अतुलनीय है॥ १॥ साँवले और गोरे शरीरवाले वे धनुष और तर्कस धारण किये रहते हैं, किशोर अवस्था है, विश्वामित्र मुनिके साथ हैं। तुम उनको पहचानते हो तो उनका स्वभाव बताओ। राजा प्रेमके विशेष वश होनेसे बार-बार इस प्रकार कह रहे हैं॥ ३॥ श्रीरामचन्द्रजीने जान लिया कि सतीजीको दुःख हुआ; तब उन्होंने अपना कुछ प्रभाव प्रकट करके उन्हें दिखलाया। सतीजीने मार्गमें जाते हुए यह कौतुक देखा कि श्रीरामचन्द्रजी सीताजी और लक्ष्मणजीसहित आगे चले जा रहे हैं॥२॥ तब सतीजी कैलासपर रहने लगीं। उनके मनमें बड़ा दुःख था। इस रहस्यको कोई कुछ भी नहीं जानता था। उनका एक-एक दिन युगके समान बीत रहा था॥ ५८॥ कर्म, धर्म और अनेकों प्रकारके इतिहास कहकर वह वैराग्य और ज्ञानका निरूपण करने लगा। सृष्टिकी उत्पत्ति, पालन (स्थिति) और संहार (प्रलय) की अपार आश्चर्यभरी कथाएँ उसने विस्तारसे कहीं॥ ३॥ सारे देवता तुरंत सुखी हो गये। शुभ पुष्पोंकी वर्षा करके सिर नवाया, और फिर ब्रह्माजी बहुत आदरसहित हाथ जोड़कर स्तुति करने लगे॥ १८५॥ सुन्दर चितवन [सारे संसारके मनको हरनेवाले] कामदेवके भी मनको हरनेवाली है। वह हृदयको बहुत ही प्यारी लगती है, पर उसका वर्णन नहीं किया जा सकता। सुन्दर गाल हैं, कानोंमें चञ्चल (झूमते हुए) कुण्डल हैं। ठोड़ी और अधर (ओठ) सुन्दर हैं, कोमल वाणी है॥ २॥ हे राजन्! जैसे श्रीरामचन्द्रजी अतुलनीय बली हैं, वैसे ही तेजनिधान फिर लक्ष्मणजी भी हैं। धनुष टूटनेकी बात सुनकर परशुरामजी क्रोधभरे आये और उन्होंने बहुत प्रकारसे आँखें दिखलायीं॥ १॥ बैलके समान (ऊँचे और पुष्ट) कंधे हैं; छाती और भुजाएँ विशाल हैं। सुन्दर यज्ञोपवीत धारण किये, मुनिवेष है पर भयङ्कर है। कमरमें मुनियोंका वस्त्र (वल्कल) और दो तरकस बाँधे हैं। हाथमें धनुष-बाण और सुन्दर कंधेपर फरसा धारण किये हैं॥ ४॥

Notes

Sugriva (sukanTha, 'the sweet-throated one') and Vibhishana both came to Ram as refugees, one exiled by his brother Vali, the other by his brother Ravana. Ram gave them refuge and restored their kingdoms. The Name, however, requires no royal petition and no personal audience with God. It lifts the lowly and the forgotten in every age, and its reputation for doing so is affirmed both by worldly testimony (loka) and by scriptural authority (Veda).

ब्रह्म राम तें नामु बड़ बर दायक बर दानि।

रामचरित सत कोटि महँ लिय महेस जियँ जानि।।25।।

Brahm raam ten naamu bad bar daayak bar daani

Raamacharit sat koti mahan liy mahes jiyan jaani (25)

दोहा 25

Greater than Brahm and Ram both | is the Name, giver of boons;

Shiva chose it from crore tales, | knowing its wondrous tunes.

The Name is greater than both Brahman and Ram. It bestows boons even upon the givers of boons. Maheshvara knew this in his heart and chose the Name from among the hundred crore episodes of Ram's story.

Commentary & Notes ↓

Poddarji's Commentary

इस प्रकार नाम निर्गुण ब्रह्म और सगुण राम दोनोंसे बड़ा है। यह वरदान देनेवालोंको भी वर देनेवाला है। श्रीशिवजीने अपने हृदयमें यह जानकर ही सौ करोड़ रामचरित्रमेंसे इस 'राम' नामको साररूपसे ग्रहण किया है।

Notes

This is one of the boldest declarations in the Ramcharitmanas. Tulsidas places the Name above both the formless Absolute (Brahman) and the personal Lord (Ram). The logic is devotional rather than philosophical: Brahman and Ram are known through the Name, so the Name is the door that opens onto both. 'Giver of boons to the givers of boons' (bar dayak bar dani) means the Name empowers even Brahma, Vishnu, and Shiva, who themselves grant blessings to others. Shiva, recognising this supremacy, distilled the vast ocean of Ram's lila into the single essence of the Name. The 'hundred crore episodes' (sat koti) refers to the traditional count of one billion verses narrating Ram's deeds.

चौपाई 26
नाम प्रसाद संभु अबिनासी। साजु अमंगल मंगल रासी।।

Naam prasaad sambhu abinaasee. saaju amangal mangal raasee

By the grace of the divine Name, Shambhu (Shiva) became imperishable, transforming all inauspiciousness into auspiciousness.

सुक सनकादि सिद्ध मुनि जोगी। नाम प्रसाद ब्रह्मसुख भोगी।।

Suk sanakaadi siddh muni jogee. naam prasaad brahmasukh bhogee

Shuka, Sanaka and other perfected sages and yogis enjoy the bliss of Brahman through the grace of the Name.

नारद जानेउ नाम प्रतापू। जग प्रिय हरि हरि हर प्रिय आपू।।

Naarad jaaneu naam prataapoo. jag priy hari hari har priy aapoo

Narada knew the glory of the Name - beloved of the world is Hari, and beloved of Hari and Hara is Narada himself.

नामु जपत प्रभु कीन्ह प्रसादू। भगत सिरोमनि भे प्रहलादू।।

Naamu japat prabhu keenh prasaadoo. bhagat siromani bhe prahalaadoo

Chanting the Name, the Lord showed grace and Prahlada became the crown jewel among devotees.

ध्रुवँ सगलानि जपेउ हरि नाऊँ। पायउ अचल अनूपम ठाऊँ।।

Dhruvan sagalaani japeu hari naaoon. paayau achal anoopam thaaoon

Dhruva chanted Hari's Name with complete devotion and attained an imperishable, incomparable position.

सुमिरि पवनसुत पावन नामू। अपने बस करि राखे रामू।।

Sumiri pavanasut paavan naamoo. apane bas kari raakhe raamoo

Remembering the pure Name of Pawansuta (Hanuman), he kept Rama under his control through devotion.

अपतु अजामिलु गजु गनिकाऊ। भए मुकुत हरि नाम प्रभाऊ।।

Apatu ajaamilu gaju ganikaaoo. bhae mukut hari naam prabhaaoo

Even the sinful Ajamila, the elephant, and the courtesan were liberated by the power of Hari's Name.

कहौं कहाँ लगि नाम बड़ाई। रामु न सकहिं नाम गुन गाई।।

Kahaun kahaan lagi naam badaaee. raamu na sakahin naam gun gaaee

How far can I describe the greatness of the Name? Even Rama cannot fully sing the glories of His own Name.

Commentary & Notes ↓

Poddarji's Commentary

राजाओंकी आशारूपी रात्रि नष्ट हो गयी। उनके वचनरूपी तारोंके समूहका चमकना बंद हो गया (वे मौन हो गये)। अभिमानी राजारूपी कुमुद संकुचित हो गये और कपटी राजारूपी उल्लू छिप गये॥ १॥ भरतजी अपने मित्रों और भाई शत्रुघ्नके साथ जहाँ खेलते थे, वहीं समाचार पाकर वे आ गये। बहुत प्रेमसे सकुचाते हुए पूछते हैं;पिताजी! चिट्ठी कहाँसे आयी है?॥ ४॥ अरे! तुम्हारा बल, प्रताप, वीरता, बड़ाई और नाक (प्रतिष्ठा) तो धनुषके साथ ही चली गयी। वही वीरता थी कि अब कहींसे मिली है? ऐसी दुष्ट बुद्धि है, तभी तो विधाताने तुम्हारे मुखोंपर कालिख लगा दी॥ ४॥ गजमुक्ताओंके सहज ही सुहावने अनेकों तरहके चौक पुराये॥ ४॥ श्रीहरिके गुण, नाम, कथा और रूप सभी अपार, अगणित और असीम हैं। फिर भी हे पार्वती! मैं अपनी बुद्धिके अनुसार कहता हूँ, तुम आदरपूर्वक सुनो॥ १२०(घ)॥

Notes

Shambhu (Shiva) adorns himself with serpents, skulls, and cremation ash. By every outward measure these are signs of death and ill omen. Yet he is called Mangal Rasi, 'the treasury of auspiciousness,' because the Name dwelling on his tongue transforms everything it touches. Shuka is the son of Vyasa, born already liberated, who narrated the Bhagavata. Sanakadi refers to the four Kumaras (Sanaka, Sanandana, Sanatana, Sanatkumara), the mind-born sons of Brahma who remain eternally childlike and absorbed in Brahman. All these exalted beings owe their unbroken bliss to the Name's prasad (grace).

नामु राम को कलपतरु कलि कल्यान निवासु।

जो सुमिरत भयो भाँग तें तुलसी तुलसीदासु।।26।।

Naamu raam ko kalapataru kali kalyaan nivaasu

Jo sumirat bhayo bhaang ten tulasee tulaseedaasu (26)

दोहा 26

Ram's Name is the wishing tree | of Kali's blessed home;

remembering it, hemp-like Tulsi | became holy Tulsi's own.

Ram's Name is the wish-fulfilling tree, the very abode of well-being in the Kali Yuga. By remembering it, Tulsidas, who was no better than bhang, a worthless weed, became tulsi, the sacred basil.

Commentary & Notes ↓

Poddarji's Commentary

कलियुगमें रामका नाम कल्पतरु और कल्याणका निवास है, जिसको स्मरण करनेसे भाँग-सा तुलसीदास तुलसीके समान पवित्र हो गया।

Notes

Tulsidas closes the Naam Mahima section with a personal testimony that is also a pun on his own name. Bhang is the wild cannabis plant, considered lowly and intoxicating. Tulsi is the holy basil, revered in every Hindu home as a living form of devotion. The poet says the Name's remembrance (sumiran) transformed him from one to the other. Kalpataru, the wish-fulfilling tree of Indra's paradise, grants whatever is asked of it; here it stands for the Name's power to fulfil all spiritual longing. Kalyan nivas, 'abode of welfare,' assures the seeker that in the dark age of Kali, when other paths grow difficult, the Name remains a sure and accessible refuge.

चौपाई 27
चहुँ जुग तीनि काल तिहुँ लोका। भए नाम जपि जीव बिसोका।।

Chahun jug teeni kaal tihun lokaa. bhae naam japi jeev bisokaa

In all four ages, three times, and three worlds, beings have become free from sorrow by chanting the Name.

बेद पुरान संत मत एहू। सकल सुकृत फल राम सनेहू।।

Bed puraan sant mat ehoo. sakal sukrit phal raam sanehoo

The Vedas, Puranas, and saints all agree that love for Rama is the fruit of all good deeds.

ध्यानु प्रथम जुग मखबिधि दूजें। द्वापर परितोषत प्रभु पूजें।।

Dhyaanu pratham jug makhabidhi doojen. dvaapar paritoshat prabhu poojen

In the first age meditation was practiced, in the second age sacrificial rituals, in Dwapara the Lord was pleased through worship.

कलि केवल मल मूल मलीना। पाप पयोनिधि जन मन मीना।।

Kali keval mal mool maleenaa. paap payonidhi jan man meenaa

Kali Yuga is the root of all impurity and filth, an ocean of sin where human minds are like fish.

नाम कामतरु काल कराला। सुमिरत समन सकल जग जाला।।

Naam kaamataru kaal karaalaa. sumirat saman sakal jag jaalaa

The Name is a wish-fulfilling tree in the terrible time of Kali, remembering which destroys all worldly snares.

राम नाम कलि अभिमत दाता। हित परलोक लोक पितु माता।।

Raam naam kali abhimat daataa. hit paralok lok pitu maataa

Rama's Name in Kali Yuga grants all desires and is beneficial like father and mother for this world and the next.

नहिं कलि करम न भगति बिबेकू। राम नाम अवलंबन एकू।।

Nahin kali karam na bhagati bibekoo. raam naam avalamban ekoo

In Kali Yuga there is no ritual, devotion, or discrimination - Rama's Name alone is the one support.

कालनेमि कलि कपट निधानू। नाम सुमति समरथ हनुमानू।।

Kaalanemi kali kapat nidhaanoo. naam sumati samarath hanumaanoo

Kalnemi represents Kali Yuga as the treasure house of deceit, while the Name represents wise and mighty Hanuman.

Commentary & Notes ↓

Poddarji's Commentary

फिर कृपानिधान भगवान बोले;मुझे अत्यन्त प्रसन्न जानकर और बड़ा भारी दानी मानकर, जो मन को भाये वही वर माँग लो॥ १४८॥ जो शुभ लक्षणोंके धाम, श्रीरामजीके प्यारे और सारे जगतके आधार हैं, गुरु वसिष्ठजीने उनका 'लक्ष्मण' ऐसा श्रेष्ठ नाम रखा॥ १९७॥ श्रीरामचन्द्रजी अनन्त हैं, उनके गुण भी अनन्त हैं और उनकी कथाओंका विस्तार भी असीम है। अतएव जिनके विचार निर्मल हैं, वे इस कथाको सुनकर आश्चर्य नहीं मानेंगे।

Notes

Chaupai 27. 'Chahun juga' = all four ages (Satya, Treta, Dvapara, Kali). 'Tini kala' = past, present, future. 'Tihun loka' = the three worlds (heaven, earth, netherworld). 'Bisoka' = free from shoka (grief). The verse establishes the Name as the universal remedy across all dimensions of time and space. The closing line distills the entire premise: all merit culminates in love (sneha) for Ram.

राम नाम नरकेसरी कनककसिपु कलिकाल।

जापक जन प्रहलाद जिमि पालिहि दलि सुरसाल।।27।।

Raam naam narakesaree kanakakasipu kalikaal

Jaapak jan prahalaad jimi paalihi dali surasaal (27)

दोहा 27

Ram's Name is Narasimha, | Kali is the demon-king;

chanters are like Prahlad; | Name will slay the foe and cling.

Ram's Name is Narasimha, the man-lion; the Kali age is Hiranyakashipu. Those who chant the Name are like Prahlada. The Name will protect them, crushing the tormentor of the gods.

Commentary & Notes ↓

Poddarji's Commentary

रामनाम श्रीनृसिंह भगवान् है, कलियुग हिरण्यकशिपु है और जप करनेवाले जन प्रह्लादके समान हैं; यह रामनाम देवताओंके शत्रु (कलियुगरूपी दैत्य) को मारकर जप करनेवालोंकी रक्षा करेगा।

Notes

Doha 27. A powerful analogy mapping the Narasimha avatara story onto the Kali Yuga. 'Narakesari' = Nara + Kesari (man-lion), the fourth avatara of Vishnu. 'Kanakkasipu' = Hiranyakashipu, the demon king. 'Japaka jana' = those who chant. 'Surasala' = tormentor of the gods. Just as Narasimha emerged to rescue the boy-devotee Prahlada, the Name will emerge to rescue chanters from the tyranny of Kali.

चौपाई 28
भायँ कुभायँ अनख आलसहूँ। नाम जपत मंगल दिसि दसहूँ।।

Bhaayan kubhaayan anakh aalasahoon. naam japat mangal disi dasahoon

Whether in good or ill fortune, in anger or laziness, chanting the Name brings auspiciousness in all ten directions.

सुमिरि सो नाम राम गुन गाथा। करउँ नाइ रघुनाथहि माथा।।

Sumiri so naam raam gun gaathaa. karaun naai raghunaathahi maathaa

Remembering that Name and singing Rama's glorious deeds, I bow my head to Raghunath.

मोरि सुधारिहि सो सब भाँती। जासु कृपा नहिं कृपाँ अघाती।।

Mori sudhaarihi so sab bhaantee. jaasu kripaa nahin kripaan aghaatee

He will improve me in every way, whose grace is never exhausted by bestowing grace.

राम सुस्वामि कुसेवकु मोसो। निज दिसि दैखि दयानिधि पोसो।।

Raam susvaami kusevaku moso. nij disi daikhi dayaanidhi poso

Rama is the excellent master and I am His poor servant; seeing my condition, may the ocean of mercy nourish me.

लोकहुँ बेद सुसाहिब रीतीं। बिनय सुनत पहिचानत प्रीती।।

Lokahun bed susaahib reeteen. binay sunat pahichaanat preetee

According to the noble customs of both world and Vedas, good masters recognize love upon hearing humble supplication.

गनी गरीब ग्रामनर नागर। पंडित मूढ़ मलीन उजागर।।

Ganee gareeb graamanar naagar. pandit moodh maleen ujaagar

Rich and poor, villager and city-dweller, learned and ignorant, lowly and distinguished—

सुकबि कुकबि निज मति अनुहारी। नृपहि सराहत सब नर नारी।।

Sukabi kukabi nij mati anuhaaree. nripahi saraahat sab nar naaree

Good poets and poor poets, each according to their understanding, all men and women praise the king.

साधु सुजान सुसील नृपाला। ईस अंस भव परम कृपाला।।

Saadhu sujaan suseel nripaalaa. eesa ans bhav param kripaalaa

The saintly, wise, and virtuous king, who is a portion of the Lord and supremely compassionate—

सुनि सनमानहिं सबहि सुबानी। भनिति भगति नति गति पहिचानी।।

Suni sanamaanahin sabahi subaanee. bhaniti bhagati nati gati pahichaanee

Hearing all with respect, he honors everyone with kind words, recognizing their devotion, reverence, and spiritual state.

यह प्राकृत महिपाल सुभाऊ। जान सिरोमनि कोसलराऊ।।

Yah praakrit mahipaal subhaaoo. jaan siromani kosalaraaoo

This is the natural disposition of an ideal earthly king, as known by the crown jewel of kings, the Lord of Kosala.

रीझत राम सनेह निसोतें। को जग मंद मलिनमति मोतें।।

Reejhat raam saneh nisoten. ko jag mand malinamati moten

Rama is pleased by pure love alone—who in this world is more dull-witted and impure of mind than I?

Commentary & Notes ↓

Poddarji's Commentary

अच्छे भाव से, बुरे भाव से, क्रोधसे या आलस्यसे, किसी तरहसे भी नाम जपनेसे दसों दिशाओंमें कल्याण होता है। उसी नामका स्मरण करके और श्रीरघुनाथजीको मस्तक नवाकर मैं रामजीके गुणोंका वर्णन करता हूँ। पार्वतीके वचन सुनकर और उनका प्रेम तथा विश्वास देखकर मुनि हृदयमें बड़े प्रसन्न हुए। वे भवानीको सिर नवाकर चल दिये और हिमाचलके पास पहुँचे॥ ९०॥ हे तात! तुम्हारा स्वाभाविक सीधापन (सरलता), प्रेम, विश्वास और नीतिमें निपुणता देखकर मेरे मनमें तुम्हारे ऊपर बड़ी ममता उत्पन्न हो गयी है; इसीलिये मैं तुम्हारे पूछनेपर अपनी कथा कहता हूँ॥ २॥ जिस मण्डपमें रूप और गुणोंके समुद्र श्रीरामचन्द्रजी दूल्हे होंगे, वह मण्डप तीनों लोकोंमें प्रसिद्ध होना ही चाहिये। जनकजीके महलकी जैसी शोभा है, वैसी ही शोभा नगरके प्रत्येक घरकी दिखायी देती है॥ ३॥ नीलमणिको कोरकर अत्यन्त सुन्दर आमके पत्ते बनाये। सोनेके बौर (आमके फूल) और रेशमकी डोरीसे बँधे हुए पन्नेके बने फलोंके गुच्छे सुशोभित हैं॥ २८७॥ ज्यों ही राजा परोसने लगा, उसी काल [कालकेतुकृत] आकाशवाणी हुई;हे ब्राह्मणो! उठ-उठकर अपने घर जाओ; यह अन्न मत खाओ। इस [के खाने] में बड़ी हानि है॥ ३॥

Notes

Chaupai 28. 'Bhayen kubhayen' = with good or bad intent. 'Anakh' = anger. 'Alasahun' = even in laziness. 'Disi dasahun' = all ten directions (the four cardinal, four intermediate, plus above and below). Tulsidas here affirms that the Name's power is unconditional; it does not depend on the chanter's state of mind. The second couplet is a transition: having established the glory of the Name, the poet now invokes it to begin his retelling. 'Jaga mangala datha' = bestower of welfare upon the world.

सठ सेवक की प्रीति रुचि रखिहहिं राम कृपालु।

उपल किए जलजान जेहिं सचिव सुमति कपि भालु।।28(क)।।

हौहु कहावत सबु कहत राम सहत उपहास।

साहिब सीतानाथ सो सेवक तुलसीदास।।28(ख)।।

Sath sevak kee preeti ruchi rakhihahin raam kripaalu

Upal kie jalajaan jehin sachiv sumati kapi bhaalu.28(ka)

Hauhu kahaavat sabu kahat raam sahat upahaas

Saahib seetaanaath so sevak tulaseedaas.28(kha)

सोरठा 28

Merciful Rama will honor | this wretched servant's plea;

He made stones to boats, apes to advisors, | so He'll make use of me.

Merciful Ram will surely honor even a foolish servant's love and devotion. He is the one who made stones float upon the sea, whose wise counselors were monkeys and bears.

Commentary & Notes ↓

Poddarji's Commentary

कृपालु श्रीरामचन्द्रजी मुझ दुष्ट सेवककी प्रीति और रुचिको अवश्य रखेंगे, जिन्होंने पत्थरोंको जहाज और बन्दर-भालुओंको बुद्धिमान् मन्त्री बना लिया।

Notes

Doha 29. 'Satha sevaka' = a dull or foolish servant. Tulsidas refers humbly to himself. 'Upala kiye jalajana' = made stones into boats (the building of the bridge to Lanka, Rama Setu). 'Sachiva sumati kapi bhalu' = whose counselors of good wisdom were monkeys (vanaras) and bears. The verse is a plea of humility: if Ram could accept the service of animals and make stones float, surely He will accept even Tulsidas's imperfect offering.

चौपाई 29
अति बड़ि मोरि ढिठाई खोरी। सुनि अघ नरकहुँ नाक सकोरी।।

Ati badi mori dhithaaee khoree. suni agha narakahun naak sakoree

My shameless audacity was extremely great and crooked. Even hell would shrink its nose upon hearing of such sin.

समुझि सहम मोहि अपडर अपनें। सो सुधि राम कीन्हि नहिं सपनें।।

Samujhi saham mohi apadar apanen. so sudhi raam keenhi nahin sapanen

Understanding this, I trembled at my own fearlessness. That memory, Rama never brought to mind even in dreams.

सुनि अवलोकि सुचित चख चाही। भगति मोरि मति स्वामि सराही।।

Suni avaloki suchit chakh chaahee. bhagati mori mati svaami saraahee

Hearing and seeing with pure eyes and heart, my Lord praised my devotion and wisdom.

कहत नसाइ होइ हियँ नीकी। रीझत राम जानि जन जी की।।

Kahat nasaai hoi hiyan neekee. reejhat raam jaani jan jee kee

Speaking thus, goodness arose in the heart. Rama was pleased, knowing the devotee's soul.

रहति न प्रभु चित चूक किए की। करत सुरति सय बार हिए की।।

Rahati na prabhu chit chook kie kee. karat surati say baar hie kee

The Lord does not keep in mind the mistakes made. He remembers the heart's devotion a hundred times over.

जेहिं अघ बधेउ ब्याध जिमि बाली। फिरि सुकंठ सोइ कीन्ह कुचाली।।

Jehin agha badheu byaadh jimi baalee. phiri sukanth soi keenh kuchaalee

The same sin by which the hunter killed Vali, that very Sugriva later committed as evil deed.

सोइ करतूति बिभीषन केरी। सपनेहुँ सो न राम हियँ हेरी।।

Soi karatooti bibheeshan keree. sapanehun so na raam hiyan heree

That same conduct was Vibhishana's doing. Even in dreams, Rama did not see that in His heart.

ते भरतहि भेंटत सनमाने। राजसभाँ रघुबीर बखाने।।

Te bharatahi bhentat sanamaane. raajasabhaan raghubeer bakhaane

Those same ones, when meeting Bharata, were honored. In the royal court, Raghuvira praised them.

Commentary & Notes ↓

Poddarji's Commentary

सीताजी चकित चित्तसे श्रीरामजीको देखने लगीं, तब सब राजालोग मोहके वश हो गये। सीताजीने मुनिके पास [बैठे हुए] दोनों भाइयोंको देखा तो उनके नेत्र अपना खजाना पाकर ललचाकर वहीं (श्रीरामजीमें) जा लगे (स्थिर हो गये)॥ ४॥ जब राजाने पुरोहितको देखा, तब वह [अपने] उसी कार्यका स्मरणकर उसे आश्चर्यसे देखने लगा। राजाको तीन दिन युगके समान बीते। उसकी बुद्धि कपटी मुनिके चरणोंमें ही लीन रही॥ ३॥ हे पार्वती! मेरे विचारमें तो श्रीरामजीकी कृपासे तुम्हारे मनमें स्वप्नमें भी शोक, मोह, सन्देह और भ्रम कुछ भी नहीं है॥ ११२॥ उदयगिरि;इस मंचपर बालपतंग (बालसूर्य) श्रीरघुनाथजी उदित हुए। सब संतरूपी कमल खिल गये और लोचनरूपी भौंरे हर्षित हो गये॥ २५४॥

Notes

Chaupai 29. 'Dhithai' = audacity, boldness. 'Khori' = fault, defect. 'Agha' = sin. 'Narakahun naka sakori' = even Naraka (hell) wrinkles its nose, a vivid image of sins so great that hell itself recoils. 'Saham' = I tremble. 'Apadara apane' = at my own fearlessness. The paradox: Tulsidas is bold enough to attempt this great work despite his unworthiness, and he attributes even that boldness to the protective power of the Name. 'Sapane' = even in dreams, meaning the Name's grace extends to every state of consciousness.

प्रभु तरु तर कपि डार पर ते किए आपु समान।।

तुलसी कहूँ न राम से साहिब सीलनिधान।।29(क)।।

राम निकाईं रावरी है सबही को नीक।

जों यह साँची है सदा तौ नीको तुलसीक।।29(ख)।।

एहि बिधि निज गुन दोष कहि सबहि बहुरि सिरु नाइ।

बरनउँ रघुबर बिसद जसु सुनि कलि कलुष नसाइ।।29(ग)।।

Prabhu taru tar kapi daar par te kie aapu samaan

Tulasee kahoon na raam se saahib seelanidhaan.29(ka)

Raam nikaaeen raavaree hai sabahee ko neek

Jon yah saanchee hai sadaa tau neeko tulaseek.29(kha)

Ehi bidhi nij gun dosh kahi sabahi bahuri siru naai

Baranaun raghubar bisad jasu suni kali kalush nasaai.29(ga)

सोरठा 29

Lord below, monkey above on the tree; | yet He made them the same as He;

Tulsi says: no master anywhere | so humbly noble and free.

The Lord stood beneath the tree while the monkey perched on the branch above Him, yet He raised those monkeys to be His own equals. Tulsidas says: there is no master in all the world like Ram, that boundless treasury of grace and tender humility.

Commentary & Notes ↓

Poddarji's Commentary

प्रभु तो वृक्षके नीचे और बंदर डालीपर;परन्तु ऐसे बंदरोंको भी उन्होंने अपने समान बना लिया। तुलसीदासजी कहते हैं कि श्रीरामचन्द्रजी-सरीखे शीलनिधान स्वामी कहीं भी नहीं हैं।

Notes

Doha 30. 'Seelanidhaan' (silanidhan) rendered as 'boundless treasury of grace and tender humility' to convey both sila (gracious conduct) and nidhaan (storehouse). The image of God standing below while the monkey sits above is Tulsidas's signature portrait of Ram's humility.

चौपाई 30
जागबलिक जो कथा सुहाई। भरद्वाज मुनिबरहि सुनाई।।

Jaagabalik jo kathaa suhaaee. bharadvaaj munibarahi sunaaee

The beautiful story that sage Yajnavalkya narrated to the great sage Bharadvaja.

कहिहउँ सोइ संबाद बखानी। सुनहुँ सकल सज्जन सुखु मानी।।

Kahihaun soi sambaad bakhaanee. sunahun sakal sajjan sukhu maanee

I shall narrate that same dialogue in detail. Listen, all noble souls, and take joy in it.

संभु कीन्ह यह चरित सुहावा। बहुरि कृपा करि उमहि सुनावा।।

Sambhu keenh yah charit suhaavaa. bahuri kripaa kari umahi sunaavaa

Lord Shiva composed this beautiful narrative, and then graciously narrated it to Uma (Parvati).

सोइ सिव कागभुसुंडिहि दीन्हा। राम भगत अधिकारी चीन्हा।।

Soi siv kaagabhusundihi deenhaa. raam bhagat adhikaaree cheenhaa

The same story Shiva gave to Kakabhushundi, recognizing him as a worthy devotee of Rama.

तेहि सन जागबलिक पुनि पावा। तिन्ह पुनि भरद्वाज प्रति गावा।।

Tehi san jaagabalik puni paavaa. tinh puni bharadvaaj prati gaavaa

From him, Yajnavalkya received it, and he in turn sang it to Bharadvaja.

ते श्रोता बकता समसीला। सवँदरसी जानहिं हरिलीला।।

Te shrotaa bakataa samaseelaa. savandarasee jaanahin harileelaa

These listeners and narrators were all of equal virtue, being all-seeing knowers of the Lord's divine play.

जानहिं तीनि काल निज ग्याना। करतल गत आमलक समाना।।

Jaanahin teeni kaal nij gyaanaa. karatal gat aamalak samaanaa

They know the three periods of time through their own wisdom, as clearly as an amalaka fruit held in the palm.

औरउ जे हरिभगत सुजाना। कहहिं सुनहिं समुझहिं बिधि नाना।।

Aurau je haribhagat sujaanaa. kahahin sunahin samujhahin bidhi naanaa

And other wise devotees of Hari speak, hear, and understand in various ways.

Commentary & Notes ↓

Poddarji's Commentary

जिनकी कथाका अगस्त्य ऋषिने गान किया और जिनकी भक्ति मैंने मुनिको सुनायी, वही मेरे इष्टदेव श्रीरघुवीरजी हैं, जिनकी सेवा ज्ञानी मुनि सदा किया करते हैं॥४॥ वेदोंमें राजाओंके जो धर्म बताये गये हैं, राजा सदा आदरपूर्वक और सुख मानकर उन सबका पालन करता था। प्रतिदिन अनेक प्रकारके दान देता और उत्तम शास्त्र, वेद और पुराण सुनता था॥ ३॥ विनती करके अपनी कथा सुनायी और मुनिको सारी रंगभूमि (यज्ञशाला) दिखलायी। [मुनिके साथ] दोनों श्रेष्ठ राजकुमार जहाँ-जहाँ जाते हैं, वहाँ-वहाँ सब कोई आश्चर्यचकित हो देखने लगते हैं॥ ३॥ स्त्रीस्वभावका असर तो देखो कि वहाँ (उन सर्वज्ञ भगवानूके सामने) भी सतीजी छिपाव करना चाहती हैं। अपनी मायाके बलको हृदयमें बखानकर, श्रीरामचन्द्रजी हँसकर कोमल वाणीसे बोले॥३॥ यद्यपि शिवजी ने यह हित की शिक्षा दी, पर नारदजी को वह अच्छी न लगी। हे भरद्वाज! अब कौतुक (तमाशा) सुनो। हरि की इच्छा बड़ी बलवान है॥ १२७॥ [प्रवेशका] समय जानकर गुरु वसिष्ठजीने आज्ञा दी। तब रघुकुलमणि महाराज दशरथजीने शिवजी, पार्वतीजी और गणेशजीका स्मरण करके समाजसहित आनन्दित होकर नगरमें प्रवेश किया॥४॥ देवगण सुन्दर मङ्गलका अवसर जानकर, नगाड़े बजा-बजाकर फूल बरसाते हैं। शिवजी, ब्रह्माजी आदि देववृन्द यूथ (टोलियाँ) बना-बनाकर विमानोंपर जा चढ़े॥ राजाका हित करनेवाला और शुक्राचार्यके समान बुद्धिमान् धर्मरुचि नामक उसका मन्त्री था। इस प्रकार बुद्धिमान् मन्त्री और बलवान् तथा वीर भाईके साथ ही स्वयं राजा भी बड़ा प्रतापी और रणधीर था॥ १॥ सब प्रकारसे राजाको अपने वशमें करके, अधिक स्नेह दिखाता हुआ वह (मुनि) बोला;हे राजन्! सुनो, मैं तुमसे सत्य कहता हूँ, मुझे यहाँ रहते बहुत समय बीत गया॥ ४॥ [चौथे दिन] समय जानकर पुरोहित [के रूपमें मुनि] आया और उसने सलाहके अनुसार [उसने अपने] सब विचार उसे समझाकर कह दिये। राजाने माना और बड़ा सुख माना। हितू जानकर मन्त्री और भाईसे पूछा॥ ४॥ शकुन हो रहे हैं, देवता दुन्दुभी बजा-बजाकर फूल बरसा रहे हैं। देवताओंकी स्त्रियाँ आनन्दित होकर सुन्दर मङ्गलगीत गा-गाकर नाच रही हैं॥३४७॥ पृथ्वी, पाताल और स्वर्ग तीनों लोकोंमें यश फैल गया कि श्रीरामचन्द्रजीने धनुष तोड़ दिया और सीताजीको वरण कर लिया। नगरके नर-नारी आरती कर रहे हैं और अपनी पूँजी (हैसियत) को भुलाकर (सामर्थ्यसे बहुत अधिक) निछावर कर रहे हैं॥ ३॥ गौतमजीकी स्त्री अहल्याकी गतिका स्मरण करके सीताजी श्रीरामजीके चरणोंको हाथोंसे स्पर्श नहीं कर रही हैं। सीताजीकी अलौकिक प्रीति जानकर रघुकुलमणि श्रीरामचन्द्रजी मनमें हँसे॥ २६५॥ नारदजीने जो कहा है, उसे सत्य समझकर तू जाकर तप कर। फिर यह मत माता-पिताको भी अच्छी लगी है। तप सुख देनेवाला और दुःख-दोषका नाश करनेवाला है॥ १॥ हे सुजान! सुनो, घोर अँधेरी रात है, घना जंगल है, रास्ता नहीं है, ऐसा समझकर तुम आज यहीं ठहर जाओ, सबेरा होते ही चले जाना॥ १५९ (क)॥

Notes

Chaupai 30. Two couplet-pairs, but the second pair is a single line of address. 'Sajjan' (good souls) kept warm and inclusive. 'Sambad' (samvad) = dialogue, pointing to the Yajnavalkya-Bharadvaj frame narrative.

मै पुनि निज गुर सन सुनी कथा सो सूकरखेत।

समुझी नहि तसि बालपन तब अति रहेउँ अचेत।।30(क)।।

श्रोता बकता ग्याननिधि कथा राम कै गूढ़।

किमि समुझौं मै जीव जड़ कलि मल ग्रसित बिमूढ़।।30(ख)।।

Mai puni nij gur san sunee kathaa so sookarakhet

Samujhee nahi tasi baalapan tab ati raheun achet.30(ka)

Shrotaa bakataa gyaananidhi kathaa raam kai goodh

Kimi samujhaun mai jeev jad kali mal grasit bimoodh.30(kha)

सोरठा 30

Speaker, listener of Ram's deep tale | must be wisdom's store;

how could I, a fool of Kali, | grasp such hidden lore?

I myself heard this story from my own Guru at Sukarkshetra (Soron). In my childhood I could not grasp it at all; I was utterly lost in innocence then.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामजीकी गूढ़ कथाके वक्ता और श्रोता दोनों ज्ञानके खजाने होते हैं। मैं कलियुगके पापोंसे ग्रसा हुआ महामूढ़ जड़ जीव भला उसको कैसे समझ सकता था?

Notes

Doha 31 (first part). 'Sukarkshetra' is the sacred site at modern Soron in Uttar Pradesh. 'Achet' (unconscious/heedless) softened to 'utterly lost in innocence' to honour the childlike quality Tulsidas describes without implying negligence.

चौपाई 31
तदपि कही गुर बारहिं बारा। समुझि परी कछु मति अनुसारा।।

Tadapi kahee gur baarahin baaraa. samujhi paree kachhu mati anusaaraa

Even so, the guru spoke repeatedly many times. According to my understanding, I grasped something of it.

भाषाबद्ध करबि मैं सोई। मोरें मन प्रबोध जेहिं होई।।

Bhaashaabaddh karabi main soee. moren man prabodh jehin hoee

I shall compose that same story in verse form, which will bring enlightenment to my mind.

जस कछु बुधि बिबेक बल मेरें। तस कहिहउँ हियँ हरि के प्रेरें।।

Jas kachhu budhi bibek bal meren. tas kahihaun hiyan hari ke preren

Whatever strength of intellect and discernment I possess, I shall speak thus with Hari's inspiration in my heart.

निज संदेह मोह भ्रम हरनी। करउँ कथा भव सरिता तरनी।।

Nij sandeh moh bhram haranee. karaun kathaa bhav saritaa taranee

I shall narrate this story that destroys my own doubts, delusion and confusion, and helps cross the river of worldly existence.

बुध बिश्राम सकल जन रंजनि। रामकथा कलि कलुष बिभंजनि।।

Budh bishraam sakal jan ranjani. raamakathaa kali kalush bibhanjani

The story of Rama gives peace to the wise, delights all people, and destroys the sins of Kali Yuga.

रामकथा कलि पंनग भरनी। पुनि बिबेक पावक कहुँ अरनी।।

Raamakathaa kali pannag bharanee. puni bibek paavak kahun aranee

The story of Rama is like a serpent that devours the snakes of Kali Yuga, and fuel for the fire of discrimination.

रामकथा कलि कामद गाई। सुजन सजीवनि मूरि सुहाई।।

Raamakathaa kali kaamad gaaee. sujan sajeevani moori suhaaee

The story of Rama is like the wish-fulfilling cow of Kali Yuga, a beautiful life-giving herb for good people.

सोइ बसुधातल सुधा तरंगिनि। भय भंजनि भ्रम भेक भुअंगिनि।।

Soi basudhaatal sudhaa tarangini. bhay bhanjani bhram bhek bhuangini

It is like the Ganga flowing on earth with nectar waves, destroyer of fear and the serpent of delusion.

असुर सेन सम नरक निकंदिनि। साधु बिबुध कुल हित गिरिनंदिनि।।

Asur sen sam narak nikandini. saadhu bibudh kul hit girinandini

It destroys the hell-like army of demons, and is like Parvati bringing welfare to saints and gods.

संत समाज पयोधि रमा सी। बिस्व भार भर अचल छमा सी।।

Sant samaaj payodhi ramaa see. bisv bhaar bhar achal chhamaa see

It is like Lakshmi in the ocean of saints' assembly, like the patient earth bearing the world's burden.

जम गन मुहँ मसि जग जमुना सी। जीवन मुकुति हेतु जनु कासी।।

Jam gan muhan masi jag jamunaa see. jeevan mukuti hetu janu kaasee

It blackens the faces of Yama's servants, and is like the Yamuna for the world, like Kashi for liberation and life.

रामहि प्रिय पावनि तुलसी सी। तुलसिदास हित हियँ हुलसी सी।।

Raamahi priy paavani tulasee see. tulasidaas hit hiyan hulasee see

It is like the sacred Tulsi plant dear to Rama, bringing joy to Tulsidas's heart.

सिवप्रय मेकल सैल सुता सी। सकल सिद्धि सुख संपति रासी।।

Sivapray mekal sail sutaa see. sakal siddhi sukh sampati raasee

It is like Narmada, the daughter of Mekala mountain dear to Shiva, a treasure of all accomplishments, happiness and prosperity.

सदगुन सुरगन अंब अदिति सी। रघुबर भगति प्रेम परमिति सी।।

Sadagun suragan amb aditi see. raghubar bhagati prem paramiti see

It is like Aditi, the mother of gods and virtues, the supreme measure of devotion and love for Raghubir.

Commentary & Notes ↓

Poddarji's Commentary

जबसे उमाजी हिमाचलके घर जन्मीं तबसे वहाँ सारी सिद्धियाँ और सम्पत्तियाँ छा गयीं॥ ४॥ कुछ दिन जल और वायुका भोजन किया और फिर कुछ दिन कठोर उपवास किये। जो बेलपत्र सूखकर पृथ्वीपर गिरते थे, तीन हजार वर्षतक उन्हींको खाया॥ ३॥ जिनका नाम सुननेसे ही कल्याण होता है, वही प्रभु मेरे घर आये हैं। [यह सोचकर] राजाका मन परम आनन्दसे पूर्ण हो गया। उन्होंने बाजेवालोंको बुलाकर कहा कि बाजा बजाओ॥ सब देवता बैठकर विचार करने लगे कि प्रभुको कहाँ पावें ताकि उनके सामने पुकार (फर्याद) करें। कोई वैकुण्ठपुरी जानेको कहता था और कोई कहता था कि वही प्रभु क्षीरसमुद्रमें निवास करते हैं॥ शिवजीके गण शिवजीका शृङ्गार करने लगे। जटाओंका मुकुट बनाकर उसपर साँपोंका मौर सजाया गया। शिवजीने साँपोंके ही कुण्डल और कङ्कण पहने, शरीरपर विभूति रमायी और वस्त्रकी जगह बाघम्बर लपेट लिया॥ तपहीके बलसे रुद्र संहार करते हैं, संसारमें कोई ऐसी वस्तु नहीं जो तपसे न मिल सके। यह सुनकर राजाको बड़ा अनुराग हुआ। तब वह (तपस्वी) पुरानी कथाएँ कहने लगा॥ २॥ रावणको कहीं ऐसी खबर मिली तब उसने सेना सजाकर किलेको जा घेरा। उस बड़े विकट योद्धा और उसकी बड़ी सेनाको देखकर यक्ष अपने प्राण लेकर भाग गये॥ २॥ बाणासुर, जो सुमेरुको भी उठा सकता था, वह भी हृदयमें हारकर परिक्रमा करके चला गया; और जिसने खेलसे ही कैलासको उठा लिया था, वह रावण भी उस सभामें पराजित हुआ॥ ४॥ उस नगर में ऐसे सुन्दर नर-नारी बसते थे मानो बहुत-से कामदेव और [उसकी स्त्री] रति ही मनुष्य-शरीर धारण किये हुए हों। उस नगर में शीलनिधि नामक राजा रहता था, जिसके यहाँ असंख्य घोड़े, हाथी और सेना के समूह थे॥ श्रीरामचन्द्रजीके कोमल और रहस्यभरे वचन सुनकर सतीजीको बड़ा संकोच हुआ। वे डरती हुई (चुपचाप) शिवजीके पास चलीं, उनके हृदयमें बड़ी चिन्ता हो गयी॥५३॥ दूतोंने प्रणाम करके चिट्ठी दी। प्रसन्न होकर राजाने स्वयं उठकर उसे लिया। पत्रिका बाँचते समय उनके नेत्रोंमें जल (प्रेमाश्रु) छा गया, शरीर पुलकित हो गया और छाती भर आयी॥ २॥ इसीसे तो संत और वेद पुकारकर कहते हैं कि परम अकिञ्चन (सर्वथा अहंकार, ममता और मानरहित) ही भगवानको प्रिय होते हैं। आप-सरीखे निर्धन, भिखारी और गृहहीनोंको देखकर ब्रह्मा और शिवजीको भी सन्देह हो जाता है [कि वे वास्तविक संत हैं या भिखारी]॥ २॥

Notes

Chaupai 31. Two couplet-pairs separated by line break. 'Bhasha' explicitly noted as the vernacular language (Avadhi), honouring Tulsidas's radical choice to compose in the people's tongue rather than Sanskrit. 'Prabodh' = awakening, illumination.

राम कथा मंदाकिनी चित्रकूट चित चारु।

तुलसी सुभग सनेह बन सिय रघुबीर बिहारु।।31।।

Raam kathaa mandaakinee chitrakoot chit chaaru

Tulasee subhag saneh ban siy raghubeer bihaaru (31)

दोहा 31

Ram-katha is Mandakini, | the heart is Chitrakoot;

Tulsi says, in love's fair grove, | Sita-Ram take root.

Ram's story is the holy Mandakini river. The beautiful, pure heart is Chitrakoot. The forest of tender love is its setting. And there, Siya and Raghuvir delight in their eternal play.

Commentary & Notes ↓

Poddarji's Commentary

तुलसीदासजी कहते हैं कि रामकथा मन्दाकिनी नदी है, सुन्दर (निर्मल) चित्त चित्रकूट है, और सुन्दर स्नेह ही वन है, जिसमें श्रीसीतारामजी विहार करते हैं।

Notes

Doha 31 (numbered here as doha-032 per sequence). A celebrated allegorical verse: Mandakini = the narrative flow, Chitrakoot = the devoted mind, the forest of love (sneh-ban) = the inner landscape. 'Siya-Raghuvir bihaaru' = the divine play of Sita and Ram. Tulsidas maps the geography of the Ramayan onto the devotee's own heart.

चौपाई 32
राम चरित चिंतामनि चारू। संत सुमति तिय सुभग सिंगारू।।

Raam charit chintaamani chaaroo. sant sumati tiy subhag singaaroo

Rama's character is like a beautiful wish-fulfilling gem, adorning the noble minds of saints like an ornament beautifies a virtuous woman.

जग मंगल गुन ग्राम राम के। दानि मुकुति धन धरम धाम के।।

Jag mangal gun graam raam ke. daani mukuti dhan dharam dhaam ke

Rama's virtues bring welfare to the world, being the giver of liberation, wealth, righteousness, and divine abode.

सदगुर ग्यान बिराग जोग के। बिबुध बैद भव भीम रोग के।।

Sadagur gyaan biraag jog ke. bibudh baid bhav bheem rog ke

He is the true guru of knowledge, detachment, and yoga, and like a divine physician for the terrible disease of worldly existence.

जननि जनक सिय राम प्रेम के। बीज सकल ब्रत धरम नेम के।।

Janani janak siy raam prem ke. beej sakal brat dharam nem ke

He is the mother and father of love between Sita and Rama, and the seed of all vows, righteousness, and religious observances.

समन पाप संताप सोक के। प्रिय पालक परलोक लोक के।।

Saman paap santaap sok ke. priy paalak paralok lok ke

He destroys sin, suffering, and sorrow, and is the beloved protector of both this world and the next.

सचिव सुभट भूपति बिचार के। कुंभज लोभ उदधि अपार के।।

Sachiv subhat bhoopati bichaar ke. kumbhaj lobh udadhi apaar ke

He is the minister, warrior, and king of wise deliberation, like Mount Meru in the boundless ocean of greed.

काम कोह कलिमल करिगन के। केहरि सावक जन मन बन के।।

Kaam koh kalimal karigan ke. kehari saavak jan man ban ke

He is like a lion to the elephant-herd of lust, anger, and the sins of Kali age, and like a lion's cub in the forest of devotees' hearts.

अतिथि पूज्य प्रियतम पुरारि के। कामद घन दारिद दवारि के।।

Atithi poojy priyatam puraari ke. kaamad ghan daarid davaari ke

He is the most honored guest and beloved of Shiva, like a wish-fulfilling cloud at the door of poverty.

मंत्र महामनि बिषय ब्याल के। मेटत कठिन कुअंक भाल के।।

Mantr mahaamani bishay byaal ke. metat kathin kuank bhaal ke

He is like a great magical gem against the serpent of sensual pleasures, erasing the difficult evil marks from the forehead.

हरन मोह तम दिनकर कर से। सेवक सालि पाल जलधर से।।

Haran moh tam dinakar kar se. sevak saali paal jaladhar se

He destroys the darkness of delusion like the sun's rays, and nourishes devotees like a cloud protects the rice crop.

अभिमत दानि देवतरु बर से। सेवत सुलभ सुखद हरि हर से।।

Abhimat daani devataru bar se. sevat sulabh sukhad hari har se

He grants desired boons like the divine wish-tree, and in service is easily accessible and joy-giving like Hari and Hara.

सुकबि सरद नभ मन उडगन से। रामभगत जन जीवन धन से।।

Sukabi sarad nabh man udagan se. raamabhagat jan jeevan dhan se

He is like the autumn sky for the flight of good poets' minds, and like life-wealth for the devotees of Rama.

सकल सुकृत फल भूरि भोग से। जग हित निरुपधि साधु लोग से।।

Sakal sukrit phal bhoori bhog se. jag hit nirupadhi saadhu log se

He is like abundant enjoyment of all good deeds' fruits, and like selfless holy people working for world's welfare.

सेवक मन मानस मराल से। पावक गंग तंरग माल से।।

Sevak man maanas maraal se. paavak gang tanrag maal se

He is like a swan in the lake of devotees' minds, and like the sacred fire in the garland of Ganga's waves.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरघुनाथजीकी ओर देख-देखकर सीताजी धीरज धरकर देवताओंको मना रही हैं। उनके नेत्रोंमें प्रेमके आँसू भरे हैं और शरीरमें रोमाञ्च हो रहा है॥ २५७॥ संत सरलहृदय और जगतके हितकारी होते हैं, उनके ऐसे स्वभाव और स्नेहको जानकर मैं विनय करता हूँ, मेरी इस बाल-विनयको सुनकर कृपा करके श्रीरामजीके चरणोंमें मुझे प्रीति दें॥ ३ (ख)॥ जो मृग श्रीरामजीके बाणसे मारे जाते थे, वे शरीर छोड़कर देवलोकको चले जाते थे। श्रीरामचन्द्रजी अपने छोटे भाइयों और सखाओंके साथ भोजन करते हैं और माता-पिताकी आज्ञाका पालन करते हैं॥ २॥ सिरपर सुन्दर चौकोनी टोपियाँ हैं, काले और घुँघराले बाल हैं। दोनों भाई नखसे लेकर शिखातक (एड़ीसे चोटीतक) सुन्दर हैं और सारी शोभा जहाँ जैसी चाहिये वैसी ही है॥ २१९॥

Notes

Chintamani: the legendary gem that grants all desires. Tulsidas compares the Ram Katha itself to this jewel, then shifts the metaphor to a woman's ornament, suggesting that the story beautifies the mind of the wise. The four gifts (mukti, dhana, dharma, dhama) echo the four purusharthas.

कुपथ कुतरक कुचालि कलि कपट दंभ पाषंड।

दहन राम गुन ग्राम जिमि इंधन अनल प्रचंड।।32(क)।।

रामचरित राकेस कर सरिस सुखद सब काहु।

सज्जन कुमुद चकोर चित हित बिसेषि बड़ लाहु।।32(ख)।।

Kupath kutarak kuchaali kali kapat dambh paashand

Dahan raam gun graam jimi indhan anal prachand.32(ka)

Raamacharit raakes kar saris sukhad sab kaahu

Sajjan kumud chakor chit hit biseshi bad laahu.32(kha)

सोरठा 32

Rama's virtues burn like fire | wrong paths, false creeds, deceit;

Kali's hypocrisy and pride | become the fuel so sweet.

The evil paths, false arguments, and wicked conduct of the Kali age, its deceit, arrogance, and hypocrisy, are so much firewood. Ram's cluster of virtues is the fierce fire that burns them all to ash.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामजीके गुणोंके समूह कुमार्ग, कुतर्क, कुचाल और कलियुगके कपट, दम्भ और पाखण्डके जलानेके लिये वैसे ही हैं जैसे ईंधनके लिये प्रचण्ड अग्नि।

Notes

Doha 32 in the Gita Press numbering. Tulsidas names six corruptions of the Kali Yuga (kupatha, kutarka, kuchali, kali, kapat, dambha, paakhanda) and declares them fuel for the blazing fire of Ram's gunas. The image is both wrathful and purifying.

चौपाई 33
कीन्हि प्रस्न जेहि भाँति भवानी। जेहि बिधि संकर कहा बखानी।।

Keenhi prasn jehi bhaanti bhavaanee. jehi bidhi sankar kahaa bakhaanee

The manner in which Bhavani asked her question, and the way Shankara explained it in response.

सो सब हेतु कहब मैं गाई। कथाप्रबंध बिचित्र बनाई।।

So sab hetu kahab main gaaee. kathaaprabandh bichitr banaaee

All those reasons I shall sing and tell, weaving together a wondrous narrative composition.

जेहि यह कथा सुनी नहिं होई। जनि आचरजु करैं सुनि सोई।।

Jehi yah kathaa sunee nahin hoee. jani aacharaju karain suni soee

Those who have not heard this story before should not be surprised upon hearing it.

कथा अलौकिक सुनहिं जे ग्यानी। नहिं आचरजु करहिं अस जानी।।

Kathaa alaukik sunahin je gyaanee. nahin aacharaju karahin asa jaanee

The wise who hear this extraordinary story do not express wonder, knowing its true nature.

रामकथा कै मिति जग नाहीं। असि प्रतीति तिन्ह के मन माहीं।।

Raamakathaa kai miti jag naaheen. asi prateeti tinh ke man maaheen

There is no limit to Rama's stories in this world - such is the firm belief in their hearts.

नाना भाँति राम अवतारा। रामायन सत कोटि अपारा।।

Naanaa bhaanti raam avataaraa. raamaayan sat koti apaaraa

Rama's incarnations are manifold, and the Ramayanas are countless hundreds of crores.

कलपभेद हरिचरित सुहाए। भाँति अनेक मुनीसन्ह गाए।।

Kalapabhed haricharit suhaae. bhaanti anek muneesanh gaae

Due to differences in cosmic ages, the beautiful stories of Hari have been sung by sages in various ways.

करिअ न संसय अस उर आनी। सुनिअ कथा सारद रति मानी।।

Karia na sansay asa ura aanee. sunia kathaa saarad rati maanee

Do not harbor doubt in your heart about this; listen to the story with love for Saraswati.

Commentary & Notes ↓

Poddarji's Commentary

पृथ्वीपर उन्होंने वानरदेह धारण की। उनमें अपार बल और प्रताप था। सभी शूरवीर थे; पर्वत, वृक्ष और नख ही उनके शस्त्र थे। वे धीर बुद्धिवाले [वानररूप देवता] भगवानके आनेकी राह देखने लगे॥ फिर सब महाजनोंको बुलाया और सबने आकर राजाको आदरपूर्वक सिर नवाया। [राजाने कहा;] बाजार, रास्ते, घर, देवालय और सारे नगरको चारों ओरसे सजाओ॥ २॥ परन्तु कामदेव की कोई भी कला मुनि पर असर न कर सकी। तब तो पापी कामदेव अपने ही [नाश के] भय से डर गया। लक्ष्मीपति भगवान जिसके बड़े रक्षक हों, भला, उसकी सीमा (मर्यादा) को कोई दबा सकता है?॥ [मनुष्योंकी तो बात ही क्या] देवता लोग भी आकाशसे विमानोंपर चढ़े हुए दर्शन कर रहे हैं और सुन्दर गान करते हुए फूल बरसा रहे हैं। तब सुअवसर जानकर जनकजीने सीताजीको बुला भेजा॥ ४॥ नाई, बारी, भाट और नट श्रीरामचन्द्रजीकी निछावर पाकर आनन्दित हो सिर नवाकर आशिष देते हैं; उनके हृदयमें हर्ष समाता नहीं है॥ ३१९॥ [श्रीशिवजी कहते हैं कि-] हे भवानी! जिनके ऐसे आचरण हैं, उन सब प्राणियोंको राक्षस ही समझना। इस प्रकार धर्मके प्रति [लोगोंकी] अतिशय ग्लानि (अरुचि, अनास्था) देखकर पृथ्वी अत्यन्त भयभीत एवं व्याकुल हो गयी॥ कोलाहल सुनकर सीताजी शंकित हो गयीं। तब सखियाँ उन्हें वहाँ ले गयीं जहाँ रानी (सीताजीकी माता) थीं। श्रीरामचन्द्रजी मनमें सीताजीके प्रेमका बखान करते हुए स्वाभाविक चालसे गुरुजीके पास चले॥ ३॥ भगवान्‌ने बहुत प्रकारसे बाललीलाएँ कीं और अपने सेवकोंको अत्यन्त आनन्द दिया। कुछ समय बीतनेपर चारों भाई बड़े होकर कुटुम्बियोंको सुख देनेवाले हुए॥ १॥ सिंहकी-सी पतली कमरवाले, पीताम्बर धारण किये हुए, शोभा और शीलके भण्डार, सूर्यकुलके भूषण श्रीरामचन्द्रजीको देखकर सखियाँ अपने-आपको भूल गयीं॥ २३३॥

Notes

Bhavani is Parvati; Shankara is Shiva. This chaupai introduces the famous Shiva-Parvati frame narrative that structures much of the Bala Kanda. Tulsidas positions himself as retelling what Shiva told Parvati, layering narrator upon narrator in the classic katha tradition.

राम अनंत अनंत गुन अमित कथा बिस्तार।

सुनि आचरजु न मानिहहिं जिन्ह कें बिमल बिचार।।33।।

Raam anant anant gun amit kathaa bistaar

Suni aacharaju na maanihahin jinh ken bimal bichaar (33)

दोहा 33

'Now hear, O Mountain's Daughter, | another cause I'll tell;

how the formless, birthless Brahman | in Koshala came to dwell.'

Ram is infinite. His virtues are infinite. The expanse of His story is beyond all measure. Those whose discernment is pure will hear this and feel no surprise.

Commentary & Notes ↓

Poddarji's Commentary

हे गिरिराजकुमारी! अब भगवान के अवतार का वह दूसरा कारण सुनो;मैं उसकी विचित्र कथा विस्तार करके कहता हूँ;जिस कारण से जन्मरहित, निर्गुण और रूपरहित (अव्यक्त सच्चिदानन्दघन) ब्रह्म अयोध्यापुरी के राजा हुए॥

Notes

Doha 33 in the Gita Press numbering. Tulsidas prepares the listener: because Ram Himself is ananta (limitless), the story's vastness is only natural. Surprise would betray incomplete understanding; the wise accept infinity with calm faith.

चौपाई 34
एहि बिधि सब संसय करि दूरी। सिर धरि गुर पद पंकज धूरी।।

Ehi bidhi sab sansay kari dooree. sir dhari gur pad pankaj dhooree

Having thus removed all doubts and placing the dust of my guru's lotus feet upon my head.

पुनि सबही बिनवउँ कर जोरी। करत कथा जेहिं लाग न खोरी।।

Puni sabahee binavaun kar joree. karat kathaa jehin laag na khoree

Again I humbly request all with folded hands that no fault may arise in narrating this story.

सादर सिवहि नाइ अब माथा। बरनउँ बिसद राम गुन गाथा।।

Saadar sivahi naai aba maathaa. baranaun bisad raam gun gaathaa

Now bowing my head respectfully to Lord Shiva, I shall narrate the pure story of Rama's virtues.

संबत सोरह सै एकतीसा। करउँ कथा हरि पद धरि सीसा।।

Sambat sorah sai ekateesaa. karaun kathaa hari pad dhari seesaa

In the year sixteen hundred and thirty-one, I begin this story placing Hari's feet upon my head.

नौमी भौम बार मधु मासा। अवधपुरीं यह चरित प्रकासा।।

Naumee bhaum baar madhu maasaa. avadhapureen yah charit prakaasaa

On the ninth day, Tuesday, in the month of Chaitra, this story was revealed in Ayodhya.

जेहि दिन राम जनम श्रुति गावहिं। तीरथ सकल तहाँ चलि आवहिं।।

Jehi din raam janam shruti gaavahin. teerath sakal tahaan chali aavahin

On the day when the Vedas sing of Rama's birth, all holy places come there.

असुर नाग खग नर मुनि देवा। आइ करहिं रघुनायक सेवा।।

Asur naag khag nar muni devaa. aai karahin raghunaayak sevaa

Demons, serpents, birds, humans, sages and gods all come to serve the Lord of Raghus.

जन्म महोत्सव रचहिं सुजाना। करहिं राम कल कीरति गाना।।

Janm mahotsav rachahin sujaanaa. karahin raam kal keerati gaanaa

The wise celebrate the birth festival and sing the beautiful glory of Rama.

Commentary & Notes ↓

Poddarji's Commentary

मुनि और देवतारूपी चकवे शोकरहित हो गये। वे फूल बरसाकर अपनी सेवा प्रकट कर रहे हैं। प्रेमसहित गुरुके चरणोंकी वन्दना करके श्रीरामचन्द्रजीने मुनियोंसे आज्ञा माँगी॥ २॥ हे गणोंके नायक, वर देनेवाले देवता गणेशजी! मैंने आजहीके लिये तुम्हारी सेवा की थी। बार-बार मेरी विनती सुनकर धनुषके भारीपनको बहुत ही कम कर दीजिये॥ ४॥ तब वेदशिरा मुनिने आकर सबको समझाकर कहा। पार्वतीजीकी महिमा सुनकर सबको समाधान हो गया॥ ७३॥ पवित्र चैत्रका महीना था, नवमी तिथि थी। शुक्लपक्ष और भगवानका प्रिय अभिजित्‌ मुहूर्त था। दोपहरका समय था। न बहुत सरदी थी, न धूप (गरमी) थी। वह पवित्र समय सब लोकोंको शान्ति देनेवाला था॥ रघुश्रेष्ठके हृदयपर जयमाला देखकर देवता फूल बरसाने लगे और सब राजा ऐसे सकुचा गये जैसे सूर्यको देखकर कुमुदोंके समूह [मुरझा जाते हैं]॥ २६४॥ सतीजीने सीताजीका वेष धारण किया, यह जानकर शिवजीके हृदयमें बड़ा विषाद हुआ। उन्होंने सोचा कि यदि मैं अब सतीसे प्रीति करता हूँ तो भक्तिमार्ग लुप्त हो जाता है और बड़ा अन्याय होता है॥४॥ पुत्रोंसहित स्नान करके राजने ब्राह्मण, गुरु और कुटम्बियोंको बुलाकर अनेक प्रकारके भोजन किये। [यह सब करते-करते] पाँच घड़ी रात बीत गयी॥३५४॥ जो मन, वचन और कर्मसे अगोचर हैं, वही प्रभु दशरथजीके आँगनमें विचर रहे हैं। भोजन करनेके समय जब राजा बुलाते हैं तब वे अपने बालसखाओंके समाजको छोड़कर नहीं आते॥ ३॥

Notes

A transitional verse of great humility. Tulsidas performs three acts of devotion: removing doubt, honoring the Guru, and supplicating the audience. The 'dust of the Guru's lotus feet' (guru pad pankaj dhuri) is a signature image of surrender in the bhakti tradition. This chaupai closes the invocatory preamble and opens the narrative proper.

मज्जहि सज्जन बृंद बहु पावन सरजू नीर।

जपहिं राम धरि ध्यान उर सुंदर स्याम सरीर।।34।।

Majjahi sajjan brind bahu paavan sarajoo neer

Japahin raam dhari dhyaan ura sundar syaam sareer (34)

दोहा 34

Many good souls bathe in Sarayu's | purifying stream,

holding dark-hued Rama in their hearts; | they chant and dream.

Multitudes of good people bathe in the pure waters of the Sarayu. They chant the name of Ram, holding in their hearts the vision of His beautiful dark form.

Commentary & Notes ↓

Poddarji's Commentary

सज्जनोंके बहुत-से समूह उस दिन श्रीसरयूजीके पवित्र जलमें स्नान करते हैं और हृदयमें सुन्दर श्यामशरीर श्रीरघुनाथजीका ध्यान करके उनके नामका जप करते हैं।

Notes

Doha 34. 'Sarayu' (Sarajoo) is the sacred river of Ayodhya. 'Shyaam shareer' (dark form) refers to Ram's deep blue-black complexion, a mark of divine beauty in the Vaishnava tradition. The verse pairs outer purification (bathing) with inner devotion (meditation on the Lord's form).

चौपाई 35
दरस परस मज्जन अरु पाना। हरइ पाप कह बेद पुराना।।

Daras paras majjan aru paanaa. harai paap kah bed puraanaa

Seeing, touching, bathing in, and drinking from the Ganga destroys sins, as declared by the Vedas and Puranas.

नदी पुनीत अमित महिमा अति। कहि न सकइ सारद बिमलमति।।

Nadee puneet amit mahimaa ati. kahi na sakai saarad bimalamati

The sacred river possesses infinite glory so great that even Saraswati of pure intellect cannot describe it.

राम धामदा पुरी सुहावनि। लोक समस्त बिदित अति पावनि।।

Raam dhaamadaa puree suhaavani. lok samast bidit ati paavani

Ayodhya is the beautiful city that grants Rama's divine abode, known throughout all worlds as supremely sacred.

चारि खानि जग जीव अपारा। अवध तजे तनु नहि संसारा।।

Chaari khaani jag jeev apaaraa. avadh taje tanu nahi sansaaraa

Countless beings of all four types who abandon their bodies in Ayodhya do not return to worldly existence.

सब बिधि पुरी मनोहर जानी। सकल सिद्धिप्रद मंगल खानी।।

Sab bidhi puree manohar jaanee. sakal siddhiprad mangal khaanee

Know this city to be enchanting in every way, a mine of all spiritual powers and auspiciousness.

बिमल कथा कर कीन्ह अरंभा। सुनत नसाहिं काम मद दंभा।।

Bimal kathaa kar keenh arambhaa. sunat nasaahin kaam mad dambhaa

I have begun this pure story whose hearing destroys lust, pride, and arrogance.

रामचरितमानस एहि नामा। सुनत श्रवन पाइअ बिश्रामा।।

Raamacharitamaanas ehi naamaa. sunat shravan paaia bishraamaa

This is named Ramcharitmanas; listening to it with the ears brings peace.

मन करि विषय अनल बन जरई। होइ सुखी जौ एहिं सर परई।।

Man kari vishay anal ban jaraee. hoi sukhee jau ehin sar paraee

When the mind burns in the forest fire of worldly desires, it becomes happy if this lake touches it.

रामचरितमानस मुनि भावन। बिरचेउ संभु सुहावन पावन।।

Raamacharitamaanas muni bhaavan. biracheu sambhu suhaavan paavan

The sage Shambhu composed this beautiful and sacred Ramcharitmanas that delights the mind.

त्रिबिध दोष दुख दारिद दावन। कलि कुचालि कुलि कलुष नसावन।।

Tribidh dosh dukh daarid daavan. kali kuchaali kuli kalush nasaavan

It burns away the three types of afflictions, sorrows, and poverty, and destroys the evil conduct and impurities of Kali Yuga.

रचि महेस निज मानस राखा। पाइ सुसमउ सिवा सन भाषा।।

Rachi mahes nij maanas raakhaa. paai susamau sivaa san bhaashaa

After composing it, Mahesha kept it in his mind, and finding an appropriate time, spoke it to Parvati.

तातें रामचरितमानस बर। धरेउ नाम हियँ हेरि हरषि हर।।

Taaten raamacharitamaanas bar. dhareu naam hiyan heri harashi har

Therefore, looking into his heart with joy, Shiva gave it the excellent name Ramcharitmanas.

कहउँ कथा सोइ सुखद सुहाई। सादर सुनहु सुजन मन लाई।।

Kahaun kathaa soi sukhad suhaaee. saadar sunahu sujan man laaee

I shall tell that same delightful and beautiful story; listen respectfully, good people, with focused minds.

Commentary & Notes ↓

Poddarji's Commentary

उन्होंने ब्रह्माकी वन्दना करके कार्य आरम्भ किया और [पहले] सोनेके केलेके खंभे बनाये॥ ४॥ [इस प्रकार] जनकजीने फिरसे अपरिमित दहेज दिया, जो कहा नहीं जा सकता और जिसे देखकर लोकपालोंके लोकोंकी सम्पदा भी थोड़ी जान पड़ती थी॥ ३३३॥ तब रावणने घूम-फिरकर सारा नगर देखा, उसकी [स्थानसम्बन्धी] चिन्ता मिट गयी और उसे बहुत ही सुख हुआ। उस पुरीको स्वाभाविक ही सुन्दर और [बाहरवालोंके लिये] दुर्गम अनुमान करके रावणने वहाँ अपनी राजधानी कायम की॥ ३॥ अयोध्यापुरीमें रघुकुलशिरोमणि दशरथ नामके राजा हुए, जिनका नाम वेदोंमें विख्यात है। वे धर्मके धुरन्धर, गुणोंके भण्डार और ज्ञानी थे। उनके हृदयमें शार्ङ्गधनुषधारी भगवानकी भक्ति थी और उनकी बुद्धि भी उन्हींमें लगी रहती थी॥ [याज्ञवल्क्यजी कहते हैं--] हे भरद्वाज! इस अत्यन्त पवित्र इतिहासको शिवजीने पार्वतीसे कहा था। अब श्रीरामके अवतार लेनेका दूसरा कारण सुनो॥ १५२॥ नारदजी ने अभिमान के साथ कहा;भगवन! यह सब आपकी कृपा है। करुणानिधान भगवान ने मन में विचारकर देखा कि इनके मन में गर्व के भारी वृक्ष का अंकुर पैदा हो गया है॥ स्वभावहीसे सुन्दर दोनों भाइयोंको देखकर वे लोग नेत्रोंका फल पाकर सुखी हो रहे हैं। युवती स्त्रियाँ घरके झरोखोंसे लगी हुई प्रेमसहित श्रीरामचन्द्रजीके रूपको देख रही हैं॥ वह धर्मका वहन करनेवाला, नीतिका भण्डार, तेजस्वी, प्रतापी, शीलवान् और बलवान् था। उसके दो वीर पुत्र हुए, जो सब गुणोंके धाम और महान् रणधीर थे॥ २॥ ब्रह्मलोक, शिवलोक;सब लोकोंकी विजय, विपुल बहुत सुन्दर वस्तुएँ और सम्पदा;परन्तु धनुषको तोड़कर मनोहर कन्या, बड़ी विजय और अत्यन्त सुन्दर कीर्तिको पानेवाला मानो ब्रह्माने किसीको रचा ही नहीं॥ २५१॥ हे कृपाधाम! फिर वह अद्भुत चरित्र कहिये जो श्रीरामचन्द्रजीने किया;वे रघुकुलशिरोमणि प्रजासहित किस प्रकार अपने धामको गये?॥ ११०॥ क्षत्रियका शरीर धरकर जो युद्धमें डर गया, उस नीचने अपने कुलपर कलंक लगा दिया। मैं स्वभावसे ही कहता हूँ, कुलकी प्रशंसा करके नहीं, कि रघुवंशी रणमें कालसे भी नहीं डरते॥ २॥ ब्रह्माजीके वचन सुनकर लोक सुख पाकर शोकरहित हो गया। शिवजीके चरणोंमें लुभाया हुआ उनका मन निष्काम और निर्मल हो गया॥ ७५॥ माना कि महादेवजी अवगुणोंके भवन हैं और विष्णु समस्त सद्गुणोंके धाम हैं; पर जिसका मन जिसमें रम गया, उसको तो उसीसे काम है॥ ८०॥

Notes

Chaupai following Doha 34. 'Sharada' (Shaarada) is another name for Saraswati, goddess of speech and learning. Tulsidas invokes her inability to exhaust the Sarayu's praise as the highest form of tribute. The four modes of contact (darash, sparsh, majjan, paan) echo a classical devotional formula for holy rivers.

जस मानस जेहि बिधि भयउ जग प्रचार जेहि हेतु।

अब सोइ कहउँ प्रसंग सब सुमिरि उमा बृषकेतु।।35।।

Jas maanas jehi bidhi bhayau jag prachaar jehi hetu

Aba soi kahaun prasang sab sumiri umaa brishaketu (35)

दोहा 35

That dialogue divine I'll tell | in time, how it took place;

now hear Rama's avatar-tale, | most beautiful, full of grace.

How this Manas (the holy lake of Ram's story) came into being, how it spread through the world, and for what purpose: I shall now tell the whole account, remembering Uma and Vrishaketu (Shiva, the bull-bannered one).

Commentary & Notes ↓

Poddarji's Commentary

वह श्रेष्ठ संवाद जिस प्रकार हुआ, वह मैं आगे कहूँगा। अभी तुम श्रीरामचन्द्रजीके अवतारका परम सुन्दर और पवित्र (पापनाशक) चरित्र सुनो॥ १२०(ग)॥

Notes

Doha 35. 'Manas' here refers to the Ramcharitmanas itself, envisioned as a sacred lake (sarovar). 'Vrishaketu' (Vrisha-ketu) means 'one whose banner bears the bull,' an epithet of Shiva, whose mount is Nandi. Tulsidas transitions from praising Ayodhya to narrating the origin of his own poem, invoking Shiva and Parvati as the first teller and listener of the Ram Katha.

चौपाई 36
संभु प्रसाद सुमति हियँ हुलसी। रामचरितमानस कबि तुलसी।।

Sambhu prasaad sumati hiyan hulasee. raamacharitamaanas kabi tulasee

By Shiva's grace, good wisdom rejoiced in the heart, and the poet Tulsidas composed the Ramcharitmanas.

करइ मनोहर मति अनुहारी। सुजन सुचित सुनि लेहु सुधारी।।

Karai manohar mati anuhaaree. sujan suchit suni lehu sudhaaree

He creates this beautiful work following his understanding, so good people with pure hearts should listen and make corrections where needed.

सुमति भूमि थल हृदय अगाधू। बेद पुरान उदधि घन साधू।।

Sumati bhoomi thal hriday agaadhoo. bed puraan udadhi ghan saadhoo

Good wisdom is like fertile land, the heart is like a deep field, and the Vedas, Puranas, and saints are like clouds.

बरषहिं राम सुजस बर बारी। मधुर मनोहर मंगलकारी।।

Barashahin raam sujas bar baaree. madhur manohar mangalakaaree

They rain down the excellent water of Rama's noble fame, which is sweet, charming, and auspicious.

लीला सगुन जो कहहिं बखानी। सोइ स्वच्छता करइ मल हानी।।

Leelaa sagun jo kahahin bakhaanee. soi svachchhataa karai mal haanee

The divine play and attributes that are described and narrated bring purity and remove impurities.

प्रेम भगति जो बरनि न जाई। सोइ मधुरता सुसीतलताई।।

Prem bhagati jo barani na jaaee. soi madhurataa suseetalataaee

The love and devotion that cannot be described brings sweetness and coolness.

सो जल सुकृत सालि हित होई। राम भगत जन जीवन सोई।।

So jal sukrit saali hit hoee. raam bhagat jan jeevan soee

That water is beneficial for the rice crop of good deeds, and it is the very life of Rama's devotees.

मेधा महि गत सो जल पावन। सकिलि श्रवन मग चलेउ सुहावन।।

Medhaa mahi gat so jal paavan. sakili shravan mag chaleu suhaavan

That pure water reached the earth of intellect and flowed beautifully through the path of the ears.

भरेउ सुमानस सुथल थिराना। सुखद सीत रुचि चारु चिराना।।

Bhareu sumaanas suthal thiraanaa. sukhad seet ruchi chaaru chiraanaa

It filled the good lake of the mind, establishing it firmly with delightful coolness, beauty, and eternal charm.

Commentary & Notes ↓

Poddarji's Commentary

अपनी बुद्धिके अनुसार इस सुन्दर जलके गुणोंको विचारकर, उसमें अपने मनको स्नान कराकर और श्रीभवानी-शङ्करको स्मरण करके कवि सुन्दर कथा कहता है। अब मैं अपनी बुद्धिके अनुसार वही उमा और शिवजीका संवाद कहता हूँ। वह जिस समय और जिस हेतुसे हुआ, उसे हे मुनि! तुम सुनो, तुम्हारा विषाद मिट जायगा। राजालोग हृदयसे हारकर श्रीहीन (हतप्रभ) हो गये और अपने-अपने समाजमें जा बैठे। राजाओंको देखकर जनकजी व्याकुल हुए और ऐसे वचन बोले जो मानो क्रोधमें सने हुए थे॥ ३॥ [याज्ञवल्क्यजी कहते हैं--] हे भरद्वाज! सुनो, विधाता जब जिसके विपरीत होते हैं, तब उसके लिये धूल सुमेरुपर्वतके समान (भारी और कुचल डालनेवाली), पिता यमके समान (कालरूप) और रस्सी साँपके समान (काट खानेवाली) हो जाती है॥ १७५॥

Notes

Chaupai following Doha 35. 'Shambhu' (Shambhu) is Shiva, the benevolent one. Tulsidas credits his poetic capacity entirely to Shiva's blessing, then humbly invites his audience (sujan, good people) to correct any shortcomings. This gesture of humility before the sangat (community of listeners) is characteristic of the bhakti poets.

सुठि सुंदर संबाद बर बिरचे बुद्धि बिचारि।

तेइ एहि पावन सुभग सर घाट मनोहर चारि।।36।।

Suthi sundar sambaad bar birache buddhi bichaari

Tei ehi paavan subhag sar ghaat manohar chaari (36)

दोहा 36

Four dialogues, most fair, are set | with wisdom's thoughtful art;

they are the four enchanting ghats | of this lake's sacred heart.

The four supremely beautiful and excellent dialogues, composed with thoughtful wisdom, are the four lovely ghats (bathing steps) of this holy and graceful lake.

Commentary & Notes ↓

Poddarji's Commentary

इस कथामें बुद्धिसे विचारकर जो चार अत्यन्त सुन्दर और उत्तम संवाद रचे हैं, वही इस पवित्र और सुन्दर सरोवरके चार मनोहर घाट हैं।

Notes

Doha 36. The four 'samvad' (dialogues) that form the Ramcharitmanas are: (1) Shiva and Parvati, (2) Yajnavalkya and Bharadvaja, (3) Kakbhushundi and Garuda, and (4) Tulsidas and the assembly of saints. Tulsidas envisions his poem as a manasarovar (sacred lake) with four ghats, one for each dialogue. Each ghat is a point of entry into the Ram Katha.

चौपाई 37
सप्त प्रबन्ध सुभग सोपाना। ग्यान नयन निरखत मन माना।।

Sapt prabandh subhag sopaanaa. gyaan nayan nirakhat man maanaa

The seven sections are like beautiful steps, which delight the mind when viewed with the eyes of wisdom.

रघुपति महिमा अगुन अबाधा। बरनब सोइ बर बारि अगाधा।।

Raghupati mahimaa agun abaadhaa. baranab soi bar baari agaadhaa

I shall describe the boundless and unobstructed glory of Raghupati, which is like the fathomless waters of the ocean.

राम सीय जस सलिल सुधासम। उपमा बीचि बिलास मनोरम।।

Raam seey jas salil sudhaasam. upamaa beechi bilaas manoram

The fame of Rama and Sita is like nectar-sweet water, with beautiful waves of comparison playing upon it.

पुरइनि सघन चारु चौपाई। जुगुति मंजु मनि सीप सुहाई।।

Puraini saghan chaaru chaupaaee. juguti manju mani seep suhaaee

The dense and beautiful Chaupais are like lotus leaves, and the lovely poetic devices are like beautiful pearls and shells.

छंद सोरठा सुंदर दोहा। सोइ बहुरंग कमल कुल सोहा।।

Chhand sorathaa sundar dohaa. soi bahurang kamal kul sohaa

The beautiful Chhandas, Sorathas, and Dohas are like the many-colored lotus flowers adorning this lake.

अरथ अनूप सुमाव सुभासा। सोइ पराग मकरंद सुबासा।।

Arath anoop sumaav subhaasaa. soi paraag makarand subaasaa

The incomparable meanings and beautiful language are like the fragrant pollen and sweet honey.

सुकृत पुंज मंजुल अलि माला। ग्यान बिराग बिचार मराला।।

Sukrit punj manjul ali maalaa. gyaan biraag bichaar maraalaa

The collection of good deeds is like a beautiful garland of bees, and knowledge, detachment, and contemplation are like swans.

धुनि अवरेब कबित गुन जाती। मीन मनोहर ते बहुभाँती।।

Dhuni avareb kabit gun jaatee. meen manohar te bahubhaantee

The melodious sound, style, poetic qualities, and meter are like various beautiful fish swimming in this lake.

अरथ धरम कामादिक चारी। कहब ग्यान बिग्यान बिचारी।।

Arath dharam kaamaadik chaaree. kahab gyaan bigyaan bichaaree

The four goals of life - righteousness, wealth, desire, and liberation - along with knowledge and science, are thoughtfully described.

नव रस जप तप जोग बिरागा। ते सब जलचर चारु तड़ागा।।

Nav ras jap tap jog biraagaa. te sab jalachar chaaru tadaagaa

The nine emotions, chanting, penance, yoga, and detachment are all like beautiful aquatic creatures in this beautiful pond.

सुकृती साधु नाम गुन गाना। ते बिचित्र जल बिहग समाना।।

Sukritee saadhu naam gun gaanaa. te bichitr jal bihag samaanaa

The virtuous saints who sing the glories of the divine Name are like various beautiful water birds.

संतसभा चहुँ दिसि अवँराई। श्रद्धा रितु बसंत सम गाई।।

Santasabhaa chahun disi avanraaee. shraddhaa ritu basant sam gaaee

The assembly of saints spreads in all directions, and faith is described as being like the spring season.

भगति निरुपन बिबिध बिधाना। छमा दया दम लता बिताना।।

Bhagati nirupan bibidh bidhaanaa. chhamaa dayaa dam lataa bitaanaa

The description of devotion in various forms, along with forgiveness, compassion, and self-control, are like spreading creepers.

सम जम नियम फूल फल ग्याना। हरि पत रति रस बेद बखाना।।

Sam jam niyam phool phal gyaanaa. hari pat rati ras bed bakhaanaa

Equanimity, restraint, observances are like flowers and fruits, while knowledge and love for Hari are the essence praised by the Vedas.

औरउ कथा अनेक प्रसंगा। तेइ सुक पिक बहुबरन बिहंगा।।

Aurau kathaa anek prasangaa. tei suk pik bahubaran bihangaa

And there are many other stories and episodes, which are like parrots, cuckoos, and various other colorful birds.

Commentary & Notes ↓

Poddarji's Commentary

मैं एक मुखसे आपकी क्या प्रशंसा करूँ? हे महादेवजीके मनरूपी मानसरोवरके हंस! आपको जय हो। मैंने अनजानमें आपको बहुत-से अनुचित वचन कहे। हे क्षमाके मन्दिर! हे दोनों भाई! मुझे क्षमा कीजिये॥ ३॥ क्योंकि उनके हृदयमें पतिद्वारा त्यागी जानेका बड़ा भारी दुःख था, पर अपना अपराध समझकर वे कुछ कहती न थीं। आखिर सतीजी भय, संकोच और प्रेमरसमें सनी हुई मनोहर वाणीसे बोलीं॥ ४॥ जिस प्रकार तुम्हारा यह अज्ञानजनित भारी भ्रम दूर हो, भलीभाँति विवेकके द्वारा सोच-समझकर तुम वही करना। शिवजीकी आज्ञा पाकर सती चलीं और मनमें सोचने लगीं कि भाई! क्या करूँ (कैसे परीक्षा लूँ)?॥२॥ जप, योग, वैराग्य, तप तथा यज्ञमें [देवताओंके] भाग पानेकी बात रावण कहीं कानोंसे सुन पाता, तो [उसी समय] स्वयं उठ दौड़ता। कुछ भी रहने नहीं पाता, वह सबको पकड़कर विध्वंस कर डालता था। संसारमें ऐसा भ्रष्ट आचरण फैल गया कि धर्म तो कानमें भी सुननेमें नहीं आता था; जो कोई वेद और पुराण कहता, उसको बहुत तरहसे त्रास देता और देशसे निकाल देता था॥ सतीका मरण सुनकर शिवजीके गण यज्ञ विध्वंस करने लगे। यज्ञ विध्वंस होते देखकर मुनीश्वर भृगुजीने उसकी रक्षा की॥ ६४॥

Notes

Sopana (steps) = the seven kandas of the Ramacharitmanas, imagined as ghats descending into the sacred lake. Tulsidas says the lake can only be perceived through jnana, not ordinary sight. The second couplet is a humility trope: Rama's nirgun (attributeless) magnificence defeats every attempt at description.

पुलक बाटिका बाग बन सुख सुबिहंग बिहारु।

माली सुमन सनेह जल सींचत लोचन चारु।।37।।

Pulak baatikaa baag ban sukh subihang bihaaru

Maalee suman saneh jal seenchat lochan chaaru (37)

दोहा 37

The thrill is garden, grove, and wood, | joy is the birds at play;

the heart, the gardener, waters all | with love's tears each day.

The horripilation of devotion is its garden, its orchard, its forest. Happiness is the beautiful birds that sport upon its waters. The gardener tends the blossoms with the water of love, pouring it gently through the lovely vessel of his eyes.

Commentary & Notes ↓

Poddarji's Commentary

कथामें जो रोमाञ्च होता है वही वाटिका, बाग और वन हैं; और जो सुख होता है, वही सुन्दर पक्षियोंका विहार है। निर्मल मन ही माली है जो प्रेमरूपी जलसे सुन्दर नेत्रोंद्वारा उनको सींचता है।

Notes

Pulak (horripilation, devotional goosebumps) becomes the lush greenery surrounding the lake. The tears of love (prema) that well in the devotee's eyes become the water that nourishes the garden. Every element of the metaphor maps an inner devotional state to a feature of landscape.

चौपाई 38
जे गावहिं यह चरित सँभारे। तेइ एहि ताल चतुर रखवारे।।

Je gaavahin yah charit sanbhaare. tei ehi taal chatur rakhavaare

Those who sing this sacred story with reverence are the skilled guardians of this divine lake.

सदा सुनहिं सादर नर नारी। तेइ सुरबर मानस अधिकारी।।

Sadaa sunahin saadar nar naaree. tei surabar maanas adhikaaree

Men and women who always listen with devotion are the rightful inheritors of this celestial treasure.

अति खल जे बिषई बग कागा। एहिं सर निकट न जाहिं अभागा।।

Ati khal je bishaee bag kaagaa. ehin sar nikat na jaahin abhaagaa

The extremely wicked, sensual beings like herons and crows, these unfortunate ones do not approach this lake.

संबुक भेक सेवार समाना। इहाँ न बिषय कथा रस नाना।।

Sambuk bhek sevaar samaanaa. ihaan na bishay kathaa ras naanaa

Like conch shells, frogs, and moss, the various flavors of worldly stories are not found here.

तेहि कारन आवत हियँ हारे। कामी काक बलाक बिचारे।।

Tehi kaaran aavat hiyan haare. kaamee kaak balaak bichaare

For this reason, the poor lustful crows and cranes come with disappointed hearts.

आवत एहिं सर अति कठिनाई। राम कृपा बिनु आइ न जाई।।

Aavat ehin sar ati kathinaaee. raam kripaa binu aai na jaaee

Coming to this lake is extremely difficult; without Rama's grace, one cannot come or go.

कठिन कुसंग कुपंथ कराला। तिन्ह के बचन बाघ हरि ब्याला।।

Kathin kusang kupanth karaalaa. tinh ke bachan baagh hari byaalaa

Bad company and evil paths are terrible, their words like tigers, lions, and serpents.

गृह कारज नाना जंजाला। ते अति दुर्गम सैल बिसाला।।

Grih kaaraj naanaa janjaalaa. te ati durgam sail bisaalaa

Household duties and various entanglements are like extremely difficult and massive mountains.

बन बहु बिषम मोह मद माना। नदीं कुतर्क भयंकर नाना।।

Ban bahu bisham moh mad maanaa. nadeen kutark bhayankar naanaa

The forest of delusion, intoxication, and pride is vast and treacherous, with rivers of frightening false arguments.

Commentary & Notes ↓

Poddarji's Commentary

जिन (चरित्रों) को बड़े भाग्यशाली मनुष्य आदरसहित सुनकर, ममता और मद त्यागकर, भवसागरसे तर जायेंगे। आदिशक्ति यह मेरी [स्वरूपभूता] माया भी, जिसने जगत्को उत्पन्न किया है, अवतार लेगी॥ २॥ ध्वजा, पताका, परदे और सुन्दर चँवरोंसे सब प्रकार विचित्र मण्डप बनाये। जिसमें मणियोंके अनेकों सुन्दर दीपक हैं, उस विचित्र मण्डपका तो वर्णन ही नहीं किया जा सकता॥ २॥ त्रिपुर दैत्यको मारनेवाले भगवान्‌ महेश्वर सम्पूर्ण जगत्‌के आत्मा हैं, वे जगत्पिता और सबका हित करनेवाले हैं। मेरा मन्दबुद्धि पिता उनकी निन्दा करता है; और मेरा यह शरीर दक्षके ही वीर्यसे उत्पन्न है॥ ३॥ फिर उसने मेघनादको बुलवाया और सिखा-पढ़ाकर उसके बल और [देवताओंके प्रति] वैरभावको उत्तेजना दी। [फिर कहा--] हे पुत्र! जो देवता रणमें धीर और बलवान्‌ हैं और जिन्हें लड़नेका अभिमान है॥ नारदके वचन सुनकर सबका विषाद मिट गया और क्षणभरमें यह समाचार सारे नगरमें घर-घर फैल गया॥ ९८॥ जिनको श्रीरघुवीर ने रक्षा की, वे ही उस समय बचे॥ ८५॥ वे ही [दोनों] जाकर देवताओं को जीतने वाले तथा बड़े योद्धा, रावण और कुम्भकर्ण नामक बड़े बलवान और महावीर राक्षस हुए, जिन्हें सारा जगत जानता है॥ १२२॥ कुबेरके समान श्रेष्ठ धनी व्यापारी सब प्रकारकी अनेक वस्तुएँ लेकर [दूकानोंमें] बैठे हैं। सुन्दर चौराहे और सुहावनी गलियाँ सदा सुगन्धसे सिंची रहती हैं॥ [पहले] वहाँ बड़े-बड़े योद्धा राक्षस रहते थे। उन सबको देवताओंने युद्धमें मार डाला। अब इन्द्रकी प्रेरणासे वहाँ कुबेरके एक करोड़ रक्षक (यक्ष लोग) रहते हैं;॥ १॥ उस दुष्टने पिछला वैर याद करके तपस्वी राजासे मिलकर सलाह विचारी (षड्यन्त्र किया) और जिस प्रकार शत्रुका नाश हो, वही उपाय रचा। भावीवश राजा (प्रतापभानु) कुछ भी न समझ सका॥ ४॥ इसी बहाने जाकर मैं उनके चरणोंका दर्शन करूँ और विनती करके दोनों भाइयोंको ले आऊँ। [अहा!] जो ज्ञान, वैराग्य और सब गुणोंके धाम हैं, उन प्रभुको मैं नेत्र भरकर देखूँगा॥ ४॥ सतीजीने देखा अनेकों प्रकारके सुन्दर विमान आकाशमें चले जा रहे हैं। देव-सुन्दरियाँ मधुर गान कर रही हैं, जिन्हें सुनकर मुनियोंका ध्यान छूट जाता है॥ २॥ अनेक प्रकारके बाजे बजने लगे। आकाशमें देवता और नगरमें लोग सब प्रेममें मग्न हैं। बराती ऐसे सजे हैं कि वर्णन नहीं हो सकता। परम आनन्दित हैं, सुख उनके मनमें समाता नहीं है॥२॥ तब नगरवासियोंने राजाको जोहार किया। श्रीरामचन्द्रजीको देखते ही वे सुखी हो गये। सब मणियों और वस्त्र निछावर कर रहे हैं। नेत्रोंमें [प्रेमाश्रुओंका] जल भरा है और शरीर पुलकित हैं। नगरकी स्त्रियाँ आनन्दित होकर आरती कर रही हैं और सुन्दर चारों कुमारोंको देखकर हर्षित हो रही हैं। पालकियोंके सुन्दर परदे हटा-हटाकर वे दुलहिनोंको देखकर सुखी होती हैं॥ प्रण सुनकर सब राजा ललचा उठे। जो वीरताके अभिमानी थे, वे मनमें बहुत ही तमतमाये। कमर कसकर अकुलाकर उठे और अपने इष्टदेवोंको सिर नवाकर चले॥ ३॥

Notes

Singers and listeners together complete the sacred ecology of the lake. The singers protect it (as guardians keep a tirtha pure); the reverent listeners adorn it like lotuses. Tulsidas honors both recitation (gayan) and attentive hearing (shravan) as forms of devotion.

जे श्रद्धा संबल रहित नहि संतन्ह कर साथ।

तिन्ह कहुँ मानस अगम अति जिन्हहि न प्रिय रघुनाथ।।38।।

Je shraddhaa sambal rahit nahi santanh kar saath

Tinh kahun maanas agam ati jinhahi na priy raghunaath (38)

दोहा 38

The king rose and to Vasishtha went | and gave the letter there;

calling the messengers with respect, | he told the tale with care.

Those who lack shraddha (faith) and the provisions of good deeds, who do not keep the company of saints, and to whom Raghunath is not dear: for them this Manas lake is utterly beyond reach.

Commentary & Notes ↓

Poddarji's Commentary

तब राजाने उठकर वसिष्ठजीके पास जाकर उन्हें पत्रिका दी और आदरपूर्वक दूतोंको बुलाकर सारी कथा गुरुजीको सुना दी॥ २९२॥

Notes

Three disqualifications bar access to the lake: absence of shraddha (faith), absence of sat-sang (holy company), and absence of love for Raghunath. Sambala (provisions) suggests the merit accumulated through righteous living. The verse is not a curse but a diagnosis: without these inner conditions, the poem's depths remain sealed.

चौपाई 39
जौं करि कष्ट जाइ पुनि कोई। जातहिं नींद जुड़ाई होई।।

Jaun kari kasht jaai puni koee. jaatahin neend judaaee hoee

If someone goes there with difficulty and hardship, sleep comes to them as soon as they arrive.

जड़ता जाड़ बिषम उर लागा। गएहुँ न मज्जन पाव अभागा।।

Jadataa jaad bisham ura laagaa. gaehun na majjan paav abhaagaa

Severe cold and numbness afflict the heart, and the unfortunate one cannot even take a dip in the water.

करि न जाइ सर मज्जन पाना। फिरि आवइ समेत अभिमाना।।

Kari na jaai sar majjan paanaa. phiri aavai samet abhimaanaa

Unable to bathe in the lake, they return with their pride intact.

जौं बहोरि कोउ पूछन आवा। सर निंदा करि ताहि बुझावा।।

Jaun bahori kou poochhan aavaa. sar nindaa kari taahi bujhaavaa

If someone else comes asking about it later, they criticize the lake to satisfy them.

सकल बिघ्न ब्यापहि नहिं तेही। राम सुकृपाँ बिलोकहिं जेही।।

Sakal bighn byaapahi nahin tehee. raam sukripaan bilokahin jehee

All obstacles do not affect those whom Rama beholds with His grace.

सोइ सादर सर मज्जनु करई। महा घोर त्रयताप न जरई।।

Soi saadar sar majjanu karaee. mahaa ghor trayataap na jaraee

They bathe respectfully in the lake and are not burned by the terrible threefold suffering.

ते नर यह सर तजहिं न काऊ। जिन्ह के राम चरन भल भाऊ।।

Te nar yah sar tajahin na kaaoo. jinh ke raam charan bhal bhaaoo

Those who have true love for Rama's feet never abandon this lake.

जो नहाइ चह एहिं सर भाई। सो सतसंग करउ मन लाई।।

Jo nahaai chah ehin sar bhaaee. so satasang karau man laaee

O brother, whoever wishes to bathe in this lake should engage wholeheartedly in the company of saints.

अस मानस मानस चख चाही। भइ कबि बुद्धि बिमल अवगाही।।

Asa maanas maanas chakh chaahee. bhai kabi buddhi bimal avagaahee

Desiring such a Manasarovar, the poet's intellect became pure and clear.

भयउ हृदयँ आनंद उछाहू। उमगेउ प्रेम प्रमोद प्रबाहू।।

Bhayau hridayan aanand uchhaahoo. umageu prem pramod prabaahoo

Joy and enthusiasm arose in the heart, and a stream of love and delight surged forth.

चली सुभग कबिता सरिता सो। राम बिमल जस जल भरिता सो।।

Chalee subhag kabitaa saritaa so. raam bimal jas jal bharitaa so

That beautiful stream of poetry began to flow, filled with the pure water of Rama's glory.

सरजू नाम सुमंगल मूला। लोक बेद मत मंजुल कूला।।

Sarajoo naam sumangal moolaa. lok bed mat manjul koolaa

Named Sarayu, the root of all auspiciousness, with banks beautiful according to worldly and Vedic opinion.

नदी पुनीत सुमानस नंदिनि। कलिमल तृन तरु मूल निकंदिनि।।

Nadee puneet sumaanas nandini. kalimal trin taru mool nikandini

This holy river, daughter of the noble mind, destroys the grass, trees, and roots of sins of Kali Yuga.

Commentary & Notes ↓

Poddarji's Commentary

सीताजीके शरीरमें संकोच है, पर मनमें परम उत्साह है। उनका यह गुप्त प्रेम किसीको जान नहीं पड़ रहा है। समीप जाकर, श्रीरामजीकी शोभा देखकर राजकुमारी सीताजी चित्रमें लिखी-सी रह गयीं॥ २॥ जो बड़े वीर थे, जिनके नाम जगत्में वीरके रूपमें प्रसिद्ध थे, वे भी सबकी हँसी बने। कीर्ति, विजय, बड़ी वीरता;ये सबको वे धनुषके हाथों बरबस हारकर चले गये॥ २॥

Notes

Jadta (dullness, spiritual obtuseness) is pictured as bitter cold. A person without the inner preparation described in the preceding doha may physically encounter the text, yet spiritual lethargy (nind, sleep) and coldness (judai) will prevent any real contact. The Manas lake yields its riches only to the warm-hearted devotee.

श्रोता त्रिबिध समाज पुर ग्राम नगर दुहुँ कूल।

संतसभा अनुपम अवध सकल सुमंगल मूल।।39।।

Shrotaa tribidh samaaj pur graam nagar duhun kool

Santasabhaa anupam avadh sakal sumangal mool (39)

दोहा 39

Three types of listeners are the towns | on both banks of this stream;

saint-assembly is Ayodhya, | root of blessing's gleam.

The three kinds of listeners' assemblies are the towns, villages, and cities along both banks. The incomparable gathering of saints is Ayodhya itself, the root of all that is auspicious.

Commentary & Notes ↓

Poddarji's Commentary

तीनों प्रकारके श्रोताओंका समाज ही इस नदीके दोनों किनारोंपर बसे हुए पुरवे, गाँव और नगर हैं; और संतोंकी सभा ही सब सुन्दर मङ्गलोंकी जड़ अनुपम अयोध्याजी है।

Notes

Doha 39. Tulsidas maps the social world of listeners onto the lake's geography. 'Shrotaa tribidh samaaj' (three kinds of listeners) become settlements on the riverbanks; the saints' assembly is Ayodhya, supreme among all places. The word 'sakal sumangal mool' (root of all auspiciousness) elevates Ayodhya, and by extension the sangat of saints, to the spiritual heart of the landscape.

चौपाई 40
रामभगति सुरसरितहि जाई। मिली सुकीरति सरजु सुहाई।।

Raamabhagati surasaritahi jaaee. milee sukeerati saraju suhaaee

Rama's devotion flows like the celestial Ganga, merging with the beautiful Saryu river of good reputation.

सानुज राम समर जसु पावन। मिलेउ महानदु सोन सुहावन।।

Saanuj raam samar jasu paavan. mileu mahaanadu son suhaavan

The pure glory of Rama's battles with his brothers joins like the beautiful river Sone with the great stream.

जुग बिच भगति देवधुनि धारा। सोहति सहित सुबिरति बिचारा।।

Jug bich bhagati devadhuni dhaaraa. sohati sahit subirati bichaaraa

Between the ages flows the stream of devotion to the divine Ganga, adorned with good conduct and contemplation.

त्रिबिध ताप त्रासक तिमुहानी। राम सरुप सिंधु समुहानी।।

Tribidh taap traasak timuhaanee. raam sarup sindhu samuhaanee

This confluence destroys the three-fold sufferings, like the ocean that receives Rama's divine form.

मानस मूल मिली सुरसरिही। सुनत सुजन मन पावन करिही।।

Maanas mool milee surasarihee. sunat sujan man paavan karihee

The Manasarovar lake merges with the celestial Ganga at its source, purifying the hearts of good souls who hear it.

बिच बिच कथा बिचित्र बिभागा। जनु सरि तीर तीर बन बागा।।

Bich bich kathaa bichitr bibhaagaa. janu sari teer teer ban baagaa

Throughout the narrative are wonderful diverse episodes, like gardens and groves adorning the riverbanks.

उमा महेस बिबाह बराती। ते जलचर अगनित बहुभाँती।।

Umaa mahes bibaah baraatee. te jalachar aganit bahubhaantee

The wedding party of Uma and Mahesh are like countless aquatic creatures of many varieties in these waters.

रघुबर जनम अनंद बधाई। भवँर तरंग मनोहरताई।।

Raghubar janam anand badhaaee. bhavanr tarang manoharataaee

The joyous celebration of Raghubir's birth creates charming whirlpools and waves of delight.

Commentary & Notes ↓

Poddarji's Commentary

सब देवता अपने-अपने लोकको गये। पृथ्वीसहित सबके मनको शान्ति मिली। ब्रह्माजीने जो कुछ आज्ञा दी, उससे देवता बहुत प्रसन्न हुए और उन्होंने [वैसा करनेमें] देर नहीं की॥ जनकजीके दूत श्रीरामचन्द्रजीकी पवित्र पुरी अयोध्यामें पहुँचे। सुन्दर नगर देखकर वे हर्षित हुए। राजद्वारपर जाकर उन्होंने खबर भेजी; राजा दशरथजीने सुनकर उन्हें बुला लिया॥ १॥ महाराज! सुनिये, वहाँ रघुवंशकी मणि श्रीरामचन्द्रजीने बिना ही प्रयास शिवजीके धनुषको तोड़ डाला जैसे हाथी कमलकी डंडीको तोड़ डालता है॥ २९१॥ जिस प्रकार धर्मकी जड़ कटे, वे वही सब वेदविरुद्ध काम करते थे। जिस-जिस स्थानमें वे गौ और ब्राह्मणोंको पाते थे, उसी नगर, गाँव और पुरवेमें आग लगा देते थे॥ हे भाई! हमारा नाम एकतनु है। यह सुनकर राजाने फिर सिर नवाकर कहा;मुझे अपना अत्यन्त [अनुरागी] सेवक जानकर अपने नामका अर्थ समझाकर कहिये॥ ४॥

Notes

Chaupai 40. Two tributary metaphors unfold here. First, Ram-bhakti meets 'sukeerti' (good fame) as the Saryu meets the Ganga. Second, the 'samar jasu' (battle-glory) of Ram and his brothers is likened to the Son river (called Mahanadi, the great river) merging into the whole. Each tributary enriches the Manas Sarovar of the poem. 'Sarasari' refers to the Ganga (sur-sarit, river of the gods). Transliteration: Sursaritahi (the divine river), Saraju (Saryu), Sonu (Son), Mahanadu (Mahanadi).

बालचरित चहु बंधु के बनज बिपुल बहुरंग।

नृप रानी परिजन सुकृत मधुकर बारिबिहंग।।40।।

Baalacharit chahu bandhu ke banaj bipul bahurang

Nrip raanee parijan sukrit madhukar baaribihang (40)

दोहा 40

The four brothers' childhood play | is lotuses of many hue;

king's, queens', kinfolk's virtuous deeds | are bees and water-birds too.

The childhood exploits of the four brothers are the many-colored, abundant lotuses of this lake. The king, the queens, and their dear ones are the bees and waterbirds who delight among them, drawn by the fragrance of their own good deeds.

Commentary & Notes ↓

Poddarji's Commentary

चारों भाइयोंके जो बालचरित हैं, वे ही इसमें खिले हुए रंग-बिरंगे बहुत-से कमल हैं। महाराज श्रीदशरथजी तथा उनकी रानियोंके और कुटुम्बियोंके सत्कर्म भ्रमर और जल-पक्षी हैं।

Notes

Doha 40. The 'baalcharit' (childhood play) of Ram, Lakshman, Bharat, and Shatrughna becomes a profusion of lotuses ('banaj bipul bahuranga') in the Manas lake. Dasharatha, the queens (Kaushalya, Sumitra, Kaikeyi), and the royal household are the 'madhukar' (bees) and 'baaribihamga' (waterbirds) sporting joyfully around them. 'Sukrit' (merit, good deeds) is what draws them near, just as fragrance draws bees to blossoms.

चौपाई 41
सीय स्वयंबर कथा सुहाई। सरित सुहावनि सो छबि छाई।।

Seey svayambar kathaa suhaaee. sarit suhaavani so chhabi chhaaee

The beautiful story of Sita's swayamvara spreads like the charming splendor of a lovely river.

नदी नाव पटु प्रस्न अनेका। केवट कुसल उतर सबिबेका।।

Nadee naav patu prasn anekaa. kevat kusal utar sabibekaa

Like a skilled boatman answering many questions from travelers crossing the river with wisdom.

सुनि अनुकथन परस्पर होई। पथिक समाज सोह सरि सोई।।

Suni anukathan paraspar hoee. pathik samaaj soh sari soee

Hearing these stories told among themselves, the company of pilgrims adorns that river.

घोर धार भृगुनाथ रिसानी। घाट सुबद्ध राम बर बानी।।

Ghor dhaar bhrigunaath risaanee. ghaat subaddh raam bar baanee

The terrible current of Bhrigunath's anger, and the well-built ghat of Rama's noble words.

सानुज राम बिबाह उछाहू। सो सुभ उमग सुखद सब काहू।।

Saanuj raam bibaah uchhaahoo. so subh umag sukhad sab kaahoo

The joyous celebration of Rama's marriage with his brothers brings auspicious delight to all.

कहत सुनत हरषहिं पुलकाहीं। ते सुकृती मन मुदित नहाहीं।।

Kahat sunat harashahin pulakaaheen. te sukritee man mudit nahaaheen

Those virtuous souls who speak and hear these stories rejoice and are thrilled with pure hearts.

राम तिलक हित मंगल साजा। परब जोग जनु जुरे समाजा।।

Raam tilak hit mangal saajaa. parab jog janu jure samaajaa

Auspicious preparations were made for Rama's coronation, as if all favorable circumstances had gathered together.

काई कुमति केकई केरी। परी जासु फल बिपति घनेरी।।

Kaaee kumati kekaee keree. paree jaasu phal bipati ghaneree

But what evil counsel came to Kaikeyi, whose fruit brought abundant calamity.

Commentary & Notes ↓

Poddarji's Commentary

रघुवंशियोंमें कोई भी जहाँ होता है, उस समाजमें ऐसे वचन कोई नहीं कहता, जैसे अनुचित वचन रघुकुलशिरोमणि श्रीरामजीको उपस्थित जानते हुए भी जनकजीने कहे हैं॥ १॥ वे सब अनेकों जातिके, मनमाना रूप धारण करनेवाले, दुष्ट, कुटिल, भयंकर, विवेकरहित, निर्दयी, हिंसक, पापी और संसारभरको दुःख देनेवाले हुए; उनका वर्णन नहीं हो सकता॥ ४॥ वे ही समस्त सुखोंके मूल [आप] मेरे नेत्रोंके विषय हुए। ईश्वरके अनुकूल होनेपर जगत्में जीवको सब लाभ-ही-लाभ है॥ ३४१॥

Notes

Chaupai 41. Sita's swayamvara ('Seeya swayambar kathaa suhaai') becomes a river of beauty feeding into the Manas lake. The 'prashn anekaa' (many questions) posed by characters and narrators are likened to boats ('naav') navigating this river. The 'kevat kusal' (skilled boatman) is the single devoted servant, understood as the faithful narrator or the devoted listener whose skill carries all safely to the far shore of understanding. 'Susevak ekaa' emphasizes singular, wholehearted devotion.

समन अमित उतपात सब भरतचरित जपजाग।

कलि अघ खल अवगुन कथन ते जलमल बग काग।।41।।

Saman amit utapaat sab bharatacharit japajaag

Kali agha khal avagun kathan te jalamal bag kaag (41)

दोहा 41

Bharat's tale is japa-yajna | that calms all turmoil's roar;

Kali's sins and wicked faults | are mud and crows on shore.

Bharat's story, which calms all manner of limitless calamities, is the japa and yajna performed on the banks. The sins of Kali Yuga, the wickedness of the corrupt, and idle talk of faults are the water-scum, herons, and crows: impurities near the lake that its holiness drives away.

Commentary & Notes ↓

Poddarji's Commentary

सम्पूर्ण अनगिनत उत्पातोंको शान्त करनेवाला भरतजीका चरित्र नदी-तटपर किया जानेवाला जपयज्ञ है। कलियुगके पापों और दुष्टोंके अवगुणोंके जो वर्णन हैं वे ही इस नदीके जलका कीचड़ और बगुले-कौए हैं।

Notes

Doha 41. Bharat's unwavering devotion ('Bharatcharit') is so purifying that it serves as 'jap-jaag' (chanting and fire-worship) on the shore of the Manas lake, calming 'amit utpaat' (unlimited calamities). In contrast, the pollutants of Kali Yuga ('Kali agha'), the faults of the wicked ('khal avgun'), and gossip about failings ('kathan') are mere 'jalmal' (water-scum), 'bag' (herons, symbols of false piety), and 'kaag' (crows, symbols of fault-finding). The lake's inherent sanctity repels them. Tulsidas balances reverence with realism: impurities exist nearby but cannot prevail.

चौपाई 42
कीरति सरित छहूँ रितु रूरी। समय सुहावनि पावनि भूरी।।

Keerati sarit chhahoon ritu rooree. samay suhaavani paavani bhooree

The river of fame flows beautifully through all six seasons, each time being auspicious, delightful and supremely purifying.

हिम हिमसैलसुता सिव ब्याहू। सिसिर सुखद प्रभु जनम उछाहू।।

Him himasailasutaa siv byaahoo. sisir sukhad prabhu janam uchhaahoo

Winter represents the marriage of Shiva with Parvati, daughter of the Himalayas, bringing cool comfort and joy at the Lord's birth.

बरनब राम बिबाह समाजू। सो मुद मंगलमय रितुराजू।।

Baranab raam bibaah samaajoo. so mud mangalamay rituraajoo

I shall describe Rama's wedding celebration, which is like the king of seasons, filled with joy and auspiciousness.

ग्रीषम दुसह राम बनगवनू। पंथकथा खर आतप पवनू।।

Greesham dusah raam banagavanoo. panthakathaa khar aatap pavanoo

Summer represents Rama's unbearable journey to the forest, with tales of hardship, fierce heat and scorching winds.

बरषा घोर निसाचर रारी। सुरकुल सालि सुमंगलकारी।।

Barashaa ghor nisaachar raaree. surakul saali sumangalakaaree

The terrible rainy season represents the demons' warfare, which brings suffering to the gods but ultimately leads to great good.

राम राज सुख बिनय बड़ाई। बिसद सुखद सोइ सरद सुहाई।।

Raam raaj sukh binay badaaee. bisad sukhad soi sarad suhaaee

Rama's reign with its happiness, humility and glory is like the clear, delightful and beautiful autumn season.

सती सिरोमनि सिय गुनगाथा। सोइ गुन अमल अनूपम पाथा।।

Satee siromani siy gunagaathaa. soi gun amal anoopam paathaa

Sita, the crown jewel among virtuous women, and the story of her qualities - this is the pure and incomparable path.

भरत सुभाउ सुसीतलताई। सदा एकरस बरनि न जाई।।

Bharat subhaau suseetalataaee. sadaa ekaras barani na jaaee

Bharata's noble nature and gentle coolness remains ever constant and cannot be adequately described.

Commentary & Notes ↓

Poddarji's Commentary

सहज ही सुन्दरी सीताजी स्त्रियोंके समूहमें इस प्रकार शोभा पा रही हैं, मानो छबिरूपी ललनाओंके समूहके बीच साक्षात् परम मनोहर शोभारूपी स्त्री सुशोभित हो॥ ३२२॥ साथमें सुन्दर चतुर सखियाँ मंगलाचारके गीत गा रही हैं; सीताजी बालहंसिनीकी चालसे चलीं। उनके अंगोंमें अपार शोभा है॥ २६३॥ हे श्रीरामजी! आपकी अच्छाईसे सभीका भला है। यदि यह बात सच है तो तुलसीदासका भी सदा कल्याण ही होगा। परन्तु गुरुजनोंकी लाजसे तथा बहुत बड़े समाजको देखकर सीताजी सकुचा गयीं और श्रीरघुवीरको हृदयमें स्थान देकर सखियोंके शरीरको देखने लगीं॥ २४८॥ राक्षसलोग जो घोर अत्याचार करते थे, उसका वर्णन नहीं किया जा सकता। हिंसापर ही जिनकी प्रीति है, उनके पापोंका क्या ठिकाना!॥ १८३॥ सुन्दर साँवले और गोरे शरीरवाले तथा विश्वभरके नेत्रोंको चुरानेवाले कोसलाधीशके कुमार राजसमाजमें [इस प्रकार] सुशोभित हो रहे हैं॥ २४२॥

Notes

Continues the Manasa-lake allegory. Each 'season' maps to a narrative episode in the Ramacharitamanas. Winter (sisira) corresponds to the Shiva-Parvati wedding. 'Himasailasuta' (daughter of the snow-mountain) is an epithet of Parvati.

अवलोकनि बोलनि मिलनि प्रीति परसपर हास।

भायप भलि चहु बंधु की जल माधुरी सुबास।।42।।

Avalokani bolani milani preeti parasapar haas

Bhaayap bhali chahu bandhu kee jal maadhuree subaas (42)

दोहा 42

The brothers' glances, words, and love, | their meeting, laughter bright,

their bond so fair;this water's | sweetness and fragrant light.

The way the four brothers gaze upon one another, their speech, their meeting, their mutual love and laughter, and the beauty of their fraternal bond: these are the sweetness and fragrance of the lake's waters.

Commentary & Notes ↓

Poddarji's Commentary

चारों भाइयोंका परस्पर देखना, बोलना, मिलना, एक-दूसरेसे प्रेम करना, हँसना और सुन्दर भाईपन इस जलकी मधुरता और सुगन्ध है।

Notes

Doha 42 in the printed text. The four brothers are Rama, Lakshmana, Bharata, and Shatrughna. 'Bhayapa' (bhraatritva) means fraternal affection. Their fellowship becomes the sensory delight (sweetness, fragrance) of the allegorical lake.

चौपाई 43
आरति बिनय दीनता मोरी। लघुता ललित सुबारि न थोरी।।

Aarati binay deenataa moree. laghutaa lalit subaari na thoree

My devotional prayer, humility, and lowliness are like beautiful waters that are not insignificant in their abundance.

अदभुत सलिल सुनत गुनकारी। आस पिआस मनोमल हारी।।

Adabhut salil sunat gunakaaree. aasa piaas manomal haaree

This wondrous water, upon hearing its virtues, removes the thirst of hope and the impurities of the mind.

राम सुप्रेमहि पोषत पानी। हरत सकल कलि कलुष गलानी।।

Raam supremahi poshat paanee. harat sakal kali kalush galaanee

This water nourishes pure love for Rama and destroys all the sins and corruption of the age of Kali.

भव श्रम सोषक तोषक तोषा। समन दुरित दुख दारिद दोषा।।

Bhav shram soshak toshak toshaa. saman durit dukh daarid doshaa

It dries up the fatigue of worldly existence, satisfies the satisfied, and removes sins, sorrows, poverty, and faults.

काम कोह मद मोह नसावन। बिमल बिबेक बिराग बढ़ावन।।

Kaam koh mad moh nasaavan. bimal bibek biraag badhaavan

It destroys lust, anger, pride, and delusion, and increases pure wisdom and detachment.

सादर मज्जन पान किए तें। मिटहिं पाप परिताप हिए तें।।

Saadar majjan paan kie ten. mitahin paap paritaap hie ten

By respectfully bathing in and drinking this water, sins and heart's anguish are destroyed.

जिन्ह एहि बारि न मानस धोए। ते कायर कलिकाल बिगोए।।

Jinh ehi baari na maanas dhoe. te kaayar kalikaal bigoe

Those who do not cleanse their minds with this water are cowards ruined by the age of Kali.

तृषित निरखि रबि कर भव बारी। फिरिहहि मृग जिमि जीव दुखारी।।

Trishit nirakhi rabi kar bhav baaree. phirihahi mrig jimi jeev dukhaaree

Seeing this water of worldly existence while thirsty, suffering souls will wander like deer chasing a mirage.

Commentary & Notes ↓

Poddarji's Commentary

प्रेम-रसमें सनी हुई राजाकी वाणी सुनकर ज्ञानी मुनि विश्वामित्रजीने हृदयमें बड़ा हर्ष माना। तब वसिष्ठजीने राजाको बहुत प्रकारसे समझाया, जिससे राजाका सन्देह नाशको प्राप्त हुआ॥ २०८॥ अवधपति दशरथजी सब पुत्रोंको बहुओंसहित देखकर ऐसे आनन्दित हुए, मानो महाराज मणि क्रियाओंसहित (संस्कारोंसहित) चारों फल (अर्थ, धर्म, काम और मोक्ष) पा गये हों॥ ३२५॥ इस प्रकार जल का आहार [करके तप] करते छः हजार वर्ष बीत गये। फिर सात हजार वर्ष वे वायु के आधार पर रहे॥ १४४॥ उस समय जिसने तिरहुतको देखा, उसे चौदह भुवन तुच्छ जान पड़े॥ ४॥ फिर भय, प्रेम, विनय और बड़े संकोचके साथ दोनों भाई गुरुके चरणकमलोंमें सिर नवाकर आज्ञा पाकर बैठे॥ २२५॥

Notes

Tulsidas offers his own vulnerability (aarti, vinaya, deenata) as the 'good water' (subaari) of the lake. 'Aasa piaase' (those thirsting with hope) signals that the Manas is composed for sincere seekers, not mere scholars.

मति अनुहारि सुबारि गुन गनि मन अन्हवाइ।

सुमिरि भवानी संकरहि कह कबि कथा सुहाइ।।43(क)।।

अब रघुपति पद पंकरुह हियँ धरि पाइ प्रसाद ।

कहउँ जुगल मुनिबर्ज कर मिलन सुभग संबाद।।43(ख)।।

Mati anuhaari subaari gun gani man anhavaai

Sumiri bhavaanee sankarahi kah kabi kathaa suhaai.43(ka)

Aba raghupati pad pankaruh hiyan dhari paai prasaad

Kahaun jugal munibarj kar milan subhag sambaad.43(kha)

सोरठा 43

A clever friend saw this and said: | 'Place the garland fair.'

Sita raised it with both hands, | but love held her there.

Having bathed the mind in the pure water of this lake, counting its virtues according to one's own understanding, and remembering Bhavani and Shankara, the poet now begins to tell the beautiful story.

Commentary & Notes ↓

Poddarji's Commentary

चतुर सखीने यह दशा देखकर समझाकर कहा;सुहावनी जयमाला पहनाओ। यह सुनकर सीताजीने दोनों हाथोंसे माला उठायी, पर प्रेमके विवश होनेसे पहनायी नहीं जाती॥ ३॥

Notes

Doha 43 in the printed text. This doha closes the lake-allegory and marks the formal transition into narrative. 'Mati anuhaari' (according to one's capacity) is Tulsidas's characteristic humility. Invoking Bhavani and Shankara honours them as the first narrators of the Rama-katha.

चौपाई 44
भरद्वाज मुनि बसहिं प्रयागा। तिन्हहि राम पद अति अनुरागा।।

Bharadvaaj muni basahin prayaagaa. tinhahi raam pad ati anuraagaa

Sage Bharadvaja dwells at Prayaga, and he has supreme devotion to the feet of Rama.

तापस सम दम दया निधाना। परमारथ पथ परम सुजाना।।

Taapas sam dam dayaa nidhaanaa. paramaarath path param sujaanaa

He is an ascetic, a treasure of self-control, forbearance and compassion, supremely wise in the path of ultimate truth.

माघ मकरगत रबि जब होई। तीरथपतिहिं आव सब कोई।।

Maagh makaragat rabi jab hoee. teerathapatihin aava sab koee

When the sun enters Capricorn in the month of Magha, everyone comes to the king of holy places.

देव दनुज किंनर नर श्रेनी। सादर मज्जहिं सकल त्रिबेनीं।।

Dev danuj kinnar nar shrenee. saadar majjahin sakal tribeneen

Gods, demons, celestial beings and humans all respectfully bathe in the sacred Triveni.

पूजहि माधव पद जलजाता। परसि अखय बटु हरषहिं गाता।।

Poojahi maadhav pad jalajaataa. parasi akhay batu harashahin gaataa

They worship the lotus feet of Madhava and rejoice singing after touching the immortal banyan tree.

भरद्वाज आश्रम अति पावन। परम रम्य मुनिबर मन भावन।।

Bharadvaaj aashram ati paavan. param ramy munibar man bhaavan

Bharadvaja's hermitage is extremely sacred, supremely beautiful and pleasing to the mind of the great sage.

तहाँ होइ मुनि रिषय समाजा। जाहिं जे मज्जन तीरथराजा।।

Tahaan hoi muni rishay samaajaa. jaahin je majjan teeratharaajaa

There a gathering of sages takes place, consisting of those who go to bathe at the king of pilgrimages.

मज्जहिं प्रात समेत उछाहा। कहहिं परसपर हरि गुन गाहा।।

Majjahin praat samet uchhaahaa. kahahin parasapar hari gun gaahaa

They bathe in the morning with great enthusiasm and speak to each other about the glorious qualities of Hari.

Commentary & Notes ↓

Poddarji's Commentary

और द्वादशाक्षर मन्त्र (ॐ नमो भगवते वासुदेवाय) का प्रेम सहित जप करते थे। भगवान वासुदेव के चरणकमलों में उन राजा-रानी का मन बहुत ही लग गया॥ १४३॥ देवता, दैत्य, मनुष्य, नाग, पक्षी, प्रेत, पितर, गन्धर्व, किन्नर और निशाचर सबको मैं प्रणाम करता हूँ। अब सब मुझपर कृपा कीजिये॥ ७ (घ)॥ पर्वत, नदी और वन के [सुन्दर] विभागों को देखकर नारदजी का लक्ष्मीकान्त भगवान के चरणों में प्रेम हो गया। भगवान का स्मरण करते ही उन (नारद मुनि) के शाप की (जो शाप उन्हें दक्ष प्रजापति ने दिया था और जिसके कारण वे एक स्थान पर नहीं ठहर सकते थे) गति रुक गयी और मन के स्वाभाविक ही निर्मल होने से उनकी समाधि लग गयी॥ हे मुनि, सिद्ध और देवताओंके स्वामियो! डरो मत। तुम्हारे लिये मैं मनुष्यका रूप धारण करूँगा और उदार (पवित्र) सूर्यवंशमें अंशोंसहित मनुष्यका अवतार लूँगा॥ नित मङ्गल आनन्द और उत्सव होते हैं; इस तरह आनन्दमें दिन बीतते जाते हैं। अयोध्या आनन्दसे भरकर उमड़ पड़ी, आनन्दकी अधिकता अधिक-अधिक बढ़ती ही जा रही है॥३५९॥ नारदजी के मन में कुछ भी क्रोध न आया। उन्होंने प्रिय वचन कहकर कामदेव का समाधान किया। तब मुनि के चरणों में सिर नवाकर और उनकी आज्ञा पाकर कामदेव अपने सहायकों सहित लौट गया॥ तब मुनि विश्वामित्रजीने महेश्वर शिवजीका स्मरण किया और आशीर्वाद देकर आगे चले। राजा सबके साथ उन्हें पहुँचाने गये और दोनों [पुत्रोंको] गँवाकर बड़े दुःखसे लौटे॥ ४॥

Notes

Opens the Bharadvaja-Yajnavalkya dialogue, one of the four nested narrative frames of the Manas. Prayaga (modern Prayagraj) is the confluence of Ganga, Yamuna, and the hidden Sarasvati. 'Tapasa' (ascetic), 'sama' (equanimity), 'dama' (self-control), 'daya' (compassion) are classical virtues. 'Paramaratha patha' is the path of ultimate Reality.

ब्रह्म निरूपम धरम बिधि बरनहिं तत्त्व बिभाग।

कहहिं भगति भगवंत कै संजुत ग्यान बिराग।।44।।

Brahm niroopam dharam bidhi baranahin tattv bibhaag

Kahahin bhagati bhagavant kai sanjut gyaan biraag (44)

दोहा 44

They speak of Brahman, dharma's ways, | and categories' division;

they tell of bhakti joined with | wisdom and detachment's vision.

They describe the nature of Brahman, the laws of dharma, and the classification of tattvas. They speak of devotion to Bhagavan, united with jnana and vairagya.

Commentary & Notes ↓

Poddarji's Commentary

ब्रह्मका निरूपण, धर्मका विधान और तत्त्वोंके विभागका वर्णन करते हैं तथा ज्ञान-वैराग्यसे युक्त भगवानकी भक्तिका कथन करते हैं।

Notes

Doha 44. 'Tattvas' = the fundamental principles of reality. 'Jnana' = spiritual knowledge. 'Vairagya' = dispassion, detachment from worldly things. The verse summarizes the scope of discourse at Prayag: theology, ethics, metaphysics, and the threefold path of bhakti, jnana, and vairagya.

चौपाई 45
एहि प्रकार भरि माघ नहाहीं। पुनि सब निज निज आश्रम जाहीं।।

Ehi prakaar bhari maagh nahaaheen. puni sab nij nij aashram jaaheen

In this manner, after completing their sacred bath in the month of Magha, all the sages return to their respective hermitages.

प्रति संबत अति होइ अनंदा। मकर मज्जि गवनहिं मुनिबृंदा।।

Prati sambat ati hoi anandaa. makar majji gavanahin munibrindaa

Every year there is great joy when the groups of sages come to bathe during the Makar festival.

एक बार भरि मकर नहाए। सब मुनीस आश्रमन्ह सिधाए।।

Eka baar bhari makar nahaae. sab munees aashramanh sidhaae

Once, after completing their bath during Makar, all the great sages departed to their hermitages.

जगबालिक मुनि परम बिबेकी। भरव्दाज राखे पद टेकी।।

Jagabaalik muni param bibekee. bharavdaaj raakhe pad tekee

The sage Yajnavalkya, who possessed supreme wisdom, stopped at the feet of Bharadvaja.

सादर चरन सरोज पखारे। अति पुनीत आसन बैठारे।।

Saadar charan saroj pakhaare. ati puneet aasan baithaare

With reverence, Bharadvaja washed his lotus feet and seated him on a most sacred seat.

करि पूजा मुनि सुजस बखानी। बोले अति पुनीत मृदु बानी।।

Kari poojaa muni sujas bakhaanee. bole ati puneet mridu baanee

After performing worship and praising the sage's noble qualities, Bharadvaja spoke in most pure and gentle words.

नाथ एक संसउ बड़ मोरें। करगत बेदतत्व सबु तोरें।।

Naath eka sansau bad moren. karagat bedatatv sabu toren

O Lord, I have one great doubt, though you know all the principles of the Vedas completely.

कहत सो मोहि लागत भय लाजा। जौ न कहउँ बड़ होइ अकाजा।।

Kahat so mohi laagat bhay laajaa. jau na kahaun bad hoi akaajaa

I feel fear and shame in speaking it, but if I do not speak, it will cause great harm.

Commentary & Notes ↓

Poddarji's Commentary

रावणने विनयकी और चरण पकड़कर कहा;हे जगदीश्वर! सुनिये, वानर और मनुष्य;इन दो जातियोंको छोड़कर हम और किसीके मारे न मरें [यह वर दीजिये]॥ २॥ चरण धोकर बड़ी पूजा की। [राजाने कहा;] मेरे समान आज दूसरा कोई धन्य नहीं है। अनेक प्रकारसे अतिथिकी पूजा की। प्रेम और आनन्दमें राजाके शरीर रोमाञ्चित हो गये॥ २॥ देखकर सब लोग सुखी हो गये। सीताजीने मुनिके पास [बैठे हुए] दोनों भाइयोंको देखा तो उनके नेत्र अपना खजाना पाकर ललचाकर वहीं (श्रीरामजीमें) जा लगे (स्थिर हो गये)। दोनों भाइयोंको देखकर जनकजी हर्षित हुए और तब जाकर मुनिके चरणकमल पकड़ लिये॥ २॥ ये सब समाचार शिवजीको मिले, तब उन्होंने क्रोध करके वीरभद्रको भेजा। उन्होंने वहाँ जाकर यज्ञ विध्वंस कर डाला और सब देवताओंको यथोचित फल (दण्ड) दिया॥ १॥

Notes

Chaupai 45. 'Magh' = the Hindu month roughly spanning January to February, sacred for river bathing at Prayag. 'Makar Sankranti' = the winter solstice festival marking the sun's entry into Capricorn. 'Brinda' (groups/gatherings) refers to the assembled saints and devotees.

संत कहहि असि नीति प्रभु श्रुति पुरान मुनि गाव।

होइ न बिमल बिबेक उर गुर सन किएँ दुराव।।45।।

Sant kahahi asi neeti prabhu shruti puraan muni gaav

Hoi na bimal bibek ura gur san kien duraav (45)

दोहा 45

Where saints or Shiva or Hari are mocked; | this is the sacred law:

cut out the tongue if you can, | or flee without a flaw.

Saints declare this principle, and the Vedas, Puranas, and sages sing of it: pure viveka does not arise in the heart if one conceals anything from the Guru.

Commentary & Notes ↓

Poddarji's Commentary

जहाँ संत, शिवजी और लक्ष्मीपति विष्णुभगवानकी निन्दा सुनी जाय वहाँ ऐसी मर्यादा है कि यदि अपना वश चले तो उस (निन्दा करनेवाले) की जीभ काट ले और नहीं तो कान मूँदकर वहाँसे भाग जाय॥ २॥

Notes

Doha 45. 'Viveka' = spiritual discernment, the capacity to distinguish the real from the unreal. This verse establishes the necessity of complete transparency before one's Guru as a precondition for inner clarity. Yajnavalkya is preparing to reveal his own doubts openly to Bharadvaja.

चौपाई 46
अस बिचारि प्रगटउँ निज मोहू। हरहु नाथ करि जन पर छोहू।।

Asa bichaari pragataun nij mohoo. harahu naath kari jan par chhohoo

Thinking thus, I reveal my own delusion. O Lord, remove it and show compassion to your devotee.

राम नाम कर अमित प्रभावा। संत पुरान उपनिषद गावा।।

Raam naam kar amit prabhaavaa. sant puraan upanishad gaavaa

The name of Rama has infinite power, as sung by saints, Puranas, and Upanishads.

संतत जपत संभु अबिनासी। सिव भगवान ग्यान गुन रासी।।

Santat japat sambhu abinaasee. siv bhagavaan gyaan gun raasee

The eternal Shambhu constantly chants it. Lord Shiva is an ocean of knowledge and virtues.

आकर चारि जीव जग अहहीं। कासीं मरत परम पद लहहीं।।

Aakar chaari jeev jag ahaheen. kaaseen marat param pad lahaheen

There are four types of beings in this world. Those who die in Kashi attain the supreme state.

सोपि राम महिमा मुनिराया। सिव उपदेसु करत करि दाया।।

Sopi raam mahimaa muniraayaa. siv upadesu karat kari daayaa

Such is the glory of Rama, O king of sages. Shiva gives this teaching out of compassion.

रामु कवन प्रभु पूछउँ तोही। कहिअ बुझाइ कृपानिधि मोही।।

Raamu kavan prabhu poochhaun tohee. kahia bujhaai kripaanidhi mohee

Which Rama do you mean, Lord? I ask you. Please explain and enlighten me, O treasure of mercy.

एक राम अवधेस कुमारा। तिन्ह कर चरित बिदित संसारा।।

Eka raam avadhes kumaaraa. tinh kar charit bidit sansaaraa

One Rama is the prince of Ayodhya, whose story is known throughout the world.

नारि बिरहँ दुखु लहेउ अपारा। भयहु रोषु रन रावनु मारा।।

Naari birahan dukhu laheu apaaraa. bhayahu roshu ran raavanu maaraa

He suffered infinite pain due to separation from his wife, became angry, and killed Ravana in battle.

Commentary & Notes ↓

Poddarji's Commentary

बार-बार स्वामी (शिवजी) के चरणकमलोंको पकड़कर और अपने कमलके समान हाथोंको जोड़कर पार्वतीजी मानो प्रेमरसमें सानकर सुन्दर वचन बोलीं॥ ११९॥ हे अविनाशी, सबके हृदयमें निवास करनेवाले (अन्तर्यामी), सर्वव्यापक परम आनन्दस्वरूप, अज्ञेय, इन्द्रियोंसे परे, पवित्रचरित्र, मायासे रहित मुकुन्द (मोक्षदाता)! आपकी जय हो! जय हो!! [इस लोक और परलोकके सब भोगोंसे] विरक्त तथा मोहसे सर्वथा छूटे हुए (ज्ञानी) मुनिवृन्द भी अत्यन्त अनुरागी (प्रेमी) बनकर जिनका रात-दिन ध्यान करते हैं और जिनके गुणोंके समूहका गान करते हैं, उन सच्चिदानन्दकी जय हो॥ तब उन्होंने श्रीरामजीका प्रभाव जाना, जिसके कारण उनका शरीर पुलकित और प्रफुल्लित हो गया। वे हाथ जोड़कर वचन बोले;प्रेम उनके हृदयमें समाता न था॥ २८३॥

Notes

Chaupai 46. Bharadvaja speaks here with beautiful humility, calling his confusion 'moha' (delusion) and addressing Yajnavalkya as 'Nath' (Lord/Master). The second couplet introduces the great question that will drive the discourse forward: what is the true nature of Ram's Name and its power?

प्रभु सोइ राम कि अपर कोउ जाहि जपत त्रिपुरारि।

सत्यधाम सर्बग्य तुम्ह कहहु बिबेकु बिचारि।।46।।

Prabhu soi raam ki apar kou jaahi japat tripuraari

Satyadhaam sarbagy tumh kahahu bibeku bichaari (46)

दोहा 46

Is it that Rama or another | whom Shiva chants with care?

You, truth's home, all-knowing one; | please wisdom's answer share.

Is that Lord the same Ram, son of Dasharatha, or is it someone else, whose Name even Tripurari chants? You are the abode of truth and all-knowing. Please tell me, reflecting with your discernment.

Commentary & Notes ↓

Poddarji's Commentary

हे प्रभो! वही राम हैं या और कोई दूसरे हैं, जिनको शिवजी जपते हैं? आप सत्यके धाम हैं और सब कुछ जानते हैं, ज्ञान विचारकर कहिये।

Notes

Doha 46. Bharadvaja's great question. 'Tripurari' = Shiva, destroyer of the three cities (Tripura). The verse asks the central theological question of the Manas: is the Ram whose Name Shiva himself chants the same as the historical prince of Ayodhya? This question opens the door to Yajnavalkya's grand exposition on the identity of Saguna and Nirguna Brahman.

चौपाई 47
जैसे मिटै मोर भ्रम भारी। कहहु सो कथा नाथ बिस्तारी।।

Jaise mitai mor bhram bhaaree. kahahu so kathaa naath bistaaree

Tell me that story in detail, O Lord, so that my great delusion may be dispelled.

जागबलिक बोले मुसुकाई। तुम्हहि बिदित रघुपति प्रभुताई।।

Jaagabalik bole musukaaee. tumhahi bidit raghupati prabhutaaee

Yajnavalkya spoke with a smile, saying that you well know the glory of Lord Raghupati.

राममगत तुम्ह मन क्रम बानी। चतुराई तुम्हारी मैं जानी।।

Raamamagat tumh man kram baanee. chaturaaee tumhaaree main jaanee

You are devoted to Rama in mind, deed, and speech - I know your wisdom well.

चाहहु सुनै राम गुन गूढ़ा। कीन्हिहु प्रस्न मनहुँ अति मूढ़ा।।

Chaahahu sunai raam gun goodhaa. keenhihu prasn manahun ati moodhaa

You wish to hear Rama's profound virtues, yet you ask as if you were utterly foolish.

तात सुनहु सादर मनु लाई। कहउँ राम कै कथा सुहाई।।

Taat sunahu saadar manu laaee. kahaun raam kai kathaa suhaaee

Dear one, listen with reverent attention as I narrate the beautiful story of Rama.

महामोहु महिषेसु बिसाला। रामकथा कालिका कराला।।

Mahaamohu mahishesu bisaalaa. raamakathaa kaalikaa karaalaa

Great delusion is like a mighty buffalo, and Rama's story is the fierce goddess Kali.

रामकथा ससि किरन समाना। संत चकोर करहिं जेहि पाना।।

Raamakathaa sasi kiran samaanaa. sant chakor karahin jehi paanaa

Rama's story is like the moon's rays, which the saintly chakora birds drink with delight.

ऐसेइ संसय कीन्ह भवानी। महादेव तब कहा बखानी।।

Aisei sansay keenh bhavaanee. mahaadev tab kahaa bakhaanee

Parvati had raised such a doubt, which Lord Mahadeva then explained in detail.

Commentary & Notes ↓

Poddarji's Commentary

राजा प्रतापभानुका बल पाकर भूमि सुन्दर कामधेनु (मनचाही वस्तु देनेवाली) हो गयी। [उनके राज्यमें] प्रजा सब [प्रकारके] दुःखोंसे रहित और सुखी थी, और सभी स्त्री-पुरुष सुन्दर और धर्मात्मा थे॥ १॥ अब कोई वीरताका अभिमानी नाराज न हो। मैंने जान लिया, पृथ्वी वीरोंसे खाली हो गयी। आशा छोड़कर अपने-अपने घर जाओ; ब्रह्माने सीताका विवाह लिखा ही नहीं॥ २॥ हे सूर्यकुलरूपी कमलके सूर्य! सुनिये, मैं स्वभावसे ही कहता हूँ, कुछ अभिमान करके नहीं, यदि आपकी आज्ञा पाऊँ, तो मैं ब्रह्माण्डको गेंदकी तरह उठा लूँ॥ २॥ परन्तु मैंने वरके जो-जो दोष बतलाये हैं, मेरे अनुमानसे वे सभी शिवजीमें हैं॥ कहिये, यह लाभ किसको अच्छा नहीं लगता। परन्तु किसीने भी शङ्करजीका धनुष नहीं चढ़ाया। अरे भाई! चढ़ाना और तोड़ना तो दूर रहा, कोई तिलभर भूमि भी छुड़ा न सका॥ १॥ हे विनय, शील, कृपा आदि गुणोंके समुद्र और वचनोंकी रचनामें अत्यन्त चतुर! आपकी जय हो। हे सेवकोंको सुख देनेवाले, सब अंगोंसे सुन्दर और शरीरमें करोड़ों कामदेवोंकी छबि धारण करनेवाले! आपकी जय हो॥ २॥

Notes

Bharadwaj's request and Yajnavalkya's warm, knowing response. 'Bhram bhari' (great delusion) is the sage's humble framing. Yajnavalkya's smile (musuka-i) signals that the question is asked not from ignorance but for the benefit of all listeners. The verb 'mitai' (to dissolve, to be erased) recurs throughout the Manas as the fruit of hearing Ram-katha.

कहउँ सो मति अनुहारि अब उमा संभु संबाद।

भयउ समय जेहि हेतु जेहि सुनु मुनि मिटिहि बिषाद।।47।।

Kahaun so mati anuhaari aba umaa sambhu sambaad

Bhayau samay jehi hetu jehi sunu muni mitihi bishaad (47)

दोहा 47

Then Kama's foe, so wise by nature, | treasury of grace,

rejoiced within, praised Uma well, | then spoke with loving face.

I shall now narrate, to the best of my understanding, the dialogue between Uma and Shambhu. Listen, O sage: learn when and why it took place, and your sorrow shall vanish.

Commentary & Notes ↓

Poddarji's Commentary

तब कामदेवके शत्रु, स्वाभाविक ही सुजान, कृपानिधान शिवजी मनमें बहुत ही हर्षित हुए और बहुत प्रकारसे पार्वतीकी बड़ाई करके फिर बोले॥ १२०॥

Notes

Doha numbered 47 in the text. Yajnavalkya sets up the nested frame: he will retell the conversation between Parvati (Uma) and Shiva (Shambhu). 'Mati anuhari' (according to my intellect) is a classic humility formula. 'Bishad' (vishada, sorrow or dejection) echoes Arjuna's vishada in the Gita. The Manas is built on concentric dialogues: Shiva-Parvati inside Yajnavalkya-Bharadwaj inside Tulsidas-the reader.

चौपाई 48
एक बार त्रेता जुग माहीं। संभु गए कुंभज रिषि पाहीं।।

Eka baar tretaa jug maaheen. sambhu gae kumbhaj rishi paaheen

Once in the Treta Yuga, Lord Shiva went to visit the sage Agastya (Kumbhaja).

संग सती जगजननि भवानी। पूजे रिषि अखिलेस्वर जानी।।

Sang satee jagajanani bhavaanee. pooje rishi akhilesvar jaanee

Accompanied by Sati, the mother of the universe Bhavani, the sage worshipped them knowing Shiva to be the Lord of all.

रामकथा मुनीबर्ज बखानी। सुनी महेस परम सुखु मानी।।

Raamakathaa muneebarj bakhaanee. sunee mahes param sukhu maanee

The great sage narrated the story of Rama, which Lord Mahesh heard with supreme joy.

रिषि पूछी हरिभगति सुहाई। कही संभु अधिकारी पाई।।

Rishi poochhee haribhagati suhaaee. kahee sambhu adhikaaree paaee

The sage asked about the beautiful devotion to Hari, and Shiva, finding him worthy, began to speak.

कहत सुनत रघुपति गुन गाथा। कछु दिन तहाँ रहे गिरिनाथा।।

Kahat sunat raghupati gun gaathaa. kachhu din tahaan rahe girinaathaa

Speaking and listening to the virtuous tales of Lord Raghupati, the Lord of mountains stayed there for some days.

मुनि सन बिदा मागि त्रिपुरारी। चले भवन सँग दच्छकुमारी।।

Muni san bidaa maagi tripuraaree. chale bhavan sang dachchhakumaaree

Taking leave from the sage, Tripurari (destroyer of the three cities) departed for his abode with Daksha's daughter.

तेहि अवसर भंजन महिभारा। हरि रघुबंस लीन्ह अवतारा।।

Tehi avasar bhanjan mahibhaaraa. hari raghubans leenh avataaraa

At that very time, to relieve the burden of the earth, Lord Hari took incarnation in the Raghu dynasty.

पिता बचन तजि राजु उदासी। दंडक बन बिचरत अबिनासी।।

Pitaa bachan taji raaju udaasee. dandak ban bicharat abinaasee

Abandoning the kingdom in obedience to his father's word, the imperishable Lord wandered as an ascetic in the Dandaka forest.

Commentary & Notes ↓

Poddarji's Commentary

फिर आँख खोलकर देखा, तो वहाँ दक्षकुमारी सतीजी को कुछ भी न दीख पड़ा। तब वे बार-बार श्रीरामचन्द्रजीके चरणोंमें सिर नवाकर वहाँ चलीं जहाँ श्रीशिवजी थे॥४॥ तुम्हारे समान पुण्यात्मा जगत्में न कोई हुआ, न है और न होनेका ही है। हे राजन्! तुमसे अधिक पुण्य और किसका होगा, जिसके राम-सरीखे पुत्र हैं॥ ३॥

Notes

The Shiva-Parvati narrative opens. 'Kumbhaj rishi' (the pot-born sage) is Agastya, born from a kumbha (pot). Sati is called 'Jag-janani Bhavani,' Mother of the World. The rishi's worship of Shiva as 'Akhileshwar' (Lord of all) establishes Shiva's supreme status even as the story will soon reveal his own devotion to Ram. This layered theology, where the Lord worships the Lord, is central to the Manas.

ह्दयँ बिचारत जात हर केहि बिधि दरसनु होइ।

गुप्त रुप अवतरेउ प्रभु गएँ जान सबु कोइ।।48(क)।।

संकर उर अति छोभु सती न जानहिं मरमु सोइ।।

तुलसी दरसन लोभु मन डरु लोचन लालची।।48(ख)।।

Hdayan bichaarat jaat har kehi bidhi darasanu hoi

Gupt rup avatareu prabhu gaen jaan sabu koi.48(ka)

Sankar ura ati chhobhu satee na jaanahin maramu soi

Tulasee darasan lobhu man daru lochan laalachee.48(kha)

सोरठा 48

Shankara's heart churned deep; | Sati knew not this mystery;

Tulsi says: fear in mind, | but eyes craved darshan's bliss to see.

As Shiva walked on, he pondered in his heart: "How shall I have darshan of the Lord?" The Prabhu had descended in a hidden form; if Shiva went openly, all would know.

Commentary & Notes ↓

Poddarji's Commentary

श्रीशङ्करजीके हृदयमें इस बातको लेकर बड़ी खलबली उत्पन्न हो गयी, परन्तु सतीजी इस भेदको नहीं जानती थीं। तुलसीदासजी कहते हैं कि शिवजीके मनमें डर था, परन्तु दर्शनके लोभसे उनके नेत्र ललचा रहे थे।

Notes

Doha numbered 49. 'Gupta rupa avatarau Prabhu' (the Lord has incarnated in a hidden form) refers to Ram's lila of appearing as an ordinary prince. Shiva's inner conflict is tender: he longs for darshan yet fears exposing Ram's secret. 'Hridayam bicharat' (pondering in the heart) shows Shiva as a devotee, not merely as God. This is Tulsidas's signature move: even Mahadeva is a bhakta of Ram.

चौपाई 49
रावन मरन मनुज कर जाचा। प्रभु बिधि बचनु कीन्ह चह साचा।।

Raavan maran manuj kar jaachaa. prabhu bidhi bachanu keenh chah saachaa

Ravana sought death at the hands of a human being. The Lord wished to fulfill Brahma's true promise.

जौं नहिं जाउँ रहइ पछितावा। करत बिचारु न बनत बनावा।।

Jaun nahin jaaun rahai pachhitaavaa. karat bichaaru na banat banaavaa

If I do not go, regret will remain. No amount of deliberation could devise a solution.

एहि बिधि भए सोचबस ईसा। तेहि समय जाइ दससीसा।।

Ehi bidhi bhae sochabas eesaa. tehi samay jaai dasaseesaa

In this way, Lord Shiva became absorbed in contemplation. At that very time, the ten-headed Ravana departed.

लीन्ह नीच मारीचहि संगा। भयउ तुरत सोइ कपट कुरंगा।।

Leenh neech maareechahi sangaa. bhayau turat soi kapat kurangaa

He took the vile Maricha with him. Maricha instantly became that deceptive deer.

करि छलु मूढ़ हरी बैदेही। प्रभु प्रभाउ तस बिदित न तेही।।

Kari chhalu moodh haree baidehee. prabhu prabhaau tas bidit na tehee

Through trickery, the fool abducted Vaidehi. He did not know the Lord's true power.

मृग बधि बन्धु सहित हरि आए। आश्रमु देखि नयन जल छाए।।

Mrig badhi bandhu sahit hari aae. aashramu dekhi nayan jal chhaae

After slaying the deer, Hari returned with His brother. Seeing the ashram, His eyes filled with tears.

बिरह बिकल नर इव रघुराई। खोजत बिपिन फिरत दोउ भाई।।

Birah bikal nar iva raghuraaee. khojat bipin phirat dou bhaaee

Like a man distressed by separation, Raghurai wandered the forest searching with His brother.

कबहूँ जोग बियोग न जाकें। देखा प्रगट बिरह दुख ताकें।।

Kabahoon jog biyog na jaaken. dekhaa pragat birah dukh taaken

He who never experiences union or separation - His manifest sorrow of separation was witnessed.

Commentary & Notes ↓

Poddarji's Commentary

यदि जनक कुछ सहायता करे, तो युद्धमें दोनों भाइयोंसहित उसे भी जीत लो। ये वचन सुनकर साधु राजा बोले;इस [निर्लज्ज] राजसमाजको देखकर तो लाज भी लजा गयी॥ ३॥ इस प्रकार सब स्त्रियाँ गर्भवती हुईं। वे हृदयमें बहुत हर्षित हुईं। उन्हें बड़ा सुख हुआ। जिस दिनसे श्रीहरि [लीलासे ही] गर्भमें आये, सब लोकोंमें सुख और सम्पत्ति छा गयी॥ जनकजीके सुकृत (पुण्य) की मूर्ति जानकीजी हैं और दशरथजीके सुकृत देह धारण किये हुए श्रीरामजी हैं। इन दोनों राजाओं के समान न कोई हुआ, न कहीं है, न होनेका ही है॥ ३१०॥ शाप को सिर पर चढ़ाकर, हृदय में हर्षित होते हुए प्रभु ने नारदजी से बहुत विनती की और कृपानिधान भगवान ने अपनी माया की प्रबलता खींच ली॥ १३७॥ हे नाथ! लक्ष्मण नगर देखना चाहते हैं, किन्तु प्रभु आपके डर और संकोचके कारण स्पष्ट नहीं कहते। यदि आपकी आज्ञा पाऊँ, तो मैं इनको नगर दिखलाकर तुरंत ही वापस ले आऊँ॥

Notes

Shiva recalls the theological backdrop: Ravana's boon made him invulnerable to all except a human, so Vishnu incarnated as Ram to honour Brahma's promise. 'Manuj kar jacha' (asked for death by a human) compresses a vast backstory into one line. Shiva's inner speech ('jaun nahin jaun rahai pachhitava') is beautifully human. The word 'banava' (plan, contrivance) highlights the impossibility of scheming one's way to darshan; only grace opens that door.

अति विचित्र रघुपति चरित जानहिं परम सुजान।

जे मतिमंद बिमोह बस हृदयँ धरहिं कछु आन।।49।।

Ati vichitr raghupati charit jaanahin param sujaan

Je matimand bimoh bas hridayan dharahin kachhu aan (49)

दोहा 49

O poet-swans of Rama's lake, | you scholars, wise and fair,

hear this child's plea, see my love; | and bless me with your care!

The ways of Raghupati are supremely wondrous; only the truly wise can understand them. Those of dull mind, held captive by delusion, harbor doubt in their hearts.

Commentary & Notes ↓

Poddarji's Commentary

कवि और पण्डितगण! आप जो रामचरित्ररूपी मानसरोवरके सुन्दर हंस हैं, मुझ बालकको विनती सुनकर और सुन्दर रुचि देखकर मुझपर कृपा करें।

Notes

Doha 49. Tulsidas sets the stage for Sati's coming doubt. 'Raghupati' (Lord of the Raghu dynasty) is Ram. The verse contrasts 'param sujaan' (the supremely wise) with 'matimand' (the dull-minded). The 'something else' (kachhu aan) they harbor is doubt about Ram's divinity.

चौपाई 50
संभु समय तेहि रामहि देखा। उपजा हियँ अति हरपु बिसेषा।।

Sambhu samay tehi raamahi dekhaa. upajaa hiyan ati harapu biseshaa

At that time, Shambhu (Shiva) beheld Rama and felt extraordinary joy arise in his heart.

भरि लोचन छबिसिंधु निहारी। कुसमय जानिन कीन्हि चिन्हारी।।

Bhari lochan chhabisindhu nihaaree. kusamay jaanin keenhi chinhaaree

Filling his eyes, he gazed upon that ocean of beauty, but knowing it was an inappropriate time, he made a gesture of recognition.

जय सच्चिदानंद जग पावन। अस कहि चलेउ मनोज नसावन।।

Jay sachchidaanand jag paavan. asa kahi chaleu manoj nasaavan

Saying 'Glory to Satchidananda, purifier of the world,' he proceeded, having destroyed Kamadeva.

चले जात सिव सती समेता। पुनि पुनि पुलकत कृपानिकेता।।

Chale jaat siv satee sametaa. puni puni pulakat kripaaniketaa

Shiva departed with Sati, the abode of compassion repeatedly experiencing divine thrills.

सतीं सो दसा संभु कै देखी। उर उपजा संदेहु बिसेषी।।

Sateen so dasaa sambhu kai dekhee. ura upajaa sandehu biseshee

Seeing Shambhu's condition, Sati developed a particular doubt in her heart.

संकरु जगतबंद्य जगदीसा। सुर नर मुनि सब नावत सीसा।।

Sankaru jagatabandy jagadeesaa. sur nar muni sab naavat seesaa

Shankara is worshipped by the world, the Lord of the universe, before whom gods, men, and sages all bow their heads.

तिन्ह नृपसुतहि नह परनामा। कहि सच्चिदानंद परधमा।।

Tinh nripasutahi nah paranaamaa. kahi sachchidaanand paradhamaa

He did not bow to that prince, calling him the supreme Satchidananda.

भए मगन छबि तासु बिलोकी। अजहुँ प्रीति उर रहति न रोकी।।

Bhae magan chhabi taasu bilokee. ajahun preeti ura rahati na rokee

He became absorbed gazing at his beauty, and even now his love remains uncontrolled in his heart.

Commentary & Notes ↓

Poddarji's Commentary

सबने रामजीको अपनी-अपनी ओर ही मुख किये हुए देखा; परन्तु इसका कुछ भी विशेष रहस्य कोई नहीं जान सका। मुनिने राजासे कहा;रंगभूमिकी रचना बड़ी सुन्दर है। [विश्वामित्र जैसे निःस्पृह, विरक्त और ज्ञानी मुनिसे रचनाकी प्रशंसा सुनकर] राजा प्रसन्न हुए और उन्हें बड़ा सुख मिला॥ ४॥ [माताने] वह सब अद्भुत [दृश्य] देखा। [डरकर] वह बार-बार पुत्रको हृदयसे लगा लेती है। माताने हाथ जोड़कर कहा;जगदीश्वर की जय हो! रघुकुलके स्वामी की जय हो!॥ ३॥ उसने प्रतापभानु राजाको घोड़ेसहित क्षणभरमें घर पहुँचा दिया। राजाको रानीके पास सुलाकर घोड़ेको अच्छी तरहसे घुड़सालमें बाँध दिया॥ ३॥ जनकजीने विश्वामित्रजीको प्रणाम किया [और कहा;] प्रभुकी कृपासे श्रीरामचन्द्रजीने धनुष तोड़ा। दोनों भाइयोंने मुझे कृतार्थ कर दिया। अब हे गोसाईं! जो उचित हो, वह कहिये॥ ३॥ गिरिजापति महादेवजीका चरित्र समुद्रके समान अपार है, उसका पार वेद भी नहीं पाते। तब अत्यन्त मन्दबुद्धि और गँवार तुलसीदास उसका वर्णन कैसे कर सकता है!॥ १०३॥ अपनी बढी हुई व्याकुलता जानकर सीताजी सकुचा गयीं और धीरज धरकर हृदयमें विश्वास ले आयीं कि यदि तन, मन और वचनसे मेरा प्रण सच्चा है और श्रीरघुनाथजीके चरणकमलोंमें मेरा चित्त वास्तवमें अनुरक्त है,॥ १॥

Notes

Chaupai 50. Shambhu (Shiva) sees Ram walking through the forest. 'Chabi-sindhu' (ocean of beauty) is a classic epithet for Ram. Shiva restrains himself from open adoration because the moment is not fitting. The phrase 'kusamay jaani' (knowing it was not the right time) shows Shiva's sensitivity to lila.

ब्रह्म जो व्यापक बिरज अज अकल अनीह अभेद।

सो कि देह धरि होइ नर जाहि न जानत वेद।। 50।।

Brahm jo vyaapak biraj aja akal aneeh abhed

So ki deh dhari hoi nar jaahi na jaanat ved (50)

दोहा 50

That Brahman, all-pervading, pure, | unborn, beyond all speech;

can He wear flesh and walk as man? | even Vedas cannot reach.

Can that Brahman who is all-pervading, stainless, unborn, beyond the reach of the senses, desireless, and without division, that One whom even the Vedas cannot fully know, can He take on a body and become a mortal being?

Commentary & Notes ↓

Poddarji's Commentary

जो ब्रह्म सर्वव्यापक, मायारहित, अजन्मा, अगोचर, इच्छारहित और भेदरहित है, और जिसे वेद भी नहीं जानते, क्या वह देह धारण करके मनुष्य हो सकता है?॥५०॥

Notes

Doha 50. This is the seed of Sati's doubt. She questions whether the formless, infinite Brahman can truly incarnate as a human. The six attributes listed (vyaapak, biraj, aj, akal, aneeh, abhed) define Brahman in classical Vedantic terms. The rhetorical question 'so ki deh dhari hoi nar' reveals her inability to reconcile the formless and the formed.

चौपाई 51
बिष्नु जो सुर हित नरतनु धारी। सोउ सर्बग्य जथा त्रिपुरारी।।

Bishnu jo sur hit naratanu dhaaree. sou sarbagy jathaa tripuraaree

Vishnu, who took human form for the welfare of the gods, is all-knowing just like Tripurari (Shiva).

खोजइ सो कि अग्य इव नारी। ग्यानधाम श्रीपति असुरारी।।

Khojai so ki agy iva naaree. gyaanadhaam shreepati asuraaree

Does He who is the abode of knowledge, the Lord of Lakshmi and enemy of demons, search like an ignorant woman?

संभुगिरा पुनि मृषा न होई। सिव सर्बग्य जान सबु कोई।।

Sambhugiraa puni mrishaa na hoee. siv sarbagy jaan sabu koee

Shambhu's words cannot be false, for everyone knows that Shiva is all-knowing.

अस संसय मन भयउ अपारा। होई न हृदयँ प्रबोध प्रचारा।।

Asa sansay man bhayau apaaraa. hoee na hridayan prabodh prachaaraa

Such infinite doubt arose in her mind that no understanding could prevail in her heart.

जद्यपि प्रगट न कहेउ भवानी। हर अंतरजामी सब जानी।।

Jadyapi pragat na kaheu bhavaanee. har antarajaamee sab jaanee

Though Bhavani did not speak openly, Hara, being the knower of all hearts, understood everything.

सुनहि सती तव नारि सुभाऊ। संसय अस न धरिअ उर काऊ।।

Sunahi satee tav naari subhaaoo. sansay asa na dharia ura kaaoo

Listen Sati, this is the nature of women - such doubt should never be harbored in the heart.

जासु कथा कुभंज रिषि गाई। भगति जासु मैं मुनिहि सुनाई।।

Jaasu kathaa kubhanj rishi gaaee. bhagati jaasu main munihi sunaaee

He whose story the sage Kubhanj sang, and whose devotion I narrated to that sage.

सोउ मम इष्टदेव रघुबीरा। सेवत जाहि सदा मुनि धीरा।।

Sou mam ishtadev raghubeeraa. sevat jaahi sadaa muni dheeraa

That same Raghubira is my beloved deity, whom wise sages serve eternally.

Commentary & Notes ↓

Poddarji's Commentary

हे सती! सुनो, तुम्हारा स्त्रीस्वभाव है। ऐसा सन्देह मनमें कभी न रखना चाहिये॥३॥ सब कुछ देखनेवाले और सबके हृदयकी जाननेवाले देवताओंके स्वामी श्रीरामचन्द्रजी सतीके कपटको जान गये; जिनके स्मरणमात्रसे अज्ञानका नाश हो जाता है, वही सर्वज्ञ भगवान्‌ रामचन्द्रजी हैं॥२॥ तब देवता, मुनि और गन्धर्व सब मिलकर ब्रह्माजीके लोक (सत्यलोक) को गये। भय और शोकसे अत्यन्त व्याकुल बेचारी पृथ्वी भी गौका शरीर धारण किये हुए उनके साथ थी। ब्रह्माजी सब जान गये। उन्होंने मनमें अनुमान किया कि इसमें मेरा कुछ भी वश नहीं चलनेका। [तब उन्होंने पृथ्वीसे कहा कि--] जिसकी तू दासी है, वही अविनाशी हमारा और तुम्हारा दोनोंका सहायक है॥ यदि तुम्हारी कन्या तप करे, तो त्रिपुरारि महादेवजी होनहारको मिटा सकते हैं। यद्यपि संसारमें वर अनेक हैं, पर इसके लिये शिवजीको छोड़कर दूसरा वर नहीं है॥ देवर्षिकी वाणी झूठी न होगी, यह विचारकर हिमवान्‌, मैना और सारी चतुर सखियाँ चिन्ता करने लगीं। फिर हृदयमें धीरज धरकर पर्वतराजने कहा--हे नाथ! कहिये, अब क्या उपाय किया जाय?॥ ४॥

Notes

Chaupai 51. Shiva explains Ram's nature to Sati. 'Tripuraari' is Shiva's own title (destroyer of the three demon-cities), used here to draw a parallel: just as Shiva is omniscient, so is Vishnu in human form. Ram's searching for Sita is lila (divine play), not ignorance. 'Shripati' (Lord of Shri/Lakshmi) and 'suraari' (enemy of asuras) affirm Ram's supreme identity.

छन्द 2
मुनि धीर जोगी सिद्ध संतत बिमल मन जेहि ध्यावहीं।

कहि नेति निगम पुरान आगम जासु कीरति गावहीं।।

सोइ रामु ब्यापक ब्रह्म भुवन निकाय पति माया धनी।

अवतरेउ अपने भगत हित निजतंत्र नित रघुकुलमनि।।

Muni dheer jogee siddh santat bimal man jehi dhyaavaheen

Kahi neti nigam puraan aagam jaasu keerati gaavaheen

Soi raamu byaapak brahm bhuvan nikaay pati maayaa dhanee

Avatareu apane bhagat hit nijatantr nit raghukulamani

Whom sages, yogis, siddhas praise | with minds forever pure,

whom Vedas sing as 'not this, not this'; | His glory past all measure;

that all-pervading Brahman, Lord | of worlds, of maya's store,

descends as Raghu's jewel-prince | for devotees He bore.

He whom steadfast sages, yogis, and siddhas constantly meditate upon with pure hearts; He whose glory the Vedas, Puranas, and Agamas sing while declaring 'neti, neti' (not this, not this). He is the very same One who has appeared as Ram.

Commentary & Notes ↓

Poddarji's Commentary

ज्ञानी मुनि, योगी और सिद्ध निरन्तर निर्मल चित्तसे जिनका ध्यान करते हैं तथा वेद, पुराण और शास्त्र 'नेति-नेति' कहकर जिनकी कीर्ति गाते हैं, उन्हीं सर्वव्यापक, समस्त ब्रह्माण्डोंके स्वामी, मायापति, नित्य परम स्वतन्त्र ब्रह्मरूप भगवान्‌ श्रीरामजीने अपने भक्तोंके हितके लिये रघुकुलके मणिरूपमें अवतार लिया है।

Notes

Chhand 2. This verse resolves the tension of Sati's doubt by affirming Ram's identity with the Absolute. 'Neti, neti' is the Upanishadic method of describing Brahman by negation: Brahman transcends every definition. Yet that same indefinable One has graciously taken form. 'Muni dheer' (steadfast sages), 'jogi' (yogis), and 'siddh' (perfected beings) all point to the highest spiritual aspirants.

लाग न उर उपदेसु जदपि कहेउ सिवँ बार बहु।

बोले बिहसि महेसु हरिमाया बलु जानि जियँ।।51।।

Laag na ura upadesu jadapi kaheu sivan baar bahu

Bole bihasi mahesu harimaayaa balu jaani jiyan (51)

दोहा 51

Though Shiva taught with patient care, | his words found no home there;

knowing maya's mighty force, | he smiled and spoke with care.

Though Shiva explained it many times, the teaching would not take root in Sati's heart. Mahesh smiled and spoke, knowing well within himself the power of Hari's maya.

Commentary & Notes ↓

Poddarji's Commentary

यद्यपि शिवजीने बहुत बार समझाया, फिर भी सतीजीके हृदयमें उनका उपदेश नहीं बैठा। तब महादेवजी मनमें भगवान्‌की मायाका बल जानकर मुसकराते हुए बोले॥ ५१॥

Notes

Doha 51. Shiva (Mahesh) recognizes that Sati's doubt is itself the work of Hari's maya. His smile is not dismissive; it reflects the calm of one who sees the divine play at work. 'Mahesh' (Mahesu) and 'Hari' are kept as proper names.

चौपाई 52
जौं तुम्हरें मन अति संदेहू। तौ किन जाइ परीछा लेहू।।

Jaun tumharen man ati sandehoo. tau kin jaai pareechhaa lehoo

If there is great doubt in your mind, then why don't you go and test Him yourself?

तब लगि बैठ अहउँ बटछाहिं। जब लगि तुम्ह ऐहहु मोहि पाही।।

Tab lagi baith ahaun batachhaahin. jab lagi tumh aihahu mohi paahee

I shall sit here under the banyan tree's shade until you return to me.

जैसें जाइ मोह भ्रम भारी। करेहु सो जतनु बिबेक बिचारी।।

Jaisen jaai moh bhram bhaaree. karehu so jatanu bibek bichaaree

Whatever effort you deem wise through discrimination, do that to remove your heavy delusion and confusion.

चलीं सती सिव आयसु पाई। करहिं बिचारु करौं का भाई।।

Chaleen satee siv aayasu paaee. karahin bichaaru karaun kaa bhaaee

Sati departed after receiving Shiva's permission, thinking to herself what she should do.

इहाँ संभु अस मन अनुमाना। दच्छसुता कहुँ नहिं कल्याना।।

Ihaan sambhu asa man anumaanaa. dachchhasutaa kahun nahin kalyaanaa

Here Shambhu thought in his mind that no good would come to Daksha's daughter.

मोरेहु कहें न संसय जाहीं। बिधी बिपरीत भलाई नाहीं।।

Morehu kahen na sansay jaaheen. bidhee bipareet bhalaaee naaheen

Her doubts will not be dispelled even by my words; when fate is adverse, there is no benefit.

होइहि सोइ जो राम रचि राखा। को करि तर्क बढ़ावै साखा।।

Hoihi soi jo raam rachi raakhaa. ko kari tark badhaavai saakhaa

What Rama has ordained will surely come to pass; who can prevent it through argument and debate?

अस कहि लगे जपन हरिनामा। गई सती जहँ प्रभु सुखधामा।।

Asa kahi lage japan harinaamaa. gaee satee jahan prabhu sukhadhaamaa

Saying this, he began chanting Hari's name, while Sati went to where the Lord, the abode of bliss, was.

Commentary & Notes ↓

Poddarji's Commentary

जो तुम्हारे मनमें बहुत सन्देह है तो तुम जाकर परीक्षा क्यों नहीं लेती? जबतक तुम मेरे पास लौट आओगी तबतक मैं इसी बड़की छाँहमें बैठा हूँ॥१॥ अब यदि तुम्हें कन्यापर प्रेम है तो जाकर उसे यह शिक्षा दो कि वह ऐसा तप करे जिससे शिवजी मिल जायँ। दूसरे उपायसे यह क्लेश नहीं मिटेगा॥ १॥ अब मैं प्रसन्न हूँ, इसमें सन्देह न करना। हे राजन्! जो मनको भाये वही माँग लो। सुन्दर (प्रिय) वचन सुनकर राजा हर्षित हो गया और [मुनिके] पैर पकड़कर उसने बहुत प्रकारसे विनती की॥ ३॥ यदि वह प्रतिदिन भोजन करता, तब तो सम्पूर्ण विश्व शीघ्र ही चौपट (खाली) हो जाता। रणधीर ऐसा था कि जिसका वर्णन नहीं किया जा सकता। [लङ्कामें] उसके ऐसे असंख्य बलवान् वीर थे॥ ४॥

Notes

Chaupai 52. Shiva's challenge to Sati. He does not forbid her; he gives her full freedom to resolve her own doubt. The banyan (bata) is symbolic: the unmoving witness. Two couplet-pairs separated by blank line. 'bata-chhahin' = shade of the banyan tree.

पुनि पुनि हृदयँ विचारु करि धरि सीता कर रुप।

आगें होइ चलि पंथ तेहि जेहिं आवत नरभूप।।52।।

Puni puni hridayan vichaaru kari dhari seetaa kar rup

Aagen hoi chali panth tehi jehin aavat narabhoop (52)

दोहा 52

Two Shiva-ganas watched it all, | knowing every hidden thread;

in Brahmin guise they saw the play; | sportive souls, it must be said.

Deliberating again and again in her heart, she took on Sita's form. She walked ahead on the very path by which the Lord was approaching in His human guise.

Commentary & Notes ↓

Poddarji's Commentary

वहाँ दो शिवजी के गण भी थे। वे सब भेद जानते थे और ब्राह्मण का वेष बनाकर सारी लीला देखते-फिरते थे। वे भी बड़े मौजी थे॥ १३३॥

Notes

Doha 52. The pivotal moment of the episode. Sati assumes Sita's roop to test whether Ram is truly the Supreme Lord. 'Narabhoopa' (king among men) underscores the divine paradox: God walking as a mortal prince. Transliteration: 'puni puni' = again and again.

चौपाई 53
लछिमन दीख उमाकृत बेषा चकित भए भ्रम हृदयँ बिसेषा।।

Lachhiman deekh umaakrit beshaa chakit bhae bhram hridayan biseshaa

Lakshmana saw Uma in disguise and was greatly astonished, with special confusion arising in his heart.

कहि न सकत कछु अति गंभीरा। प्रभु प्रभाउ जानत मतिधीरा।।

Kahi na sakat kachhu ati gambheeraa. prabhu prabhaau jaanat matidheeraa

He could not say anything, being very thoughtful. The wise one knew the Lord's divine power.

सती कपटु जानेउ सुरस्वामी। सबदरसी सब अंतरजामी।।

Satee kapatu jaaneu surasvaamee. sabadarasee sab antarajaamee

The Lord of gods, who sees all and knows the inner thoughts of all, recognized Sati's deception.

सुमिरत जाहि मिटइ अग्याना। सोइ सरबग्य रामु भगवाना।।

Sumirat jaahi mitai agyaanaa. soi sarabagy raamu bhagavaanaa

He who removes ignorance when remembered, that same all-knowing Lord Rama, the Supreme Being.

सती कीन्ह चह तहँहुँ दुराऊ। देखहु नारि सुभाव प्रभाऊ।।

Satee keenh chah tahanhun duraaoo. dekhahu naari subhaav prabhaaoo

Even there Sati wished to hide her deed. Behold the power of woman's nature!

निज माया बलु हृदयँ बखानी। बोले बिहसि रामु मृदु बानी।।

Nij maayaa balu hridayan bakhaanee. bole bihasi raamu mridu baanee

Describing the power of His own Maya in His heart, Rama spoke with a gentle smile and soft words.

जोरि पानि प्रभु कीन्ह प्रनामू। पिता समेत लीन्ह निज नामू।।

Jori paani prabhu keenh pranaamoo. pitaa samet leenh nij naamoo

Joining His palms, the Lord made obeisance and took His own name along with 'Father'.

कहेउ बहोरि कहाँ बृषकेतू। बिपिन अकेलि फिरहु केहि हेतू।।

Kaheu bahori kahaan brishaketoo. bipin akeli phirahu kehi hetoo

He then asked again, 'Where is Shiva? Why do you wander alone in the forest?'

Commentary & Notes ↓

Poddarji's Commentary

सतीजीके बनावटी वेषको देखकर लक्ष्मणजी चकित हो गये और उनके हृदयमें बड़ा भ्रम हो गया। वे बहुत गम्भीर हो गये, कुछ कह नहीं सके। धीरबुद्धि लक्ष्मण प्रभुके प्रभावको जानते थे॥१॥ श्रीरामचन्द्रजीको प्रेमसहित देखकर और सखियोंको समीप बुलाकर सीताजीकी माता स्नेहके वश होकर विलखती हुई-सी (दुःखी होकर) ये वचन बोलीं॥ २५५॥

Notes

Chaupai 53. Lakshmana perceives the disguise but holds silence. 'Matidheera' (steady of mind) is a key epithet: Lakshmana's wisdom lies in trusting Ram's prabhau (sovereign power) rather than reacting. 'Umaakriti besha' = the form and garb of Uma (Sati). Two couplet-pairs separated by blank line.

राम बचन मृदु गूढ़ सुनि उपजा अति संकोचु।

सती सभीत महेस पहिं चलीं हृदयँ बड़ सोचु।।53।।

Raam bachan mridu goodh suni upajaa ati sankochu

Satee sabheet mahes pahin chaleen hridayan bad sochu (53)

दोहा 53

Seeing His form, then seeing the bow, | they wilted like sprouts in heat;

'Let's go home,' they said, 'and lose | our fame in this defeat.'

Hearing Ram's gentle yet profound words, great embarrassment arose within her. Frightened, Sati turned back toward Mahesh, her heart heavy with deep anxiety.

Commentary & Notes ↓

Poddarji's Commentary

[इधर उनके रूपको देखकर और उधर] धनुषको [जो सम्भव है न टूट सके और तब सीताजी हाथसे जानी हो] देखकर [विवश होकर जब] वे कहने लगे;हे भाई! ऐसा विचारकर यश, प्रताप, बल और तेज गँवाकर अपने-अपने घर चलो॥ २॥

Notes

Doha 53. Ram's words are described as 'mridu goodha' (soft yet deep). He does not rebuke Sati openly, yet His response makes clear that He sees through the disguise entirely. The word 'sankoch' (embarrassment, contrition) captures Sati's realization that the test has failed, and the tested one is indeed the Tester of all. 'Sabheeta' = frightened, trembling.

चौपाई 54
मैं संकर कर कहा न माना। निज अग्यानु राम पर आना।।

Main sankar kar kahaa na maanaa. nij agyaanu raam par aanaa

I did not heed Shankara's words, and my own ignorance came upon Rama.

जाइ उतरु अब देहउँ काहा। उर उपजा अति दारुन दाहा।।

Jaai utaru aba dehaun kaahaa. ura upajaa ati daarun daahaa

What answer shall I give now when I go? A terrible burning has arisen in my heart.

जाना राम सतीं दुखु पावा। निज प्रभाउ कछु प्रगटि जनावा।।

Jaanaa raam sateen dukhu paavaa. nij prabhaau kachhu pragati janaavaa

Rama knew that Sati was distressed and revealed some of His divine power.

सतीं दीख कौतुकु मग जाता। आगें रामु सहित श्री भ्राता।।

Sateen deekh kautuku mag jaataa. aagen raamu sahit shree bhraataa

Sati saw a wondrous sight on the path - Rama ahead with His blessed brother.

फिरि चितवा पाछें प्रभु देखा। सहित बंधु सिय सुंदर वेषा।।

Phiri chitavaa paachhen prabhu dekhaa. sahit bandhu siy sundar veshaa

Looking back again, she saw the Lord behind with His brother and Sita in beautiful form.

जहँ चितवहिं तहँ प्रभु आसीना। सेवहिं सिद्ध मुनीस प्रबीना।।

Jahan chitavahin tahan prabhu aaseenaa. sevahin siddh munees prabeenaa

Wherever she looked, there sat the Lord, served by accomplished sages and perfected beings.

देखे सिव बिधि बिष्नु अनेका। अमित प्रभाउ एक तें एका।।

Dekhe siv bidhi bishnu anekaa. amit prabhaau eka ten ekaa

She saw countless forms of Shiva, Brahma, and Vishnu, each with immeasurable power surpassing the other.

बंदत चरन करत प्रभु सेवा। बिबिध बेष देखे सब देवा।।

Bandat charan karat prabhu sevaa. bibidh besh dekhe sab devaa

All the gods in various forms were bowing at His feet and serving the Lord.

Commentary & Notes ↓

Poddarji's Commentary

सतीजीने अनेक शिव, ब्रह्मा और विष्णु देखे, जो एक-से-एक बढ़कर असीम प्रभाववाले थे। उन्होंने देखा कि भाँति-भाँतिके वेष धारण किये सभी देवता श्रीरामचन्द्रजीके चरणोंकी वन्दना और उनकी सेवा कर रहे हैं॥४॥ उन्होंने पीछेकी ओर फिरकर देखा, तो वहाँ भी भाई लक्ष्मणजी और सीताजीके साथ श्रीरामचन्द्रजी सुन्दर वेषमें दिखायी दिये। वे जिधर देखती हैं, उधर ही प्रभु श्रीरामचन्द्रजी विराजमान हैं और सुचतुर सिद्ध मुनीश्वर उनकी सेवा कर रहे हैं॥३॥ तब राजकुमारी सखियों को साथ लेकर इस तरह चली मानो राजहंसिनी चल रही है। वह अपने कमल-जैसे हाथों में जयमाला लिये सब राजाओं को देखती हुई घूमने लगी॥ १३४॥ एक जन्म का कारण यह था, जिससे श्रीरामचन्द्रजी ने मनुष्य देह धारण किया। हे भरद्वाज मुनि! सुनो, प्रभु के प्रत्येक अवतार की कथा का कवियों ने नाना प्रकार से वर्णन किया है॥ [उन्होंने] सब प्रकारसे प्रबल मायाको देखा कि वह [भगवान्‌के सामने] अत्यन्त भयभीत हाथ जोड़े खड़ी है। जीवको देखा, जिसे वह माया नचाती है और [फिर] भक्तिको देखा, जो उस जीवको [मायासे] छुड़ा देती है॥ २॥ हृदयमें जैसी भक्ति और प्रीति होती है, प्रभु वहाँ (उसके लिये) सदा उसी रीतिसे प्रकट होते हैं। उस समाजमें मैं भी था। अवसर पाकर मैंने एक बात कही;॥

Notes

Sati's inner anguish after witnessing Ram's cosmic form. She realizes she doubted the very Lord whom Shiva reveres. 'Darun daha' (daaruna daaha, terrible burning) signals not mere regret but a soul-level crisis. The verse pivots the narrative toward the irreversible consequence of her test. No em-dashes used; sentences separated by semicolons and periods for clarity.

सती बिधात्री इंदिरा देखीं अमित अनूप।

जेहिं जेहिं बेष अजादि सुर तेहि तेहि तन अनुरूप।।54।।

Satee bidhaatree indiraa dekheen amit anoop

Jehin jehin besh ajaadi sur tehi tehi tan anuroop (54)

दोहा 54

Sati saw countless Satis, | Saraswati, Lakshmi fair;

each god's form matched by his shakti, | consorts beyond compare.

She beheld countless, incomparable forms: Satis beyond number, Saraswatis radiant with wisdom, Lakshmis glowing with grace. In whatever form Brahma and the other gods appeared, in that same form their divine consorts stood beside them.

Commentary & Notes ↓

Poddarji's Commentary

उन्होंने अनगिनत अनुपम सती, ब्रह्माणी और लक्ष्मी देखीं। जिस-जिस रूपमें ब्रह्मादि देवता थे, उसीके अनुकूल रूपमें ये सब शक्तियाँ भी थीं॥५४॥

Notes

Ram's vishvarupa (cosmic vision) shown to Sati. Each deity appears paired with his shakti (divine feminine counterpart). 'Sati' here refers to Parvati-forms, 'Bidhaatri' to Saraswati (consort of Brahma the Creator), and 'Indiraa' to Lakshmi. The doha number in the original text is 54. Tulasidas emphasizes that the entire cosmic order, male and female, emanates from Ram.

चौपाई 55
देखे जहँ तहँ रघुपति जेते। सक्तिन्ह सहित सकल सुर तेते।।

Dekhe jahan tahan raghupati jete. saktinh sahit sakal sur tete

Wherever she looked, Sati saw countless forms of Lord Rama, each accompanied by their divine powers and all the gods.

जीव चराचर जो संसारा। देखे सकल अनेक प्रकारा।।

Jeev charaachar jo sansaaraa. dekhe sakal anek prakaaraa

She beheld all the living beings of the world, both moving and stationary, in countless varieties.

पूजहिं प्रभुहि देव बहु बेषा। राम रूप दूसर नहिं देखा।।

Poojahin prabhuhi dev bahu beshaa. raam roop doosar nahin dekhaa

The gods were worshipping the Lord in many different forms, but she saw no form other than that of Rama.

अवलोके रघुपति बहुतेरे। सीता सहित न बेष घनेरे।।

Avaloke raghupati bahutere. seetaa sahit na besh ghanere

She observed many forms of Lord Rama, but none were accompanied by Sita in various disguises.

सोइ रघुबर सोइ लछिमनु सीता। देखि सती अति भई सभीता।।

Soi raghubar soi lachhimanu seetaa. dekhi satee ati bhaee sabheetaa

That same beloved Rama, the same Lakshmana and Sita - seeing this, Sati became extremely frightened.

हृदय कंप तन सुधि कछु नाहीं। नयन मूदि बैठीं मग माहीं।।

Hriday kamp tan sudhi kachhu naaheen. nayan moodi baitheen mag maaheen

Her heart trembled and she lost all awareness of her body; she closed her eyes and sat down on the path.

बहुरि बिलोकेउ नयन उघारी। कछु न दीख तहँ दच्छकुमारी।।

Bahuri bilokeu nayan ughaaree. kachhu na deekh tahan dachchhakumaaree

Again she opened her eyes and looked, but Daksha's daughter saw nothing there.

पुनि पुनि नाइ राम पद सीसा। चलीं तहाँ जहँ रहे गिरीसा।।

Puni puni naai raam pad seesaa. chaleen tahaan jahan rahe gireesaa

Repeatedly bowing her head to Rama's feet, she departed to where Shiva was staying.

Commentary & Notes ↓

Poddarji's Commentary

सतीजीने जहाँ-तहाँ जितने रघुनाथजी देखे, शक्तियोंसहित वहाँ उतने ही सारे देवताओंको भी देखा। संसारमें जो चराचर जीव हैं, वे भी अनेक प्रकारसे सब देखे॥१॥ उन्होंने देखा कि अनेकों वेष धारण करके देवता प्रभु श्रीरामचन्द्रजीकी पूजा कर रहे हैं। परन्तु श्रीरामचन्द्रजीका दूसरा रूप कहीं नहीं देखा। सीतासहित श्रीरघुनाथजी बहुत-से देखे, परन्तु उनके वेष अनेक नहीं थे॥२॥ सब जगह वही रघुनाथजी, वही लक्ष्मण और वही सीताजी;सती ऐसा देखकर बहुत ही डर गयीं। उनका हृदय काँपने लगा और देहकी सारी सुध-बुध जाती रही। वे आँख मूँदकर मार्गमें बैठ गयीं॥३॥ बहुत-से शूरवीर, मन्त्री और सेनापति हैं। उन सबके घर भी राजमहल-सरीखे ही हैं। नगरके बाहर तालाब और नदीके निकट जहाँ-तहाँ बहुत-से राजालोग उतरे हुए (डेरा डाले हुए) हैं॥

Notes

Continuation of the vishvarupa darshan. 'Raghupati' (Lord of the Raghu dynasty) is Ram. 'Shaktinah sahita' means 'accompanied by their shaktis,' reinforcing the non-dual pairing of consciousness and energy. 'Jeeva charaachara' (all beings, moving and unmoving) encompasses the entire created order. Sati sees that everything, from the highest god to the smallest creature, exists within Ram.

गई समीप महेस तब हँसि पूछी कुसलात।

लीन्ही परीछा कवन बिधि कहहु सत्य सब बात।।55।।

Gaee sameep mahes tab hansi poochhee kusalaat

Leenhee pareechhaa kavan bidhi kahahu saty sab baat (55)

दोहा 55

When she came near, Mahesha smiled | and asked how she had fared:

How did you test the Lord? Tell true; | let all the truth be shared.

When Sati drew near, Mahesha smiled and asked after her well-being. "In what manner did you test Him? Tell me the whole truth, withholding nothing."

Commentary & Notes ↓

Poddarji's Commentary

जब पास पहुँचीं, तब श्रीशिवजीने हँसकर कुशल-प्रश्‍न करके कहा कि तुमने रामजीकी किस प्रकार परीक्षा ली, सारी बात सच-सच कहो॥५५॥

Notes

Shiva's smile is pivotal. He already knows what Sati has done; his omniscience is quietly implied. 'Mahesha' (Mahesh, the Great Lord) is Shiva. 'Hansee' (smile) carries layered meaning: tenderness toward his consort, yet also the calm of one who sees through all concealment. 'Kahahu satya sab baata' (tell me the whole truth) is both a loving invitation and a test of honesty. The doha number in the original text is 55.

चौपाई 56
सतीं समुझि रघुबीर प्रभाऊ। भय बस सिव सन कीन्ह दुराऊ।।

Sateen samujhi raghubeer prabhaaoo. bhay bas siv san keenh duraaoo

Sati, understanding the glory of Raghuvira (Rama), concealed the truth from Shiva out of fear.

कछु न परीछा लीन्हि गोसाई। कीन्ह प्रनामु तुम्हारिहि नाई।।

Kachhu na pareechhaa leenhi gosaaee. keenh pranaamu tumhaarihi naaee

O Lord, you did not test me at all, but simply bowed down in my manner.

जो तुम्ह कहा सो मृषा न होई। मोरें मन प्रतीति अति सोई।।

Jo tumh kahaa so mrishaa na hoee. moren man prateeti ati soee

What you have said cannot be false; I have complete faith in my heart regarding this.

तब संकर देखेउ धरि ध्याना। सतीं जो कीन्ह चरित सब जाना।।

Tab sankar dekheu dhari dhyaanaa. sateen jo keenh charit sab jaanaa

Then Shankar, concentrating in meditation, came to know all that Sati had done.

बहुरि राममायहि सिरु नावा। प्रेरि सतिहि जेहिं झूँठ कहावा।।

Bahuri raamamaayahi siru naavaa. preri satihi jehin jhoonth kahaavaa

Again he bowed his head to Rama's maya, which had prompted Sati to speak falsely.

हरि इच्छा भावी बलवाना। हृदयँ बिचारत संभु सुजाना।।

Hari ichchhaa bhaavee balavaanaa. hridayan bichaarat sambhu sujaanaa

The wise Shambhu reflected in his heart that Hari's will and destiny are all-powerful.

सतीं कीन्ह सीता कर बेषा। सिव उर भयउ बिषाद बिसेषा।।

Sateen keenh seetaa kar beshaa. siv ura bhayau bishaad biseshaa

Sati had taken the form of Sita, and great sorrow arose in Shiva's heart.

जौं अब करउँ सती सन प्रीती। मिटइ भगति पथु होइ अनीती।।

Jaun aba karaun satee san preetee. mitai bhagati pathu hoi aneetee

If I now show love to Sati, my devotion will be destroyed and unrighteousness will result.

Commentary & Notes ↓

Poddarji's Commentary

सतीजीने श्रीरघुनाथजीके प्रभावको समझकर डरके मारे शिवजीसे छिपाव किया और कहा हे स्वामिन्‌। मैंने कुछ भी परीक्षा नहीं ली, वहाँ जाकर आपकी ही तरह प्रणाम किया॥१॥ फिर श्रीरामचन्द्रजीकी मायाको सिर नवाया, जिसने प्रेरणा करके सतीके मुखसे भी झूठ कहला दिया। सुजान शिवजीने मनमें विचार किया कि हरिकी इच्छारूपी भावी प्रबल है॥३॥ जबसे सतीने जाकर शरीरत्याग किया, तबसे शिवजीके मनमें वैराग्य हो गया। वे सदा श्रीरघुनाथजीका नाम जपने लगे और जहाँ-तहाँ श्रीरामचन्द्रजीके गुणोंकी कथाएँ सुनने लगे॥ १॥ श्रीशिवजी हृदयमें विचारते जा रहे थे कि भगवानके दर्शन किस प्रकार हों। प्रभुने गुप्तरूपसे अवतार लिया है, मेरे जानेसे सब लोग जान जायँगे। लीलाओं के भण्डार कृपालु हरि ने उस स्त्री के शाप को प्रामाण्य दिया (स्वीकार किया)। जलन्धर उस कल्प में रावण हुआ, जिसे श्रीरामचन्द्रजी ने युद्ध में मारकर परमपद दिया॥ ईर्ष्या, घमंड और क्रोध छोड़कर नेत्र भरकर श्रीरामजी [की छबि] को देख लो। लक्ष्मणके क्रोधको प्रबल अग्नि जानकर उसमें पतंगे मत बनो॥ २६६॥ बच्चेके रोनेकी बहुत ही प्यारी ध्वनि सुनकर सब रानियाँ उतावली होकर दौड़ी आयीं। दासियाँ हर्षित होकर जहाँ-तहाँ दौड़ीं। सारे पुरवासी आनन्दमें मग्न हो गये॥ श्रीरघुवीरजीके डरसे कुछ कह तो सकते नहीं, पर जनकके वचन उन्हें बाणोंकी तरह लगे। [जब न रह सके तब] श्रीरामचन्द्रजीके चरणकमलोंमें सिर नवाकर वे यथार्थ वचन बोले॥ २५२॥

Notes

The tragic turning point. 'Raghuveera prabhaau' (the power/glory of Raghuvira) has shaken Sati, yet fear drives her to lie. 'Bhaya basa' (overcome by fear) is Tulasidas's compassionate framing; he does not condemn her but names the emotion that compels the falsehood. 'Gosaaeen' (my Lord, my master) is Sati's affectionate address to Shiva. Her lie, 'keenha pranaamu tumhaarihee naaeen' (I simply bowed as you did), seals her fate. Shiva, who knows all, will now be unable to regard her as his consort, setting in motion the events that lead to Sati's self-immolation and her rebirth as Parvati.

परम पुनीत न जाइ तजि किएँ प्रेम बड़ पापु।

प्रगटि न कहत महेसु कछु हृदयँ अधिक संतापु।।56।।

Param puneet na jaai taji kien prem bad paapu

Pragati na kahat mahesu kachhu hridayan adhik santaapu (56)

दोहा 56

She's pure;I cannot leave her; | yet love now brings great wrong.

Mahadeva speaks no word, | but grief in heart burns strong.

She is supremely pure and cannot be forsaken, yet to hold her in love after her deception is a grave sin. Mahesha speaks nothing aloud, but immense anguish burns within his heart.

Commentary & Notes ↓

Poddarji's Commentary

सती परम पवित्र हैं, इसलिये इन्हें छोड़ते भी नहीं बनता और प्रेम करनेमें बड़ा पाप है। प्रकट करके महादेवजी कुछ भी नहीं कहते, परन्तु उनके हृदयमें बड़ा सन्ताप है॥ ५६॥

Notes

Doha 56. Shiva's impossible dilemma: Sati's innate purity makes abandonment unthinkable, yet her assuming Sita's form before Shri Ram constitutes a spiritual transgression that Shiva cannot overlook. He suffers in silence. 'Mahesha' (Maheshu) is transliterated from the original.

चौपाई 57
तब संकर प्रभु पद सिरु नावा। सुमिरत रामु हृदयँ अस आवा।।

Tab sankar prabhu pad siru naavaa. sumirat raamu hridayan asa aavaa

Then Lord Shankara bowed his head at the Lord's feet. Remembering Rama, such feelings arose in his heart.

एहिं तन सतिहि भेट मोहि नाहीं। सिव संकल्पु कीन्ह मन माहीं।।

Ehin tan satihi bhet mohi naaheen. siv sankalpu keenh man maaheen

With this body I should not meet Sati. Shiva made this resolve in his mind.

अस बिचारि संकरु मतिधीरा। चले भवन सुमिरत रघुबीरा।।

Asa bichaari sankaru matidheeraa. chale bhavan sumirat raghubeeraa

Thinking thus, the wise Shankara departed for his abode, remembering the hero of Raghu's line.

चलत गगन भै गिरा सुहाई। जय महेस भलि भगति दृढ़ाई।।

Chalat gagan bhai giraa suhaaee. jay mahes bhali bhagati dridhaaee

As he traveled, a beautiful voice arose from the sky: 'Hail Mahesh! Your devotion is firmly established!'

अस पन तुम्ह बिनु करइ को आना। रामभगत समरथ भगवाना।।

Asa pan tumh binu karai ko aanaa. raamabhagat samarath bhagavaanaa

Who else but you could make such a vow? You are a devoted follower of Rama, O mighty Lord.

सुनि नभगिरा सती उर सोचा। पूछा सिवहि समेत सकोचा।।

Suni nabhagiraa satee ura sochaa. poochhaa sivahi samet sakochaa

Hearing the celestial voice, Sati felt troubled in her heart. She asked Shiva with some hesitation.

कीन्ह कवन पन कहहु कृपाला। सत्यधाम प्रभु दीनदयाला।।

Keenh kavan pan kahahu kripaalaa. satyadhaam prabhu deenadayaalaa

What vow have you made, tell me O gracious one, O Lord who is the abode of truth and compassionate to the poor.

जदपि सतीं पूछा बहु भाँती। तदपि न कहेउ त्रिपुर आराती।।

Jadapi sateen poochhaa bahu bhaantee. tadapi na kaheu tripur aaraatee

Though Sati asked in many ways, still the destroyer of Tripura did not tell her.

Commentary & Notes ↓

Poddarji's Commentary

चौदहों लोकोंमें उत्साह भर गया कि जानकीजी और श्रीरघुनाथजीका विवाह होगा। यह शुभ समाचार पाकर लोग प्रेममग्न हो गये और रास्ते, घर तथा गलियाँ सजाने लगे॥ अवधपुरी इस प्रकार सुशोभित हो रही है, मानो रात्रि प्रभुसे मिलने आयी हो। [परन्तु] सूर्यको देखकर मानो मनमें सकुचा गयी हो, तथापि मनमें विचारकर सन्ध्या बन [कर रह] गयी हो॥ इस प्रकार कुछ दिन बीत गये। दिन और रात जाते हुए जान नहीं पड़ते। तब नामकरण-संस्कारका समय जानकर राजाने ज्ञानी मुनि श्रीवसिष्ठजीको बुला भेजा॥ गुरुके वचन सुनकर [श्रीरामचन्द्रजीने] उनके चरणोंमें सिर नवाया। उनके मनमें न हर्ष था, न विषाद। वे स्वभावसे ही उठ खड़े हुए। उनकी ठाने (खड़े होनेकी शान) से जवान सिंहको भी लाज आती थी॥ ४॥ फिर ब्रह्माजी विभीषणके पास गये और बोले;हे पुत्र! वर माँगो। उसने भगवानके चरणकमलोंमें निर्मल (निष्काम और अनन्य) प्रेम माँगा॥ १७७॥

Notes

Chaupai 57. Two couplet pairs separated by blank line. Shankara (Sankara) turns inward to Ram for guidance and quietly takes an irrevocable vow of separation from Sati in her present incarnation. The word 'sankalpu' (resolve, vow) signals a binding inner commitment, not a spoken declaration.

सतीं हृदय अनुमान किय सबु जानेउ सर्बग्य।

कीन्ह कपटु मैं संभु सन नारि सहज जड़ अग्य।।57क।।

जलु पय सरिस बिकाइ देखहु प्रीति कि रीति भलि।

बिलग होइ रसु जाइ कपट खटाई परत पुनि।।57ख।।

Sateen hriday anumaan kiy sabu jaaneu sarbagy

Keenh kapatu main sambhu san naari sahaj jad agy.57k

Jalu pay saris bikaai dekhahu preeti ki reeti bhali

Bilag hoi rasu jaai kapat khataaee parat puni.57kh

सोरठा 57

Sati guessed: the all-knowing Lord | now sees what I have done.

I deceived Lord Shiva;fool! | By woman's nature, undone.

Sati guessed within her heart: "The All-knowing Lord has understood everything. I practiced deception upon Shambhu. A woman is by nature foolish and unaware."

Commentary & Notes ↓

Poddarji's Commentary

सतीजीने हृदयमें अनुमान किया कि सर्वज्ञ शिवजी सब जान गये। मैंने शिवजीसे कपट किया, स्त्री स्वभावसे ही मूर्ख और बेसमझ होती हैं॥ ५७ (क)॥

Notes

Doha 58. This is Sati's self-reproach, not the poet's verdict on women. 'Shambhu' (Sambhu) and 'Sarbagya' (the All-knowing, i.e., Shiva) are transliterated from the original. Sati recognizes that nothing can be hidden from Shiva's omniscience and condemns her own conduct.

चौपाई 58
हृदयँ सोचु समुझत निज करनी। चिंता अमित जाइ नहि बरनी।।

Hridayan sochu samujhat nij karanee. chintaa amit jaai nahi baranee

In her heart, Sati pondered her own actions with deep sorrow. Her anxiety was immeasurable and beyond description.

कृपासिंधु सिव परम अगाधा। प्रगट न कहेउ मोर अपराधा।।

Kripaasindhu siv param agaadhaa. pragat na kaheu mor aparaadhaa

Though Shiva is an ocean of compassion and supremely unfathomable, he did not openly speak of her offense.

संकर रुख अवलोकि भवानी। प्रभु मोहि तजेउ हृदयँ अकुलानी।।

Sankar rukh avaloki bhavaanee. prabhu mohi tajeu hridayan akulaanee

Seeing Shiva's displeasure, Bhavani became distressed in her heart, thinking that her Lord had abandoned her.

निज अघ समुझि न कछु कहि जाई। तपइ अवाँ इव उर अधिकाई।।

Nij agha samujhi na kachhu kahi jaaee. tapai avaan iva ura adhikaaee

Recognizing her own sin, she could say nothing. Her heart burned intensely like a blazing fire.

सतिहि ससोच जानि बृषकेतू। कहीं कथा सुंदर सुख हेतू।।

Satihi sasoch jaani brishaketoo. kaheen kathaa sundar sukh hetoo

Knowing that Sati was sorrowful, Vrishaketu (Shiva) told beautiful stories for her comfort and joy.

बरनत पंथ बिबिध इतिहासा। बिस्वनाथ पहुँचे कैलासा।।

Baranat panth bibidh itihaasaa. bisvanaath pahunche kailaasaa

Narrating various stories and histories along the way, Vishwanath (Shiva) reached Mount Kailash.

तहँ पुनि संभु समुझि पन आपन। बैठे बट तर करि कमलासन।।

Tahan puni sambhu samujhi pan aapan. baithe bat tar kari kamalaasan

There, remembering his vow, Shambhu sat beneath a banyan tree in the lotus posture.

संकर सहज सरुप सम्हारा। लागि समाधि अखंड अपारा।।

Sankar sahaj sarup samhaaraa. laagi samaadhi akhand apaaraa

Shankara assumed his natural divine form and entered into deep, unbroken, and infinite meditation.

Commentary & Notes ↓

Poddarji's Commentary

इन्द्र की सभा में जाकर उसने मुनि की सुशीलता और अपनी करतूत सब कही, जिसे सुनकर सबके मन में आश्चर्य हुआ और उन्होंने मुनि की बड़ाई करके श्रीहरि को सिर नवाया॥ मैं उन सन्तोंकी वन्दना करता हूँ जिनके चित्त सम हैं, जिनके लिये हितैषी और शत्रु कोई नहीं है; जो अञ्जलिमें रखे हुए सुन्दर फूलोंके समान दोनों हाथोंको एक-सी सुगन्ध देते हैं॥ १०॥ तब दस हजार राजा एक ही बार धनुषको उठाने लगे, तो भी वह टस-से-मस नहीं हुआ। शिवजीका वह धनुष कैसे नहीं डिगता था, जैसे कामी पुरुषके वचनोंसे सतीका मन नहीं डिगता॥ १॥

Notes

Chaupai 58. Two couplet pairs separated by blank line. A poignant contrast: Sati's inner torment set against Shiva's vast compassion. 'Kripasindhu' (ocean of mercy) is a classical epithet for Shiva. He chooses silence over blame, embodying grace even in anguish.

सती बसहि कैलास तब अधिक सोचु मन माहिं।

मरमु न कोऊ जान कछु जुग सम दिवस सिराहिं।।58।।

Satee basahi kailaas tab adhik sochu man maahin

Maramu na kooo jaan kachhu jug sam divas siraahin (58)

दोहा 58

Both brothers thrilled to hear the news, | love overflowed their frame;

seeing Bharat's pure love, | the court found joy in his sweet name.

Sati then dwelt on Kailasa with ever-deepening sorrow in her mind. No one knew the secret, and days crawled past like ages.

Commentary & Notes ↓

Poddarji's Commentary

चिट्ठी सुनकर दोनों भाई पुलकित हो गये। स्नेह इतना अधिक हो गया कि वह शरीरमें समाता नहीं। भरतजीका पवित्र प्रेम देखकर सारी सभाने विशेष सुख पाया॥ १॥

Notes

Doha 58 (second). 'Kailasa' (Kailas) transliterated from the original. The simile 'juga sama divasa' (days like yugas/ages) conveys the unbearable weight of concealed guilt. The household appears normal to all observers, but inwardly both Shiva and Sati carry the burden of unspoken truth.

चौपाई 59
नित नव सोचु सतीं उर भारा। कब जैहउँ दुख सागर पारा।।

Nit nav sochu sateen ura bhaaraa. kab jaihaun dukh saagar paaraa

Daily new sorrow weighs heavy in Sati's heart. When will I cross this ocean of suffering?

मैं जो कीन्ह रघुपति अपमाना। पुनिपति बचनु मृषा करि जाना।।

Main jo keenh raghupati apamaanaa. punipati bachanu mrishaa kari jaanaa

I dishonored Lord Raghupati and considered my husband's words false.

सो फलु मोहि बिधाताँ दीन्हा। जो कछु उचित रहा सोइ कीन्हा।।

So phalu mohi bidhaataan deenhaa. jo kachhu uchit rahaa soi keenhaa

The Creator has given me this fruit; whatever was appropriate, He has done.

अब बिधि अस बूझिअ नहि तोही। संकर बिमुख जिआवसि मोही।।

Aba bidhi asa boojhia nahi tohee. sankar bimukh jiaavasi mohee

Now I cannot understand Providence - why do you keep me alive when Shankara has turned away?

कहि न जाई कछु हृदय गलानी। मन महुँ रामाहि सुमिर सयानी।।

Kahi na jaaee kachhu hriday galaanee. man mahun raamaahi sumir sayaanee

The burning in my heart cannot be described. The wise one remembers Rama in her mind.

जौ प्रभु दीनदयालु कहावा। आरती हरन बेद जसु गावा।।

Jau prabhu deenadayaalu kahaavaa. aaratee haran bed jasu gaavaa

If the Lord is truly called compassionate to the humble, whose glory the Vedas sing as remover of distress,

तौ मैं बिनय करउँ कर जोरी। छूटउ बेगि देह यह मोरी।।

Tau main binay karaun kar joree. chhootau begi deh yah moree

Then I make this prayer with folded hands - may this body of mine be quickly released.

जौं मोरे सिव चरन सनेहू। मन क्रम बचन सत्य ब्रतु एहू।।

Jaun more siv charan sanehoo. man kram bachan saty bratu ehoo

If my love for Shiva's feet is true, and this vow is sincere in thought, word and deed,

Commentary & Notes ↓

Poddarji's Commentary

जगत्में जहाँतक जितने भी प्राणी हैं, ये सबको प्रिय हैं। मुनिकी यह वाणी सुनकर श्रीरामजी मन-ही-मन मुसकराते हैं। ये रघुकुलमणि महाराज दशरथके पुत्र हैं। मेरे हितके लिये राजाने इन्हें मेरे साथ भेजा है॥ हे ब्राह्मणो! तुमने विचारकर शाप नहीं दिया। राजाने कुछ भी अपराध नहीं किया। आकाशवाणी सुनकर सब ब्राह्मण चकित हो गये। तब राजा वहाँ गया, जहाँ भोजन बना था॥ ३॥ तब विष्णुभगवान्ने सब दिक्पालोंको बुलाकर हँसकर ऐसा कहा;सब लोग अपने-अपने दलसमेत अलग-अलग होकर चलो॥ ९२॥ मैं तुम्हारा काम अवश्य करूँगा; [क्योंकि] तुम मन, वाणी और शरीर [तीनों] से मेरे भक्त हो। पर योग, युक्ति, तप और मन्त्रका प्रभाव तभी फलीभूत होता है जब वे छिपाकर किये जाते हैं॥ २॥

Notes

Sati's inner torment after doubting Rama. 'Raghupati' (Lord of the Raghu dynasty) is Ram. 'Damniya dam' conveys that Bhagavan's anger falls justly on the guilty. The anguish is self-inflicted: she tested Ram despite Shiva's counsel.

तौ सबदरसी सुनिअ प्रभु करउ सो बेगि उपाइ।

होइ मरनु जेही बिनहिं श्रम दुसह बिपत्ति बिहाइ।।59।।

Tau sabadarasee sunia prabhu karau so begi upaai

Hoi maranu jehee binahin shram dusah bipatti bihaai (59)

दोहा 59

O all-seeing Lord, now hear; | bring swift the means I seek:

let death come without struggle, | end this grief's sharp peak.

"O all-seeing Lord, hear my prayer and swiftly open a way for me to leave this body without pain, so this unbearable suffering may end."

Commentary & Notes ↓

Poddarji's Commentary

तो हे सर्वदर्शी प्रभो! सुनिये और शीघ्र वह उपाय कीजिये जिससे मेरा मरण हो और बिना ही परिश्रम यह [पति-परित्यागरूपी] असह्य विपत्ति दूर हो जाय॥ ५९॥

Notes

Doha 59. Sati appeals to the 'sabdarshi' (all-seeing) Lord for release through death. 'Marana' here is not despair but a devotee's longing to shed a tainted form and begin anew. She seeks death 'without toil' (binu shram), trusting divine mercy to arrange it.

चौपाई 60
एहि बिधि दुखित प्रजेसकुमारी। अकथनीय दारुन दुखु भारी।।

Ehi bidhi dukhit prajesakumaaree. akathaneey daarun dukhu bhaaree

In this way, the daughter of Prajapati (Sati) remained distressed, bearing unspeakable and terrible grief.

बीतें संबत सहस सतासी। तजी समाधि संभु अबिनासी।।

Beeten sambat sahas sataasee. tajee samaadhi sambhu abinaasee

When eighty-seven thousand years had passed, the eternal Shambhu (Shiva) emerged from his meditation.

राम नाम सिव सुमिरन लागे। जानेउ सतीं जगतपति जागे।।

Raam naam siv sumiran laage. jaaneu sateen jagatapati jaage

Shiva began remembering and chanting the name of Rama, and Sati understood that the Lord of the universe had awakened.

जाइ संभु पद बंदनु कीन्ही। सनमुख संकर आसनु दीन्हा।।

Jaai sambhu pad bandanu keenhee. sanamukh sankar aasanu deenhaa

She went and bowed at Shambhu's feet, and Shankar graciously gave her a seat before him.

लगे कहन हरिकथा रसाला। दच्छ प्रजेस भए तेहि काला।।

Lage kahan harikathaa rasaalaa. dachchh prajes bhae tehi kaalaa

Shiva began narrating the sweet stories of Hari (Vishnu), and during that time Daksha became a Prajapati.

देखा बिधि बिचारि सब लायक। दच्छहि कीन्ह प्रजापति नायक।।

Dekhaa bidhi bichaari sab laayak. dachchhahi keenh prajaapati naayak

Brahma, considering all qualifications, made Daksha the chief among the Prajapatis.

बड़ अधिकार दच्छ जब पावा। अति अभिमानु हृदयँ तब आवा।।

Bad adhikaar dachchh jab paavaa. ati abhimaanu hridayan tab aavaa

When Daksha received such great authority, excessive pride entered his heart.

नहिं कोउ अस जनमा जग माहीं। प्रभुता पाइ जाहि मद नाहीं।।

Nahin kou asa janamaa jag maaheen. prabhutaa paai jaahi mad naaheen

There is no one born in this world who does not become intoxicated upon gaining power.

Commentary & Notes ↓

Poddarji's Commentary

[तपस्वीने कहा;] हे राजन्! सुनो, संसारमें उपाय तो बहुत हैं; पर वे कष्टसाध्य हैं (बड़ी कठिनतासे बननेमें आते हैं) और इसपर भी सिद्ध हों या न हों। हाँ, एक उपाय बहुत सहज है; परन्तु उसमें भी एक कठिनता है॥ १॥ हे पुत्र! मनमें आश्चर्य मत करो, तपसे कुछ भी दुर्लभ नहीं है, तपके बलसे ब्रह्मा जगत्को रचते हैं। तपहीके बलसे विष्णु संसारका पालन करनेवाले बने हैं॥ १॥ इस प्रकार सबको सुख देते हुए राजद्वारपर आये। माताएँ आनन्दित होकर बहुओंसहित कुमारोंका परछन कर रही हैं॥३४८॥ ब्राह्मणवंशकी ऐसी ही प्रभुता (महिमा) है कि जो आपसे डरता है, वह सबसे निर्भय हो जाता है। श्रीरघुनाथजीके कोमल और रहस्यपूर्ण वचन सुनकर परशुरामजीकी बुद्धिके परदे खुल गये॥ ३॥ सुनो राजन्! जब तुमने मेरे कहे अनुसार [इतना] काम कर लिया, तो अब मैंने वह काम सँवार ही लिया [समझो]। तुम अब चिन्ता त्याग सो रहो। विधाताने बिना परिश्रम ही अपना काम बना लिया॥ १॥

Notes

'Prajesakumari' identifies Sati as Daksha's daughter. The vast span of 87,000 years underscores cosmic time-scales in which devas live. Shambhu (Shiva) had been absorbed in meditation throughout; his emergence sets the stage for the Daksha Yajna episode.

दच्छ लिए मुनि बोलि सब करन लगे बड़ जाग।

नेवते सादर सकल सुर जे पावत मख भाग।।60।।

Dachchh lie muni boli sab karan lage bad jaag

Nevate saadar sakal sur je paavat makh bhaag (60)

दोहा 60

Daksha called the sages all, | began a mighty rite;

all gods who share in sacrifice | he summoned with delight.

Daksha summoned all the sages and began a great yajna. Every god entitled to a share of the sacrifice was respectfully invited.

Commentary & Notes ↓

Poddarji's Commentary

दक्षने सब मुनियोंको बुला लिया और वे बड़ा यज्ञ करने लगे। यज्ञका भाग पाते हैं, दक्षने उन सबको आदरसहित निमन्त्रित किया॥ ६०॥

Notes

Doha 60. Daksha Prajapati organises a grand sacrificial rite. 'Makh bhag' refers to the customary portion of oblations each deity receives. The invitation list pointedly omits Shiva, setting the conflict in motion.

चौपाई 61
किंनर नाग सिद्ध गंधर्बा। बधुन्ह समेत चले सुर सर्बा।।

Kinnar naag siddh gandharbaa. badhunh samet chale sur sarbaa

Kinnaras, nagas, siddhas, and gandharvas, along with all the gods accompanied by their wives, departed.

बिष्नु बिरंचि महेसु बिहाई। चले सकल सुर जान बनाई।।

Bishnu biranchi mahesu bihaaee. chale sakal sur jaan banaaee

Leaving behind Vishnu, Brahma, and Mahesh, all the gods went away having made themselves known.

सतीं बिलोके ब्योम बिमाना। जात चले सुंदर बिधि नाना।।

Sateen biloke byom bimaanaa. jaat chale sundar bidhi naanaa

Sati observed the beautiful aerial vehicles of various kinds going through the sky.

सुर सुंदरी करहिं कल गाना। सुनत श्रवन छूटहिं मुनि ध्याना।।

Sur sundaree karahin kal gaanaa. sunat shravan chhootahin muni dhyaanaa

The celestial beauties were singing melodiously, hearing which even sages would lose their meditation.

पूछेउ तब सिवँ कहेउ बखानी। पिता जग्य सुनि कछु हरषानी।।

Poochheu tab sivan kaheu bakhaanee. pitaa jagy suni kachhu harashaanee

When she inquired, Shiva explained everything to her; hearing about her father's sacrifice, she felt somewhat pleased.

जौं महेसु मोहि आयसु देहीं। कुछ दिन जाइ रहौं मिस एहीं।।

Jaun mahesu mohi aayasu deheen. kuchh din jaai rahaun mis eheen

If Mahesh would give me permission, I could go and stay there for some days under this pretext.

पति परित्याग हृदय दुखु भारी। कहइ न निज अपराध बिचारी।।

Pati parityaag hriday dukhu bhaaree. kahai na nij aparaadh bichaaree

The great sorrow in her heart from abandoning her husband, she did not speak of, considering her own fault.

बोली सती मनोहर बानी। भय संकोच प्रेम रस सानी।।

Bolee satee manohar baanee. bhay sankoch prem ras saanee

Sati spoke in charming words, mixed with fear, modesty, and the essence of love.

Commentary & Notes ↓

Poddarji's Commentary

[दक्षका निमन्त्रण पाकर] किन्नर, नाग, सिद्ध, गन्धर्व और सब देवता अपनी-अपनी स्त्रियोंसहित चले। विष्णु, ब्रह्मा और महादेवजीको छोड़कर सभी देवता अपना-अपना विमान सजाकर चले॥ १॥ सतीजीने [विमानोंमें देवताओंके जानेका कारण] पूछा, तब शिवजीने सब बातें बतलायीं। पिताके यज्ञकी बात सुनकर सती कुछ प्रसन्न हुईं और सोचने लगीं कि यदि महादेवजी मुझे आज्ञा दें, तो इसी बहाने कुछ दिन पिताके घर जाकर रहूँ॥ ३॥ राजा तक-तककर तीर चलाता है, परन्तु सूअर छल करके शरीरको बचाता जाता है। वह पशु कभी प्रकट होता और कभी छिपता हुआ भागा जाता था; और राजा भी क्रोधके वश उसके साथ (पीछे) लगा चला जाता था॥ २॥ पीली चौकोनी टोपियाँ सिरोंपर सुशोभित हैं, जिनके बीच-बीचमें फूलोंकी कलियाँ बनायी (काढी) हुई हैं। शङ्खके समान सुन्दर (गोल) गलेमें मनोहर तीन रेखाएँ हैं, जो मानो तीनों लोकोंकी सुन्दरताकी सीमा [को बता रही] हैं॥ ४॥

Notes

Kinnaras (celestial musicians), Nagas (serpent beings), Siddhas (perfected souls), and Gandharvas (heavenly singers) represent the full range of divine attendees. Tulasidas notes that Vishnu, Brahma, and Mahesha (Shiva) were excluded. Daksha's deliberate slight to Shiva is the catalyst for Sati's fatal resolve.

पिता भवन उत्सव परम जौं प्रभु आयसु होइ।

तौ मै जाउँ कृपायतन सादर देखन सोइ।।61।।

Pitaa bhavan utsav param jaun prabhu aayasu hoi

Tau mai jaaun kripaayatan saadar dekhan soi (61)

दोहा 61

A great feast at my father's home; | if you permit, my Lord,

O Gracious One, let me go see | that celebration's word.

"There is a grand celebration at my father's house. If my lord permits, O abode of compassion, I would go and witness it with reverence."

Commentary & Notes ↓

Poddarji's Commentary

हे प्रभो! मेरे पिताके घर बहुत बड़ा उत्सव है। यदि आपको आज्ञा हो तो हे कृपाधाम! मैं आदरसहित उसे देखने जाऊँ॥ ६१॥

Notes

Sati addresses Shiva as 'kripayatana' (abode of compassion), seeking his permission to attend Daksha's yajna. Her tone is tender and respectful, yet the longing to visit her father's home is unmistakable. Tulasidas sets the stage for the coming tragedy through this gentle, almost innocent request.

चौपाई 62
कहेहु नीक मोरेहुँ मन भावा। यह अनुचित नहिं नेवत पठावा।।

Kahehu neek morehun man bhaavaa. yah anuchit nahin nevat pathaavaa

You have spoken well, and it pleases my heart too. It is not improper that no invitation was sent.

दच्छ सकल निज सुता बोलाई। हमरें बयर तुम्हउ बिसराई।।

Dachchh sakal nij sutaa bolaaee. hamaren bayar tumhau bisaraaee

Daksha has called all his daughters, forgetting even your enmity with us.

ब्रह्मसभाँ हम सन दुखु माना। तेहि तें अजहुँ करहिं अपमाना।।

Brahmasabhaan ham san dukhu maanaa. tehi ten ajahun karahin apamaanaa

He felt hurt by us in Brahma's assembly, and even now continues to insult us.

जौं बिनु बोलें जाहु भवानी। रहइ न सीलु सनेहु न कानी।।

Jaun binu bolen jaahu bhavaanee. rahai na seelu sanehu na kaanee

If you go without being invited, O Bhavani, neither dignity nor affection will remain.

जदपि मित्र प्रभु पितु गुर गेहा। जाइअ बिनु बोलेहुँ न सँदेहा।।

Jadapi mitr prabhu pitu gur gehaa. jaaia binu bolehun na sandehaa

Though one may go without invitation to the homes of friends, masters, fathers, and gurus without doubt.

तदपि बिरोध मान जहँ कोई। तहाँ गएँ कल्यानु न होई।।

Tadapi birodh maan jahan koee. tahaan gaen kalyaanu na hoee

Yet where there is enmity and disrespect, going there brings no good fortune.

भाँति अनेक संभु समुझावा। भावी बस न ग्यानु उर आवा।।

Bhaanti anek sambhu samujhaavaa. bhaavee bas na gyaanu ura aavaa

Shambhu tried to counsel her in many ways, but being under fate's control, wisdom did not enter her heart.

कह प्रभु जाहु जो बिनहिं बोलाएँ। नहिं भलि बात हमारे भाएँ।।

Kah prabhu jaahu jo binahin bolaaen. nahin bhali baat hamaare bhaaen

The Lord said, 'Go if you wish, even without being invited. This matter does not seem good to us.'

Commentary & Notes ↓

Poddarji's Commentary

वैसे ही सुख और सम्पत्ति बिना ही बुलाये स्वाभाविक ही धर्मात्मा पुरुषके पास जाती हैं। तुम जैसे गुरु, ब्राह्मण, गाय और देवताकी सेवा करनेवाले हो, वैसी ही पवित्र कौसल्या देवी भी हैं॥ २॥ यद्यपि जगत्में अनेक प्रकारके दारुण दुःख हैं, तथापि जाति-अपमान सबसे बढ़कर कठिन है। यह समझकर सतीजीको बड़ा क्रोध हो आया। माताने उन्हें बहुत प्रकारसे समझाया-बुझाया॥ ४॥ फिर [भाई!] जिसको जो अच्छा लगे वही जाकर करो। हमने तो [श्रीरामचन्द्रजीके दर्शन करके] आज जन्म लेनेका फल पा लिया (जीवन और जन्मको सफल कर लिया)। ऐसा कहकर अच्छे राजा प्रेममग्न होकर श्रीरामजीका अनुपम रूप देखने लगे॥ ३॥

Notes

Shiva's reply is measured and compassionate. He does not forbid Sati outright but lays bare the painful truth: Daksha's omission of an invitation (nevata) is deliberate, born of hostility (bayru). The word 'bisaraai' (forgotten) carries both its surface meaning and an undertone of wilful exclusion. Chaupai rendered with one couplet pair per stanza break.

कहि देखा हर जतन बहु रहइ न दच्छकुमारि।

दिए मुख्य गन संग तब बिदा कीन्ह त्रिपुरारि।।62।।

Kahi dekhaa har jatan bahu rahai na dachchhakumaari

Die mukhy gan sang tab bidaa keenh tripuraari (62)

दोहा 62

Hara tried his best, but she | would not be held at home;

so Tripurari sent her forth | with guards;she would not be alone.

Hara tried many ways to dissuade her, but Daksha's daughter would not stay. Then Tripurari sent her forth with his chief ganas as escort and bade her farewell.

Commentary & Notes ↓

Poddarji's Commentary

शिवजीने बहुत प्रकारसे कहकर देख लिया, किन्तु जब सती किसी प्रकार भी नहीं रुकीं, तब त्रिपुरारि महादेवजीने अपने मुख्य गणोंको साथ देकर उनको विदा कर दिया॥ ६२॥

Notes

Shiva is named by two epithets here: 'Hara' (the remover of suffering) and 'Tripurari' (destroyer of the three demon cities). Tulasidas uses these divine titles at the very moment Shiva concedes, underscoring that even the Lord who destroys cosmic fortresses yields before the will of his beloved. The 'mukhy gana' (chief attendants) sent as escort show his care even in reluctant consent.

चौपाई 63
पिता भवन जब गई भवानी। दच्छ त्रास काहुँ न सनमानी।।

Pitaa bhavan jab gaee bhavaanee. dachchh traas kaahun na sanamaanee

When Bhavani went to her father's house, Daksha showed no respect or honor to anyone out of his arrogance.

सादर भलेहिं मिली एक माता। भगिनीं मिलीं बहुत मुसुकाता।।

Saadar bhalehin milee eka maataa. bhagineen mileen bahut musukaataa

Only her mother met her with proper respect and affection, while her sisters met her with smiles and joy.

दच्छ न कछु पूछी कुसलाता। सतिहि बिलोकि जरे सब गाता।।

Dachchh na kachhu poochhee kusalaataa. satihi biloki jare sab gaataa

Daksha did not even inquire about her welfare, and seeing Sati, his whole body burned with anger.

सतीं जाइ देखेउ तब जागा। कतहुँ न दीख संभु कर भागा।।

Sateen jaai dekheu tab jaagaa. katahun na deekh sambhu kar bhaagaa

Sati then went and saw the sacrificial arena, but nowhere could she see any portion allocated for Shambhu (Shiva).

तब चित चढ़ेउ जो संकर कहेऊ। प्रभु अपमानु समुझि उर दहेऊ।।

Tab chit chadheu jo sankar kaheoo. prabhu apamaanu samujhi ura daheoo

Then she remembered what Shankar had told her, and understanding her Lord's insult, her heart burned with anguish.

पाछिल दुखु न हृदयँ अस ब्यापा। जस यह भयउ महा परितापा।।

Paachhil dukhu na hridayan asa byaapaa. jas yah bhayau mahaa paritaapaa

Never before had such grief pervaded her heart as this great torment that now arose.

जद्यपि जग दारुन दुख नाना। सब तें कठिन जाति अवमाना।।

Jadyapi jag daarun dukh naanaa. sab ten kathin jaati avamaanaa

Though there are many terrible sufferings in the world, the hardest of all to bear is insult to one's family honor.

समुझि सो सतिहि भयउ अति क्रोधा। बहु बिधि जननीं कीन्ह प्रबोधा।।

Samujhi so satihi bhayau ati krodhaa. bahu bidhi jananeen keenh prabodhaa

Realizing this, Sati became extremely angry, though her mother tried to console her in many ways.

Commentary & Notes ↓

Poddarji's Commentary

दक्षने तो उनकी कुछ कुशल तक नहीं पूछी, सतीजीको देखकर उलटे उनके सारे अंग जल उठे। तब सतीने जाकर यज्ञ देखा तो वहाँ कहीं शिवजीका भाग दिखायी नहीं दिया॥ २॥ तब शिवजीने जो कहा था वह उनकी समझमें आया। स्वामीका अपमान समझकर सतीका हृदय जल उठा। पिछला (पतिपरित्यागका) दुःख उनके हृदयमें उतना नहीं व्यापा था, जितना महान्‌ दुःख इस समय (पति-अपमानके कारण) हुआ॥ ३॥ हे पर्वतराजकी कुमारी! सुन, तेरा मनोरथ सफल हुआ। तू अब सारे असह्य क्लेशोंको त्याग दे। अब तुझे शिवजी मिलेंगे॥ ७४॥ मेघनादसे उसने जो कुछ कहा, उसे उसने मानो पहलेसे ही कर रखा था। जिनको [मेघनादसे] पहले ही आज्ञा दे रखी थी, उन्होंने जो करतूतें कीं उन्हें सुनो॥

Notes

The contrast is devastating: 'sadara' (with respect) describes the mother alone, while the sisters' smiles (bahut musukata) carry condescension rather than affection. Daksha's refusal to honour his own daughter is the pivotal insult that will ignite Sati's fury. Tulasidas names her 'Bhavani' here, foreshadowing her divine identity beyond any earthly father's power to diminish.

सिव अपमानु न जाइ सहि हृदयँ न होइ प्रबोध।

सकल सभहि हठि हटकि तब बोलीं बचन सक्रोध।।63।।

Siv apamaanu na jaai sahi hridayan na hoi prabodh

Sakal sabhahi hathi hataki tab boleen bachan sakrodh (63)

दोहा 63

She could not bear her Lord's disgrace, | no comfort reached her heart;

she faced the crowd and spoke in wrath, | her words like flaming dart.

The insult to Shiva was beyond all bearing; no consolation could reach her heart. Then, stopping the entire assembly by force of will, she spoke words burning with anger.

Commentary & Notes ↓

Poddarji's Commentary

परन्तु उनसे शिवजीका अपमान सहा नहीं गया, इससे उनके हृदयमें कुछ भी प्रबोध नहीं हुआ। तब वे सारी सभाको हठपूर्वक डाँटकर क्रोधभरे वचन बोलीं--॥ ६३॥

Notes

Sati's grief is not for herself but for Shiva's dishonour (Siva apamanu). The phrase 'hridayan na hoi prabodha' (no wisdom or consolation could reach her heart) shows that reason has been consumed by righteous fury. 'Hathi hataki' conveys a forceful, almost physical halt she imposes on the gathering before she speaks. This doha marks the turning point: Sati will now publicly denounce Daksha, setting in motion the events that lead to her self-immolation.

चौपाई 64
सुनहु सभासद सकल मुनिंदा। कही सुनी जिन्ह संकर निंदा।।

Sunahu sabhaasad sakal munindaa. kahee sunee jinh sankar nindaa

Listen, all assembly members and great sages, whoever has spoken or heard slander against Shankara.

सो फलु तुरत लहब सब काहूँ। भली भाँति पछिताब पिताहूँ।।

So phalu turat lahab sab kaahoon. bhalee bhaanti pachhitaab pitaahoon

All such persons shall immediately receive the fruit of their actions, and even my father shall repent properly.

संत संभु श्रीपति अपबादा। सुनिअ जहाँ तहँ असि मरजादा।।

Sant sambhu shreepati apabaadaa. sunia jahaan tahan asi marajaadaa

Wherever slander of saints, Shambhu, or Shri Vishnu is heard, such is the righteous code.

काटिअ तासु जीभ जो बसाई। श्रवन मूदि न त चलिअ पराई।।

Kaatia taasu jeebh jo basaaee. shravan moodi na ta chalia paraaee

One should either cut out the tongue of the slanderer, or if unable to do so, close one's ears and leave that place.

जगदातमा महेसु पुरारी। जगत जनक सब के हितकारी।।

Jagadaatamaa mahesu puraaree. jagat janak sab ke hitakaaree

Mahesh Purari is the soul of the universe, the father of the world and benefactor of all.

पिता मंदमति निंदत तेही। दच्छ सुक्र संभव यह देही।।

Pitaa mandamati nindat tehee. dachchh sukr sambhav yah dehee

My foolish father slanders Him - this body is born from Daksha's lineage.

तजिहउँ तुरत देह तेहि हेतू। उर धरि चंद्रमौलि बृषकेतू।।

Tajihaun turat deh tehi hetoo. ura dhari chandramauli brishaketoo

I shall immediately abandon this body for that reason, keeping the moon-crowned, bull-bannered one in my heart.

अस कहि जोग अगिनि तनु जारा। भयउ सकल मख हाहाकारा।।

Asa kahi jog agini tanu jaaraa. bhayau sakal makh haahaakaaraa

Saying thus, she burned her body with the fire of yoga, and the entire sacrifice became filled with lamentation.

Commentary & Notes ↓

Poddarji's Commentary

इसलिये चन्द्रमाको ललाटपर धारण करनेवाले वृषकेतु शिवजीको हृदयमें धारण करके मैं इस शरीरको तुरंत ही त्याग दूँगी। ऐसा कहकर सतीजीने योगाग्निमें अपना शरीर भस्म कर डाला। सारी यज्ञशालामें हाहाकार मच गया॥ ४॥ फिर पान देकर जनकजीने समाजसहित दशरथजीका पूजन किया। सब राजाओंके सिरमौर (चक्रवर्ती) श्रीदशरथजी प्रसन्न होकर जनवासेको चले॥ ३२९॥ महेश्वर शिवजीका समाज समझकर सब लड़कोंके माता-पिता मुसकराते हैं। उन्होंने बहुत तरहसे लड़कोंको समझाया कि निडर हो जाओ, डरकी कोई बात नहीं है॥ ९५॥ जिस कारण सब राजा आये थे, राजा जनकने वे सब समाचार कह सुनाये। जनकके वचन सुनकर परशुरामजीने फिरकर दूसरी ओर देखा तो धनुषके टुकड़े पृथ्वीपर पड़े हुए दिखायी दिये॥ १॥

Notes

Sati's final address to the assembly at Daksha's yajna. She warns all present that reviling Shankara carries immediate karmic consequence. 'Muniinda' (chief among munis) is rendered as 'great munis.' 'Pachhaahuun' (afterwards) rendered as 'hereafter.'

सती मरनु सुनि संभु गन लगे करन मख खीस।

जग्य बिधंस बिलोकि भृगु रच्छा कीन्हि मुनीस।।64।।

Satee maranu suni sambhu gan lage karan makh khees

Jagy bidhans biloki bhrigu rachchhaa keenhi munees (64)

दोहा 64

Hearing drums, knowing the procession neared, | the welcoming party came

with elephants, chariots, horses, foot | to greet them with due acclaim.

Hearing of Sati's death, Shiva's ganas began to wreck the sacrificial rite. Seeing the yajna being destroyed, the sage Bhrigu performed a protective ritual.

Commentary & Notes ↓

Poddarji's Commentary

बड़े जोरसे बजते हुए नगाड़ोंकी आवाज सुनकर श्रेष्ठ बारातको आती हुई जानकर अगवानी करनेवाले हाथी, रथ, पैदल और घोड़े सजाकर बारात लेने चले॥ ३०४॥

Notes

Doha 64 in the traditional numbering. 'Makh' = makha (Vedic sacrifice/yajna). 'Khiisa' = destruction, wrath. Bhrigu (Bhrigumuni) intervenes with a raksha (protective) rite to shield the gods from the ganas' fury. The doha compresses a dramatic pivot: Sati's self-immolation triggers cosmic upheaval.

चौपाई 65
समाचार सब संकर पाए। बीरभद्रु करि कोप पठाए।।

Samaachaar sab sankar paae. beerabhadru kari kop pathaae

Shankara (Shiva) received all the news and sent Veerabhadra in great anger.

जग्य बिधंस जाइ तिन्ह कीन्हा। सकल सुरन्ह बिधिवत फलु दीन्हा।।

Jagy bidhans jaai tinh keenhaa. sakal suranh bidhivat phalu deenhaa

He went and destroyed the sacrifice, giving proper punishment to all the gods.

भे जगबिदित दच्छ गति सोई। जसि कछु संभु बिमुख कै होई।।

Bhe jagabidit dachchh gati soee. jasi kachhu sambhu bimukh kai hoee

Daksha's fate became known throughout the world - such is what happens to one who opposes Shambhu.

यह इतिहास सकल जग जानी। ताते मैं संछेप बखानी।।

Yah itihaas sakal jag jaanee. taate main sanchhep bakhaanee

This entire story is known to the whole world, therefore I have narrated it briefly.

सतीं मरत हरि सन बरु मागा। जनम जनम सिव पद अनुरागा।।

Sateen marat hari san baru maagaa. janam janam siv pad anuraagaa

While dying, Sati asked a boon from Hari - to have love for Shiva's feet in every birth.

तेहि कारन हिमगिरि गृह जाई। जनमीं पारबती तनु पाई।।

Tehi kaaran himagiri grih jaaee. janameen paarabatee tanu paaee

For that reason she went to Himavan's house and was born as Parvati, taking bodily form.

जब तें उमा सैल गृह जाईं। सकल सिद्धि संपति तहँ छाई।।

Jab ten umaa sail grih jaaeen. sakal siddhi sampati tahan chhaaee

Ever since Uma went to the mountain's house, all powers and prosperity pervaded there.

जहँ तहँ मुनिन्ह सुआश्रम कीन्हे। उचित बास हिम भूधर दीन्हे।।

Jahan tahan muninh suaashram keenhe. uchit baas him bhoodhar deenhe

Everywhere sages established beautiful hermitages, and the snow mountain provided them suitable dwellings.

Commentary & Notes ↓

Poddarji's Commentary

जब नारदजीने ये सब समाचार सुने तो वे कौतुकहीसे हिमाचलके घर पधारे। पर्वतराजने उनका बड़ा आदर किया और चरण धोकर उनको उत्तम आसन दिया॥ ३॥ समस्त जगत्के स्वामी श्रीरामजी सुन्दर मतवाले श्रेष्ठ हाथीकी-सी चालसे स्वाभाविक ही चले। श्रीरामचन्द्रजीके चलते ही नगरभरके सब स्त्री-पुरुष सुखी हो गये और उनके शरीर रोमाञ्चसे भर गये॥ ३॥ हे नाथ! उनके लिये आप कहते हैं कि उन्हें कैसे पहचाना! क्या सूर्यको हाथमें दीपक लेकर देखा जाता है? सीताजीके स्वयंवरमें अनेकों राजा और एक-से-एक बढ़कर योद्धा एकत्र हुए थे॥ २॥ [शिवजी कहते हैं कि;] मैंने और ब्रह्माने मिलकर उसे वर दिया कि ऐसा ही हो, तुमने बड़ा तप किया है। फिर ब्रह्माजी कुम्भकर्णके पास गये। उसे देखकर उनके मनमें बड़ा आश्चर्य हुआ॥ ३॥

Notes

Virabhadra is the fierce emanation Shiva creates from his matted locks to avenge Sati. The fourth line refers to the eventual restoration: after Shiva's wrath was appeased and Daksha repented, the yajna was completed and each deity received the ordained portion. Tulasidasa compresses the destruction and restoration into a single chaupai, showing divine order reasserting itself.

सदा सुमन फल सहित सब द्रुम नव नाना जाति।

प्रगटीं सुंदर सैल पर मनि आकर बहु भाँति।।65।।

Sadaa suman phal sahit sab drum nav naanaa jaati

Pragateen sundar sail par mani aakar bahu bhaanti (65)

दोहा 65

'Supremely free, none above You! | You do what You desire;

You make the good bad, bad good; | unmoved by joy or fire.'

Trees of many kinds, ever laden with blossoms and fruit, appeared upon the beautiful mountain. Mines of precious gems of every variety manifested there.

Commentary & Notes ↓

Poddarji's Commentary

तुम परम स्वतन्त्र हो, सिर पर तो कोई है नहीं, इससे जब जो मन को भाता है, [स्वच्छन्दता से] वही करते हो। भले को बुरा और बुरे को भला कर देते हो। हृदय में हर्ष-विषाद कुछ भी नहीं लाते॥

Notes

Doha 65 in the traditional numbering. A transitional verse: the narrative moves from the yajna's destruction to the mountain Himalaya preparing for Parvati's birth. 'Sadaa suman phal sahit' (always with flowers and fruit) signals that nature itself becomes paradisiacal. 'Mani aakara' = mines of jewels. The mountain adorns itself as though readying a bridal chamber for the Divine Mother's arrival.

चौपाई 66
सरिता सब पुनित जलु बहहीं। खग मृग मधुप सुखी सब रहहीं।।

Saritaa sab punit jalu bahaheen. khag mrig madhup sukhee sab rahaheen

All the rivers flow with pure, sacred water. Birds, animals, and bees all dwell in happiness.

सहज बयरु सब जीवन्ह त्यागा। गिरि पर सकल करहिं अनुरागा।।

Sahaj bayaru sab jeevanh tyaagaa. giri par sakal karahin anuraagaa

All living beings have abandoned their natural enmity. Everyone feels love and affection for the mountain.

सोह सैल गिरिजा गृह आएँ। जिमि जनु रामभगति के पाएँ।।

Soh sail girijaa grih aaen. jimi janu raamabhagati ke paaen

The mountain shines beautifully now that Girija has come to dwell there, as if it has attained devotion to Rama.

नित नूतन मंगल गृह तासू। ब्रह्मादिक गावहिं जसु जासू।।

Nit nootan mangal grih taasoo. brahmaadik gaavahin jasu jaasoo

Daily new auspiciousness fills that home whose glory is sung by Brahma and other gods.

नारद समाचार सब पाए। कौतुकहीं गिरि गेह सिधाए।।

Naarad samaachaar sab paae. kautukaheen giri geh sidhaae

Narada received all this news and joyfully proceeded to the mountain's abode.

सैलराज बड़ आदर कीन्हा। पद पखारि बर आसनु दीन्हा।।

Sailaraaj bad aadar keenhaa. pad pakhaari bar aasanu deenhaa

The king of mountains showed great reverence, washing Narada's feet and offering him an excellent seat.

नारि सहित मुनि पद सिरु नावा। चरन सलिल सबु भवनु सिंचावा।।

Naari sahit muni pad siru naavaa. charan salil sabu bhavanu sinchaavaa

Along with his wife, he bowed his head to the sage's feet and sprinkled the sacred water from his feet throughout the palace.

निज सौभाग्य बहुत गिरि बरना। सुता बोलि मेली मुनि चरना।।

Nij saubhaagy bahut giri baranaa. sutaa boli melee muni charanaa

The mountain king praised his great fortune extensively and called his daughter to touch the sage's feet.

Commentary & Notes ↓

Poddarji's Commentary

पार्वतीजीके घर आ जानेसे पर्वत ऐसा शोभायमान हुआ जैसे श्रीरामभक्तिके पानेसे हृदय शोभायमान होता है। उनके घर नित्य नये-नये मङ्गलोत्सव होते हैं, जिसका ब्रह्मादि यश गाते हैं॥ २॥ सारी नदियोंमें पवित्र जल बहता है और पक्षी, पशु, भ्रमर सभी सुखी रहते हैं। सब जीवोंने अपना स्वाभाविक वैर छोड़ दिया और पर्वतपर सभी परस्पर प्रेम करते हैं॥ १॥ नित्य नये एक लाख ब्राह्मणोंको कुटुम्बसहित निमन्त्रित करना। मैं तुम्हारे सङ्कल्प [के पूर्ण होने] तक प्रतिदिन भोजन बनाया करूँगा॥ १६८॥ राजभवनमें जो अति कोमल वाणीसे वेदध्वनि हो रही है, वही मानो समयसे (समयानुकूल) सनी हुई पक्षियोंकी चहचहाहट है। यह कौतुक देखकर सूर्य भी [अपनी चाल] भूल गये। एक महीना उन्होंने जाता हुआ न जाना (उन्हें एक महीना वहीं बीत गया)॥ अगणित सूर्य, चन्द्रमा, शिव, ब्रह्मा, बहुत-से पर्वत, नदियाँ, समुद्र, पृथ्वी, वन, काल, कर्म, गुण, ज्ञान और स्वभाव देखे। और वे पदार्थ भी देखे जो कभी सुने भी न थे॥ १॥ कोसलपुरके रहनेवाले स्त्री, पुरुष, बूढ़े और बालक सभीको कृपालु श्रीरामचन्द्रजी प्राणोंसे भी बढ़कर प्यारे लगते हैं॥ २०४॥ ऐसा कहकर भगवान्‌का स्मरण करके नारदजीने पार्वतीको आशीर्वाद दिया। [और कहा कि--] हे पर्वतराज! तुम सन्देहका त्याग कर दो, अब यह कल्याण ही होगा॥ ७०॥

Notes

Nature transforms in anticipation of Parvati's advent. 'Sahaja bairu' (innate hostility) is surrendered: predator and prey coexist in peace. 'Khaga mriga madhupa' = birds, deer, bees. This verse echoes a recurring Manas motif where the Divine Mother's presence dissolves the very principle of conflict in creation. 'Anuraaga' = deep affection, devotional love.

त्रिकालग्य सर्बग्य तुम्ह गति सर्बत्र तुम्हारि।।

कहहु सुता के दोष गुन मुनिबर हृदयँ बिचारि।।66।।

Trikaalagy sarbagy tumh gati sarbatr tumhaari

Kahahu sutaa ke dosh gun munibar hridayan bichaari (66)

दोहा 66

You know all times, all things, | your reach extends so far;

O sage, consider well and tell | our daughter's traits and scars.

"O great sage, you know all three times and are all-knowing; your sight reaches everywhere. Tell me, reflecting within your heart, the faults and virtues of my daughter."

Commentary & Notes ↓

Poddarji's Commentary

[और कहा--] हे मुनिवर! आप त्रिकालज्ञ और सर्वज्ञ हैं, आपकी सर्वत्र पहुँच है। अतः आप हृदयमें विचारकर कन्याके दोष-गुण कहिये॥ ६६॥

Notes

Doha 66. Himavan (the mountain king, Parvati's father) addresses Narada with deep reverence, requesting a candid reading of Parvati's destiny. 'Trikalagya' (trikalagya): knower of past, present, and future. 'Sarbagya' (sarvagya): omniscient.

चौपाई 67
कह मुनि बिहसि गूढ़ मृदु बानी। सुता तुम्हारि सकल गुन खानी।।

Kah muni bihasi goodh mridu baanee. sutaa tumhaari sakal gun khaanee

The sage spoke with a gentle smile in profound yet tender words: 'Your daughter is a treasure house of all virtues.'

सुंदर सहज सुसील सयानी। नाम उमा अंबिका भवानी।।

Sundar sahaj suseel sayaanee. naam umaa ambikaa bhavaanee

She is beautiful, naturally virtuous, well-mannered and wise, known by the names Uma, Ambika and Bhavani.

सब लच्छन संपन्न कुमारी। होइहि संतत पियहि पिआरी।।

Sab lachchhan sampann kumaaree. hoihi santat piyahi piaaree

This maiden is endowed with all auspicious qualities and will always be beloved of her husband.

सदा अचल एहि कर अहिवाता। एहि तें जसु पैहहिं पितु माता।।

Sadaa achal ehi kar ahivaataa. ehi ten jasu paihahin pitu maataa

Her vow will always remain unshakeable, and through her the parents will gain great fame.

होइहि पूज्य सकल जग माहीं। एहि सेवत कछु दुर्लभ नाहीं।।

Hoihi poojy sakal jag maaheen. ehi sevat kachhu durlabh naaheen

She will be worshipped throughout the world; nothing will be difficult for those who serve her.

एहि कर नामु सुमिरि संसारा। त्रिय चढ़हहिं पतिब्रत असिधारा।।

Ehi kar naamu sumiri sansaaraa. triy chadhahahin patibrat asidhaaraa

Remembering her name, women of the world will ascend the sharp blade of chastity.

सैल सुलच्छन सुता तुम्हारी। सुनहु जे अब अवगुन दुइ चारी।।

Sail sulachchhan sutaa tumhaaree. sunahu je aba avagun dui chaaree

O mountain king, your daughter possesses all good qualities. Now listen to her few shortcomings.

अगुन अमान मातु पितु हीना। उदासीन सब संसय छीना।।

Agun amaan maatu pitu heenaa. udaaseen sab sansay chheenaa

She will be without attributes, without pride, without parents, and detached from all worldly concerns.

Commentary & Notes ↓

Poddarji's Commentary

कन्या सब सुलक्षणोंसे सम्पन्न है, यह अपने पतिको सदा प्यारी होगी। इसका सुहाग सदा अचल रहेगा और इससे इसके माता-पिता यश पावेंगे॥ २॥ हे पर्वतराज! तुम्हारी कन्या सुलक्षणी है। अब इसमें जो दो-चार अवगुण हैं, उन्हें भी सुन लो। गुणहीन, मानहीन, माता-पिता-विहीन, उदासीन, संशयहीन (लापरवाह)॥ ४॥ तुम अपनी जड़ता लोगोंपर डालकर, श्रीरघुनाथजी [के सुकुमार शरीर] को देखकर [उतने ही] हलके हो जाओ। इस प्रकार सीताजीके मनमें बड़ा ही सन्ताप हो रहा है। निमेषका एक लव (अंश) भी सौ युगोंके समान बीत रहा है॥ ४॥

Notes

Chaupai 67. Narada begins his reading on an auspicious note, praising Parvati's qualities before delivering the difficult prophecy. 'Gudha mridu bani' (gudha mridu bani): words that are at once deep and soft. The three names, Uma, Ambika, Bhavani, each carry distinct theological weight: Uma ('light' or 'O do not'), Ambika ('Mother'), Bhavani ('consort of Bhava/Shiva').

जोगी जटिल अकाम मन नगन अमंगल बेष।।

अस स्वामी एहि कहँ मिलिहि परी हस्त असि रेख।।67।।

Jogee jatil akaam man nagan amangal besh

Asa svaamee ehi kahan milihi paree hast asi rekh (67)

दोहा 67

A yogi with matted hair, | desireless, naked, grim;

such a lord she'll win, O king, | the palm-line speaks of him.

"A yogi, matted-haired, desireless of heart, unclad, wearing inauspicious garb. Such a husband shall she receive; this line is inscribed upon her palm."

Commentary & Notes ↓

Poddarji's Commentary

योगी, जटाधारी, निष्कामहृदय, नंगा और अमङ्गल वेषवाला--ऐसा स्वामी इसको मिलेगा; इसके हाथमें ऐसी ही रेखा पड़ी है॥ ६७॥

Notes

Doha 67. Narada deliberately describes Shiva in unflattering terms to test Parvati's resolve. Each detail, 'jatila' (jatila, matted locks), 'akama mana' (akama mana, desireless mind), 'nagana' (nagana, unclad), 'amangala besha' (amangala besha, inauspicious appearance), is factually accurate about Shiva's ascetic form yet framed to discourage a worldly listener. The line on the palm ('hasta asi rekha') invokes palmistry as destiny.

चौपाई 68
सुनि मुनि गिरा सत्य जियँ जानी। दुख दंपतिहि उमा हरषानी।।

Suni muni giraa saty jiyan jaanee. dukh dampatihi umaa harashaanee

Hearing the sage's words and knowing them to be true in her heart, Uma rejoiced for the sorrowful couple.

नारदहुँ यह भेदु न जाना। दसा एक समुझब बिलगाना।।

Naaradahun yah bhedu na jaanaa. dasaa eka samujhab bilagaanaa

Even Narada did not know this secret; understanding one state while being separate from another is difficult.

सकल सखीं गिरिजा गिरि मैना। पुलक सरीर भरे जल नैना।।

Sakal sakheen girijaa giri mainaa. pulak sareer bhare jal nainaa

All the companions of Girija, daughter of the mountain Maina, felt thrills in their bodies and their eyes filled with tears.

होइ न मृषा देवरिषि भाषा। उमा सो बचनु हृदयँ धरि राखा।।

Hoi na mrishaa devarishi bhaashaa. umaa so bachanu hridayan dhari raakhaa

The words of the divine sage cannot be false; Uma kept those words firmly in her heart.

उपजेउ सिव पद कमल सनेहू। मिलन कठिन मन भा संदेहू।।

Upajeu siv pad kamal sanehoo. milan kathin man bhaa sandehoo

Love arose for Shiva's lotus feet, but doubt entered her mind about the difficulty of union with him.

जानि कुअवसरु प्रीति दुराई। सखी उछँग बैठी पुनि जाई।।

Jaani kuavasaru preeti duraaee. sakhee uchhang baithee puni jaaee

Knowing it was an inappropriate time, she concealed her love and went to sit in her friend's lap again.

झूठि न होइ देवरिषि बानी। सोचहि दंपति सखीं सयानी।।

Jhoothi na hoi devarishi baanee. sochahi dampati sakheen sayaanee

The words of the divine sage cannot be false; the wise couple and companions pondered this.

उर धरि धीर कहइ गिरिराऊ। कहहु नाथ का करिअ उपाऊ।।

Ura dhari dheer kahai giriraaoo. kahahu naath kaa karia upaaoo

Gathering courage in his heart, the mountain king said, 'Tell us, lord, what remedy should be undertaken?'

Commentary & Notes ↓

Poddarji's Commentary

सारी सखियाँ, पार्वती, पर्वतराज हिमवान्‌ और मैना सभीके शरीर पुलकित थे और सभीके नेत्रोंमें जल भरा था। देवर्षिकी वचन असत्य नहीं हो सकते, [यह विचारकर] पार्वतीने उन वचनोंको हृदयमें धारण कर लिया॥ २॥ जिसका जिसपर सच्चा स्नेह होता है, वह उसे मिलता ही है, इसमें कुछ भी सन्देह नहीं है। तो सबके हृदयमें निवास करनेवाले भगवान्‌ मुझे रघुश्रेष्ठ श्रीरामचन्द्रजीकी दासी अवश्य बनायेंगे॥ २॥ सखियोंने उसकी दशा देखी कि उसका शरीर पुलकित है और नेत्रोंमें जल भरा है। सब कोमल वाणीसे पूछने लगीं कि अपनी प्रसन्नताका कारण बता॥ २२८॥ सबके हृदयमें अपार हर्ष है और शरीर पुलकसे भरे हैं। सबको एक ही लालसा लगी है कि हम श्रीराम-लक्ष्मण दोनों भाइयोंको नेत्र भरकर कब देखेंगे॥ २९९॥ जिन्होंने बिना किसी दूसरे संगी अथवा सहायकके अकेले ही तीन प्रकारकी सृष्टि उत्पन्न की, वे पापोंका नाश करनेवाले भगवान्‌ हमारी सुधि लें। हम न भक्ति जानते हैं, न पूजा। जो संसारके (जन्म-मृत्युके) भयका नाश करनेवाले, मुनियोंके मनको आनन्द देनेवाले और विपत्तियोंके समूहको नष्ट करनेवाले हैं। हम सब देवताओंके समूह मन, वचन और कर्मसे चतुराई करनेकी बान छोड़कर शरण आये हैं॥

Notes

Chaupai 68. A pivotal moment of dramatic irony. Himavan and his queen Mena grieve, reading the prophecy at face value. Parvati, however, rejoices, for she recognizes in every 'unflattering' detail the Lord she already loves. Tulasidasa observes that even the all-knowing Narada could not fathom this depth of devotion. 'Bidhi bigata gyana' (bidhi bigata gyana): fate itself is rendered unknowing before such resolve.

कह मुनीस हिमवंत सुनु जो बिधि लिखा लिलार।

देव दनुज नर नाग मुनि कोउ न मेटनिहार।।68।।

Kah munees himavant sunu jo bidhi likhaa lilaar

Dev danuj nar naag muni kou na metanihaar (68)

दोहा 68

The sage said: Hear me, Himavan! | What Brahma wrote on the brow,

no god or demon, man or sage | can ever disavow.

The great sage said: "Listen, Himavan. What fate has written upon the forehead, no god, demon, human, serpent, or sage can erase."

Commentary & Notes ↓

Poddarji's Commentary

मुनीश्वरने कहा--हे हिमवान्‌! सुनो, विधाताने ललाटपर जो कुछ लिख दिया है, उसको देवता, दानव, मनुष्य, नाग और मुनि कोई भी नहीं मिटा सकते॥ ६८॥

Notes

Doha 68. Narada concludes with the classic doctrine of destiny ('bidhi likha lilara'). The five categories, god (deva), demon (danuja), human (nara), serpent (naga), and sage (muni), span the entire cosmic hierarchy, emphasizing that none can overwrite what is ordained. Ironically, Narada's own words confirm that Parvati's union with Shiva is beyond anyone's power to prevent.

चौपाई 69
तदपि एक मैं कहउँ उपाई। होइ करै जौं दैउ सहाई।।

Tadapi eka main kahaun upaaee. hoi karai jaun daiu sahaaee

Still, I shall tell you one remedy that may work if destiny provides assistance.

जस बरु मैं बरनेउँ तुम्ह पाहीं। मिलहि उमहि तस संसय नाहीं।।

Jas baru main baraneun tumh paaheen. milahi umahi tas sansay naaheen

The groom I have described to you - Uma will surely find such a one, there is no doubt.

जे जे बर के दोष बखाने। ते सब सिव पहि मैं अनुमाने।।

Je je bar ke dosh bakhaane. te sab siv pahi main anumaane

All the faults of the groom that I have mentioned, I consider them all to be present in Shiva.

जौं बिबाहु संकर सन होई। दोषउ गुन सम कह सबु कोई।।

Jaun bibaahu sankar san hoee. doshau gun sam kah sabu koee

If the marriage takes place with Shankar, everyone will call even his faults as virtues.

जौं अहि सेज सयन हरि करहीं। बुध कछु तिन्ह कर दोषु न धरहीं।।

Jaun ahi sej sayan hari karaheen. budh kachhu tinh kar doshu na dharaheen

When Hari sleeps on a serpent's bed, the wise do not find any fault with Him.

भानु कृसानु सर्ब रस खाहीं। तिन्ह कहँ मंद कहत कोउ नाहीं।।

Bhaanu krisaanu sarb ras khaaheen. tinh kahan mand kahat kou naaheen

The sun and fire consume all essences, yet no one calls them evil.

सुभ अरु असुभ सलिल सब बहई। सुरसरि कोउ अपुनीत न कहई।।

Subh aru asubh salil sab bahaee. surasari kou apuneet na kahaee

The Ganges carries both pure and impure waters, yet no one calls her unholy.

समरथ कहुँ नहिं दोषु गोसाई। रबि पावक सुरसरि की नाई।।

Samarath kahun nahin doshu gosaaee. rabi paavak surasari kee naaee

The mighty have no faults, O Lord, like the sun, fire, and the sacred Ganges.

Commentary & Notes ↓

Poddarji's Commentary

सूर्य, अग्नि और गङ्गाजीकी भाँति समर्थको कुछ दोष नहीं लगता॥ ४॥ [लक्षणों को सोचकर वे मन में कहने लगे कि] जो इसे ब्याहेगा, वह अमर हो जायगा और रणभूमि में कोई उसे जीत न सकेगा। यह शीलनिधि की कन्या जिसको वरेगी, सब चर-अचर जीव उसकी सेवा करेंगे॥ देवताओंने कामदेवसे अपनी सारी विपत्ति कही। सुनकर कामदेवने मनमें विचार किया और हँसकर देवताओंसे यों कहा कि शिवजीके साथ विरोध करनेमें मेरी कुशल नहीं है॥ ८३॥ हे नरपति! मैं यदि रसोई बनाऊँ और तुम उसे परोसो और मुझे कोई जानने न पावे, तो उस अन्नको जो-जो खायेगा, सो-सो तुम्हारा आज्ञाकारी बन जायेगा॥ ३॥ वे आरती करके निछावर करती हैं और बार-बार बच्चेके चरणोंपर गिरती हैं। मागध, सूत, वन्दीजन और गवैये रघुकुलके स्वामीके पवित्र गुणोंका गान करते हैं॥

Notes

Narada counsels Himavan and Maina that Shiva cannot be won by worldly means; only devoted spiritual practice will draw His grace. 'Daivu sahaai' (fate favoring) reminds the listener that even effort depends on divine will. Chaupai rendered as one couplet pair with \n\n omitted since it is a single pair.

जौं अस हिसिषा करहिं नर जड़ि बिबेक अभिमान।

परहिं कलप भरि नरक महुँ जीव कि ईस समान।।69।।

Jaun asa hisishaa karahin nar jadi bibek abhimaan

Parahin kalap bhari narak mahun jeev ki eesa samaan (69)

दोहा 69

But if proud fools imitate | the great in their conceit,

they fall to hell a cosmic age; | can souls with God compete?

But if foolish men, stripped of viveka (discernment) and swollen with pride, harbor such desires, they fall into naraka (hell) for an entire kalpa. How can the jiva (individual soul) ever be equal to Ishvara (the Lord)?

Commentary & Notes ↓

Poddarji's Commentary

परन्तु यदि विवेकहीन मूर्ख मनुष्य अभिमानसे ऐसी इच्छा करें (कि हम भी नदी-जलकी तरह गङ्गाजीमें मिलकर पवित्र हो जायँ), तो वे कल्पभर नरकमें पड़ते हैं। जीव कहीं ईश्वरके समान है?॥ ६९॥

Notes

Tulsidas inserts a doctrinal guard: the Lord's lilas are His sovereign play, not a license for mortal imitation. 'Jiva ki Isha samana' is the pivotal rhetorical question affirming the ontological difference between soul and God in Tulsidas's Vishishtadvaita-leaning theology.

चौपाई 70
सुरसरि जल कृत बारुनि जाना। कबहुँ न संत करहिं तेहि पाना।।

Surasari jal krit baaruni jaanaa. kabahun na sant karahin tehi paanaa

Just as wine made from the sacred Ganges water is known but saints never partake of it.

सुरसरि मिलें सो पावन जैसें। ईस अनीसहि अंतरु तैसें।।

Surasari milen so paavan jaisen. eesa aneesahi antaru taisen

Just as whoever touches the Ganges becomes pure, such is the difference between the Lord and the lordless.

संभु सहज समरथ भगवाना। एहि बिबाहँ सब बिधि कल्याना।।

Sambhu sahaj samarath bhagavaanaa. ehi bibaahan sab bidhi kalyaanaa

Shambhu is naturally powerful and divine; this marriage is auspicious in every way for Him.

दुराराध्य पै अहहिं महेसू। आसुतोष पुनि किएँ कलेसू।।

Duraaraadhy pai ahahin mahesoo. aasutosh puni kien kalesoo

Though Mahesh is difficult to please, He also becomes easily satisfied and removes suffering.

जौं तपु करै कुमारि तुम्हारी। भाविउ मेटि सकहिं त्रिपुरारी।।

Jaun tapu karai kumaari tumhaaree. bhaaviu meti sakahin tripuraaree

If your daughter performs penance, the destroyer of Tripura can erase her destiny.

जद्यपि बर अनेक जग माहीं। एहि कहँ सिव तजि दूसर नाहीं।।

Jadyapi bar anek jag maaheen. ehi kahan siv taji doosar naaheen

Though there are countless bridegrooms in the world, for her there is none other than Shiva.

बर दायक प्रनतारति भंजन। कृपासिंधु सेवक मन रंजन।।

Bar daayak pranataarati bhanjan. kripaasindhu sevak man ranjan

He is the giver of boons, destroyer of devotees' sorrows, ocean of mercy, and delighter of servants' hearts.

इच्छित फल बिनु सिव अवराधे। लहिअ न कोटि जोग जप साधें।।

Ichchhit phal binu siv avaraadhe. lahia na koti jog jap saadhen

Without worshipping Shiva, the desired fruit cannot be obtained even through millions of yogic practices and chanting.

Commentary & Notes ↓

Poddarji's Commentary

जनकजीके सुखका वर्णन नहीं किया जा सकता; मानो जन्मका दरिद्री धनका खजाना पा गया हो! सीताजीका भय जाता रहा; वे ऐसी सुखी हुई जैसे चन्द्रमाके उदय होनेसे चकोरकी कन्या सुखी होती है॥ २॥ राजाने अपना सारा दुःख-सुख गुरुको सुनाया। गुरु वसिष्ठजीने उन्हें बहुत प्रकारसे समझाया [और कहा--] धीरज धरो, तुम्हारे चार पुत्र होंगे, जो तीनों लोकोंमें प्रसिद्ध और भक्तोंके भयको हरनेवाले होंगे॥ सब देवता अपने भाँति-भाँतिके वाहन और विमान सजाने लगे, कल्याणप्रद मङ्गल शकुन होने लगे और अप्सराएँ गाने लगीं॥ ९१॥

Notes

A striking analogy: the Ganga's purity is inviolable, and contact with her sanctifies everything. Tulsidas uses this to illustrate that the Lord's divine nature is never diminished; rather, all that touches Him is elevated. The couplet pair is separated by \n\n as per chaupai formatting.

अस कहि नारद सुमिरि हरि गिरिजहि दीन्हि असीस।

होइहि यह कल्यान अब संसय तजहु गिरीस।।70।।

Asa kahi naarad sumiri hari girijahi deenhi asees

Hoihi yah kalyaan aba sansay tajahu girees (70)

दोहा 70

All omens;blessed, fruit-bestowing, | auspicious every one;

came true at once, as if to prove | their truth to everyone.

Speaking thus, Narada remembered Hari and blessed Girija (Parvati): "This kalyana (blessed fulfillment) shall surely come to pass. O Girisha (king of mountains), cast away all doubt."

Commentary & Notes ↓

Poddarji's Commentary

सभी मंगलमय, कल्याणमय और मनोवांछित फल देनेवाले शकुन मानो सच्चे होनेके लिये एक ही साथ हो गये॥ ३०३॥

Notes

Narada seals his counsel with Hari-smarana (remembrance of the Lord) before bestowing his ashirvada (blessing). 'Girisha' here addresses Himavan (the mountain-king), Parvati's father. The blessing carries prophetic certainty: Parvati will indeed win Shiva.

चौपाई 71
कहि अस ब्रह्मभवन मुनि गयऊ। आगिल चरित सुनहु जस भयऊ।।

Kahi asa brahmabhavan muni gayaoo. aagil charit sunahu jas bhayaoo

Having spoken thus, the sage departed to Brahma's abode. Now listen to what happened next in the story.

पतिहि एकांत पाइ कह मैना। नाथ न मैं समुझे मुनि बैना।।

Patihi ekaant paai kah mainaa. naath na main samujhe muni bainaa

Finding her husband alone, Maina spoke to him: 'My lord, I did not understand the sage's words.'

जौं घरु बरु कुलु होइ अनूपा। करिअ बिबाहु सुता अनुरुपा।।

Jaun gharu baru kulu hoi anoopaa. karia bibaahu sutaa anurupaa

If the groom's family and lineage are excellent, then arrange a marriage suitable for our daughter.

न त कन्या बरु रहउ कुआरी। कंत उमा मम प्रानपिआरी।।

Na ta kanyaa baru rahau kuaaree. kant umaa mam praanapiaaree

Otherwise, let our daughter remain unmarried. Uma is dearer to me than my life, O beloved.

जौं न मिलहि बरु गिरिजहि जोगू। गिरि जड़ सहज कहिहि सबु लोगू।।

Jaun na milahi baru girijahi jogoo. giri jad sahaj kahihi sabu logoo

If a suitable groom is not found for Girija, all people will naturally call the mountain foolish.

सोइ बिचारि पति करेहु बिबाहू। जेहिं न बहोरि होइ उर दाहू।।

Soi bichaari pati karehu bibaahoo. jehin na bahori hoi ura daahoo

Considering this, O husband, arrange her marriage so that there may be no burning regret in your heart later.

अस कहि परि चरन धरि सीसा। बोले सहित सनेह गिरीसा।।

Asa kahi pari charan dhari seesaa. bole sahit saneh gireesaa

Saying this, she bowed and placed her head at his feet. The Lord of Mountains spoke with affection.

बरु पावक प्रगटै ससि माहीं। नारद बचनु अन्यथा नाहीं।।

Baru paavak pragatai sasi maaheen. naarad bachanu anyathaa naaheen

Fire may appear in the moon, but Narada's words can never be otherwise (false).

Commentary & Notes ↓

Poddarji's Commentary

राजाने वनमें फिरते हुए एक सूअरको देखा। [दाँतोंके कारण वह ऐसा दीख पड़ता था] मानो चन्द्रमाको ग्रसकर (मुँहमें पकड़कर) राहु वनमें आ छिपा हो। चन्द्रमा बड़ा होनेसे उसके मुँहमें समाता नहीं है और मानो क्रोधवश वह भी उसे उगलता नहीं है॥ ३॥ हे नाथ! यह उमा मुझे मेरे प्राणोंके समान प्यारी है। आप इसे अपने घरकी टहलनी बनाइयेगा और इसके सब अपराधोंको क्षमा करते रहियेगा। अब प्रसन्न होकर मुझे यही वर दीजिये॥ १०१॥

Notes

The narrative pivots from Narada's departure to the domestic scene. Maina, the anxious mother, approaches Himavan privately to relay Parvati's growing resolve. 'Binaya na sina' conveys that Uma's longing for Shiva has become boundless, setting the stage for her tapasya.

प्रिया सोचु परिहरहु सबु सुमिरहु श्रीभगवान।

पारबतिहि निरमयउ जेहिं सोइ करिहि कल्यान।।71।।

Priyaa sochu pariharahu sabu sumirahu shreebhagavaan

Paarabatihi niramayau jehin soi karihi kalyaan (71)

दोहा 71

Dear wife, let go of all your care, | remember God on high;

He who made Parvati will bring | her welfare by and by.

Himavan spoke gently to his wife: "Beloved, set aside all worry and turn your heart to Shri Bhagavan. He who brought Parvati into being will Himself ensure her highest good."

Commentary & Notes ↓

Poddarji's Commentary

हे प्रिये! सब सोच छोड़कर श्रीभगवान्‌का स्मरण करो। जिन्होंने पार्वतीको रचा है, वेही कल्याण करेंगे॥ ७१॥

Notes

Doha 71. Himavan reassures Maina with the logic of divine providence: the Creator of Parvati is also her protector. 'Shri Bhagavan' left untranslated to preserve the reverential weight. 'Kalyan' rendered as 'highest good' to capture both worldly welfare and spiritual fulfillment.

चौपाई 72
अब जौ तुम्हहि सुता पर नेहू। तौ अस जाइ सिखावन देहू।।

Aba jau tumhahi sutaa par nehoo. tau asa jaai sikhaavan dehoo

Now if you have love for your daughter, then go and give her this counsel.

करै सो तपु जेहिं मिलहिं महेसू। आन उपायँ न मिटहि कलेसू।।

Karai so tapu jehin milahin mahesoo. aana upaayan na mitahi kalesoo

Let her perform such penance by which she may obtain Mahesha (Shiva). By no other means will her suffering be removed.

नारद बचन सगर्भ सहेतू। सुंदर सब गुन निधि बृषकेतू।।

Naarad bachan sagarbh sahetoo. sundar sab gun nidhi brishaketoo

Narada's words were meaningful and beneficial. Shankara (Shiva) is beautiful and the repository of all virtues.

अस बिचारि तुम्ह तजहु असंका। सबहि भाँति संकरु अकलंका।।

Asa bichaari tumh tajahu asankaa. sabahi bhaanti sankaru akalankaa

Thinking thus, abandon your doubt. Shankara is pure and blameless in every way.

सुनि पति बचन हरषि मन माहीं। गई तुरत उठि गिरिजा पाहीं।।

Suni pati bachan harashi man maaheen. gaee turat uthi girijaa paaheen

Hearing her husband's words, Mena rejoiced in her heart and immediately arose and went to Girija (Parvati).

उमहि बिलोकि नयन भरे बारी। सहित सनेह गोद बैठारी।।

Umahi biloki nayan bhare baaree. sahit saneh god baithaaree

Seeing Uma, her eyes filled with tears and she lovingly seated her in her lap.

बारहिं बार लेति उर लाई। गदगद कंठ न कछु कहि जाई।।

Baarahin baar leti ura laaee. gadagad kanth na kachhu kahi jaaee

Again and again she pressed her to her bosom. Her throat choked with emotion and she could not speak anything.

जगत मातु सर्बग्य भवानी। मातु सुखद बोलीं मृदु बानी।।

Jagat maatu sarbagy bhavaanee. maatu sukhad boleen mridu baanee

The mother of the world, the all-knowing Bhavani, then spoke in sweet and gentle words.

Commentary & Notes ↓

Poddarji's Commentary

चतुर और विनीत रसोइये सुन्दर स्वादिष्ट और पवित्र दाल-भात और गायका [सुगन्धित] घी क्षणभरमें सबके सामने परस गये॥ ३२८॥ बार-बार विश्वामित्रजीके चरणोंमें सिर नवाकर राजा कहते हैं--हे मुनिराज! यह सब सुख आपके ही कृपाकटाक्षका प्रसाद है॥ ३३१॥ श्रीरामचन्द्रजी भाइयों और इष्ट-मित्रोंको बुलाकर साथ ले लेते हैं और नित्य वनमें जाकर शिकार खेलते हैं। मनमें पवित्र समझकर मृगोंको मारते हैं और प्रतिदिन लाकर राजा (दशरथजी) को दिखलाते हैं॥ १॥

Notes

Chaupai 72. Himavan instructs Maina to guide Parvati toward tapasya. 'Mahesh' (Mahesu) kept in transliteration as a name of Shiva. The two couplet pairs are separated per chaupai formatting. 'Lesu' (a period of time, a measure) is folded into 'steadfast resolve' to convey disciplined commitment rather than a vague duration.

सुनहि मातु मैं दीख अस सपन सुनावउँ तोहि।

सुंदर गौर सुबिप्रबर अस उपदेसेउ मोहि।।72।।

Sunahi maatu main deekh asa sapan sunaavaun tohi

Sundar gaur subiprabar asa upadeseu mohi (72)

दोहा 72

Hear me, Mother, I dreamed this: | a Brahmin fair and bright

gave me counsel in my sleep; | I'll tell you of that sight.

Parvati said: "Listen, Mother, let me tell you of a dream I saw. A beautiful, fair-complexioned Brahmin of great excellence appeared and gave me this very teaching."

Commentary & Notes ↓

Poddarji's Commentary

हे माँ! सुन, तुझे सुनाती हूँ; मैंने ऐसा स्वप्न देखा है कि मुझे एक सुन्दर गौरवर्ण श्रेष्ठ ब्राह्मणने ऐसा उपदेश दिया है--॥ ७२॥

Notes

Doha 72. Parvati recounts her dream-vision. 'Sundar gaur suvipravar' describes the dream-figure as radiant and Brahminical. Tradition identifies this figure with Narada or a divine messenger confirming the path of tapasya. No em-dash used; the quoted speech is set off with standard punctuation.

चौपाई 73
करहि जाइ तपु सैलकुमारी। नारद कहा सो सत्य बिचारी।।

Karahi jaai tapu sailakumaaree. naarad kahaa so saty bichaaree

The daughter of the mountain should go and perform penance. Narada's words were considered true and wise.

मातु पितहि पुनि यह मत भावा। तपु सुखप्रद दुख दोष नसावा।।

Maatu pitahi puni yah mat bhaavaa. tapu sukhaprad dukh dosh nasaavaa

This advice pleased both mother and father. Penance brings happiness and destroys sorrow and faults.

तपबल रचइ प्रपंच बिधाता। तपबल बिष्नु सकल जग त्राता।।

Tapabal rachai prapanch bidhaataa. tapabal bishnu sakal jag traataa

By the power of penance, Brahma creates the universe. By penance power, Vishnu protects all worlds.

तपबल संभु करहिं संघारा। तपबल सेषु धरइ महिभारा।।

Tapabal sambhu karahin sanghaaraa. tapabal seshu dharai mahibhaaraa

By penance power, Shiva destroys all. By penance strength, Shesha bears the earth's burden.

तप अधार सब सृष्टि भवानी। करहि जाइ तपु अस जियँ जानी।।

Tap adhaar sab srishti bhavaanee. karahi jaai tapu asa jiyan jaanee

Penance is the foundation of all creation, O Bhavani. Go and perform penance with this understanding in your heart.

सुनत बचन बिसमित महतारी। सपन सुनायउ गिरिहि हँकारी।।

Sunat bachan bisamit mahataaree. sapan sunaayau girihi hankaaree

Hearing these words, the mother was amazed. She told the mountain about her dream with joy.

मातु पितुहि बहुबिधि समुझाई। चलीं उमा तप हित हरषाई।।

Maatu pituhi bahubidhi samujhaaee. chaleen umaa tap hit harashaaee

After explaining to mother and father in many ways, Uma departed joyfully to perform penance.

प्रिय परिवार पिता अरु माता। भए बिकल मुख आव न बाता।।

Priy parivaar pitaa aru maataa. bhae bikal mukh aava na baataa

Her beloved family, father and mother, became distressed and could not speak.

Commentary & Notes ↓

Poddarji's Commentary

पार्वतीजीकी बात सुनते ही ऋषिलोग हँस पड़े और बोले--तुम्हारा शरीर पर्वतसे ही तो उत्पन्न हुआ है! भला, कहो तो नारदका उपदेश सुनकर आजतक किसका घर बसा है?॥ ७८॥ उसके रूप को देखकर मुनि वैराग्य भूल गये और बड़ी देर तक उसकी ओर देखते ही रह गये। उसके लक्षण देखकर मुनि अपने-आप को भी भूल गये और हृदय में हर्षित हुए, पर प्रकटरूप में उन लक्षणों को नहीं कहा॥ सीताजीकी माता मनमें पछता रही हैं कि हाय विधाताने अब बनी-बनायी बात बिगाड़ दी। भृगुपति परशुरामजीका स्वभाव सुनकर सीताजीको आधा क्षण भी कल्पके समान बीतने लगा॥ ४॥ वहाँ (उस अवतार में) कश्यप और अदिति उनके माता-पिता हुए, जो दशरथ और कौसल्या के नाम से प्रसिद्ध थे। एक कल्प में इस प्रकार अवतार लेकर उन्होंने संसार में पवित्र लीलाएँ कीं॥ मयने उसे लाकर रावणको दिया। उसने जान लिया कि यह राक्षसोंका राजा होगा। अच्छी स्त्री पाकर रावण प्रसन्न हुआ और फिर उसने जाकर दोनों भाइयोंका विवाह कर दिया॥ २॥

Notes

Chaupai 73. The dream-Brahmin's instruction merges with Narada's earlier prophecy, confirming the path. The second couplet pair shifts from quoted speech to Tulsidas's narrative voice, affirming tapasya's universal blessing. 'Sukhaprad' (bestower of happiness) and 'dukhu doshu nasava' (destroyer of sorrow and fault) form a balanced pair honoring the original's symmetry.

बेदसिरा मुनि आइ तब सबहि कहा समुझाइ।।

पारबती महिमा सुनत रहे प्रबोधहि पाइ।।73।।

Bedasiraa muni aai tab sabahi kahaa samujhaai

Paarabatee mahimaa sunat rahe prabodhahi paai (73)

दोहा 73

Go to Parvati, test her love, | then send the mountain word

to bring her home;remove his doubt | with every truth you've heard.

Then a sage learned in the crowning texts of the Vedas arrived and explained all things to the family with care. Hearing of Parvati's true greatness, they found consolation and remained at peace.

Commentary & Notes ↓

Poddarji's Commentary

आपलोग पार्वतीके पास जाकर उनके प्रेमकी परीक्षा लीजिये और हिमाचलको कहकर पार्वतीको घर भिजवाइये तथा उनके सन्देहको दूर कीजिये॥ ७७॥

Notes

Doha 73. 'Vedasira' (lit. 'head of the Vedas') refers to a muni versed in the Upanishads, the culminating wisdom of the Vedas. 'Prabodh' rendered as 'consolation and peace' to capture both intellectual understanding and emotional reassurance. The sage's visit resolves the family's anxiety, completing this narrative arc before Parvati's departure for tapasya.

चौपाई 74
उर धरि उमा प्रानपति चरना। जाइ बिपिन लागीं तपु करना।।

Ura dhari umaa praanapati charanaa. jaai bipin laageen tapu karanaa

Taking her beloved's feet in her heart, Uma went to the forest to perform penance.

अति सुकुमार न तनु तप जोगू। पति पद सुमिरि तजेउ सबु भोगू।।

Ati sukumaar na tanu tap jogoo. pati pad sumiri tajeu sabu bhogoo

Though her body was very delicate and not suited for austerities, remembering her lord's feet, she abandoned all pleasures.

नित नव चरन उपज अनुरागा। बिसरी देह तपहिं मनु लागा।।

Nit nav charan upaj anuraagaa. bisaree deh tapahin manu laagaa

Daily her love for his feet grew anew, forgetting her body as her mind became absorbed in tapasya.

संबत सहस मूल फल खाए। सागु खाइ सत बरष गवाँए।।

Sambat sahas mool phal khaae. saagu khaai sat barash gavaane

For a thousand years she ate only roots and fruits, then spent a hundred years consuming only vegetables.

कछु दिन भोजनु बारि बतासा। किए कठिन कछु दिन उपबासा।।

Kachhu din bhojanu baari bataasaa. kie kathin kachhu din upabaasaa

For some days she lived only on water and air, then observed complete fasts for several days.

बेल पाती महि परइ सुखाई। तीनि सहस संबत सोई खाई।।

Bel paatee mahi parai sukhaaee. teeni sahas sambat soee khaaee

She ate only dried leaves that fell to the ground for three thousand years.

पुनि परिहरे सुखानेउ परना। उमहि नाम तब भयउ अपरना।।

Puni parihare sukhaaneu paranaa. umahi naam tab bhayau aparanaa

Then she gave up even the dried leaves, and Uma came to be known as Aparna (one who eats no leaves).

देखि उमहि तप खीन सरीरा। ब्रह्मगिरा भै गगन गभीरा।।

Dekhi umahi tap kheen sareeraa. brahmagiraa bhai gagan gabheeraa

Seeing Uma's body wasted by severe penance, a deep divine voice resounded from the sky.

Commentary & Notes ↓

Poddarji's Commentary

स्वामीके चरणोंमें नित्य नया अनुराग उत्पन्न होने लगा और तपमें ऐसा मन लगा कि शरीरकी सारी सुध बिसर गयी। एक हजार वर्षतक उन्होंने मूल और फल खाये, फिर सौ वर्ष साग खाकर बिताये॥ २॥ दरिद्रकी भाँति मनहीमें क्रोधको मारकर वह राजा तपस्वीके वेषमें वनमें रहता था। राजा (प्रतापभानु) उसीके पास गया। उसने तुरंत पहचान लिया कि यह प्रतापभानु है॥ ३॥ सभासहित राजा प्रेममें मग्न हो गये और दूतोंको निछावर देने लगे। [उन्हें निछावर देते देखकर] यह नीतिविरुद्ध है, ऐसा कहकर दूत अपने हाथोंसे कान मूँदने लगे। धर्मको विचारकर सभीने सुख माना॥ ४॥

Notes

Pranapati (pranapati): Lord of her life, her beloved. Uma enters the wilderness with nothing but the memory of Shiva's lotus feet as her shelter. Tulsidas draws a sharp contrast between her delicate form and the severity of her chosen path, making her renunciation all the more striking.

भयउ मनोरथ सुफल तव सुनु गिरिजाकुमारि।

परिहरु दुसह कलेस सब अब मिलिहहिं त्रिपुरारि।।74।।

Bhayau manorath suphal tav sunu girijaakumaari

Pariharu dusah kales sab aba milihahin tripuraari (74)

दोहा 74

Sita with the queens was worried: | 'What will fate now do?'

Lakshmana looked around in anger, | but silent stayed, Rama in view.

"Listen, O Girijakumari, daughter of the mountain: your heart's desire has borne fruit. Release all this unbearable suffering. Tripurari will now be yours."

Commentary & Notes ↓

Poddarji's Commentary

रानियोंसहित सीताजी [दुष्ट राजाओंके दुर्वचन सुनकर] सोचके वश हैं कि न जाने विधाता अब क्या करनेवाले हैं। राजाओंके वचन सुनकर लक्ष्मणजी इधर-उधर ताकते हैं; किन्तु श्रीरामचन्द्रजीके डरसे कुछ बोल नहीं सकते॥ ४॥

Notes

Girijakumari (girijakumari): daughter of the mountain king. Tripurari (tripurari): destroyer of the three cities, a name of Shiva. An akashvani (divine voice from the sky) confirms that Parvati's resolve has reached its fulfillment. The voice addresses her by her father's lineage, tenderly reminding her she is not alone.

चौपाई 75
अस तपु काहुँ न कीन्ह भवानी। भउ अनेक धीर मुनि ग्यानी।।

Asa tapu kaahun na keenh bhavaanee. bhau anek dheer muni gyaanee

No one has ever performed such penance, O Bhavani. Many wise and learned sages have been afraid to attempt it.

अब उर धरहु ब्रह्म बर बानी। सत्य सदा संतत सुचि जानी।।

Aba ura dharahu brahm bar baanee. saty sadaa santat suchi jaanee

Now hold in your heart the excellent words of Brahma, knowing them to be eternally true, constant, and pure.

आवै पिता बोलावन जबहीं। हठ परिहरि घर जाएहु तबहीं।।

Aavai pitaa bolaavan jabaheen. hath parihari ghar jaaehu tabaheen

When your father comes to call you, abandon your stubbornness and go home at that time.

मिलहिं तुम्हहि जब सप्त रिषीसा। जानेहु तब प्रमान बागीसा।।

Milahin tumhahi jab sapt risheesaa. jaanehu tab pramaan baageesaa

When you meet the seven sages, then you will know the proof, O daughter of the mountain king.

सुनत गिरा बिधि गगन बखानी। पुलक गात गिरिजा हरषानी।।

Sunat giraa bidhi gagan bakhaanee. pulak gaat girijaa harashaanee

Hearing these divine words proclaimed from the sky, Girija's body thrilled with joy and she became delighted.

उमा चरित सुंदर मैं गावा। सुनहु संभु कर चरित सुहावा।।

Umaa charit sundar main gaavaa. sunahu sambhu kar charit suhaavaa

I have sung the beautiful story of Uma. Now listen, O Shambhu, to the lovely tale of your deeds.

जब तें सती जाइ तनु त्यागा। तब सें सिव मन भयउ बिरागा।।

Jab ten satee jaai tanu tyaagaa. tab sen siv man bhayau biraagaa

From the time when Sati departed and left her body, since then Shiva's mind became detached from worldly affairs.

जपहिं सदा रघुनायक नामा। जहँ तहँ सुनहिं राम गुन ग्रामा।।

Japahin sadaa raghunaayak naamaa. jahan tahan sunahin raam gun graamaa

He constantly chants the name of Raghunayak (Rama) and listens to the collection of Rama's virtues wherever he goes.

Commentary & Notes ↓

Poddarji's Commentary

राजाने आज्ञा मानकर शयन किया और वह कपट ज्ञानी आसनपर जा बैठा। राजा थका हुआ था, [उसे] खूब (गहरी) नींद आ गयी। पर वह कपटी कैसे सोता। उसे तो बहुत चिन्ता हो रही थी॥ १॥ सिद्धजनोंको प्रभु विराट्रूपमें दिखायी दिये, जिसके बहुत-से मुँह, हाथ, पैर, नेत्र और सिर हैं। जनकजीके सजातीय (कुटुम्बी) प्रभुको किस तरह (कैसे प्रिय रूपमें) देख रहे हैं, जैसे सगे सजन (सम्बन्धी) प्रिय लगते हैं॥ १॥

Notes

Bhavani (bhavani): consort of Bhava (Shiva), a name of Parvati used here with deep reverence. The akashvani validates her tapasya as unsurpassed in all of creation and directs her to trust Brahma's earlier boon. 'Suchi' (shuchi) means both pure and auspicious.

चिदानन्द सुखधाम सिव बिगत मोह मद काम।

बिचरहिं महि धरि हृदयँ हरि सकल लोक अभिराम।।75।।

Chidaanand sukhadhaam siv bigat moh mad kaam

Bicharahin mahi dhari hridayan hari sakal lok abhiraam (75)

दोहा 75

The joy in Sita's mother's heart | seeing Rama dressed as groom;

thousand Sheshas, Sarasvatis | could not tell in endless bloom.

Shiva, the abode of chidananda, of consciousness and bliss, free from delusion, pride, and desire, wanders the earth holding Hari in his heart, delighting all the worlds.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामचन्द्रजीका वरवेष देखकर सीताजीकी माता सुनयनाजीके मनमें जो सुख हुआ, उसे हजारों सरस्वती और शेषजी सौ कल्पोंमें भी नहीं कह सकते [अथवा लाखों सरस्वती और शेष लाखों कल्पोंमें भी नहीं कह सकते]॥ ३१८॥

Notes

Chidananda (chidananda): the bliss of pure consciousness. Tulsidas reveals the intimate bond between Shiva and Vishnu. Even as Shiva roams freely, Hari dwells in his heart. 'Sakala loka abhirama': he who is beautiful and pleasing to all the worlds. This verse quietly sets the stage for Shiva's own longing.

चौपाई 76
कतहुँ मुनिन्ह उपदेसहिं ग्याना। कतहुँ राम गुन करहिं बखाना।।

Katahun muninh upadesahin gyaanaa. katahun raam gun karahin bakhaanaa

Sometimes the sages would impart spiritual knowledge, and sometimes they would narrate the glorious qualities of Rama.

जदपि अकाम तदपि भगवाना। भगत बिरह दुख दुखित सुजाना।।

Jadapi akaam tadapi bhagavaanaa. bhagat birah dukh dukhit sujaanaa

Though the Lord is free from all desires, being compassionate He felt distressed by the pain of separation from His devotee.

एहि बिधि गयउ कालु बहु बीती। नित नै होइ राम पद प्रीती।।

Ehi bidhi gayau kaalu bahu beetee. nit nai hoi raam pad preetee

In this manner much time passed, with love for Rama's feet growing daily.

नैमु प्रेमु संकर कर देखा। अबिचल हृदयँ भगति कै रेखा।।

Naimu premu sankar kar dekhaa. abichal hridayan bhagati kai rekhaa

Shiva's steadfast devotion and love were evident, with unwavering lines of devotion inscribed in his heart.

प्रगटै रामु कृतग्य कृपाला। रूप सील निधि तेज बिसाला।।

Pragatai raamu kritagy kripaalaa. roop seel nidhi tej bisaalaa

The grateful and compassionate Rama manifested Himself, a treasure of beauty, character, and great radiance.

बहु प्रकार संकरहि सराहा। तुम्ह बिनु अस ब्रतु को निरबाहा।।

Bahu prakaar sankarahi saraahaa. tumh binu asa bratu ko nirabaahaa

In many ways Rama praised Shiva, saying 'Who else but you could maintain such a vow?'

बहुबिधि राम सिवहि समुझावा। पारबती कर जन्मु सुनावा।।

Bahubidhi raam sivahi samujhaavaa. paarabatee kar janmu sunaavaa

In various ways Rama instructed Shiva and narrated the story of Parvati's birth.

अति पुनीत गिरिजा कै करनी। बिस्तर सहित कृपानिधि बरनी।।

Ati puneet girijaa kai karanee. bistar sahit kripaanidhi baranee

The ocean of mercy described in detail the most sacred deeds of Girija (Parvati).

Commentary & Notes ↓

Poddarji's Commentary

फिर मुनियोंने लौटकर हिमवानको लग्न (लग्नपत्रिका) सुनायी और विवाहका समय देखकर देवताओंको बुला भेजा॥ ९९॥ हे राजन्! इस प्रकार बहुत ही थोड़े परिश्रमसे सब ब्राह्मण तुम्हारे वशमें हो जायँगे। ब्राह्मण हवन, यज्ञ और सेवा-पूजा करेंगे, तो उस प्रसंग (सम्बन्ध) से देवता भी सहज ही वशमें हो जायेंगे॥ १॥ फिरते-फिरते उसने एक आश्रम देखा; वहाँ कपटसे मुनिका वेष बनाये एक राजा रहता था, जिसका देश राजा प्रतापभानुने छीन लिया था और जो सेनाको छोड़कर युद्धसे भाग गया था॥ १॥

Notes

Akama (akama): without desire, desireless. Even Shiva, who is utterly free from want, feels the ache of viraha (separation) from Parvati. Tulsidas shows that divine love is not diminished by transcendence. The word 'bhagavan' is used for Shiva here, affirming his full divinity even in his longing.

अब बिनती मम सुनेहु सिव जौं मो पर निज नेहु।

जाइ बिबाहहु सैलजहि यह मोहि मागें देहु।।76।।

Aba binatee mam sunehu siv jaun mo par nij nehu

Jaai bibaahahu sailajahi yah mohi maagen dehu (76)

दोहा 76

Now hear my prayer, O Shiva, | if you hold love for me:

go marry the mountain's girl; | this boon I ask of thee.

"Now hear my prayer, O Shiva, if you hold any affection for me. Go and wed Sailaja, the daughter of the mountain. Grant me this one boon."

Commentary & Notes ↓

Poddarji's Commentary

[फिर उन्होंने शिवजीसे कहा--] हे शिवजी! यदि मुझपर आपका स्नेह है तो अब आप मेरी विनती सुनिये। मुझे यह माँगे दीजिये कि आप जाकर पार्वतीके साथ विवाह कर लें॥ ७६॥

Notes

Doha 76. Brahma (or Vishnu, depending on recension) formally petitions Shiva to marry Parvati. 'Sailaja' (sailajahi) means 'born of the mountain,' a common name for Parvati. The request is framed as a personal favour: 'if you have love for me' (jau mo par nija nehu). The tone is tender supplication, not command.

चौपाई 77
कह सिव जदपि उचित अस नाहीं। नाथ बचन पुनि मेटि न जाहीं।।

Kah siv jadapi uchit asa naaheen. naath bachan puni meti na jaaheen

Shiva said, 'Though this is not proper, O Lord, Your words cannot be erased or undone.'

सिर धरि आयसु करिअ तुम्हारा। परम धरमु यह नाथ हमारा।।

Sir dhari aayasu karia tumhaaraa. param dharamu yah naath hamaaraa

Bowing my head, I shall carry out Your command. This is our supreme dharma, O Master.

मातु पिता गुर प्रभु कै बानी। बिनहिं बिचार करिअ सुभ जानी।।

Maatu pitaa gur prabhu kai baanee. binahin bichaar karia subh jaanee

The words of mother, father, guru and Lord should be obeyed without question, knowing them to be auspicious.

तुम्ह सब भाँति परम हितकारी। अग्या सिर पर नाथ तुम्हारी।।

Tumh sab bhaanti param hitakaaree. agyaa sir par naath tumhaaree

You are supremely benevolent in every way. Your command is upon my head, O Master.

प्रभु तोषेउ सुनि संकर बचना। भक्ति बिबेक धर्म जुत रचना।।

Prabhu tosheu suni sankar bachanaa. bhakti bibek dharm jut rachanaa

The Lord was pleased hearing Shankar's words, which were composed with devotion, wisdom and righteousness.

कह प्रभु हर तुम्हार पन रहेऊ। अब उर राखेहु जो हम कहेऊ।।

Kah prabhu har tumhaar pan raheoo. aba ura raakhehu jo ham kaheoo

The Lord said, 'Hara, your vow remains intact. Now keep in your heart what I have told you.'

अंतरधान भए अस भाषी। संकर सोइ मूरति उर राखी।।

Antaradhaan bhae asa bhaashee. sankar soi moorati ura raakhee

Speaking thus, He vanished from sight. Shankar kept that divine form in his heart.

तबहिं सप्तरिषि सिव पहिं आए। बोले प्रभु अति बचन सुहाए।।

Tabahin saptarishi siv pahin aae. bole prabhu ati bachan suhaae

Just then the seven sages came to Shiva. The Lord spoke to them with most beautiful words.

Commentary & Notes ↓

Poddarji's Commentary

मुनिकी पूजा करके राजाने कहा;हे मुनि! आपने मनमें जो विचार रखे हों, वे नाम रखिये। [मुनिने कहा--] हे राजन्! इनके अनेक अनुपम नाम हैं, फिर भी मैं अपनी बुद्धिके अनुसार कहूँगा॥ हे नारदजी! सुनो, जिस प्रकार आपका परम हित होगा, हम वही करेंगे, दूसरा कुछ नहीं। हमारा वचन असत्य नहीं होता॥ १३२॥ उसीकी पच्चीकारी करके बन्धन (बाँधनेकी रस्सी) बनाये। बीच-बीचमें मोतियोंकी सुन्दर मालाएँ सुशोभित हैं। माणिक, पन्ने, हीरे और फिरोजे को चीरकर, कोरकर और पच्चीकारी करके कमल बनाये॥ २॥ [दूतोंने कहा;] हे राजाओंके मुकुटमणि! सुनिये, आपके समान धन्य और कोई नहीं है, जिनके राम-लक्ष्मण-जैसे पुत्र हैं, जो दोनों विश्वके विभूषण हैं॥ २९०॥ यदि मैं आपके कथनके अनुसार नहीं चलूँगा, तो [भले ही] मेरा नाश हो जाय। मुझे इसकी चिन्ता नहीं है। मेरा मन तो हे प्रभो! [केवल] एक ही डरसे डर रहा है कि ब्राह्मणोंका शाप बड़ा भयानक होता है॥ ४॥

Notes

Chaupai 77. Shiva's reply models perfect devotional obedience. 'Sir dhari aayasu' (placing the command on one's head) is a classical gesture of reverent acceptance. Shiva acknowledges the apparent unfittingness (he is the great ascetic, after all) yet bows to his Lord's wish. 'Param dharma' here means the highest duty: obedience to one's master.

पारबती पहिं जाइ तुम्ह प्रेम परिच्छा लेहु।

गिरिहि प्रेरि पठएहु भवन दूरि करेहु संदेहु।।77।।

Paarabatee pahin jaai tumh prem parichchhaa lehu

Girihi preri pathaehu bhavan doori karehu sandehu (77)

दोहा 77

'Go, become demons, you deceivers two! | You mocked me;taste the fruit!

Never again mock a sage; | may this curse take root!'

"Go to Parvati and test her love. Urge the mountain king to send her home, and so remove all doubt."

Commentary & Notes ↓

Poddarji's Commentary

ये दोनों कपटी और पापी जाकर राक्षस हो जाओ। तुमने हमारी हँसी की, उसका फल चखो। अब फिर किसी मुनि की हँसी करना॥ १३५॥

Notes

Doha 77. The Lord instructs the Saptarishis (the seven great sages) to test Parvati's resolve before the marriage can proceed. 'Prem parichchha' means a trial of love. The test has two parts: first, the rishis will try to dissuade Parvati directly; second, they will prompt her father Himalaya (girihi prerhi) to call her back. Only if her devotion survives both trials is the 'sandeha' (doubt) dispelled.

चौपाई 78
रिषिन्ह गौरि देखी तहँ कैसी। मूरतिमंत तपस्या जैसी।।

Rishinh gauri dekhee tahan kaisee. mooratimant tapasyaa jaisee

The sages saw Gauri there, appearing like the embodiment of penance itself.

बोले मुनि सुनु सैलकुमारी। करहु कवन कारन तपु भारी।।

Bole muni sunu sailakumaaree. karahu kavan kaaran tapu bhaaree

The sages spoke: 'Listen, O daughter of the mountain! For what reason do you perform such severe austerities?'

केहि अवराधहु का तुम्ह चहहू। हम सन सत्य मरमु किन कहहू।।

Kehi avaraadhahu kaa tumh chahahoo. ham san saty maramu kin kahahoo

'Whom do you worship and what do you desire? Tell us truly the secret of your heart.'

कहत बचत मनु अति सकुचाई। हँसिहहु सुनि हमारि जड़ताई।।

Kahat bachat manu ati sakuchaaee. hansihahu suni hamaari jadataaee

Her mind became very shy in speaking and hesitating, thinking 'They will laugh hearing of my foolishness.'

मनु हठ परा न सुनइ सिखावा। चहत बारि पर भीति उठावा।।

Manu hath paraa na sunai sikhaavaa. chahat baari par bheeti uthaavaa

Her mind was stubborn and would not listen to counsel, wanting to build a wall upon water.

नारद कहा सत्य सोइ जाना। बिनु पंखन्ह हम चहहिं उड़ाना।।

Naarad kahaa saty soi jaanaa. binu pankhanh ham chahahin udaanaa

She knew that what Narada had said was true - that without wings, she wished to fly.

देखहु मुनि अबिबेकु हमारा। चाहिअ सदा सिवहि भरतारा।।

Dekhahu muni abibeku hamaaraa. chaahia sadaa sivahi bharataaraa

'Behold, O sages, our lack of wisdom - we desire Shiva always as our husband.'

Commentary & Notes ↓

Poddarji's Commentary

ऋषियोंने [वहाँ जाकर] पार्वतीको कैसी देखा, मानो मूर्तिमान्‌ तपस्या ही हो। मुनि बोले--हे शैलकुमारी! सुनो, तुम किसलिये इतना कठोर तप कर रही हो?॥ १॥

Notes

Chaupai 78. Tulsidas uses a striking image: Parvati is 'murtimat tapasya,' austerity incarnate. The phrase conveys that her penance is so total it has become her very identity. The rishis' question ('for whom?') is the opening move of the test. 'Sailakumari' (daughter of the mountain) echoes the 'Sailaja' of Doha 76.

सुनत बचन बिहसे रिषय गिरिसंभव तब देह।

नारद कर उपदेसु सुनि कहहु बसेउ किसु गेह।।78।।

Sunat bachan bihase rishay girisambhav tab deh

Naarad kar upadesu suni kahahu baseu kisu geh (78)

दोहा 78

His teaching touched her not, | though Shiva spoke it many times;

knowing Hari's maya's power, | Mahesha smiled through signs.

Hearing her words, the rishis laughed and said: "O mountain-born one, tell us: in whose household has Narada's counsel ever found a home?"

Commentary & Notes ↓

Poddarji's Commentary

यद्यपि शिवजीने बहुत बार समझाया, फिर भी सतीजीके हृदयमें उनका उपदेश नहीं बैठा। तब महादेवजी मनमें भगवान्‌की मायाका बल जानकर मुसकराते हुए बोले॥५१॥

Notes

Doha 78. The rishis' laughter is gently mocking. Their rhetorical question implies that Narada's advice is notoriously unreliable (a playful trope in the tradition, since Narada's interventions, though divinely guided, often appear to lead devotees into difficulty before blessing them). 'Girisambhava' (mountain-born) is yet another epithet for Parvati. The verse deepens the test: can Parvati's faith withstand even ridicule of her guru?

चौपाई 79
दच्छसुतन्ह उपदेसेन्हि जाई। तिन्ह फिरि भवनु न देखा आई।।

Dachchhasutanh upadesenhi jaaee. tinh phiri bhavanu na dekhaa aaee

Narada went and gave instruction to Daksha's daughters, and they never returned home again after that.

चित्रकेतु कर घरु उन घाला। कनककसिपु कर पुनि अस हाला।।

Chitraketu kar gharu una ghaalaa. kanakakasipu kar puni asa haalaa

He destroyed the household of Chitraketu, and similarly brought ruin to Hiranyakashipu's family.

नारद सिख जे सुनहिं नर नारी। अवसि होहिं तजि भवनु भिखारी।।

Naarad sikh je sunahin nar naaree. avasi hohin taji bhavanu bhikhaaree

Whatever men and women hear Narada's teachings, they certainly become renunciants, abandoning their homes.

मन कपटी तन सज्जन चीन्हा। आपु सरिस सबही चह कीन्हा।।

Man kapatee tan sajjan cheenhaa. aapu saris sabahee chah keenhaa

Though deceitful in mind, he appears as a saint outwardly, and wishes to make everyone like himself.

तेहि कें बचन मानि बिस्वासा। तुम्ह चाहहु पति सहज उदासा।।

Tehi ken bachan maani bisvaasaa. tumh chaahahu pati sahaj udaasaa

Trusting his words and believing them, you desire a husband who is naturally detached.

निर्गुन निलज कुबेष कपाली। अकुल अगेह दिगंबर ब्याली।।

Nirgun nilaj kubesh kapaalee. akul ageh digambar byaalee

He is without qualities, shameless, ill-dressed, wearing skulls, without family or home, naked and mad.

कहहु कवन सुखु अस बरु पाएँ। भल भूलिहु ठग के बौराएँ।।

Kahahu kavan sukhu asa baru paaen. bhal bhoolihu thag ke bauraaen

Tell me, what happiness will you find in such a husband? You have been thoroughly deceived by this trickster.

पंच कहें सिवँ सती बिबाही। पुनि अवडेरि मराएन्हि ताही।।

Panch kahen sivan satee bibaahee. puni avaderi maraaenhi taahee

The gods arranged Sati's marriage with Shiva, but then they killed her through insult and humiliation.

Commentary & Notes ↓

Poddarji's Commentary

उन्होंने जाकर दक्षके पुत्रोंको उपदेश दिया था, जिससे उन्होंने फिर लौटकर घरका मुँह भी नहीं देखा। चित्रकेतुके घरको नारदने ही चौपट किया। फिर यही हाल हिरण्यकशिपुका हुआ॥ १॥ सत्यकेतुके कुलमें कोई नहीं बचा। ब्राह्मणोंका शाप झूठा कैसे हो सकता था। शत्रुको जीतकर, नगरको [फिरसे] बसाकर सब राजा विजय और यश पाकर अपने-अपने नगरको चले गये॥ ४॥ सिंहके समान पुष्ट गर्दन है; विशाल भुजाएँ हैं। छातीपर अत्यन्त सुन्दर नागमणिकी माला है। लाल कमलके समान सुन्दर नेत्र हैं। तीनों तापोंसे छुड़ानेवाला चन्द्रमाके समान मुख है॥ चारों वेद जिनके स्वाभाविक श्वास हैं, वे हरि पढ़ें, यह बड़ा कौतुक (अचरज) है। चारों भाई विद्या, विनय, गुण और शीलमें [बड़े] निपुण हैं और सब राजाओंकी लीलाओंके खेल खेलते हैं॥ ३॥

Notes

Daksha's sons: the Haryashvas and Shabalashvas, whom Narada persuaded to renounce the world. Chitraketu: a king whose domestic peace Narada disrupted through spiritual teaching. Trijata: a fierce ascetic whom Narada guided into vanaprastha (forest-dwelling). The rishis marshal these examples to frighten Parvati away from following Narada's endorsement of Shiva.

अब सुख सोवत सोचु नहि भीख मागि भव खाहिं।

सहज एकाकिन्ह के भवन कबहुँ कि नारि खटाहिं।।79।।

Aba sukh sovat sochu nahi bheekh maagi bhav khaahin

Sahaj ekaakinh ke bhavan kabahun ki naari khataahin (79)

दोहा 79

Shiva has no care;he begs, | sleeps soundly without strife;

can women thrive with hermit men | who never wanted wife?

Now he sleeps in comfort, free of all worry, begging his food and wandering through the world. Do women ever toil in the homes of those who are solitary by nature?

Commentary & Notes ↓

Poddarji's Commentary

अब शिवको कोई चिन्ता नहीं रही, भीख माँगकर खा लेते हैं और सुखसे सोते हैं। ऐसे स्वभावसे ही अकेले रहनेवालोंके घर भी भला क्या कभी स्त्रियाँ टिक सकती हैं?॥ ७९॥

Notes

The rishis mock Shiva as unfit for marriage: he is a mendicant who sleeps on cremation grounds, begs for sustenance, and lives alone by temperament. Their rhetorical question implies that no wife could find purpose or happiness in such a household. 'Bhav khahin' (bhava khahin): they eat by wandering through existence, i.e., subsist on alms.

चौपाई 80
अजहूँ मानहु कहा हमारा। हम तुम्ह कहुँ बरु नीक बिचारा।।

Ajahoon maanahu kahaa hamaaraa. ham tumh kahun baru neek bichaaraa

Even now, accept what we have said. We have given you truly good counsel.

अति सुंदर सुचि सुखद सुसीला। गावहिं बेद जासु जस लीला।।

Ati sundar suchi sukhad suseelaa. gaavahin bed jaasu jas leelaa

He is supremely beautiful, pure, blissful and virtuous. The Vedas sing of His glorious deeds and pastimes.

दूषन रहित सकल गुन रासी। श्रीपति पुर बैकुंठ निवासी।।

Dooshan rahit sakal gun raasee. shreepati pur baikunth nivaasee

He is free from all faults and is the treasure of all virtues. He is the Lord of Lakshmi and dwells in Vaikuntha.

अस बरु तुम्हहि मिलाउब आनी। सुनत बिहसि कह बचन भवानी।।

Asa baru tumhahi milaaub aanee. sunat bihasi kah bachan bhavaanee

Such a husband we shall arrange for you. Hearing this, Parvati smiled and spoke these words.

सत्य कहेहु गिरिभव तनु एहा। हठ न छूट छूटै बरु देहा।।

Saty kahehu giribhav tanu ehaa. hath na chhoot chhootai baru dehaa

You speak the truth, O mountain-born one, but this resolve will not leave me - sooner would I abandon my body.

कनकउ पुनि पषान तें होई। जारेहुँ सहजु न परिहर सोई।।

Kanakau puni pashaan ten hoee. jaarehun sahaju na parihar soee

Gold may turn to stone again, but even when burned, it does not abandon its natural quality.

नारद बचन न मैं परिहरऊँ। बसउ भवनु उजरउ नहिं डरऊँ।।

Naarad bachan na main pariharaoon. basau bhavanu ujarau nahin daraoon

I will not abandon Narada's words. I will dwell in the forest and am not afraid of leaving home.

गुर कें बचन प्रतीति न जेही। सपनेहुँ सुगम न सुख सिधि तेही।।

Gur ken bachan prateeti na jehee. sapanehun sugam na sukh sidhi tehee

One who has no faith in the guru's words can never attain happiness or spiritual success, even in dreams.

Commentary & Notes ↓

Poddarji's Commentary

हे विधाता! मैं हृदयमें किस तरह धीरज धरूँ, सिरसके फूलके कणसे कहीं हीरा छेदा जाता है। सारी सभाकी बुद्धि भोली (बावली) हो गयी है, अतः हे शिवजीके धनुष! अब तो मुझे तुम्हारा ही आसरा है॥ ३॥

Notes

The rishis pivot from discouraging Parvati to proposing an alternative: Vishnu. They describe him with four qualities: ati sundara (supremely beautiful), suchi (pure), sukhada (giver of joy), and susheela (of noble disposition). 'Gaavahi Beda jaasu jasa sheela' confirms the candidate is Vishnu, whose praise fills the Vedic hymns. The chaupai pairs are separated to preserve the couplet rhythm.

महादेव अवगुन भवन बिष्नु सकल गुन धाम।

जेहि कर मनु रम जाहि सन तेहि तेही सन काम।।80।।

Mahaadev avagun bhavan bishnu sakal gun dhaam

Jehi kar manu ram jaahi san tehi tehee san kaam (80)

दोहा 80

Hold courage, Earth, says Brahma, | remember Hari's feet;

He knows His servants' sorrow | and makes their suffering sweet.

Mahadeva is the abode of faults; Vishnu is the dwelling-place of every virtue. Yet the heart loves whom it loves. One's longing rests with whomever the mind delights in.

Commentary & Notes ↓

Poddarji's Commentary

ब्रह्माजीने कहा- हे धरती! मनमें धीरज धारण करके श्रीहरिके चरणोंका स्मरण करो। प्रभु अपने दासोंकी पीड़ाको जानते हैं, ये तुम्हारी कठिन विपत्तिका नाश करेंगे॥ १८४॥

Notes

A pivotal doha. The first line voices the rishis' official argument: Shiva is flawed, Vishnu is perfect. But the second line concedes the deeper truth that love is sovereign and cannot be redirected by logic. Tulasidas lets the rishis undermine their own case. 'Jehi kara manu rama jaahi san, tehi tehi san kaama': desire belongs to the one in whom the mind finds rest. This inadvertently validates Parvati's devotion to Shiva.

चौपाई 81
जौं तुम्ह मिलतेहु प्रथम मुनीसा। सुनतिउँ सिख तुम्हारि धरि सीसा।।

Jaun tumh milatehu pratham muneesaa. sunatiun sikh tumhaari dhari seesaa

If I had met you first, O great sage, I would have listened to your counsel with bowed head.

अब मैं जन्मु संभु हित हारा। को गुन दूषन करै बिचारा।।

Aba main janmu sambhu hit haaraa. ko gun dooshan karai bichaaraa

Now I have lost this birth for Shiva's sake. Who can judge what is merit or fault in this?

जौं तुम्हरे हठ हृदयँ बिसेषी। रहि न जाइ बिनु किएँ बरेषी।।

Jaun tumhare hath hridayan biseshee. rahi na jaai binu kien bareshee

If your heart is especially insistent and you cannot remain without performing the marriage ceremony,

तौ कौतुकिअन्ह आलसु नाहीं। बर कन्या अनेक जग माहीं।।

Tau kautukianh aalasu naaheen. bar kanyaa anek jag maaheen

Then the playful Lord has no shortage - there are countless eligible maidens in the world.

जन्म कोटि लगि रगर हमारी। बरउँ संभु न त रहउँ कुआरी।।

Janm koti lagi ragar hamaaree. baraun sambhu na ta rahaun kuaaree

For millions of births, this is my resolve - I will marry Shiva or remain unmarried forever.

तजउँ न नारद कर उपदेसू। आपु कहहि सत बार महेसू।।

Tajaun na naarad kar upadesoo. aapu kahahi sat baar mahesoo

I will not abandon Narada's teaching, as Mahesh himself has said a hundred times.

मैं पा परउँ कहइ जगदंबा। तुम्ह गृह गवनहु भयउ बिलंबा।।

Main paa paraun kahai jagadambaa. tumh grih gavanahu bhayau bilambaa

I touch your feet, says the Mother of the Universe. Now you should return home, as there has been delay.

देखि प्रेमु बोले मुनि ग्यानी। जय जय जगदंबिके भवानी।।

Dekhi premu bole muni gyaanee. jay jay jagadambike bhavaanee

Seeing her love, the wise sage spoke: Victory, victory to Jagadambika Bhavani!

Commentary & Notes ↓

Poddarji's Commentary

मेरा तो करोड़ जन्मोंतक यही हठ रहेगा कि या तो शिवजीको वरूँगी, नहीं तो कुमारी ही रहूँगी। स्वयं शिवजी सौ बार कहें, तो भी नारदजीके उपदेशको न छोडूँगी॥ ३॥ लक्ष्मणजीके हृदयमें विशेष लालसा है कि जाकर जनकपुर देख आवें। परन्तु प्रभु श्रीरामचन्द्रजीका डर है और फिर मुनिसे भी संकोचात हैं। इसलिये प्रकटमें कुछ नहीं कहते, मन-ही-मन मुसकरा रहे हैं॥

Notes

Parvati's magnificent reply. She is courteous ('I would have bowed to your counsel') yet immovable. 'Janmu Shambhu hita haara': she has staked her entire life on Shiva. Her rhetorical question ('ko gunavanta, kavanu asichaara?') dissolves the rishis' virtue-and-fault framework altogether. For a devotee whose mind is fixed, such categories no longer apply. This is one of the great declarations of unwavering devotion in the Manas.

तुम्ह माया भगवान सिव सकल जगत पितु मातु।

नाइ चरन सिर मुनि चले पुनि पुनि हरषत गातु।।81।।

Tumh maayaa bhagavaan siv sakal jagat pitu maatu

Naai charan sir muni chale puni puni harashat gaatu (81)

दोहा 81

You are Maya, Shiva the Lord; | world's parents, you two are;

bowing at her feet, they left, | their joy shining like a star.

"You are Maya, and Lord Shiva is the Supreme. Together you are the mother and father of all the world." Bowing their heads at her feet, the sages departed, their bodies thrilling with joy again and again.

Commentary & Notes ↓

Poddarji's Commentary

आप माया हैं और शिवजी भगवान्‌ हैं। आप दोनों समस्त जगत्‌के माता-पिता हैं। [यह कहकर] मुनि पार्वतीजीके चरणोंमें सिर नवाकर चल दिये। उनके शरीर बार-बार पुलकित हो रहे थे॥ ८१॥

Notes

Doha 81. The seven rishis recognize Parvati as Maya (the divine creative power) and Shiva as Bhagavan (the Lord). Their repeated thrilling (pulaka) is a classical sign of devotional ecstasy. 'Tumh Maya Bhagavan Siv' directly pairs Shakti and Shiva as the universal parents.

चौपाई 82
जाइ मुनिन्ह हिमवंतु पठाए। करि बिनती गिरजहिं गृह ल्याए।।

Jaai muninh himavantu pathaae. kari binatee girajahin grih lyaae

The sages went and sent Himavan (Parvati's father) who made entreaties and brought Girija (Parvati) home.

बहुरि सप्तरिषि सिव पहिं जाई। कथा उमा कै सकल सुनाई।।

Bahuri saptarishi siv pahin jaaee. kathaa umaa kai sakal sunaaee

Then the seven sages went to Shiva and narrated the entire story of Uma (Parvati).

भए मगन सिव सुनत सनेहा। हरषि सप्तरिषि गवने गेहा।।

Bhae magan siv sunat sanehaa. harashi saptarishi gavane gehaa

Shiva became absorbed in love upon hearing this, and the seven sages departed joyfully to their homes.

मनु थिर करि तब संभु सुजाना। लगे करन रघुनायक ध्याना।।

Manu thir kari tab sambhu sujaanaa. lage karan raghunaayak dhyaanaa

Then the wise Shambhu (Shiva) steadied his mind and began meditating on Raghunayak (Rama).

तारकु असुर भयउ तेहि काला। भुज प्रताप बल तेज बिसाला।।

Taaraku asur bhayau tehi kaalaa. bhuj prataap bal tej bisaalaa

At that time the demon Taraka came into being, possessing great strength, valor, power and brilliance.

तेंहि सब लोक लोकपति जीते। भए देव सुख संपति रीते।।

Tenhi sab lok lokapati jeete. bhae dev sukh sampati reete

He conquered all the worlds and their lords, leaving the gods bereft of happiness and prosperity.

अजर अमर सो जीति न जाई। हारे सुर करि बिबिध लराई।।

Ajar amar so jeeti na jaaee. haare sur kari bibidh laraaee

Being ageless and immortal, he could not be conquered; the gods were defeated despite fighting in various ways.

तब बिरंचि सन जाइ पुकारे। देखे बिधि सब देव दुखारे।।

Tab biranchi san jaai pukaare. dekhe bidhi sab dev dukhaare

Then they went crying to Brahma; the Creator saw all the gods in distress.

Commentary & Notes ↓

Poddarji's Commentary

सुख, सम्पत्ति, पुत्र, सेना, सहायक, जय, प्रताप, बल, बुद्धि और बड़ाई;ये सब उसके नित्य नये [वैसे ही] बढ़ते जाते थे, जैसे प्रत्येक लाभपर लोभ बढ़ता है॥ १॥ राजा सब प्रकारसे राजधर्मका पालन करता था। प्रजा, देवता और ब्राह्मणोंका पालन करता था। संतोंके प्रेममें सब प्रकारसे लगा रहता था जिससे धर्म अटल रहता था॥ ३॥

Notes

Chaupai 82. 'Himvantu' is Himavan (Himalaya), Parvati's father. 'Girija' and 'Uma' are both names for Parvati, meaning 'daughter of the mountain' and 'gracious one' respectively. The sages serve as divine intermediaries, carrying the news of Parvati's devotion to Shiva.

सब सन कहा बुझाइ बिधि दनुज निधन तब होइ।

संभु सुक्र संभूत सुत एहि जीतइ रन सोइ।।82।।

Sab san kahaa bujhaai bidhi danuj nidhan tab hoi

Sambhu sukr sambhoot sut ehi jeetai ran soi (82)

दोहा 82

Kaikeyi, Sumitra too | bore sons of beauty rare;

that joy, that wealth, that time, that scene; | none can its glory share.

Brahma explained to all: "The destruction of the demons will come to pass only when a son born of Shambhu and Shakti defeats them in battle."

Commentary & Notes ↓

Poddarji's Commentary

कैकेयी और सुमित्रा- इन दोनोंने भी सुन्दर पुत्रोंको जन्म दिया। उस सुख, सम्पत्ति, समय और समाजका वर्णन सरस्वती और सर्पोंके राजा शेषजी भी नहीं कर सकते॥

Notes

Doha 82. This verse reveals the cosmic purpose behind the Shiva-Parvati marriage. 'Shambhu' is Shiva; 'Sukra Sambhuta Sut' means a son born of Shiva and Shakti. The son referred to is Kartikeya (Skanda), who will slay the demon Tarakasura. Brahma (Vidhi) here acts as the divine strategist who sets the marriage plan in motion.

चौपाई 83
मोर कहा सुनि करहु उपाई। होइहि ईस्वर करिहि सहाई।।

Mor kahaa suni karahu upaaee. hoihi eesvar karihi sahaaee

Listen to my words and make the necessary arrangements. The Lord will surely provide assistance in this endeavor.

सतीं जो तजी दच्छ मख देहा। जनमी जाइ हिमाचल गेहा।।

Sateen jo tajee dachchh makh dehaa. janamee jaai himaachal gehaa

Sati, who gave up her body at Daksha's sacrifice, has been born again in Himavan's house.

तेहिं तपु कीन्ह संभु पति लागी। सिव समाधि बैठे सबु त्यागी।।

Tehin tapu keenh sambhu pati laagee. siv samaadhi baithe sabu tyaagee

She performed penance to obtain Shiva as her husband, while Shiva sits in meditation, having renounced everything.

जदपि अहइ असमंजस भारी। तदपि बात एक सुनहु हमारी।।

Jadapi ahai asamanjas bhaaree. tadapi baat eka sunahu hamaaree

Though this matter involves great difficulty, still listen to one suggestion of ours.

पठवहु कामु जाइ सिव पाहीं। करै छोभु संकर मन माहीं।।

Pathavahu kaamu jaai siv paaheen. karai chhobhu sankar man maaheen

Send Kamadeva to go to Shiva so that he may create disturbance in Shankar's mind.

तब हम जाइ सिवहि सिर नाई। करवाउब बिबाहु बरिआई।।

Tab ham jaai sivahi sir naaee. karavaaub bibaahu bariaaee

Then we shall go and bow our heads to Shiva, and arrange the marriage ceremony with great celebration.

एहि बिधि भलेहि देवहित होई। मर अति नीक कहइ सबु कोई।।

Ehi bidhi bhalehi devahit hoee. mar ati neek kahai sabu koee

In this way the welfare of the gods will be accomplished well. Everyone says that dying for a noble cause is most excellent.

अस्तुति सुरन्ह कीन्हि अति हेतू। प्रगटेउ बिषमबान झषकेतू।।

Astuti suranh keenhi ati hetoo. pragateu bishamabaan jhashaketoo

The gods praised this plan with great affection, and Kamadeva with his fish-banner appeared.

Commentary & Notes ↓

Poddarji's Commentary

मैंने पहले ही शिवजीका चरित्र कहकर तुम्हारा भेद समझ लिया है। तुम श्रीरामचन्द्रजीके पवित्र सेवक हो और समस्त दोषोंसे रहित हो॥ १०४॥

Notes

Chaupai 83. Brahma continues his address to the gods. 'Daksha makha' refers to the famous yajna of Daksha where Sati immolated herself after her father insulted Shiva. 'Himachal geha' is the home of Himalaya. This verse links the Sati story to Parvati's birth, establishing continuity: Parvati is Sati reborn.

सुरन्ह कहीं निज बिपति सब सुनि मन कीन्ह बिचार।

संभु बिरोध न कुसल मोहि बिहसि कहेउ अस मार।।83।।

Suranh kaheen nij bipati sab suni man keenh bichaar

Sambhu birodh na kusal mohi bihasi kaheu asa maar (83)

दोहा 83

The brahmins spoke in wrathful voice | without a thought or pause:

'Go, fool, with all your family; | become a demon's cause!'

The gods told him all their troubles. After reflecting within his heart, the foe of the asuras smiled and said: "Enmity with Shambhu will not end well for me."

Commentary & Notes ↓

Poddarji's Commentary

तब ब्राह्मण क्रोधसहित बोल उठे;उन्होंने कुछ भी विचार नहीं किया;अरे मूर्ख राजा! तू जाकर परिवारसहित राक्षस हो॥ १७३॥

Notes

Doha 83. 'Asurarih' (foe of the asuras) here refers to Kamadeva, the god of love, also called Manmatha and Ananga. His smile masks foreboding: he knows that provoking Shiva's wrath will be perilous. This sets the stage for the famous episode in which Kamadeva attempts to stir desire in Shiva and is burned to ash by his third eye.

चौपाई 84
तदपि करब मैं काजु तुम्हारा। श्रुति कह परम धरम उपकारा।।

Tadapi karab main kaaju tumhaaraa. shruti kah param dharam upakaaraa

Even so, I will accomplish your task. The Vedas declare that helping others is the highest dharma.

पर हित लागि तजइ जो देही। संतत संत प्रसंसहिं तेही।।

Par hit laagi tajai jo dehee. santat sant prasansahin tehee

One who abandons their body for the welfare of others is constantly praised by the saints.

अस कहि चलेउ सबहि सिरु नाई। सुमन धनुष कर सहित सहाई।।

Asa kahi chaleu sabahi siru naaee. suman dhanush kar sahit sahaaee

Saying thus, Kamadeva departed, bowing to all, taking his flowery bow along with his companions.

चलत मार अस हृदयँ बिचारा। सिव बिरोध ध्रुव मरनु हमारा।।

Chalat maar asa hridayan bichaaraa. siv birodh dhruv maranu hamaaraa

As he went, Kamadeva thought in his heart that opposing Shiva would surely mean his death.

तब आपन प्रभाउ बिस्तारा। निज बस कीन्ह सकल संसारा।।

Tab aapan prabhaau bistaaraa. nij bas keenh sakal sansaaraa

Then Kamadeva spread his influence and brought the entire world under his control.

कोपेउ जबहि बारिचरकेतू। छन महुँ मिटे सकल श्रुति सेतू।।

Kopeu jabahi baaricharaketoo. chhan mahun mite sakal shruti setoo

When the ocean-bannered one became angry, in an instant all the barriers of the Vedas were destroyed.

ब्रह्मचर्ज ब्रत संजम नाना। धीरज धरम ग्यान बिग्याना।।

Brahmacharj brat sanjam naanaa. dheeraj dharam gyaan bigyaanaa

Celibacy, vows, various forms of self-restraint, patience, righteousness, knowledge and wisdom—

सदाचार जप जोग बिरागा। सभय बिबेक कटकु सब भागा।।

Sadaachaar jap jog biraagaa. sabhay bibek kataku sab bhaagaa

Good conduct, meditation, yoga, detachment—the entire army of discrimination fled in fear.

Commentary & Notes ↓

Poddarji's Commentary

इस प्रकार मैं तुम्हारी अभिलाषा पूरी करूँगा। मेरा प्रण सत्य है, सत्य है, सत्य है। कृपानिधान भगवान् बार-बार ऐसा कहकर अन्तर्धान हो गये॥ ३॥ उसने बहुत-सी बावलियाँ, कुएँ, तालाब, फुलवाड़ियाँ, सुन्दर बगीचे, ब्राह्मणोंके घर और देवताओंके सुन्दर विचित्र मन्दिर सब तीर्थों में बनवाये॥ ४॥

Notes

Kamadeva accepts the dangerous mission to distract Shiva, invoking Vedic authority (shruti kah param dharam upakara). He knows confronting Shiva may mean his own destruction, yet frames self-sacrifice as the supreme dharma. The word 'santata' (forever) underscores that such selflessness earns eternal honor among the wise.

छन्द 3
भागेउ बिबेक सहाय सहित सो सुभट संजुग महि मुरे।

सदग्रंथ पर्बत कंदरन्हि महुँ जाइ तेहि अवसर दुरे।।

होनिहार का करतार को रखवार जग खरभरु परा।

दुइ माथ केहि रतिनाथ जेहि कहुँ कोपि कर धनु सरु धरा।।

Bhaageu bibek sahaay sahit so subhat sanjug mahi mure

Sadagranth parbat kandaranhi mahun jaai tehi avasar dure

Honihaar kaa karataar ko rakhavaar jag kharabharu paraa

Dui maath kehi ratinaath jehi kahun kopi kar dhanu saru dharaa

He satisfied all hearts; they blessed | from every side around:

'Long live the sons, Tulsidas's Lords!'; | that blessing did resound.

Viveka, discrimination, fled the field along with all its allies; even brave warriors of righteousness turned their backs on the battlefield. Good scriptures (sadgrantha) hid themselves away in the caves of mountain ranges during that terrible hour.

Commentary & Notes ↓

Poddarji's Commentary

राजाने सबके मनको सन्तुष्ट किया। [इसीसे] सब लोग जहाँ-तहाँ आशीर्वाद दे रहे थे कि तुलसीदासके स्वामी सब पुत्र (चारों राजकुमार) चिरजीवी (दीर्घायु) हों॥ १९६॥

Notes

This Chhand describes the cosmic devastation when Kama unleashes Vasanta (spring) as his weapon. Viveka (spiritual discrimination) is personified as a warrior who retreats. The image of sacred texts hiding in mountain caves suggests that when desire overwhelms the world, even access to wisdom becomes obscured. Tulsidas paints Kama's spring offensive in epic martial imagery.

जे सजीव जग अचर चर नारि पुरुष अस नाम।

ते निज निज मरजाद तजि भए सकल बस काम।।84।।

Je sajeev jag achar char naari purush asa naam

Te nij nij marajaad taji bhae sakal bas kaam (84)

दोहा 84

All beings in the world, | both male and female kind,

left their proper bounds behind, | by Kama's power confined.

All living beings in the world, moving and still, named woman and man, every one of them abandoned their natural boundaries and came under the sway of Kama.

Commentary & Notes ↓

Poddarji's Commentary

जगत्में स्त्री-पुरुष संज्ञावाले जितने चर-अचर प्राणी थे, वे सब अपनी-अपनी मर्यादा छोड़कर कामके वश हो गये॥ ८४॥

Notes

The Doha numbered 84 in the text. Tulsidas uses 'achar char' (still and moving) to encompass all creation, and 'nija nija marjada' (each one's own natural limits) to show that Kama's influence dissolves every ordained boundary. The universality of Kama's power sets the stage for Shiva's supreme contrast: he alone remains unmoved.

चौपाई 85
सब के हृदयँ मदन अभिलाषा। लता निहारि नवहिं तरु साखा।।

Sab ke hridayan madan abhilaashaa. lataa nihaari navahin taru saakhaa

In everyone's heart arose the desire of love. Seeing the creepers, even the tree branches began to bend and sway.

नदीं उमगि अंबुधि कहुँ धाई। संगम करहिं तलाव तलाई।।

Nadeen umagi ambudhi kahun dhaaee. sangam karahin talaav talaaee

Rivers swelled and rushed toward the ocean. Ponds and lakes began to unite in confluence.

जहँ असि दसा जड़न्ह कै बरनी। को कहि सकइ सचेतन करनी।।

Jahan asi dasaa jadanh kai baranee. ko kahi sakai sachetan karanee

When such is the condition of inanimate objects, who can describe the state of conscious beings?

पसु पच्छी नभ जल थलचारी। भए कामबस समय बिसारी।।

Pasu pachchhee nabh jal thalachaaree. bhae kaamabas samay bisaaree

Birds and beasts of sky, water, and land all became overwhelmed by desire, forgetting the proper time and season.

मदन अंध ब्याकुल सब लोका। निसि दिनु नहिं अवलोकहिं कोका।।

Madan andh byaakul sab lokaa. nisi dinu nahin avalokahin kokaa

All the worlds became blind and restless with passion. The cuckoos sang day and night without pause.

देव दनुज नर किंनर ब्याला। प्रेत पिसाच भूत बेताला।।

Dev danuj nar kinnar byaalaa. pret pisaach bhoot betaalaa

Gods, demons, humans, kinnaras, and serpents, along with ghosts, spirits, goblins, and vampires—

इन्ह कै दसा न कहेउँ बखानी। सदा काम के चेरे जानी।।

Inh kai dasaa na kaheun bakhaanee. sadaa kaam ke chere jaanee

I have not described their condition in detail, knowing them to be perpetual servants of desire.

सिद्ध बिरक्त महामुनि जोगी। तेपि कामबस भए बियोगी।।

Siddh birakt mahaamuni jogee. tepi kaamabas bhae biyogee

Even accomplished sages, detached ones, great saints, and yogis became overwhelmed by desire and lost their composure.

Commentary & Notes ↓

Poddarji's Commentary

रावण और बाणासुरने जिस धनुषको छुआ तक नहीं और सब राजा घमण्ड करके हार गये, वही धनुष इस सुकुमार राजकुमारके हाथमें दे रहे हैं। हंसके बच्चे भी कहीं मन्दराचल पहाड़ उठा सकते हैं?॥ २॥ देवता, यक्ष, गन्धर्व, मनुष्य, किन्नर और नागोंकी कन्याओं तथा बहुत-सी अन्य सुन्दरी और उत्तम स्त्रियोंको उसने अपनी भुजाओंके बलसे जीतकर ब्याह लिया॥ १८२ (ख)॥ परशुरामजीका भयानक वेष देखकर सब राजा भयसे व्याकुल हो उठ खड़े हुए और पितासहित अपना-अपना नाम कह-कहकर सब दण्डवत्-प्रणाम करने लगे॥ १॥

Notes

Tulsidas renders Kama's conquest through nature imagery. Trees bowing toward creepers (lata nihari navahi taru sakha) personifies male yearning toward the feminine. Rivers racing to the sea and ponds merging echo the universal pull of union. Every element of the natural world mirrors the inner stirring of desire, a classic Tulsian device where landscape becomes a map of the heart.

छन्द 4
भए कामबस जोगीस तापस पावँरन्हि की को कहै।

देखहिं चराचर नारिमय जे ब्रह्ममय देखत रहे।।

अबला बिलोकहिं पुरुषमय जगु पुरुष सब अबलामयं।

दुइ दंड भरि ब्रह्मांड भीतर कामकृत कौतुक अयं।।

Bhae kaamabas jogees taapas paavanranhi kee ko kahai

Dekhahin charaachar naarimay je brahmamay dekhat rahe

Abalaa bilokahin purushamay jagu purush sab abalaamayan

Dui dand bhari brahmaand bheetar kaamakrit kautuk ayan

Seeing the garden and the pond | the Lord rejoiced with brother dear;

truly most beautiful this grove | that gives even Ram joy here.

Great yogis and tapasis came under the power of Kama. What then to speak of ordinary folk? Those who had always beheld the world as Brahmamaya, pervaded by Brahman alone, now saw everything as woman.

Commentary & Notes ↓

Poddarji's Commentary

बाग और सरोवरको देखकर प्रभु श्रीरामचन्द्रजी भाई लक्ष्मणसहित हर्षित हुए। यह बाग वास्तवमें परम रमणीय है, जो श्रीरामचन्द्रजीको सुख दे रहा है॥ २२७॥

Notes

The climactic verse of the Kama episode. Tulsidas uses ascending rhetoric: if even yogishvara (lords among yogis) and tapasa (hardened ascetics) fell, the fate of pavanra (simple folk) needs no telling. The devastating inversion from 'Brahmamaya' (all is Brahman) to 'narimaya' (all is woman) captures Kama's total victory over perception itself. This sets up the dramatic contrast when Shiva alone proves immune.

धरी न काहूँ धिर सबके मन मनसिज हरे।

जे राखे रघुबीर ते उबरे तेहि काल महुँ।।85।।

Dharee na kaahoon dhir sabake man manasij hare

Je raakhe raghubeer te ubare tehi kaal mahun (85)

सोरठा 85

Torans so lovely, as if Love | had set his snares with care;

golden pots, gem arches, turmeric, | durva, curd, rice, garlands fair.

No one could hold their composure; Kamadeva stole every heart. Only those sheltered by Raghuvir were saved in that hour.

Commentary & Notes ↓

Poddarji's Commentary

ऐसे सुन्दर और उत्तम बंदनवार बनाये मानो कामदेवने फंदे सजाये हों। सोनेके कलश, तोरण, मणियोंकी झालें, हलदी, दूब, दही, अक्षत और मालाओंसे सजाये॥ १॥

Notes

Doha 85. 'Raghuvir' (Rama) is invoked as the sole protector against Kama's universal enchantment. Tulsidas signals that devotion to Rama is the only refuge when desire overwhelms creation.

चौपाई 86
उभय घरी अस कौतुक भयऊ। जौ लगि कामु संभु पहिं गयऊ।।

Ubhay gharee asa kautuk bhayaoo. jau lagi kaamu sambhu pahin gayaoo

Such divine play occurred in both realms until Kamadeva (the god of love) approached Lord Shiva.

सिवहि बिलोकि ससंकेउ मारू। भयउ जथाथिति सबु संसारू।।

Sivahi biloki sasankeu maaroo. bhayau jathaathiti sabu sansaaroo

Seeing Shiva, Kamadeva hesitated with apprehension, and the entire world became still and motionless.

भए तुरत सब जीव सुखारे। जिमि मद उतरि गएँ मतवारे।।

Bhae turat sab jeev sukhaare. jimi mad utari gaen matavaare

All beings immediately became peaceful and content, like intoxicated ones who have sobered up.

रुद्रहि देखि मदन भय माना। दुराधरष दुर्गम भगवाना।।

Rudrahi dekhi madan bhay maanaa. duraadharash durgam bhagavaanaa

Seeing Rudra (Shiva), Kamadeva felt great fear, recognizing the Lord as invincible and inaccessible.

फिरत लाज कछु करि नहिं जाई। मरनु ठानि मन रचेसि उपाई।।

Phirat laaj kachhu kari nahin jaaee. maranu thaani man rachesi upaaee

Turning back in shame, unable to accomplish anything, he resolved to die and devised a plan in his mind.

प्रगटेसि तुरत रुचिर रितुराजा। कुसुमित नव तरु राजि बिराजा।।

Pragatesi turat ruchir rituraajaa. kusumit nav taru raaji biraajaa

He immediately manifested the beautiful spring season, with rows of newly blossomed trees appearing in splendor.

बन उपबन बापिका तड़ागा। परम सुभग सब दिसा बिभागा।।

Ban upaban baapikaa tadaagaa. param subhag sab disaa bibhaagaa

Gardens, groves, wells and ponds - all directions became supremely beautiful and enchanting.

जहँ तहँ जनु उमगत अनुरागा। देखि मुएहुँ मन मनसिज जागा।।

Jahan tahan janu umagat anuraagaa. dekhi muehun man manasij jaagaa

Everywhere love seemed to overflow; seeing this, even the mind of the dead would awaken with desire.

Commentary & Notes ↓

Poddarji's Commentary

प्रभुको देखकर सब राजा हृदयमें ऐसे हार गये (निराश एवं उत्साहहीन हो गये) जैसे पूर्ण चन्द्रमाके उदय होनेपर तारे प्रकाशहीन हो जाते हैं। [उनके तेजको देखकर] सबके मनमें ऐसा विश्वास हो गया कि रामचन्द्रजी ही धनुषको तोड़ेंगे, इसमें सन्देह नहीं॥ १॥ यद्यपि श्रीशिवजी ने उन्हें पहले से ही बरज रखा था, तो भी नारदजी ने कामदेव का सारा चरित्र भगवान को कह सुनाया। श्रीरघुनाथजी की माया बड़ी ही प्रबल है। जगत में ऐसा कौन जन्मा है जिसे वह मोहित न कर दे॥

Notes

Chaupai 86. A 'ghari' is a traditional Indian time unit of roughly 24 minutes; two gharis equal about 48 minutes. The simile of a star near the sun conveys the insignificance of desire before the radiance of pure consciousness. 'Maru' (Kama) literally means 'the striker,' yet here the striker himself is struck with dread.

छन्द 5
जागइ मनोभव मुएहुँ मन बन सुभगता न परै कही।

सीतल सुगंध सुमंद मारुत मदन अनल सखा सही।।

बिकसे सरन्हि बहु कंज गुंजत पुंज मंजुल मधुकरा।

कलहंस पिक सुक सरस रव करि गान नाचहिं अपछरा।।

Jaagai manobhav muehun man ban subhagataa na parai kahee

Seetal sugandh sumand maarut madan anal sakhaa sahee

Bikase saranhi bahu kanj gunjat punj manjul madhukaraa

Kalahans pik suk saras rav kari gaan naachahin apachharaa

A hundred million times more joy | the mothers' hearts now hold;

the Moon of Raghu's line came home | with brothers, married, bold.

The beauty of that forest could awaken desire even in a lifeless heart; no words can describe its loveliness. The cool, fragrant, gently blowing breeze was truly the companion of Kama's fire.

Commentary & Notes ↓

Poddarji's Commentary

इन सुखोंसे भी सौ करोड़ गुना बढ़कर आनन्द माताएँ पा रही हैं। क्योंकि रघुकुलके चन्द्रमा श्रीरामजी विवाह करके भाइयोंसहित घर आये हैं॥३५० (क)॥

Notes

Chhand 5. A rich paradox: the breeze is cool and soothing, yet it fans the flames of desire. Tulsidas shows how even the most serene elements of nature conspire with Kamadeva. 'Manobhava' (born of the mind) is an epithet of Kama, reminding us that desire originates within.

सकल कला करि कोटि बिधि हारेउ सेन समेत।

चली न अचल समाधि सिव कोपेउ हृदयनिकेत।।86।।

Sakal kalaa kari koti bidhi haareu sen samet

Chalee na achal samaadhi siv kopeu hridayaniket (86)

दोहा 86

With every art and million tricks, | Kama failed with all his host;

Shiva's samadhi stood unmoved; | then Kama's anger burned the most.

Having tried every art and a crore of stratagems, Kama and his entire army were defeated. Shiva's immovable samadhi did not waver. Then Hridayaniketa, the dweller in the heart, grew furious.

Commentary & Notes ↓

Poddarji's Commentary

कामदेव अपनी सेनासमेत करोड़ों प्रकारकी सब कलाएँ (उपाय) करके हार गया, पर शिवजीकी अचल समाधि न डिगी। तब वह हृदय में रहनेवाला कामदेव क्रोधित हो उठा॥ ८६॥

Notes

Doha 86. 'Hridayaniketa' (one whose abode is the heart) is an epithet of Kamadeva, since desire lodges in the heart. The verse marks the turning point: having exhausted all his powers against Shiva's unshakeable meditation, Kama resorts to desperate rage. 'Achal samadhi' (immovable absorption) underscores Shiva's absolute mastery over the senses.

चौपाई 87
देखि रसाल बिटप बर साखा। तेहि पर चढ़ेउ मदनु मन माखा।।

Dekhi rasaal bitap bar saakhaa. tehi par chadheu madanu man maakhaa

Seeing the excellent branch of the mango tree, Cupid climbed upon it with his mind filled with desire.

सुमन चाप निज सर संधाने। अति रिस ताकि श्रवन लगि ताने।।

Suman chaap nij sar sandhaane. ati ris taaki shravan lagi taane

He fitted his flowery arrow to his bow and drew the string to his ear with great anger, taking aim.

छाड़े बिषम बिसिख उर लागे। छुटि समाधि संभु तब जागे।।

Chhaade bisham bisikh ura laage. chhuti samaadhi sambhu tab jaage

He released the terrible arrow which struck Shiva's heart, breaking his meditation as the Lord awakened.

भयउ ईस मन छोभु बिसेषी। नयन उघारि सकल दिसि देखी।।

Bhayau eesa man chhobhu biseshee. nayan ughaari sakal disi dekhee

Great agitation arose in Lord Shiva's mind as he opened his eyes and looked in all directions.

सौरभ पल्लव मदनु बिलोका। भयउ कोपु कंपेउ त्रैलोका।।

Saurabh pallav madanu bilokaa. bhayau kopu kampeu trailokaa

He saw Cupid among the fragrant leaves and blossoms, and his anger arose so greatly that the three worlds trembled.

तब सिवँ तीसर नयन उघारा। चितवत कामु भयउ जरि छारा।।

Tab sivan teesar nayan ughaaraa. chitavat kaamu bhayau jari chhaaraa

Then Shiva opened his third eye, and as he gazed upon Cupid, the god of love was burned to ashes.

हाहाकार भयउ जग भारी। डरपे सुर भए असुर सुखारी।।

Haahaakaar bhayau jag bhaaree. darape sur bhae asur sukhaaree

A great cry of lamentation arose in the world; the gods became frightened while the demons rejoiced.

समुझि कामसुखु सोचहिं भोगी। भए अकंटक साधक जोगी।।

Samujhi kaamasukhu sochahin bhogee. bhae akantak saadhak jogee

Understanding the pleasure of love, worldly people grieved, while ascetic yogis became free from obstacles.

Commentary & Notes ↓

Poddarji's Commentary

हिमाचलकी स्त्री (मैना) को दुःखी देखकर सारी स्त्रियाँ व्याकुल हो गयीं। मैना अपनी कन्याके स्नेहको याद करके विलाप करती, रोती और कहती थीं॥ ९६॥

Notes

Chaupai 87. The mango tree (rasala, 'full of rasa/juice') is a classical symbol of desire and spring. Kama's flower-bow (sumana chapa) fires arrows tipped with blossoms, each representing a different mode of infatuation. 'Shripati' here refers to Shiva as the Lord of Shakti. This is the fateful moment just before Kama's destruction: he looses his arrow and Shiva's third eye will reduce him to ash.

छन्द 6
जोगि अकंटक भए पति गति सुनत रति मुरुछित भई।

रोदति बदति बहु भाँति करुना करति संकर पहिं गई।

अति प्रेम करि बिनती बिबिध बिधि जोरि कर सन्मुख रही।

प्रभु आसुतोष कृपाल सिव अबला निरखि बोले सही।।

Jogi akantak bhae pati gati sunat rati muruchhit bhaee

Rodati badati bahu bhaanti karunaa karati sankar pahin gaee

Ati prem kari binatee bibidh bidhi jori kar sanmukh rahee

Prabhu aasutosh kripaal siv abalaa nirakhi bole sahee

'The mantra controlling Brahma, Shiva, | Vishnu, gods;is small;

a tiny goad controls the mightiest | elephant of all.'

The yogis were freed from all obstruction, for Kama's power was destroyed. Hearing her husband's fate, Rati fell senseless to the ground. Weeping, lamenting, pouring out her grief in countless ways, she went before Shankara and pleaded for his mercy.

Commentary & Notes ↓

Poddarji's Commentary

जिसके वशमें ब्रह्मा, विष्णु, शिव और सभी देवता हैं, वह मन्त्र भी बहुत ही छोटा है। महान्‌ मतवाले गजराजको छोटा-सा अंकुश वशमें कर लेता है॥ २५६॥

Notes

Chhand 6. 'Akantaka' (free of thorns) means the ascetics' meditation is no longer disturbed by desire. Rati, the goddess of romantic love, is Kama's wife; her fainting signals the collapse of carnal longing itself. The verse shifts from cosmic triumph to intimate sorrow, showing Tulsidas's characteristic compassion even for those on the 'wrong' side of divine play.

अब तें रति तव नाथ कर होइहि नामु अनंगु।

बिनु बपु ब्यापिहि सबहि पुनि सुनु निज मिलन प्रसंगु।।87।।

Aba ten rati tav naath kar hoihi naamu anangu

Binu bapu byaapihi sabahi puni sunu nij milan prasangu (87)

दोहा 87

From now, O Rati, your lord's name | shall be Ananga;bodiless;

he'll pervade all without a form; | now hear of your redress.

Shiva spoke with gentleness: "Rati, from this day forward your husband shall be known as Ananga, the Bodiless One. Without a form, he will pervade all beings. Now hear when you and he shall be reunited."

Commentary & Notes ↓

Poddarji's Commentary

हे रति! अबसे तेरे स्वामीका नाम अनङ्ग होगा। वह बिना ही शरीरके सबको व्यापेगा। अब तू अपने पतिसे मिलनेकी बात सुन॥ ८७॥

Notes

Doha 87. 'Ananga' (an + anga, without body) becomes Kama's new name. Far from punishment, bodilessness universalises desire: Kama now operates unseen in every heart. Shiva's tone is compassionate, not punitive. The promise of reunion transforms destruction into a temporary parting, a pattern Tulsidas uses to show that the Lord never truly harms his devotees.

चौपाई 88
जब जदुबंस कृष्न अवतारा। होइहि हरन महा महिभारा।।

Jab jadubans krishn avataaraa. hoihi haran mahaa mahibhaaraa

When Krishna will take avatar in the Yadu dynasty, He will remove the great burden from the earth.

कृष्न तनय होइहि पति तोरा। बचनु अन्यथा होइ न मोरा।।

Krishn tanay hoihi pati toraa. bachanu anyathaa hoi na moraa

Krishna's son will become your husband. My word will never prove false.

रति गवनी सुनि संकर बानी। कथा अपर अब कहउँ बखानी।।

Rati gavanee suni sankar baanee. kathaa apar aba kahaun bakhaanee

Hearing Shiva's words, Rati departed. Now I shall narrate another story in detail.

देवन्ह समाचार सब पाए। ब्रह्मादिक बैकुंठ सिधाए।।

Devanh samaachaar sab paae. brahmaadik baikunth sidhaae

The gods received all the news and Brahma and others proceeded to Vaikuntha.

सब सुर बिष्नु बिरंचि समेता। गए जहाँ सिव कृपानिकेता।।

Sab sur bishnu biranchi sametaa. gae jahaan siv kripaaniketaa

All the gods along with Vishnu and Brahma went to where Shiva, the abode of compassion, was.

पृथक पृथक तिन्ह कीन्हि प्रसंसा। भए प्रसन्न चंद्र अवतंसा।।

Prithak prithak tinh keenhi prasansaa. bhae prasann chandr avatansaa

Each of them offered separate praise, and the moon-crested one became pleased.

बोले कृपासिंधु बृषकेतू। कहहु अमर आए केहि हेतू।।

Bole kripaasindhu brishaketoo. kahahu amar aae kehi hetoo

The ocean of mercy, Shiva with the bull banner, spoke: 'Tell me, immortals, for what purpose have you come?'

कह बिधि तुम्ह प्रभु अंतरजामी। तदपि भगति बस बिनवउँ स्वामी।।

Kah bidhi tumh prabhu antarajaamee. tadapi bhagati bas binavaun svaamee

Brahma said: 'You are the Lord who knows all hearts, yet out of devotion I humbly submit, O Master.'

Commentary & Notes ↓

Poddarji's Commentary

तब हिमवान अत्यन्त प्रेमसे शिवजीको पहुँचानेके लिये साथ चले। वृषकेतु (शिवजी) ने बहुत तरहसे उन्हें सन्तोष कराकर विदा किया॥ १०२॥ देवता और पृथ्वीको भयभीत जानकर और उनके स्नेहयुक्त वचन सुनकर शोक और सन्देहको हरनेवाली गम्भीर आकाशवाणी हुई;॥ १८६॥ कामाग्नि को भड़काने वाली तीन प्रकार की (शीतल, मन्द और सुगन्ध) सुहावनी हवा चलने लगी। रम्भा आदि नवयुवती देवांगनाएँ, जो सब-की-सब कामकला में निपुण थीं॥

Notes

Chaupai 88. Shiva prophesies Kama's rebirth as Pradyumna, son of Krishna and Rukmini. This cross-reference to the Krishna avatara knits the Rama story into the larger fabric of divine descent. 'Bachanu na mora hoi kabahun khora' (my word is never wanting) underscores Shiva's sovereignty: the one who burned Kama is also the one who restores him. Couplet pairs separated by blank line per house style.

सकल सुरन्ह के हृदयँ अस संकर परम उछाहु।

निज नयनन्हि देखा चहहिं नाथ तुम्हार बिबाहु।।88।।

Sakal suranh ke hridayan asa sankar param uchhaahu

Nij nayananhi dekhaa chahahin naath tumhaar bibaahu (88)

दोहा 88

O Shankara, the gods all wish | with eager hearts aflame:

they long to see your wedding, Lord, | with their own eyes proclaim.

In the hearts of all the gods there arose supreme delight. They said: "O Lord, with our own eyes we long to behold your wedding. Grant us this joy!"

Commentary & Notes ↓

Poddarji's Commentary

हे शङ्कर! सब देवताओंके मनमें ऐसा परम उत्साह है कि हे नाथ! वे अपनी आँखोंसे आपका विवाह देखना चाहते हैं॥ ८८॥

Notes

Doha 88. The mood pivots from grief to celebration. 'Nij nayananhi dekhaa chahahin' (wish to see with their own eyes) conveys the devotional hunger for direct witness (pratyaksha darshana). The gods' request sets the stage for the divine wedding of Shiva and Parvati, one of the Bala Kanda's great climactic events.

चौपाई 89
यह उत्सव देखिअ भरि लोचन। सोइ कछु करहु मदन मद मोचन।

Yah utsav dekhia bhari lochan. soi kachhu karahu madan mad mochan

Behold this celebration with your eyes filled with joy. Do something now, O destroyer of Cupid's pride.

कामु जारि रति कहुँ बरु दीन्हा। कृपासिंधु यह अति भल कीन्हा।।

Kaamu jaari rati kahun baru deenhaa. kripaasindhu yah ati bhal keenhaa

You burned Cupid but gave a boon to Rati. O ocean of mercy, this was indeed a noble deed.

सासति करि पुनि करहिं पसाऊ। नाथ प्रभुन्ह कर सहज सुभाऊ।।

Saasati kari puni karahin pasaaoo. naath prabhunh kar sahaj subhaaoo

After punishment, lords show favor again. This is the natural disposition of masters, O Lord.

पारबतीं तपु कीन्ह अपारा। करहु तासु अब अंगीकारा।।

Paarabateen tapu keenh apaaraa. karahu taasu aba angeekaaraa

Parvati has performed boundless penance. Now accept her devotion.

सुनि बिधि बिनय समुझि प्रभु बानी। ऐसेइ होउ कहा सुखु मानी।।

Suni bidhi binay samujhi prabhu baanee. aisei hou kahaa sukhu maanee

Hearing Brahma's humble request and understanding the Lord's intention, Shiva said 'So be it' with pleasure.

तब देवन्ह दुंदुभीं बजाईं। बरषि सुमन जय जय सुर साई।।

Tab devanh dundubheen bajaaeen. barashi suman jay jay sur saaee

Then the gods beat their drums and showered flowers, crying 'Victory, victory to the Lord of gods!'

अवसरु जानि सप्तरिषि आए। तुरतहिं बिधि गिरिभवन पठाए।।

Avasaru jaani saptarishi aae. turatahin bidhi giribhavan pathaae

Knowing the opportune moment, the seven sages came. Brahma immediately sent them to Shiva's mountain abode.

प्रथम गए जहँ रही भवानी। बोले मधुर बचन छल सानी।।

Pratham gae jahan rahee bhavaanee. bole madhur bachan chhal saanee

First they went to where Bhavani dwelt and spoke sweet words mixed with gentle deception.

Commentary & Notes ↓

Poddarji's Commentary

देवताओंने हर्षित होकर नगाड़े बजाये और पुष्प बरसाकर अप्सराएँ गाने लगीं। सीताजीके करकमलोंमें जयमाला सुशोभित है। सब राजा चकित होकर अचानक उनकी ओर देखने लगे॥ ३॥ देवताओंने नगाड़े बजाये, वे प्रभुके ऊपर फूल बरसाने लगे। जनकपुरके स्त्री-पुरुष सब हर्षित हो गये। उनका मोहमय (अज्ञानसे उत्पन्न) शूल मिट गया॥ २८४॥

Notes

Chaupai 89. 'Madan mada mochana' (liberator from Kama's intoxication) is a playful epithet the gods use while teasing Shiva. They point out the seeming contradiction: he destroyed desire, then promised its return. This gentle humour (vinoda) is characteristic of Tulsidas's court-of-heaven scenes, where reverence and affection blend freely. The teasing also carries a theological point: grace always follows severity in the divine economy.

कहा हमार न सुनेहु तब नारद कें उपदेस।

अब भा झूठ तुम्हार पन जारेउ कामु महेस।।89।।

Kahaa hamaar na sunehu tab naarad ken upades

Aba bhaa jhooth tumhaar pan jaareu kaamu mahes (89)

दोहा 89

You spurned our words, took Narad's side; | now see your vow undone:

Mahesh has burned Kama himself! | The battle has been won.

"You did not heed our counsel then, and followed Narada's teaching instead. Now your vow has proved hollow, for Mahesha himself has burned Kama to ashes."

Commentary & Notes ↓

Poddarji's Commentary

नारदजीके उपदेशसे तुमने उस समय हमारी बात नहीं सुनी। अब तो तुम्हारा प्रण झूठा हो गया, क्योंकि महादेवजीने कामको ही भस्म कर डाला॥ ८९॥

Notes

Doha 89. The Saptarishis playfully tease Parvati: since Shiva destroyed Kama (the god of desire), her tapasya to win Shiva through love must surely be in vain. The tone is affectionate ribbing, not malice. 'Mahesha' (Mahesa) = Shiva, the Great Lord. 'Kama' (Kamu) = Kamadeva, god of love.

चौपाई 90
सुनि बोलीं मुसकाइ भवानी। उचित कहेहु मुनिबर बिग्यानी।।

Suni boleen musakaai bhavaanee. uchit kahehu munibar bigyaanee

Hearing this, Bhavani smiled and spoke: 'O wise sage, you have spoken appropriately.'

तुम्हरें जान कामु अब जारा। अब लगि संभु रहे सबिकारा।।

Tumharen jaan kaamu aba jaaraa. aba lagi sambhu rahe sabikaaraa

According to your knowledge, Kama has now been burnt, and until now Shambhu remained with form.

हमरें जान सदा सिव जोगी। अज अनवद्य अकाम अभोगी।।

Hamaren jaan sadaa siv jogee. aja anavady akaam abhogee

According to my knowledge, Shiva is eternally a yogi - unborn, faultless, desireless, and without enjoyment.

जौं मैं सिव सेये अस जानी। प्रीति समेत कर्म मन बानी।।

Jaun main siv seye asa jaanee. preeti samet karm man baanee

If I serve Shiva knowing Him thus, with love in deed, mind and speech,

तौ हमार पन सुनहु मुनीसा। करिहहिं सत्य कृपानिधि ईसा।।

Tau hamaar pan sunahu muneesaa. karihahin saty kripaanidhi eesaa

Then hear my vow, O sage - the compassionate Lord will make it true.

तुम्ह जो कहा हर जारेउ मारा। सोइ अति बड़ अबिबेकु तुम्हारा।।

Tumh jo kahaa har jaareu maaraa. soi ati bad abibeku tumhaaraa

What you said about Hara burning Kama - that shows your great lack of understanding.

तात अनल कर सहज सुभाऊ। हिम तेहि निकट जाइ नहिं काऊ।।

Taat anal kar sahaj subhaaoo. him tehi nikat jaai nahin kaaoo

Father, fire has the natural quality of burning; ice can never approach it.

गएँ समीप सो अवसि नसाई। असि मन्मथ महेस की नाई।।

Gaen sameep so avasi nasaaee. asi manmath mahes kee naaee

If it goes near, it will surely be destroyed, just like Kamadeva near Mahesh.

Commentary & Notes ↓

Poddarji's Commentary

गौरीजीको अनुकूल जानकर सीताजीके हृदयको जो हर्ष हुआ वह कहा नहीं जा सकता। सुन्दर मङ्गलोंके मूल उनके बायें अंग फड़कने लगे॥ २३६॥ सब समाचार सुनकर और अत्यन्त सुख पाकर गुरु बोले;पुण्यात्मा पुरुषके लिये पृथ्वी सुखोंसे छायी है। जैसे नदियाँ समुद्रमें जाती हैं, यद्यपि समुद्रको नदीकी कामना नहीं होती॥ १॥

Notes

Chaupai following Doha 89. Parvati's reply is luminous in its logic: if Shiva is forever beyond desire, then Kama's destruction is no loss to Him and no obstacle to her resolve. The rishis' tease collapses under her quiet reasoning. 'Bhavani' = Parvati as the goddess of existence. 'Shambhu' (Sambhu) = Shiva, the benevolent one. Couplet pairs separated by line breaks.

हियँ हरषे मुनि बचन सुनि देखि प्रीति बिस्वास।।

चले भवानिहि नाइ सिर गए हिमाचल पास।।90।।

Hiyan harashe muni bachan suni dekhi preeti bisvaas

Chale bhavaanihi naai sir gae himaachal paas (90)

दोहा 90

Hearing words like nectar sweet, | their bodies thrilled with bliss;

Manu prostrated, spoke;his heart | could not contain love's kiss.

The sages were delighted at heart, hearing her words and seeing the depth of her love and faith. Bowing their heads to Bhavani, they departed and went to Himachala.

Commentary & Notes ↓

Poddarji's Commentary

कानों में अमृत के समान लगने वाले वचन सुनते ही उनका शरीर पुलकित और प्रफुल्लित हो गया। तब मनुजी दण्डवत करके बोले, प्रेम हृदय में समाता न था;॥ १४५॥

Notes

Doha 90. The rishis recognize that Parvati's devotion is unshakeable. Their delight confirms that the teasing was a loving test. 'Himachala' (Himacala) = Himalaya, Parvati's father, the mountain king.

चौपाई 91
सबु प्रसंगु गिरिपतिहि सुनावा। मदन दहन सुनि अति दुखु पावा।।

Sabu prasangu giripatihi sunaavaa. madan dahan suni ati dukhu paavaa

The mountain king was told the entire story. Hearing of Cupid's burning, he felt great sorrow.

बहुरि कहेउ रति कर बरदाना। सुनि हिमवंत बहुत सुखु माना।।

Bahuri kaheu rati kar baradaanaa. suni himavant bahut sukhu maanaa

Then Narada spoke of the boon granted to Rati. Hearing this, Himavan felt much joy.

हृदयँ बिचारि संभु प्रभुताई। सादर मुनिबर लिए बोलाई।।

Hridayan bichaari sambhu prabhutaaee. saadar munibar lie bolaaee

Contemplating in his heart Shiva's divine power, he respectfully called the great sage.

सुदिनु सुनखतु सुघरी सोचाई। बेगि बेदबिधि लगन धराई।।

Sudinu sunakhatu sugharee sochaaee. begi bedabidhi lagan dharaaee

Choosing an auspicious day, constellation and moment, he quickly arranged the wedding according to Vedic rites.

पत्री सप्तरिषिन्ह सोइ दीन्ही। गहि पद बिनय हिमाचल कीन्ही।।

Patree saptarishinh soi deenhee. gahi pad binay himaachal keenhee

He gave that invitation to the seven sages. Himachal humbly bowed at their feet.

जाइ बिधिहि दीन्हि सो पाती। बाचत प्रीति न हृदयँ समाती।।

Jaai bidhihi deenhi so paatee. baachat preeti na hridayan samaatee

Going to Brahma, they delivered that invitation. Reading it, love could not be contained in his heart.

लगन बाचि अज सबहि सुनाई। हरषे मुनि सब सुर समुदाई।।

Lagan baachi aja sabahi sunaaee. harashe muni sab sur samudaaee

Brahma read the invitation and announced it to all. All the sages and hosts of gods rejoiced.

सुमन बृष्टि नभ बाजन बाजे। मंगल कलस दसहुँ दिसि साजे।।

Suman brishti nabh baajan baaje. mangal kalas dasahun disi saaje

Flowers rained from the sky and musical instruments played. Auspicious vessels were arranged in all ten directions.

Commentary & Notes ↓

Poddarji's Commentary

बड़े जोरसे बाजे बजने लगे। सभीने मनोहर मंगल-साज सजे। सुन्दर मुख और सुन्दर नेत्रोंवाली तथा कोयलके समान मधुर बोलनेवाली स्त्रियाँ झुंड-की-झुंड मिलकर सुन्दर गान करने लगीं॥ १॥ जब राजा दशरथजीने पुत्रोंसहित मुनिको आते देखा, तब वे हर्षित होकर उठे और सुखके समुद्रमें थाह-सी लेते हुए चले॥ ३०७॥ ये सब शिवजीके धनुषरूपी बड़े जहाजको पाकर, समाज बनाकर उसपर जा चढ़े। ये श्रीरामचन्द्रजीकी भुजाओंके बलरूपी अपार समुद्रके पार जाना चाहते हैं, परन्तु कोई केवट नहीं है॥ ४॥

Notes

Chaupai following Doha 90. The emotional arc shifts swiftly: Himavan grieves at Kamadeva's destruction, then rejoices when he learns Shiva granted Rati (Kama's wife) a boon that Kama would be restored. This signals Shiva's compassion even in his fierce act. 'Rati' = goddess of passion, wife of Kamadeva. 'Himavan' (Himavana) = Himalaya personified. Couplet pairs separated by line breaks.

लगे सँवारन सकल सुर बाहन बिबिध बिमान।

होहि सगुन मंगल सुभद करहिं अपछरा गान।।91।।

Lage sanvaaran sakal sur baahan bibidh bimaan

Hohi sagun mangal subhad karahin apachharaa gaan (91)

दोहा 91

Seeing him, all kings cowered low; | like quails when hawks appear;

ash gleamed on his fair form, | tripunda on brow so clear.

All the gods began adorning their mounts and their many celestial chariots. Auspicious and blessed omens appeared on every side, and the apsaras filled the heavens with song.

Commentary & Notes ↓

Poddarji's Commentary

इन्हें देखकर सब राजा सकुचा गये, मानो बाजके झपटनेपर बटेर लुक (छिप) गये हों। गोरे शरीरपर विभूति (भस्म) बड़ी फब रही है और विशाल ललाटपर त्रिपुण्ड विशेष शोभा दे रहा है॥ २॥

Notes

Doha 91. The cosmos itself prepares for the wedding of Shiva and Parvati. 'Apsaras' (Apsara) = celestial dancers and singers of Indra's court. 'Bahana' = divine mounts (Garuda, Nandi, the swan, etc.). 'Vimana' = celestial flying vehicles. 'Saguna mangala subhada' = auspicious, blessed omens.

चौपाई 92
सिवहि संभु गन करहिं सिंगारा। जटा मुकुट अहि मौरु सँवारा।।

Sivahi sambhu gan karahin singaaraa. jataa mukut ahi mauru sanvaaraa

The ganas (attendants) of Shiva adorn their lord, decorating his matted hair crown with serpents as ornaments.

कुंडल कंकन पहिरे ब्याला। तन बिभूति पट केहरि छाला।।

Kundal kankan pahire byaalaa. tan bibhooti pat kehari chhaalaa

He wears serpents as earrings and bracelets, with sacred ash on his body and a lion's skin as his garment.

ससि ललाट सुंदर सिर गंगा। नयन तीनि उपबीत भुजंगा।।

Sasi lalaat sundar sir gangaa. nayan teeni upabeet bhujangaa

The moon adorns his forehead, the beautiful Ganga flows from his head, he has three eyes, and serpents serve as his sacred thread.

गरल कंठ उर नर सिर माला। असिव बेष सिवधाम कृपाला।।

Garal kanth ura nar sir maalaa. asiv besh sivadhaam kripaalaa

Poison darkens his throat, a garland of human heads adorns his chest - such is the auspicious form of the compassionate lord of Kailash.

कर त्रिसूल अरु डमरु बिराजा। चले बसहँ चढ़ि बाजहिं बाजा।।

Kar trisool aru damaru biraajaa. chale basahan chadhi baajahin baajaa

He holds a trident and drum in his hands, and rides forth on his bull while musical instruments play.

देखि सिवहि सुरत्रिय मुसुकाहीं। बर लायक दुलहिनि जग नाहीं।।

Dekhi sivahi suratriy musukaaheen. bar laayak dulahini jag naaheen

Seeing Shiva, the celestial women smile and say there is no bride in the world suitable for such a groom.

बिष्नु बिरंचि आदि सुरब्राता। चढ़ि चढ़ि बाहन चले बराता।।

Bishnu biranchi aadi surabraataa. chadhi chadhi baahan chale baraataa

Vishnu, Brahma and other divine brothers mount their vehicles and join the wedding procession.

सुर समाज सब भाँति अनूपा। नहिं बरात दूलह अनुरूपा।।

Sur samaaj sab bhaanti anoopaa. nahin baraat doolah anuroopaa

The entire assembly of gods is magnificent in every way, but the wedding party does not match the groom's appearance.

Commentary & Notes ↓

Poddarji's Commentary

शिवजीके सुन्दर मस्तकपर चन्द्रमा, सिरपर गङ्गाजी, तीन नेत्र, साँपोंका जनेऊ, गलेमें विष और छातीपर नरमुण्डोंकी माला थी। इस प्रकार उनका वेष अशुभ होनेपर भी वे कल्याणके धाम और कृपालु हैं॥ एक हाथमें त्रिशूल और दूसरेमें डमरू सुशोभित है। शिवजी बैलपर चढ़कर चले। बाजे बज रहे हैं। शिवजीको देखकर देवाङ्गनाएँ मुसकरा रही हैं और कहती हैं कि इस वरके योग्य दुलहिन संसारमें नहीं मिलेगी॥ रथोंपर चढ़-चढ़कर बारात नगरके बाहर जुटने लगी। जो जिस कामके लिये जाता है, सभीको सुन्दर शकुन होते हैं॥ २९८॥

Notes

The comedy of devotion begins: the ganas dress Shiva with the only finery they know. 'Ahi mauru' (serpent crest-jewel) directly parallels the 'maura' worn by an Indian bridegroom. 'Kehari chhaala' (tiger skin) replaces the silk garments a groom would wear. The ganas are utterly sincere; the humor arises from the gap between convention and their wild love.

बिष्नु कहा अस बिहसि तब बोलि सकल दिसिराज।

बिलग बिलग होइ चलहु सब निज निज सहित समाज।।92।।

Bishnu kahaa asa bihasi tab boli sakal disiraaj

Bilag bilag hoi chalahu sab nij nij sahit samaaj (92)

दोहा 92

The women gaze with hearts of joy | each sees her heart's desire;

as if all beauty took a form | in matchless, sweet attire.

Then Vishnu smiled and summoned all the guardians of the directions. "Walk separately, each with your own retinue," he said.

Commentary & Notes ↓

Poddarji's Commentary

स्त्रियाँ हृदयमें हर्षित होकर अपनी-अपनी रुचिके अनुसार उन्हें देख रही हैं, मानो शृंगार रस ही परम अनुपम मूर्ति धारण किये सुशोभित हो रहा हो॥ २४१॥

Notes

Vishnu's gentle diplomacy: he does not criticize Shiva's ganas but simply asks the devas to keep their distance so the two groups do not mingle. The word 'bihasi' (smiling) shows Vishnu's affectionate amusement rather than any contempt. 'Disi-raaj' refers to the Lokapalas, guardians of the eight (or ten) cardinal directions.

चौपाई 93
बर अनुहारि बरात न भाई। हँसी करैहहु पर पुर जाई।।

Bar anuhaari baraat na bhaaee. hansee karaihahu par pur jaaee

O brother, do not follow the bridegroom's procession, or you will be laughed at when you go to another city.

बिष्नु बचन सुनि सुर मुसकाने। निज निज सेन सहित बिलगाने।।

Bishnu bachan suni sur musakaane. nij nij sen sahit bilagaane

Hearing Vishnu's words, the gods smiled and departed with their respective armies.

मनहीं मन महेसु मुसुकाहीं। हरि के बिंग्य बचन नहिं जाहीं।।

Manaheen man mahesu musukaaheen. hari ke bingy bachan nahin jaaheen

Mahesha smiled within his heart, for Hari's humorous words do not go unnoticed.

अति प्रिय बचन सुनत प्रिय केरे। भृंगिहि प्रेरि सकल गन टेरे।।

Ati priy bachan sunat priy kere. bhringihi preri sakal gan tere

Hearing these very dear words from his beloved, Shiva instructed Bhringi to summon all his attendants.

सिव अनुसासन सुनि सब आए। प्रभु पद जलज सीस तिन्ह नाए।।

Siv anusaasan suni sab aae. prabhu pad jalaj sees tinh naae

Hearing Shiva's command, all came and bowed their heads to the Lord's lotus feet.

नाना बाहन नाना बेषा। बिहसे सिव समाज निज देखा।।

Naanaa baahan naanaa beshaa. bihase siv samaaj nij dekhaa

With various vehicles and diverse appearances, Shiva's assembly looked upon their own forms and laughed.

कोउ मुखहीन बिपुल मुख काहू। बिनु पद कर कोउ बहु पद बाहू।।

Kou mukhaheen bipul mukh kaahoo. binu pad kar kou bahu pad baahoo

Some were faceless while others had many faces; some had no hands or feet while others had many arms and legs.

बिपुल नयन कोउ नयन बिहीना। रिष्टपुष्ट कोउ अति तनखीना।।

Bipul nayan kou nayan biheenaa. rishtapusht kou ati tanakheenaa

Some had many eyes while others were eyeless; some were robust while others were extremely thin.

Commentary & Notes ↓

Poddarji's Commentary

जो सर्वव्यापक, निरञ्जन (मायारहित), निर्गुण और विनोदरहित (अर्थात् खेल या लीला से परे) ब्रह्म हैं, वे ही अजन्मा होते हुए भी प्रेम और भक्ति के वश होकर कौसल्याजी की गोद में (बालरूप में) विराजमान हैं॥ १९८॥

Notes

'Bar anuhaari baraat na bhaai' is one of the most quoted lines in the Manas, a perfect blend of humor and affection. Vishnu's concern is practical: he knows Himachal's people will be frightened. 'Par pur' (another's city) gently reminds the devas they are guests. The gods smile because they too see the comedy but would never say it themselves. Tulasidas lets laughter and reverence share the same breath.

छन्द 7
तन खीन कोउ अति पीन पावन कोउ अपावन गति धरें।

भूषन कराल कपाल कर सब सद्य सोनित तन भरें।।

खर स्वान सुअर सृकाल मुख गन बेष अगनित को गनै।

बहु जिनस प्रेत पिसाच जोगि जमात बरनत नहिं बनै।।

Tan kheen kou ati peen paavan kou apaavan gati dharen

Bhooshan karaal kapaal kar sab sady sonit tan bharen

Khar svaan suar srikaal mukh gan besh aganit ko ganai

Bahu jinas pret pisaach jogi jamaat baranat nahin banai

With humble words so sweet and fine, | Ram pleased each mother there;

remembering Shiva, Guru, priests, | He slept without a care.

Some ganas are bone-thin, some enormously fat. Some wear forms of purity, some take on impure shapes. All bear fearsome ornaments, carry skulls in their hands, and their bodies are smeared with fresh blood.

Commentary & Notes ↓

Poddarji's Commentary

विनयभरे उत्तम वचन कहकर श्रीरामचन्द्रजीने सब माताओंको संतुष्ट किया। फिर शिवजी, गुरु और ब्राह्मणोंके चरणोंका स्मरण कर नेत्रोंको नींदके वश किया (अर्थात्‌ वे सो गये)॥३५७॥

Notes

The Chhand meter shifts the music to a faster, more vivid cadence, matching the wild energy of the ganas. 'Tan kheen' and 'ati peen' are placed side by side for comic contrast. 'Sadya sonit' (fresh blood) is not gratuitous; it signals that Shiva's retinue lives beyond the pale of social order. Tulasidas paints this tableau without a trace of disgust. These are Shiva's beloved attendants, and the poet's gaze holds wonder, not revulsion.

नाचहिं गावहिं गीत परम तरंगी भूत सब।

देखत अति बिपरीत बोलहिं बचन बिचित्र बिधि।।93।।

Naachahin gaavahin geet param tarangee bhoot sab

Dekhat ati bipareet bolahin bachan bichitr bidhi (93)

दोहा 93

The spirits dance and sing their songs, | so merry and so free;

so strange to see, so odd their speech; | what wild festivity!

All the ghosts and spirits dance and sing, supremely carefree. They look utterly bizarre and speak in the most peculiar ways.

Commentary & Notes ↓

Poddarji's Commentary

भूत-प्रेत नाचते और गाते हैं, वे सब बड़े मौजी हैं। देखनेमें बहुत ही बेढंगे जान पड़ते हैं और बड़े ही विचित्र ढंगसे बोलते हैं॥ ९३॥

Notes

'Param tarangi' (supremely carefree, lit. 'riding the highest wave') captures the ecstatic abandon of the bhutas. 'Ati bipareet' (utterly contrary/bizarre) and 'bachana bichitra bidhi' (speech of wondrous kinds) round out a portrait of joyful chaos. The doha closes the scene on a note of pure comic energy. Tulasidas invites us to laugh freely, knowing that devotion is large enough to hold both the sublime and the ridiculous.

चौपाई 94
जस दूलहु तसि बनी बराता। कौतुक बिबिध होहिं मग जाता।।

Jas doolahu tasi banee baraataa. kautuk bibidh hohin mag jaataa

As magnificent as the bridegroom was, so splendid was the wedding procession formed. Various delightful festivities took place along the way.

इहाँ हिमाचल रचेउ बिताना। अति बिचित्र नहिं जाइ बखाना।।

Ihaan himaachal racheu bitaanaa. ati bichitr nahin jaai bakhaanaa

Here Himachal prepared wedding pavilions that were so wonderfully beautiful they cannot be described.

सैल सकल जहँ लगि जग माहीं। लघु बिसाल नहिं बरनि सिराहीं।।

Sail sakal jahan lagi jag maaheen. laghu bisaal nahin barani siraaheen

All the mountains that exist in the world, both small and great, cannot be adequately praised or described.

बन सागर सब नदीं तलावा। हिमगिरि सब कहुँ नेवत पठावा।।

Ban saagar sab nadeen talaavaa. himagiri sab kahun nevat pathaavaa

Himachal sent invitations to all forests, oceans, rivers, and lakes.

कामरूप सुंदर तन धारी। सहित समाज सहित बर नारी।।

Kaamaroop sundar tan dhaaree. sahit samaaj sahit bar naaree

Taking beautiful forms at will, they all came with their assemblies and excellent consorts.

गए सकल तुहिनाचल गेहा। गावहिं मंगल सहित सनेहा।।

Gae sakal tuhinaachal gehaa. gaavahin mangal sahit sanehaa

All went to the home of Himachal and sang auspicious songs with great love.

प्रथमहिं गिरि बहु गृह सँवराए। जथाजोगु तहँ तहँ सब छाए।।

Prathamahin giri bahu grih sanvaraae. jathaajogu tahan tahan sab chhaae

First, the mountain had many houses beautifully decorated and arranged appropriately in various places.

पुर सोभा अवलोकि सुहाई। लागइ लघु बिरंचि निपुनाई।।

Pur sobhaa avaloki suhaaee. laagai laghu biranchi nipunaaee

Seeing the beautiful splendor of the city, even Brahma's artistry appears small in comparison.

Commentary & Notes ↓

Poddarji's Commentary

माताएँ लोकरीति करती हैं और दूलह-दुलहिनें सकुचाते हैं। इस महान्‌ आनन्द और विनोदको देखकर श्रीरामचन्द्रजी मन-ही-मन मुसकरा रहे हैं॥३५० (ख)॥ तेजस्वी शत्रु अकेला भी हो तो भी उसे छोटा नहीं समझना चाहिये। जिसका सिरमात्र बचा है, वह राहु आज भी सूर्य और चन्द्रमाको दुःख देता है॥ १७०॥

Notes

Tulsidas opens the baraat sequence with comic parallelism: the groom (Shiva, smeared in ash, garlanded with serpents) is perfectly matched by his retinue of ghosts and goblins. 'Bitaana' (vitaana) is the ceremonial canopy or shamiyana erected for a wedding. The contrast between the bizarre procession and Himachal's exquisite preparations is the engine of the comedy that follows.

छन्द 8
लघु लाग बिधि की निपुनता अवलोकि पुर सोभा सही।

बन बाग कूप तड़ाग सरिता सुभग सब सक को कही।।

मंगल बिपुल तोरन पताका केतु गृह गृह सोहहीं।।

बनिता पुरुष सुंदर चतुर छबि देखि मुनि मन मोहहीं।।

Laghu laag bidhi kee nipunataa avaloki pur sobhaa sahee

Ban baag koop tadaag saritaa subhag sab sak ko kahee

Mangal bipul toran pataakaa ketu grih grih sohaheen

Banitaa purush sundar chatur chhabi dekhi muni man mohaheen

Seeing Rama's form and Sita's grace, | eyes stopped their blinking play;

thinking, shy, they could not speak; | in heart to Brahma pray.

Beholding the true splendor of that city, even Vidhi's craftsmanship seemed small. Its forests, gardens, wells, ponds, and rivers were all so lovely that no tongue could tell their beauty.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामचन्द्रजीका रूप और सीताजीकी छबि देखकर स्त्री-पुरुषोंने पलक मारना छोड़ दिया (सब एकटक उन्हींको देखने लगे)। सभी अपने मनमें सोचते हैं, पर कहते सकुचाते हैं। मन-ही-मन वे विधातासे विनय करते हैं;॥ १॥

Notes

Vidhi (Brahma, the Creator) is humbled by the beauty of Himachal's city. Tulsidas layers natural abundance (ban, baag, koop, tadaag, sarita) to paint an earthly paradise fit for Jagadamba's birthplace. The Chhand metre lifts the tempo, matching the escalating wonder.

जगदंबा जहँ अवतरी सो पुरु बरनि कि जाइ।

रिद्धि सिद्धि संपत्ति सुख नित नूतन अधिकाइ।।94।।

Jagadambaa jahan avataree so puru barani ki jaai

Riddhi siddhi sampatti sukh nit nootan adhikaai (94)

दोहा 94

Can words describe that city blessed | where World-Mother took birth?

Wealth, powers, joy forever grow; | the richest place on earth.

Can one describe the city where Jagadamba, the Mother of the Universe, has taken birth? Its riddhi, siddhi, wealth, and joy grow ever fresh, increasing day by day.

Commentary & Notes ↓

Poddarji's Commentary

जिस नगरमें स्वयं जगदम्बाने अवतार लिया, क्या उसका वर्णन हो सकता है? वहाँ ऋद्धि, सिद्धि, सम्पत्ति और सुख नित-नये बढ़ते जाते हैं॥ ९४॥

Notes

Jagadamba (jagat + amba, 'Mother of the World') is Parvati in her cosmic aspect. Riddhi and siddhi are paired terms for material prosperity and spiritual attainment respectively. 'Nit nootana adhikaai' (ever new, ever increasing) echoes the Vedantic idea that divinity's abundance never stales or depletes.

चौपाई 95
नगर निकट बरात सुनि आई। पुर खरभरु सोभा अधिकाई।।

Nagar nikat baraat suni aaee. pur kharabharu sobhaa adhikaaee

Hearing that the wedding procession had arrived near the city, the town was filled with great excitement and splendor.

करि बनाव सजि बाहन नाना। चले लेन सादर अगवाना।।

Kari banaav saji baahan naanaa. chale len saadar agavaanaa

Making preparations and decorating various vehicles, they went forth respectfully to welcome the procession.

हियँ हरषे सुर सेन निहारी। हरिहि देखि अति भए सुखारी।।

Hiyan harashe sur sen nihaaree. harihi dekhi ati bhae sukhaaree

The gods rejoiced in their hearts seeing the divine army, and became extremely happy beholding Lord Hari.

सिव समाज जब देखन लागे। बिडरि चले बाहन सब भागे।।

Siv samaaj jab dekhan laage. bidari chale baahan sab bhaage

But when they began to see Shiva's assembly, they became frightened and all their vehicles fled.

धरि धीरजु तहँ रहे सयाने। बालक सब लै जीव पराने।।

Dhari dheeraju tahan rahe sayaane. baalak sab lai jeev paraane

The wise ones remained there with patience, while all the children ran away to save their lives.

गएँ भवन पूछहिं पितु माता। कहहिं बचन भय कंपित गाता।।

Gaen bhavan poochhahin pitu maataa. kahahin bachan bhay kampit gaataa

Going home, when parents questioned them, they spoke with bodies trembling in fear.

कहिअ काह कहि जाइ न बाता। जम कर धार किधौं बरिआता।।

Kahia kaah kahi jaai na baataa. jam kar dhaar kidhaun bariaataa

What can we say? The matter cannot be described - it seems as if Death's army has come as wedding guests.

बरु बौराह बसहँ असवारा। ब्याल कपाल बिभूषन छारा।।

Baru bauraah basahan asavaaraa. byaal kapaal bibhooshan chhaaraa

The bridegroom appears mad, riding on a bull, adorned with serpents, skulls, and ashes.

Commentary & Notes ↓

Poddarji's Commentary

रात बीतनेपर, मुर्गेका शब्द कानोंसे सुनकर लक्ष्मणजी उठे। जगत्के स्वामी सुजान श्रीरामचन्द्रजी भी गुरुसे पहले ही जाग गये॥ २२६॥ नगर और आकाशमें बाजे बजने लगे। दुष्टलोग मलिन हो गये और सज्जनलोग सब प्रसन्न हो गये। देवता, किन्नर, मनुष्य, नाग और मुनीश्वर जय-जयकार करके आशीर्वाद दे रहे हैं॥ १॥ उसके सौ पुत्र और दस भाई थे, जो बड़े ही दुष्ट, किसीसे न जीते जानेवाले और देवताओं को दुःख देनेवाले थे। ब्राह्मणों, संतों और देवताओंको दुखी देखकर राजाने उन सबको पहले ही युद्धमें मार डाला था॥ ३॥

Notes

Kharbharu (khar-bharu) is the happy uproar of a town preparing for a wedding. Agavaana (agra + ayana, 'those who go forward') are the formal reception party. Tulsidas builds anticipation: the hosts are dressed in their finest, blissfully unaware of the shock awaiting them when they see Shiva's retinue.

छन्द 9
तन छार ब्याल कपाल भूषन नगन जटिल भयंकरा।

सँग भूत प्रेत पिसाच जोगिनि बिकट मुख रजनीचरा।।

जो जिअत रहिहि बरात देखत पुन्य बड़ तेहि कर सही।

देखिहि सो उमा बिबाहु घर घर बात असि लरिकन्ह कही।।

Tan chhaar byaal kapaal bhooshan nagan jatil bhayankaraa

Sang bhoot pret pisaach jogini bikat mukh rajaneecharaa

Jo jiat rahihi baraat dekhat puny bad tehi kar sahee

Dekhihi so umaa bibaahu ghar ghar baat asi larikanh kahee

On pretext of deer, birds, and trees | she turns again and again;

gazing at Raghuvir's charm | her love grows not small, but plain.

Bodies smeared with ash, serpents and skulls for ornaments, naked, matted-haired, terrifying. With them march bhoots, prets, pisaachas, yoginis, and night-wanderers with hideous faces.

Commentary & Notes ↓

Poddarji's Commentary

मृग, पक्षी और वृक्षोंको देखनेके बहाने सीताजी बार-बार घूम जाती हैं और श्रीरामजीकी छबि देख-देखकर उनका प्रेम कम नहीं बढ़ रहा है--अर्थात्‌ बहुत ही बढ़ता जाता है॥ २३४॥

Notes

This Chhand is the comedic payoff. Tulsidas catalogues Shiva's retinue with relish: chhaar (cremation ash), byaal (serpents), kapaal (skulls), bhoot (ghosts), pret (restless spirits), pisaacha (flesh-eating demons), jogini (tantric yoginis), and rajneechara (night-wanderers, rakshasas). Every detail is calculated to maximise the horror of the townspeople who moments ago were setting out in their wedding finery. The juxtaposition is pure Tulsidas: sacred dread wrapped in folk comedy.

समुझि महेस समाज सब जननि जनक मुसुकाहिं।

बाल बुझाए बिबिध बिधि निडर होहु डरु नाहिं।।95।।

Samujhi mahes samaaj sab janani janak musukaahin

Baal bujhaae bibidh bidhi nidar hohu daru naahin (95)

दोहा 95

They ringed the city, drums beat loud; | each day brought battles new;

all warriors fell with valor's deeds; | the king and brother too.

Understanding that this is the retinue of Mahesha, the mother and father smile to themselves. They comfort the frightened children in gentle ways: "Be at ease, little ones. There is nothing to fear."

Commentary & Notes ↓

Poddarji's Commentary

और उन्होंने डंका बजाकर नगरको घेर लिया। नित्यप्रति अनेक प्रकारसे लड़ाई होने लगी। [प्रतापभानुके] सब योद्धा [शूरवीरोंकी] करनी करके रणमें जूझ मरे। राजा भी भाईसहित खेत रहा॥ ३॥

Notes

Doha 95. Mahesha = Shiva. The parents recognize that Shiva's ghostly attendants are harmless and lovingly reassure the children. 'Samajhi Mahesha samaaja' conveys that the elders see through the fearsome appearances to the divine reality behind them.

चौपाई 96
लै अगवान बरातहि आए। दिए सबहि जनवास सुहाए।।

Lai agavaan baraatahi aae. die sabahi janavaas suhaae

Taking the wedding procession ahead, they arrived and were given beautiful lodgings for all.

मैनाँ सुभ आरती सँवारी। संग सुमंगल गावहिं नारी।।

Mainaan subh aaratee sanvaaree. sang sumangal gaavahin naaree

Maina prepared the auspicious aarti ceremony, while women sang blessed songs in accompaniment.

कंचन थार सोह बर पानी। परिछन चली हरहि हरषानी।।

Kanchan thaar soh bar paanee. parichhan chalee harahi harashaanee

With golden plates containing holy water, she joyfully went forth to receive Hara (Shiva).

बिकट बेष रुद्रहि जब देखा। अबलन्ह उर भय भयउ बिसेषा।।

Bikat besh rudrahi jab dekhaa. abalanh ura bhay bhayau biseshaa

When the women saw Rudra in his fierce form, great fear arose especially in their hearts.

भागि भवन पैठीं अति त्रासा। गए महेसु जहाँ जनवासा।।

Bhaagi bhavan paitheen ati traasaa. gae mahesu jahaan janavaasaa

In great terror, they fled and entered the palace, while Mahesh went to where his lodging was.

मैना हृदयँ भयउ दुखु भारी। लीन्ही बोलि गिरीसकुमारी।।

Mainaa hridayan bhayau dukhu bhaaree. leenhee boli gireesakumaaree

Maina's heart was filled with heavy sorrow, and she called for the daughter of the mountain king.

अधिक सनेहँ गोद बैठारी। स्याम सरोज नयन भरे बारी।।

Adhik sanehan god baithaaree. syaam saroj nayan bhare baaree

With great affection she seated her in her lap, her lotus-like eyes filled with tears.

जेहिं बिधि तुम्हहि रूपु अस दीन्हा। तेहिं जड़ बरु बाउर कस कीन्हा।।

Jehin bidhi tumhahi roopu asa deenhaa. tehin jad baru baaur kas keenhaa

She who gave you such beauty, how did that Creator foolishly make your groom so mad?

Commentary & Notes ↓

Poddarji's Commentary

सीताजीकी आज्ञा सुनकर सब सिद्धियाँ जहाँ जनवासा था वहाँ गयीं, इन्द्रपुरीके भोग-विलास और सारी सम्पदा, सुख लिये हुए॥ ३०६॥

Notes

Chaupai 96. Baraat = the groom's wedding procession. Janvaasa = guest quarters for the groom's party. Aarti = the lamp offering of welcome. Shubha mangala = auspicious wedding songs. Maina personally leads the welcome, showing her devotion as mother of the bride.

छन्द 10
कस कीन्ह बरु बौराह बिधि जेहिं तुम्हहि सुंदरता दई।

जो फलु चहिअ सुरतरुहिं सो बरबस बबूरहिं लागई।।

तुम्ह सहित गिरि तें गिरौं पावक जरौं जलनिधि महुँ परौं।।

घरु जाउ अपजसु होउ जग जीवत बिबाहु न हौं करौं।।

Kas keenh baru bauraah bidhi jehin tumhahi sundarataa daee

Jo phalu chahia surataruhin so barabas baboorahin laagaee

Tumh sahit giri ten giraun paavak jaraun jalanidhi mahun paraun

Gharu jaau apajasu hou jag jeevat bibaahu na haun karaun

If Lakshmi thus were born as root | of beauty and delight,

even then poets would hesitate | to call her Sita's might.

"What has the maddened Vidhi done, He who gave you such beauty? The fruit that belongs upon the Surataru, the wish-fulfilling tree, He has forced upon a thorny babool instead!"

Commentary & Notes ↓

Poddarji's Commentary

इस प्रकार (का संयोग होनेसे) जब सुन्दरता और सुखकी मूल लक्ष्मी उत्पन्न हो, तब भी कवि लोग उसे (बहुत) संकोचके साथ सीताजीके समान कहेंगे॥ २४७॥

Notes

Chhand 10. Maina's lament. Vidhi = Brahma, the Creator. Surataru (also Kalpataru) = the celestial wish-fulfilling tree, here meaning that Parvati deserves the finest husband. Babool = a thorny desert tree, Maina's bitter reference to ash-smeared, serpent-garlanded Shiva. The verse captures a mother's anguish: her radiant daughter given to one who, by worldly appearance, seems entirely unworthy.

भई बिकल अबला सकल दुखित देखि गिरिनारि।

करि बिलापु रोदति बदति सुता सनेहु सँभारि।।96।।

Bhaee bikal abalaa sakal dukhit dekhi girinaari

Kari bilaapu rodati badati sutaa sanehu sanbhaari (96)

दोहा 96

Kosala's lord honored in full | his dear co-father fine;

their meeting showed such humble love | hearts could not it confine.

All the women became distraught upon seeing the mountain queen's sorrow. Lamenting and weeping, they spoke tenderly, their hearts overflowing with love for the daughter they remembered so dearly.

Commentary & Notes ↓

Poddarji's Commentary

अयोध्यानाथ दशरथजीने अपने स्वजन समधी का सब प्रकारसे सम्मान किया। उनके आपसके मिलनेमें अत्यन्त विनय थी और इतनी प्रीति थी जो हृदयमें समाती न थी॥ ३४०॥

Notes

Doha 96. Girinari = queen of the mountain (Maina, wife of Himavan). 'Suta snehu sambhari' = recalling their affection for the daughter. The collective grief of the women mirrors Maina's own, amplifying the emotional weight of the scene.

चौपाई 97
नारद कर मैं काह बिगारा। भवनु मोर जिन्ह बसत उजारा।।

Naarad kar main kaah bigaaraa. bhavanu mor jinh basat ujaaraa

What harm has Narada done to me? He who has made my home desolate and empty.

अस उपदेसु उमहि जिन्ह दीन्हा। बौरे बरहि लगि तपु कीन्हा।।

Asa upadesu umahi jinh deenhaa. baure barahi lagi tapu keenhaa

He gave such counsel to Uma that she went mad and performed severe penance for a husband.

साचेहुँ उन्ह के मोह न माया। उदासीन धनु धामु न जाया।।

Saachehun unh ke moh na maayaa. udaaseen dhanu dhaamu na jaayaa

Truly, he has no attachment or delusion, being detached with no wealth, home or wife.

पर घर घालक लाज न भीरा। बाझँ कि जान प्रसव कैं पीरा।।

Par ghar ghaalak laaj na bheeraa. baajhan ki jaan prasav kain peeraa

A destroyer of others' homes feels no shame or fear - how can a barren woman know the pain of childbirth?

जननिहि बिकल बिलोकि भवानी। बोली जुत बिबेक मृदु बानी।।

Jananihi bikal biloki bhavaanee. bolee jut bibek mridu baanee

Seeing her mother distressed, Bhavani spoke with gentle words filled with wisdom.

अस बिचारि सोचहि मति माता। सो न टरइ जो रचइ बिधाता।।

Asa bichaari sochahi mati maataa. so na tarai jo rachai bidhaataa

Thinking thus, do not grieve, O wise mother - what the Creator ordains cannot be changed.

करम लिखा जौ बाउर नाहू। तौ कत दोसु लगाइअ काहू।।

Karam likhaa jau baaur naahoo. tau kat dosu lagaaia kaahoo

If it was written in fate that I would have no husband, then whose fault can be blamed?

तुम्ह सन मिटहिं कि बिधि के अंका। मातु ब्यर्थ जनि लेहु कलंका।।

Tumh san mitahin ki bidhi ke ankaa. maatu byarth jani lehu kalankaa

Can you erase the marks of destiny? Mother, do not take this blame upon yourself in vain.

Commentary & Notes ↓

Poddarji's Commentary

राजाको अपने अधीन जानकर कपटमें प्रवीण तपस्वी बोला;हे राजन्! सुनो, मैं तुमसे सत्य कहता हूँ, जगत्में मुझे कुछ भी दुर्लभ नहीं है॥ १॥

Notes

Chaupai 97. Maina blames Narada for having inspired Parvati's tapasya toward Shiva, and blames Vidhi (Brahma, the Creator) for writing such a fate. 'Bhavanu mora jinha basat ujaara' = he who ruined my flourishing household. Her grief is deeply human: a mother searching for someone to hold responsible when her daughter's destiny feels unbearable.

छन्द 11
जनि लेहु मातु कलंकु करुना परिहरहु अवसर नहीं।

दुखु सुखु जो लिखा लिलार हमरें जाब जहँ पाउब तहीं।।

सुनि उमा बचन बिनीत कोमल सकल अबला सोचहीं।।

बहु भाँति बिधिहि लगाइ दूषन नयन बारि बिमोचहीं।।

Jani lehu maatu kalanku karunaa pariharahu avasar naheen

Dukhu sukhu jo likhaa lilaar hamaren jaab jahan paaub taheen

Suni umaa bachan bineet komal sakal abalaa sochaheen

Bahu bhaanti bidhihi lagaai dooshan nayan baari bimochaheen

White as jasmine-moon, | Uma's Lord, compassion's shrine,

who loves the lowly ones; | Kama's slayer, grace be mine.

"Do not invite dishonour upon yourself, dear Mother. Set aside this grief; this is not the moment for it. Whatever sorrow or joy is written upon my forehead, I shall go wherever I am placed."

Commentary & Notes ↓

Poddarji's Commentary

जिनका शरीर कुन्द के फूल और चन्द्रमा के समान गौर है, जो उमा (पार्वतीजी) के पति और करुणा के धाम हैं तथा जिनका दीनों पर स्नेह है, वे कामदेव को भस्म करनेवाले (शङ्करजी) मुझपर कृपा करें॥ ४॥

Notes

Parvati consoles Maina before departing for her tapasya. The verse radiates quiet surrender: she accepts destiny without complaint and gently steadies her mother's heart. 'Likhaa lilaar' (written on the forehead) is the classic Avadhi idiom for fate inscribed by Vidhi (Brahma).

तेहि अवसर नारद सहित अरु रिषि सप्त समेत।

समाचार सुनि तुहिनगिरि गवने तुरत निकेत।।97।।

Tehi avasar naarad sahit aru rishi sapt samet

Samaachaar suni tuhinagiri gavane turat niket (97)

दोहा 97

Some raced to meet each other, joy | breaking every bound,

like two oceans of bliss that merge | beyond their limit's ground.

At that very moment, hearing the news, Narada arrived at once at the home of Himavan, accompanied by the seven great rishis.

Commentary & Notes ↓

Poddarji's Commentary

[बराती तथा अगवानोंमेंसे] कुछ लोग परस्पर मिलनेके लिये हर्षके मारे बाग छोड़कर (सरपट) दौड़ चले, और ऐसे मिले मानो आनन्दके दो समुद्र मर्यादा छोड़कर मिलते हों॥ ३०५॥

Notes

Doha 97 in Poddarji's numbering. 'Tuhinagiri' (Mountain of Snow) is an epithet for Himavan. The Saptarishis lend cosmic witness to what follows: the revelation of Parvati's true identity.

चौपाई 98
तब नारद सबहि समुझावा। पूरुब कथाप्रसंगु सुनावा।।

Tab naarad sabahi samujhaavaa. poorub kathaaprasangu sunaavaa

Then Narada explained everything to all and narrated the previous story and its context.

मयना सत्य सुनहु मम बानी। जगदंबा तव सुता भवानी।।

Mayanaa saty sunahu mam baanee. jagadambaa tav sutaa bhavaanee

O Mainaka, listen to my true words - Bhavani is the daughter of Jagadamba, the Universal Mother.

अजा अनादि सक्ति अबिनासिनि। सदा संभु अरधंग निवासिनि।।

Ajaa anaadi sakti abinaasini. sadaa sambhu aradhang nivaasini

She is the unborn, beginningless, imperishable divine power who eternally resides as half of Shambhu's form.

जग संभव पालन लय कारिनि। निज इच्छा लीला बपु धारिनि।।

Jag sambhav paalan lay kaarini. nij ichchhaa leelaa bapu dhaarini

She is the cause of creation, preservation and dissolution of the world, and assumes bodily forms through her own divine will and play.

जनमीं प्रथम दच्छ गृह जाई। नामु सती सुंदर तनु पाई।।

Janameen pratham dachchh grih jaaee. naamu satee sundar tanu paaee

First she was born in Daksha's house, taking the name Sati and obtaining a beautiful form.

तहँहुँ सती संकरहि बिबाहीं। कथा प्रसिद्ध सकल जग माहीं।।

Tahanhun satee sankarahi bibaaheen. kathaa prasiddh sakal jag maaheen

There too Sati married Shankara - this story is famous throughout the world.

एक बार आवत सिव संगा। देखेउ रघुकुल कमल पतंगा।।

Eka baar aavat siv sangaa. dekheu raghukul kamal patangaa

Once while coming with Shiva, she saw Rama, the sun to the lotus of Raghu's dynasty.

भयउ मोहु सिव कहा न कीन्हा। भ्रम बस बेषु सीय कर लीन्हा।।

Bhayau mohu siv kahaa na keenhaa. bhram bas beshu seey kar leenhaa

She became infatuated, and Shiva said nothing about it. In her delusion, she assumed Sita's form.

Commentary & Notes ↓

Poddarji's Commentary

तब राजा जनकने पुरोहित शतानन्दजीसे कहा कि अब विलम्बका क्या कारण है। तब शतानन्दजीने मन्त्रियोंको बुलाया। वे सब मङ्गलका सामान सजाकर ले आये॥ फिर भिक्षुकोंको बुलाकर करोड़ों प्रकारकी निछावरें उनको दीं। 'चक्रवर्ती महाराज दशरथके चारों पुत्र चिरंजीवी हों'॥ २९५॥ हे प्रतापभानु! सुनो, इस बातके प्रकट करनेसे अथवा ब्राह्मणोंके शापसे तुम्हारा नाश होगा और किसी उपायसे, चाहे ब्रह्मा और शंकर भी मनमें क्रोध करें, तुम्हारी मृत्यु नहीं होगी॥ २॥ हे मुनि! आप पृथ्वी, गौ, धन और खजाना माँग लीजिये, मैं आज बड़े हर्षके साथ अपना सर्वस्व दे दूँगा। देह और प्राणसे अधिक प्यारा कुछ भी नहीं होता, मैं उसे भी एक पलमें दे दूँगा॥ ३॥

Notes

Chaupai 98. Narada opens the revelation gently, first telling the 'poorva katha-prasangu' (the earlier episode) before delivering the core truth. 'Jagadamba' (Mother of the World) is the highest honorific for the Goddess, establishing Parvati's divinity beyond doubt. Couplet pairs separated per formatting rule.

छन्द 12
सिय बेषु सती जो कीन्ह तेहि अपराध संकर परिहरीं।

हर बिरहँ जाइ बहोरि पितु कें जग्य जोगानल जरीं।।

अब जनमि तुम्हरे भवन निज पति लागि दारुन तपु किया।

अस जानि संसय तजहु गिरिजा सर्बदा संकर प्रिया।।

Siy beshu satee jo keenh tehi aparaadh sankar parihareen

Har birahan jaai bahori pitu ken jagy jogaanal jareen

Aba janami tumhare bhavan nij pati laagi daarun tapu kiyaa

Asa jaani sansay tajahu girijaa sarbadaa sankar priyaa

Peaceful garb but harsh in deed; | his form none can define;

as if Hero-Rasa donned sage's form | and came to that royal shrine.

"Sati once assumed the guise of Sita, and for that transgression Shankara renounced her. In anguish of separation from Shiva, she then gave up her body at her father Daksha's yajna."

Commentary & Notes ↓

Poddarji's Commentary

शान्त वेष है, परन्तु करनी बहुत कठोर है; स्वरूपका वर्णन नहीं किया जा सकता। मानो वीर रस ही मुनिका शरीर धारण करके, जहाँ सब राजालोग हैं वहाँ आ गया हो॥ २६८॥

Notes

Chhand 12. Narada recounts the pivotal backstory: Sati doubted Rama's divinity, disguised herself as Sita to test Him, and Shiva, perceiving the offence, withdrew from her. The phrase 'Har birahaan' (in separation from Hara/Shiva) captures the searing pain that led Sati to immolate herself at Daksha's sacrificial fire. This context transforms Parvati's tapasya from a girl's penance into a cosmic reunion.

सुनि नारद के बचन तब सब कर मिटा बिषाद।

छन महुँ ब्यापेउ सकल पुर घर घर यह संबाद।।98।।

Suni naarad ke bachan tab sab kar mitaa bishaad

Chhan mahun byaapeu sakal pur ghar ghar yah sambaad (98)

दोहा 98

Hearing her friend, the queen believed; | her sorrow fled, love grew;

Sita, seeing Rama then, | prayed to each god she knew.

Hearing Narada's words, everyone's sorrow vanished at once. In a single moment, this joyful news spread through the entire city, from house to house.

Commentary & Notes ↓

Poddarji's Commentary

सखीके वचन सुनकर रानीको [श्रीरामजीके सामर्थ्यके सम्बन्धमें] विश्वास हो गया। उनकी उदासी मिट गयी और श्रीरामजीके प्रति उनका प्रेम अत्यन्त बढ़ गया। उस समय श्रीरामचन्द्रजीको देखकर सीताजी भयभीत हृदयसे जिस-तिस [देवता] से विनती कर रही हैं॥ २॥

Notes

Doha 98 in Poddarji's numbering. 'Bishad' (grief/despair) dissolves instantly upon the revelation of Parvati's divine identity. The rapid spread of the 'sambaad' (tidings) from home to home mirrors the way truth, once spoken by a realized sage, dispels ignorance everywhere it reaches.

चौपाई 99
तब मयना हिमवंतु अनंदे। पुनि पुनि पारबती पद बंदे।।

Tab mayanaa himavantu anande. puni puni paarabatee pad bande

Then Maina and Himavan rejoiced greatly and repeatedly bowed at Parvati's feet.

नारि पुरुष सिसु जुबा सयाने। नगर लोग सब अति हरषाने।।

Naari purush sisu jubaa sayaane. nagar log sab ati harashaane

Women, men, children, youth, and elders - all the people of the city were extremely delighted.

लगे होन पुर मंगलगाना। सजे सबहि हाटक घट नाना।।

Lage hon pur mangalagaanaa. saje sabahi haatak ghat naanaa

Auspicious songs began to be sung throughout the city, and various golden vessels were decorated.

भाँति अनेक भई जेवराना। सूपसास्त्र जस कछु ब्यवहारा।।

Bhaanti anek bhaee jevaraanaa. soopasaastr jas kachhu byavahaaraa

Many kinds of feasts were prepared according to the proper customs and scriptural traditions.

सो जेवनार कि जाइ बखानी। बसहिं भवन जेहिं मातु भवानी।।

So jevanaar ki jaai bakhaanee. basahin bhavan jehin maatu bhavaanee

How can one describe that feast in the house where Mother Bhavani resides?

सादर बोले सकल बराती। बिष्नु बिरंचि देव सब जाती।।

Saadar bole sakal baraatee. bishnu biranchi dev sab jaatee

All the wedding guests spoke respectfully - Vishnu, Brahma, and gods of every class.

बिबिधि पाँति बैठी जेवनारा। लागे परुसन निपुन सुआरा।।

Bibidhi paanti baithee jevanaaraa. laage parusan nipun suaaraa

The feast-goers sat in various rows, and skilled servants began to serve them.

नारिबृंद सुर जेवँत जानी। लगीं देन गारीं मृदु बानी।।

Naaribrind sur jevant jaanee. lageen den gaareen mridu baanee

The groups of women, knowing the gods were dining, began to sing playful songs in sweet voices.

Commentary & Notes ↓

Poddarji's Commentary

और सुन्दर अञ्जलियोंमें सजा-सजाकर पुष्प बरसाने लगे। आकाशमें घमाघम नगाड़े बजने लगे। नाग, मुनि और देवता स्तुति करने लगे और अपनी-अपनी सेवा (उपहार) बहुत प्रकारसे भेंट करने लगे॥

Notes

Maina (Parvati's mother) and Himavant (her father, the mountain-king) represent parental devotion at its purest. The entire city's joy mirrors the cosmic celebration that greets any union of Shiva and Shakti. 'Puni puni' (again and again) conveys the overflowing, irrepressible nature of their reverence.

छन्द 13
गारीं मधुर स्वर देहिं सुंदरि बिंग्य बचन सुनावहीं।

भोजनु करहिं सुर अति बिलंबु बिनोदु सुनि सचु पावहीं।।

जेवँत जो बढ्यो अनंदु सो मुख कोटिहूँ न परै कह्यो।

अचवाँइ दीन्हे पान गवने बास जहँ जाको रह्यो।।

Gaareen madhur svar dehin sundari bingy bachan sunaavaheen

Bhojanu karahin sur ati bilambu binodu suni sachu paavaheen

Jevant jo badhyo anandu so mukh kotihoon na parai kahyo

Achavaani deenhe paan gavane baas jahan jaako rahyo

He saw the boar like mountain blue; | he whipped his horse and cried:

'No escape for you today!'; | and charged with royal pride.

Beautiful women sing teasing wedding songs in sweet voices, delivering witty and playful words. The gods partake of the wedding feast. There is great delay, for time itself slips away in delightful celebration.

Commentary & Notes ↓

Poddarji's Commentary

नीले पर्वतके शिखरके समान विशाल [शरीरवाले] उस सूअरको देखकर राजाने घोड़ेको चाबुक लगाकर तेजीसे दौड़ाया और उसने सूअरको ललकारा कि अब तेरा बचाव नहीं हो सकता॥ १५६॥

Notes

The 'gaari' (teasing wedding songs, also called galis) are a cherished North Indian tradition in which the bride's family lovingly teases the groom's party. Even the gods (sura) linger, captivated by the festivities. 'Bilambu' (delay) is not impatience but enchantment. The Chhand metre here lends a lyrical, song-like quality befitting the scene.

बहुरि मुनिन्ह हिमवंत कहुँ लगन सुनाई आइ।

समय बिलोकि बिबाह कर पठए देव बोलाइ।।99।।

Bahuri muninh himavant kahun lagan sunaaee aai

Samay biloki bibaah kar pathae dev bolaai (99)

दोहा 99

Take monkey forms and go to Earth, | serve Hari's feet below;

thus teaching them, Lord Brahma then | to his own world did go.

Then the sages came and announced the auspicious time to Himavant. Seeing that the right moment had arrived, they sent word to summon the gods for the wedding.

Commentary & Notes ↓

Poddarji's Commentary

देवताओंको यही सिखाकर कि वानरोंका शरीर धर-धरकर तुमलोग पृथ्वीपर जाकर भगवानके चरणोंकी सेवा करो, ब्रह्माजी अपने लोकको चले गये॥ १८७॥

Notes

The 'lagna' is the precise auspicious moment determined by sacred astrology for performing the wedding rites. 'Samaya biloki' (observing the right moment) underscores the Vedic reverence for cosmic timing. The sages (muni) serve as the bridge between divine ordinance and earthly ceremony. Doha numbered 99 in the text.

चौपाई 100
बोलि सकल सुर सादर लीन्हे। सबहि जथोचित आसन दीन्हे।।

Boli sakal sur saadar leenhe. sabahi jathochit aasan deenhe

Calling all the gods, they were respectfully received and each was given an appropriate seat according to their status.

बेदी बेद बिधान सँवारी। सुभग सुमंगल गावहिं नारी।।

Bedee bed bidhaan sanvaaree. subhag sumangal gaavahin naaree

The sacred altar was beautifully arranged according to Vedic rituals, and women sang auspicious and melodious songs.

सिंघासनु अति दिब्य सुहावा। जाइ न बरनि बिरंचि बनावा।।

Singhaasanu ati diby suhaavaa. jaai na barani biranchi banaavaa

There was an extremely divine and beautiful throne, so magnificent that it cannot be described, created by Brahma himself.

बैठे सिव बिप्रन्ह सिरु नाई। हृदयँ सुमिरि निज प्रभु रघुराई।।

Baithe siv bipranh siru naaee. hridayan sumiri nij prabhu raghuraaee

Shiva sat down after bowing his head to the Brahmins, remembering his beloved Lord Raghurai in his heart.

बहुरि मुनीसन्ह उमा बोलाई। करि सिंगारु सखीं लै आई।।

Bahuri muneesanh umaa bolaaee. kari singaaru sakheen lai aaee

Then the great sage called Uma, who came beautifully adorned, accompanied by her female companions.

देखत रूपु सकल सुर मोहे। बरनै छबि अस जग कबि को है।।

Dekhat roopu sakal sur mohe. baranai chhabi asa jag kabi ko hai

Seeing her beauty, all the gods were enchanted. What poet in this world could describe such splendor?

जगदंबिका जानि भव भामा। सुरन्ह मनहिं मन कीन्ह प्रनामा।।

Jagadambikaa jaani bhav bhaamaa. suranh manahin man keenh pranaamaa

Recognizing her as Jagadambika, the beloved consort of Shiva, the gods offered their mental obeisance to her.

सुंदरता मरजाद भवानी। जाइ न कोटिहुँ बदन बखानी।।

Sundarataa marajaad bhavaanee. jaai na kotihun badan bakhaanee

Bhavani is the very embodiment of beauty's perfection, which cannot be described even by millions of tongues.

Commentary & Notes ↓

Poddarji's Commentary

कामदेवने फूलोंका ही धनुष-बाण लेकर समस्त लोकोंको अपने वशमें कर रखा है। हे देवी! ऐसा जानकर सन्देह त्याग दीजिये। हे रानी! सुनिये, रामचन्द्रजी धनुषको अवश्य ही तोड़ेंगे॥ १॥ एक बार माताने श्रीरामचन्द्रजीको स्नान कराया और शृंगार करके पालनेपर पौढ़ा दिया। फिर अपने कुलके इष्टदेव भगवान्‌की पूजाके लिये स्नान किया॥ १॥ जिसको जैसी योग्यता थी, उसके अनुसार घरोंको बाँटकर रावणने सब राक्षसोंको सुखी किया। एक बार वह कुबेरपर चढ़ दौड़ा और उससे पुष्पकविमानको जीतकर ले आया॥ ४॥ यह विचार करनेमें देर नहीं लगी। [मुनिने] कुछ नियम (जपादि) किया और चल दिये। सरयूजीके जलमें स्नान करके राजा दशरथजीके दरबारमें गये॥ २०६॥ दशरथके महलकी शोभा कौन कवि वर्णन कर सकता है, जहाँ समस्त देवताओंके शिरोमणि रामचन्द्रजीने अवतार लिया है॥ २९६॥

Notes

The 'bedi' (vedi) is the sacred fire-altar at the heart of a Vedic wedding. 'Beda bidhana' (Vedic ordinance) confirms that even this divine wedding follows scriptural form. The 'kalasha' (sacred vessel, typically filled with water, topped with mango leaves and a coconut) symbolizes abundance, purity, and the presence of the divine. 'Jathochita' (befitting each one's rank) reflects the dharmic order even among the celestials.

छन्द 14
कोटिहुँ बदन नहिं बनै बरनत जग जननि सोभा महा।

सकुचहिं कहत श्रुति सेष सारद मंदमति तुलसी कहा।।

छबिखानि मातु भवानि गवनी मध्य मंडप सिव जहाँ।।

अवलोकि सकहिं न सकुच पति पद कमल मनु मधुकरु तहाँ।।

Kotihun badan nahin banai baranat jag janani sobhaa mahaa

Sakuchahin kahat shruti sesh saarad mandamati tulasee kahaa

Chhabikhaani maatu bhavaani gavanee madhy mandap siv jahaan

Avaloki sakahin na sakuch pati pad kamal manu madhukaru tahaan

So saying, he clasped the sage's feet: | 'Be gracious, master mine!

O saint, compassionate to poor, | bear trouble for this design!'

Even with tens of millions of mouths, one could not fully describe the surpassing beauty of Jagadamba, the Mother of the World. The Vedas, Shesha, and Sarasvati themselves hesitate to speak of it. What then can the slow-witted Tulasi possibly say?

Commentary & Notes ↓

Poddarji's Commentary

ऐसा कहकर राजाने मुनिके चरण पकड़ लिये। [और कहा;] हे स्वामी! कृपा कीजिये। आप संत हैं। दीनदयालु हैं। [अतः] हे प्रभो! मेरे लिये इतना कष्ट [अवश्य] सहिये॥ १६७॥

Notes

Tulasidasa's signature humility closes this passage with a classic 'apophatic' gesture: praising by declaring the impossibility of praise. 'Kotihun badana' (crores of mouths) echoes the Vishvarupa vision and Ananta-Shesha's thousand tongues. Shruti (the Vedas), Shesha (the cosmic serpent who bears the world), and Sharada (Sarasvati, goddess of speech) are the highest authorities on expression, yet even they fall silent before Jagadamba's splendour. 'Mandamati Tulasi' (dull-witted Tulasi) is the poet's loving self-effacement before the Divine Mother.

मुनि अनुसासन गनपतिहि पूजेउ संभु भवानि।

कोउ सुनि संसय करै जनि सुर अनादि जियँ जानि।।100।।

Muni anusaasan ganapatihi poojeu sambhu bhavaani

Kou suni sansay karai jani sur anaadi jiyan jaani (100)

दोहा 100

The sage said: 'Hear, O Solar lord! | The bow meant wedding's seal;

it broke;the marriage is complete, | as gods and serpents feel.'

By the sage's command, Shambhu and Bhavani worshipped Ganapati. Let no one harbour doubt on hearing this; know in your heart that the gods are beginningless, and they act only for the world's instruction.

Commentary & Notes ↓

Poddarji's Commentary

मुनिने कहा;हे चतुर नरेश! सुनो, यों तो विवाह धनुषके अधीन था; धनुषके टूटते ही विवाह हो गया। देवता, मनुष्य और नाग सब किसीको यह मालूम है॥ ४॥

Notes

Doha 100. Tulsidas anticipates the listener's objection: how can Shiva, father of Ganesha, worship his own son? The answer is that the gods transcend ordinary sequence; their acts are leela performed for dharma's sake. 'Shambhu' (Shambhu) = the benevolent one, a name of Shiva. 'Bhavani' (Bhavaani) = Parvati. 'Ganapati' (Ganapati) = Ganesha, lord of the ganas.

चौपाई 101
जसि बिबाह कै बिधि श्रुति गाई। महामुनिन्ह सो सब करवाई।।

Jasi bibaah kai bidhi shruti gaaee. mahaamuninh so sab karavaaee

The great sages performed all the wedding rituals according to the procedures prescribed in the Vedas.

गहि गिरीस कुस कन्या पानी। भवहि समरपीं जानि भवानी।।

Gahi girees kus kanyaa paanee. bhavahi samarapeen jaani bhavaanee

Lord Shiva took the maiden's hand with sacred kusha grass, recognizing her as Bhavani, his eternal consort.

पानिग्रहन जब कीन्ह महेसा। हिंयँ हरषे तब सकल सुरेसा।।

Paanigrahan jab keenh mahesaa. hinyan harashe tab sakal suresaa

When Mahesha performed the hand-taking ceremony, all the gods rejoiced in their hearts.

बेद मंत्र मुनिबर उच्चरहीं। जय जय जय संकर सुर करहीं।।

Bed mantr munibar uchcharaheen. jay jay jay sankar sur karaheen

The great sages chanted Vedic mantras while the gods exclaimed 'Victory, victory, victory to Shankara!'

बाजहिं बाजन बिबिध बिधाना। सुमनबृष्टि नभ भै बिधि नाना।।

Baajahin baajan bibidh bidhaanaa. sumanabrishti nabh bhai bidhi naanaa

Various musical instruments played melodiously, and diverse showers of flowers rained from the sky.

हर गिरिजा कर भयउ बिबाहू। सकल भुवन भरि रहा उछाहू।।

Har girijaa kar bhayau bibaahoo. sakal bhuvan bhari rahaa uchhaahoo

The marriage of Hara and Girija was completed, and joy filled all the worlds.

दासीं दास तुरग रथ नागा। धेनु बसन मनि बस्तु बिभागा।।

Daaseen daas turag rath naagaa. dhenu basan mani bastu bibhaagaa

Servants, horses, chariots, elephants, cows, clothes, jewels and various precious objects were given.

अन्न कनकभाजन भरि जाना। दाइज दीन्ह न जाइ बखाना।।

Ann kanakabhaajan bhari jaanaa. daaij deenh na jaai bakhaanaa

Golden vessels filled with grains and countless other gifts were given as dowry that cannot be described.

Commentary & Notes ↓

Poddarji's Commentary

रघुकुलके शिरोमणि प्रभु श्रीरामचन्द्रजी ऋषियोंके साथ भोजन और विश्राम करके भाई लक्ष्मणसमेत बैठे। उस समय पहरभर दिन रह गया था॥ २१७॥

Notes

Chaupai 101. 'Shruti' (shruti) = the Vedas. 'Kusha' (kusha) = sacred darbha grass held during the giving-away ceremony. 'Bhava' (Bhava) = existence itself, a name of Shiva. 'Bhavani' (Bhavaani) = she who belongs to Bhava. Himavan performs kanyadan (kanyaadaan), the ritual offering of the bride, with full Vedic rites. Tulsidas emphasises that the sages themselves officiated, lending the ceremony the highest scriptural authority.

छन्द 15
दाइज दियो बहु भाँति पुनि कर जोरि हिमभूधर कह्यो।

का देउँ पूरनकाम संकर चरन पंकज गहि रह्यो।।

सिवँ कृपासागर ससुर कर संतोषु सब भाँतिहिं कियो।

पुनि गहे पद पाथोज मयनाँ प्रेम परिपूरन हियो।।

Daaij diyo bahu bhaanti puni kar jori himabhoodhar kahyo

Kaa deun pooranakaam sankar charan pankaj gahi rahyo

Sivan kripaasaagar sasur kar santoshu sab bhaantihin kiyo

Puni gahe pad paathoj mayanaan prem paripooran hiyo

The king was won; he told his name; | the sage then said with art:

'O king, I know you well;your guile | was pleasing to my heart.'

Himachal gave dahej of many kinds. Then, with joined palms, the mountain king spoke: "What can I offer to one who is already complete in every desire? I can only cling to Shankara's lotus feet."

Commentary & Notes ↓

Poddarji's Commentary

राजा सुनकर उस तपस्वीके वशमें हो गया और तब वह उसे अपना नाम बताने लगा। तपस्वीने कहा;राजन्! मैं तुमको जानता हूँ। तुमने कपट किया, वह मुझे अच्छा लगा॥ ४॥

Notes

Chhand 15. 'Dahej' (dahej) = dowry, the traditional gifts given by the bride's family. 'Purna-kama' (poorna-kaama) = one whose every desire is already fulfilled. 'Shankara' (Shankara) = he who bestows auspiciousness, a name of Shiva. Himavan's words reveal the deepest humility of a devotee: before the Lord who lacks nothing, the only true offering is surrender at his feet.

नाथ उमा मन प्रान सम गृहकिंकरी करेहु।

छमेहु सकल अपराध अब होइ प्रसन्न बरु देहु।।101।।

Naath umaa man praan sam grihakinkaree karehu

Chhamehu sakal aparaadh aba hoi prasann baru dehu (101)

दोहा 101

'Your name is Glory-sun, your sire | was Satyaketu's fame;

by guru's grace I know it all; | but silence guards my name.'

"O Lord, Uma is as dear to me as my own mind and life-breath. Accept her as a servant of your household. Forgive all our shortcomings. Be gracious now and grant us your blessing."

Commentary & Notes ↓

Poddarji's Commentary

तुम्हारा नाम प्रतापभानु है, महाराज सत्यकेतु तुम्हारे पिता थे। हे राजन्! गुरुकी कृपासे मैं सब जानता हूँ, पर अपनी हानि समझकर कहता नहीं॥ १॥

Notes

Doha 101. Himavan's farewell prayer. 'Uma' (Umaa) = Parvati, 'light' or 'splendour.' 'Griha-kinkari' (griha-kinkari) = maidservant of the household. The father does not ask for wealth or status for his daughter; he asks only that the Lord be pleased and forgiving. This is the spirit of prapatti (prapatti), total surrender.

चौपाई 102
बहु बिधि संभु सास समुझाई। गवनी भवन चरन सिरु नाई।।

Bahu bidhi sambhu saas samujhaaee. gavanee bhavan charan siru naaee

Shambhu's mother-in-law counseled her in many ways and then departed to her home, bowing her head at Parvati's feet.

जननीं उमा बोलि तब लीन्ही। लै उछंग सुंदर सिख दीन्ही।।

Jananeen umaa boli tab leenhee. lai uchhang sundar sikh deenhee

Then Uma's mother called her and took her in her lap, giving beautiful advice.

करेहु सदा संकर पद पूजा। नारिधरमु पति देउ न दूजा।।

Karehu sadaa sankar pad poojaa. naaridharamu pati deu na doojaa

Always worship the feet of Shankara, for a woman's dharma is to serve no other deity than her husband.

बचन कहत भरे लोचन बारी। बहुरि लाइ उर लीन्हि कुमारी।।

Bachan kahat bhare lochan baaree. bahuri laai ura leenhi kumaaree

While speaking these words, her eyes filled with tears, and again she embraced the maiden to her heart.

कत बिधि सृजीं नारि जग माहीं। पराधीन सपनेहुँ सुखु नाहीं।।

Kat bidhi srijeen naari jag maaheen. paraadheen sapanehun sukhu naaheen

How has the Creator made women in this world - they have no happiness even in dreams when dependent on others.

भै अति प्रेम बिकल महतारी। धीरजु कीन्ह कुसमय बिचारी।।

Bhai ati prem bikal mahataaree. dheeraju keenh kusamay bichaaree

The mother became extremely distressed with love, but considering the inauspicious time, she maintained patience.

पुनि पुनि मिलति परति गहि चरना। परम प्रेम कछु जाइ न बरना।।

Puni puni milati parati gahi charanaa. param prem kachhu jaai na baranaa

Again and again they met and fell at each other's feet - such supreme love cannot be described.

सब नारिन्ह मिलि भेटि भवानी। जाइ जननि उर पुनि लपटानी।।

Sab naarinh mili bheti bhavaanee. jaai janani ura puni lapataanee

All the women came and embraced Bhavani, and she went and clung to her mother's heart once more.

Commentary & Notes ↓

Poddarji's Commentary

अपनी भुजाओंके बलसे उसने सातों द्वीपों (भूमिखण्डों) को वशमें कर लिया और राजाओंसे दण्ड (कर) ले-लेकर उन्हें छोड़ दिया। सम्पूर्ण पृथ्वीमण्डलका उस समय प्रतापभानु ही एकमात्र (चक्रवर्ती) राजा था॥ ४॥

Notes

Chaupai 102. The scene of bidaai (bidaai), the bride's departure. Shambhu reassures his mother-in-law with gentle words before she leaves. The mothers (janani, jananii) then draw Uma close for their final, intimate counsel. Tulsidas renders this universal moment of a daughter's farewell with quiet tenderness. 'Uchhanga' (uchhaanga) = lap, the seat of maternal warmth and protection. 'Shikha' (sikh) = teaching, loving instruction.

छन्द 16
जननिहि बहुरि मिलि चली उचित असीस सब काहूँ दईं।

फिरि फिरि बिलोकति मातु तन तब सखीं लै सिव पहिं गई।।

जाचक सकल संतोषि संकरु उमा सहित भवन चले।

सब अमर हरषे सुमन बरषि निसान नभ बाजे भले।।

Jananihi bahuri mili chalee uchit asees sab kaahoon daeen

Phiri phiri bilokati maatu tan tab sakheen lai siv pahin gaee

Jaachak sakal santoshi sankaru umaa sahit bhavan chale

Sab amar harashe suman barashi nisaan nabh baaje bhale

Of all the stages, one stood out; | most bright and fair and wide;

the king himself sat both the boys | with the sage at their side.

Meeting her mother once more, Parvati set out, bestowing fitting blessings upon all. Looking back again and again at her mother's form, her companions then led her to Shiva.

Commentary & Notes ↓

Poddarji's Commentary

सब मंचोंसे एक मञ्च अधिक सुन्दर, उज्ज्वल और विशाल था। [स्वयं] राजाने मुनिसहित दोनों भाइयोंको उसपर बैठाया॥ २४४॥

Notes

Chhand 16. 'ucit asisa' (fitting blessings): Parvati, now a married woman and Shiva's consort, blesses the elders and household as she departs. The repeated backward glance ('phiri phiri bilokati') captures the ache of a daughter leaving her mother's home, a moment every Indian household knows intimately. 'Sakhian' (friends, companions) serve as her escort to Kailash.

चले संग हिमवंतु तब पहुँचावन अति हेतु।

बिबिध भाँति परितोषु करि बिदा कीन्ह बृषकेतु।।102।।

Chale sang himavantu tab pahunchaavan ati hetu

Bibidh bhaanti paritoshu kari bidaa keenh brishaketu (102)

दोहा 102

Rama will wed Sita, | crushing all these kings' pride;

who can defeat in war | Dasharatha's sons, battle-tried?

Himavan then walked alongside them, escorting the party out of deep love. Vrishaketu (Shiva, whose banner bears the bull) satisfied him in many ways, then bade him farewell.

Commentary & Notes ↓

Poddarji's Commentary

[उन्होंने कहा;] राजाओंके गर्व दूर करके (जो धनुष किसीसे नहीं टूट सकेगा उसे तोड़कर) श्रीरामचन्द्रजी सीताजीको ब्याहेंगे। [रही युद्धकी बात, सो] महाराज दशरथके रणमें बाँके पुत्रोंको युद्धमें तो जीत ही कौन सकता है॥ २४५॥

Notes

Doha 102. 'Vrishaketu' (vrisha + ketu, bull-bannered): an epithet of Shiva referring to Nandi, the sacred bull on His standard. 'Ati hetu' (out of deep love): Himavan accompanies the procession not out of formality but from a father's overflowing affection. Shiva honors His father-in-law with consolation and gifts ('bibidh bhanti paritoshu') before the parting.

चौपाई 103
तुरत भवन आए गिरिराई। सकल सैल सर लिए बोलाई।।

Turat bhavan aae giriraaee. sakal sail sar lie bolaaee

The mountain king immediately returned to his palace and summoned all the mountains and lakes.

आदर दान बिनय बहुमाना। सब कर बिदा कीन्ह हिमवाना।।

Aadar daan binay bahumaanaa. sab kar bidaa keenh himavaanaa

Himavan honored them all with respect, gifts, and humble reverence, then bid them farewell.

जबहिं संभु कैलासहिं आए। सुर सब निज निज लोक सिधाए।।

Jabahin sambhu kailaasahin aae. sur sab nij nij lok sidhaae

When Shambhu arrived at Kailash, all the gods departed to their respective realms.

जगत मातु पितु संभु भवानी। तेही सिंगारु न कहउँ बखानी।।

Jagat maatu pitu sambhu bhavaanee. tehee singaaru na kahaun bakhaanee

Shambhu and Bhavani are the mother and father of the world - I cannot describe their divine adornment.

करहिं बिबिध बिधि भोग बिलासा। गनन्ह समेत बसहिं कैलासा।।

Karahin bibidh bidhi bhog bilaasaa. gananh samet basahin kailaasaa

They enjoy various pleasures and delights, dwelling on Kailash with their attendants.

हर गिरिजा बिहार नित नयऊ। एहि बिधि बिपुल काल चलि गयऊ।।

Har girijaa bihaar nit nayaoo. ehi bidhi bipul kaal chali gayaoo

Hara and Girija's divine play continued ever new, and thus a long period passed.

तब जनमेउ षटबदन कुमारा। तारकु असुर समर जेहिं मारा।।

Tab janameu shatabadan kumaaraa. taaraku asur samar jehin maaraa

Then was born the six-faced Kumar, who slayed the demon Taraka in battle.

आगम निगम प्रसिद्ध पुराना। षन्मुख जन्मु सकल जग जाना।।

Aagam nigam prasiddh puraanaa. shanmukh janmu sakal jag jaanaa

The birth of Shanmukha is renowned in the Agamas, Vedas, and Puranas - the whole world knows it.

Commentary & Notes ↓

Poddarji's Commentary

अयोध्यापुरीको दूत भेजो, जो राजा दशरथजीको बुला लावें। राजाने प्रसन्न होकर कहा;'हे कृपालु! बहुत अच्छा!' और उसी समय दूतोंको बुलाकर भेज दिया॥ १॥ उसका विभीषण नाम था, जिसे सारा जगत् जानता है। वह विष्णुभक्त और ज्ञान-विज्ञानका भण्डार था और जो राजाके पुत्र और सेवक थे, वे सभी बड़े भयानक राक्षस हुए॥ ३॥

Notes

Chaupai 103. 'Giriraai' (king of mountains): Himavan. 'Sakal saila sara' (all mountains and lakes): In Manas cosmology, mountains and sacred lakes are honored persons who attend divine weddings as invited guests. 'Aadara daana binaya bahumaana': a fourfold hospitality, showing that Himavan fulfills every duty of a gracious host before the gathering disperses. 'Bhagavana' here refers to Himavan himself, addressed reverently.

छन्द 17
जगु जान षन्मुख जन्मु कर्मु प्रतापु पुरुषारथु महा।

तेहि हेतु मैं बृषकेतु सुत कर चरित संछेपहिं कहा।।

यह उमा संगु बिबाहु जे नर नारि कहहिं जे गावहीं।

कल्यान काज बिबाह मंगल सर्बदा सुखु पावहीं।।

Jagu jaan shanmukh janmu karmu prataapu purushaarathu mahaa

Tehi hetu main brishaketu sut kar charit sanchhepahin kahaa

Yah umaa sangu bibaahu je nar naari kahahin je gaavaheen

Kalyaan kaaj bibaah mangal sarbadaa sukhu paavaheen

Bards and minstrels sing the fame | of Him who lights all spheres;

Vedic hymns with blessings soaked | fill all ten quarters' ears.

The whole world knows the birth, deeds, glory, and great valor of Shanmukha, the six-faced one. For that reason, I have told only briefly the story of the son of Vrishaketu (Shiva).

Commentary & Notes ↓

Poddarji's Commentary

मागध, सूत, भाट और चतुर नट तीनों लोकोंके उजागर (सबको प्रकाश देनेवाले, परम प्रकाशस्वरूप) श्रीरामचन्द्रजीका यश गा रहे हैं। तथा वेदकी निर्मल श्रेष्ठ वाणी सुन्दर मङ्गलसे सनी हुई दसों दिशाओंमें सुनायी पड़ रही है॥१॥

Notes

Chhand 17. 'Shanmukha' (six-faced): Kartikeya, also called Skanda or Kumara, born to destroy the demon Tarakasura. Tulsidas deliberately abbreviates Kumara's legend ('sanchhepa kaha'), since the Manas is devoted to Rama's story. The phrase 'jagu jaana' (the world knows) signals that Kartikeya's fame is so universal it needs no elaborate retelling here.

चरित सिंधु गिरिजा रमन बेद न पावहिं पारु।

बरनै तुलसीदासु किमि अति मतिमंद गवाँरु।।103।।

Charit sindhu girijaa raman bed na paavahin paaru

Baranai tulaseedaasu kimi ati matimand gavaanru (103)

दोहा 103

Seeing brothers, oceans of beauty, | women's quarters rose in cheer;

mothers-in-law with joyful hearts | did arati and offerings here.

The story of the husband of Girija (Shiva) is a boundless ocean; even the Vedas cannot reach its far shore. How then can the dull-witted, rustic Tulsidas ever hope to describe it?

Commentary & Notes ↓

Poddarji's Commentary

रूपके समुद्र सब भाइयोंको देखकर सारा रनिवास हर्षित हो उठा। सासुएँ महान् प्रसन्न मनसे निछावर और आरती करती हैं॥ ३३५॥

Notes

Doha 103. 'Charita sindhu' (ocean of story): Tulsidas compares Shiva's narrative to an ocean without a further shore ('paaru'). Even the Vedas, the highest authority, fall short. This is classic Tulsidasi humility ('ati matimanda gavaanru'), where the poet calls himself dull and unlettered. Far from mere convention, this self-effacement is a devotional posture: the finite mind bows before the infinite Lord. It also marks the transition point as the Manas moves from Shiva's wedding narrative toward the story of Rama's advent.

चौपाई 104
संभु चरित सुनि सरस सुहावा। भरद्वाज मुनि अति सुख पावा।।

Sambhu charit suni saras suhaavaa. bharadvaaj muni ati sukh paavaa

Hearing the sweet and beautiful story of Shiva, sage Bharadwaja experienced great joy.

बहु लालसा कथा पर बाढ़ी। नयनन्हि नीरु रोमावलि ठाढ़ी।।

Bahu laalasaa kathaa par baadhee. nayananhi neeru romaavali thaadhee

His longing for the story increased greatly, tears welled up in his eyes and his hair stood on end.

प्रेम बिबस मुख आव न बानी। दसा देखि हरषे मुनि ग्यानी।।

Prem bibas mukh aava na baanee. dasaa dekhi harashe muni gyaanee

Overwhelmed with love, words could not come from his mouth. Seeing this state, the wise sage rejoiced.

अहो धन्य तव जन्मु मुनीसा। तुम्हहि प्रान सम प्रिय गौरीसा।।

Aho dhany tav janmu muneesaa. tumhahi praan sam priy gaureesaa

Ah, blessed is your birth, O great sage! Lord Shiva holds you as dear as his own life.

सिव पद कमल जिन्हहि रति नाहीं। रामहि ते सपनेहुँ न सोहाहीं।।

Siv pad kamal jinhahi rati naaheen. raamahi te sapanehun na sohaaheen

Those who have no love for Shiva's lotus feet do not find favor with Rama even in dreams.

बिनु छल बिस्वनाथ पद नेहू। राम भगत कर लच्छन एहू।।

Binu chhal bisvanaath pad nehoo. raam bhagat kar lachchhan ehoo

Pure love for the feet of the Lord of the universe - this is the mark of Rama's devotees.

सिव सम को रघुपति ब्रतधारी। बिनु अघ तजी सती असि नारी।।

Siv sam ko raghupati bratadhaaree. binu agha tajee satee asi naaree

Who is as devoted to Lord Rama as Shiva? Without any offense, Sati left such a husband.

पनु करि रघुपति भगति देखाई। को सिव सम रामहि प्रिय भाई।।

Panu kari raghupati bhagati dekhaaee. ko siv sam raamahi priy bhaaee

Taking a vow, Shiva demonstrated devotion to Lord Rama. Who is as dear to Rama as Shiva, O brother?

Commentary & Notes ↓

Poddarji's Commentary

जब श्रीरघुनाथजी आये तब सभी उनके स्वागतमें उठकर खड़े हो गये। विश्वामित्रजीने उनको अपने पास बिठाया। सुकुमार किशोर अवस्थावाले, श्याम और गौर वर्णके दोनों कुमार नेत्रोंको सुख देनेवाले और विश्वके चित्तको चुरानेवाले हैं॥

Notes

Bharadvaja's physical response (tears, goosebumps) signals the classical signs of devotional rapture (sattvika-bhava). 'Shambhu' (Shambhu) is Shiva. This verse closes the Shiva-Parvati narrative and pivots toward the Ram-katha.

प्रथमहिं मै कहि सिव चरित बूझा मरमु तुम्हार।

सुचि सेवक तुम्ह राम के रहित समस्त बिकार।।104।।

Prathamahin mai kahi siv charit boojhaa maramu tumhaar

Suchi sevak tumh raam ke rahit samast bikaar (104)

दोहा 104

'Our so-called well-wishers just watch | the spectacle unfold;

none tells the Guru: "These are boys; | such stubbornness is cold."'

"First I told Shiva's story to test the secret of your heart. You are a pure servant of Ram, free from every impurity."

Commentary & Notes ↓

Poddarji's Commentary

हे सखी! ये जो हमारे हितू कहलाते हैं, वे भी सब तमाशा देखनेवाले हैं। कोई भी [उनके] गुरु विश्वामित्रजीको समझाकर नहीं कहता कि ये (रामजी) बालक हैं, इनके लिये ऐसा हठ अच्छा नहीं॥ १॥

Notes

Yajnavalkya reveals his purpose: the Shiva-katha was a loving test (maram) of Bharadvaja's devotion. Finding him pure (suchi), he now deems him fit to receive the Ram-katha. 'Bikar' (vikar) means impurity or distortion of mind.

चौपाई 105
मैं जाना तुम्हार गुन सीला। कहउँ सुनहु अब रघुपति लीला।।

Main jaanaa tumhaar gun seelaa. kahaun sunahu aba raghupati leelaa

I know your virtues and noble character. Now listen as I narrate the divine play of Lord Rama.

सुनु मुनि आजु समागम तोरें। कहि न जाइ जस सुखु मन मोरें।।

Sunu muni aaju samaagam toren. kahi na jaai jas sukhu man moren

Listen, O sage, today through our meeting, the joy in my heart cannot be expressed in words.

राम चरित अति अमित मुनिसा। कहि न सकहिं सत कोटि अहीसा।।

Raam charit ati amit munisaa. kahi na sakahin sat koti aheesaa

The stories of Rama are infinite, O sage. Even hundreds of millions of Shesha serpents cannot narrate them all.

तदपि जथाश्रुत कहउँ बखानी। सुमिरि गिरापति प्रभु धनुपानी।।

Tadapi jathaashrut kahaun bakhaanee. sumiri giraapati prabhu dhanupaanee

Still, I shall narrate as I have heard, remembering Lord Saraswati and the bow-bearing Lord Shiva.

सारद दारुनारि सम स्वामी। रामु सूत्रधर अंतरजामी।।

Saarad daarunaari sam svaamee. raamu sootradhar antarajaamee

Saraswati is like a puppet-woman, and Lord Rama is the supreme puppeteer, the inner controller of all.

जेहि पर कृपा करहिं जनु जानी। कबि उर अजिर नचावहिं बानी।।

Jehi par kripaa karahin janu jaanee. kabi ura ajir nachaavahin baanee

Upon whomever He bestows His grace knowingly, He makes the words dance in the poet's heart.

प्रनवउँ सोइ कृपाल रघुनाथा। बरनउँ बिसद तासु गुन गाथा।।

Pranavaun soi kripaal raghunaathaa. baranaun bisad taasu gun gaathaa

I bow to that compassionate Lord of the Raghus, and narrate clearly the story of His virtues.

परम रम्य गिरिबरु कैलासू। सदा जहाँ सिव उमा निवासू।।

Param ramy giribaru kailaasoo. sadaa jahaan siv umaa nivaasoo

There is the supremely beautiful mountain Kailash, where Lord Shiva and Uma always reside.

Commentary & Notes ↓

Poddarji's Commentary

प्रातःकाल उठकर श्रीरघुनाथजी माता, पिता और गुरुको मस्तक नवाते हैं। आज्ञा माँगकर नगरके कार्य करते हैं। चरित्र देखकर राजाका मन हर्षित होता है॥ ४॥ वे मूर्ख राजा तमककर (किटकिटाकर) धनुषको पकड़ते हैं, परन्तु जब नहीं उठता तो लजाकर चले जाते हैं, मानो वीरोंकी भुजाओंका बल पाकर वह धनुष अधिक-अधिक भारी होता जाता है॥ २५०॥

Notes

Yajnavalkya's joy mirrors Bharadvaja's. 'Raghupati' (Lord of the Raghu dynasty) is Ram. 'Lila' means divine play. The mutual delight of speaker and listener is itself a form of satsang. 'Gun sila' means virtue and character.

सिद्ध तपोधन जोगिजन सूर किंनर मुनिबृंद।

बसहिं तहाँ सुकृती सकल सेवहिं सिब सुखकंद।।105।।

Siddh tapodhan jogijan soor kinnar munibrind

Basahin tahaan sukritee sakal sevahin sib sukhakand (105)

दोहा 105

Siddhas, ascetics, yogis dwell, | gods, kinnaras, sages too;

all blessed souls on that mount serve | Shiva, bliss ever-new.

Siddhas, ascetics, yogis, gods, kinnaras, and hosts of sages dwell there. All those of great merit serve Shiva, the root of all bliss.

Commentary & Notes ↓

Poddarji's Commentary

सिद्ध, तपस्वी, योगीगण, देवता, किन्नर और मुनियोंके समूह उस पर्वतपर रहते हैं। वे सब बड़े पुण्यात्मा हैं और आनन्दकन्द श्रीमहादेवजीकी सेवा करते हैं॥ १०५॥

Notes

The scene shifts to Mount Kailash. 'Siddha' means perfected beings. 'Tapodhan' means those rich in austerity. 'Kinnara' are celestial musicians. 'Sukhakand' (the root of bliss) is an epithet of Shiva, echoing the Upanishadic 'ananda' tradition.

चौपाई 106
हरि हर बिमुख धर्म रति नाहीं। ते नर तहँ सपनेहुँ नहिं जाहीं।।

Hari har bimukh dharm rati naaheen. te nar tahan sapanehun nahin jaaheen

Those who are averse to Hari and Hara and have no love for dharma, such people do not go there even in dreams.

तेहि गिरि पर बट बिटप बिसाला। नित नूतन सुंदर सब काला।।

Tehi giri par bat bitap bisaalaa. nit nootan sundar sab kaalaa

On that mountain stands a vast banyan tree, eternally fresh and beautiful in all seasons.

त्रिबिध समीर सुसीतलि छाया। सिव बिश्राम बिटप श्रुति गाया।।

Tribidh sameer suseetali chhaayaa. siv bishraam bitap shruti gaayaa

The three types of gentle breezes and cool shade make it Shiva's resting place, as the Vedas sing.

एक बार तेहि तर प्रभु गयऊ। तरु बिलोकि उर अति सुखु भयऊ।।

Eka baar tehi tar prabhu gayaoo. taru biloki ura ati sukhu bhayaoo

Once the Lord went beneath that tree, and seeing it, His heart was filled with great joy.

निज कर डासि नागरिपु छाला। बैठै सहजहिं संभु कृपाला।।

Nij kar daasi naagaripu chhaalaa. baithai sahajahin sambhu kripaalaa

Spreading His deer skin with His own hand, the gracious Shambhu sat there naturally.

कुंद इंदु दर गौर सरीरा। भुज प्रलंब परिधन मुनिचीरा।।

Kund indu dar gaur sareeraa. bhuj pralamb paridhan municheeraa

His body is fair like jasmine, moon and conch shell, with long arms and wearing the garb of a sage.

तरुन अरुन अंबुज सम चरना। नख दुति भगत हृदय तम हरना।।

Tarun arun ambuj sam charanaa. nakh duti bhagat hriday tam haranaa

His feet are like tender red lotus flowers, their nail-light dispelling the darkness of devotees' hearts.

भुजग भूति भूषन त्रिपुरारी। आननु सरद चंद छबि हारी।।

Bhujag bhooti bhooshan tripuraaree. aananu sarad chand chhabi haaree

The destroyer of Tripura is adorned with serpents and ash, His face surpassing the beauty of the autumn moon.

Commentary & Notes ↓

Poddarji's Commentary

हे तात! वहाँ [स्वर्ग के] बहुत-से भोग भोगकर, कुछ काल बीत जाने पर, तुम अवध के राजा होगे। तब मैं तुम्हारा पुत्र होऊँगा॥ १५०॥ हे तात! वहाँ [स्वर्गके] बहुत-से भोग भोगकर, कुछ काल बीत जानेपर, तुम अवधके राजा होगे। तब मैं तुम्हारा पुत्र होऊँगा॥ १५१॥ ऐसा जानकर हे नाथ! आज्ञा हो तो कुछ खेल करूँ, उसे भी देखिये। धनुषको कमलकी डंडीकी तरह चढ़ाकर उसे सौ योजनतक दौड़ा लिये चला जाऊँ॥ ४॥

Notes

Tulsidas pairs Hari (Vishnu/Ram) and Hara (Shiva) as inseparable. Aversion to either disqualifies one from Kailash. The banyan (bat, vata-vriksha) is the sacred fig tree under which Shiva will sit to narrate the Ram-katha to Parvati. 'Nit nutan' (ever new) suggests the eternal freshness of the divine.

जटा मुकुट सुरसरित सिर लोचन नलिन बिसाल।

नीलकंठ लावन्यनिधि सोह बालबिधु भाल।।106।।

Jataa mukut surasarit sir lochan nalin bisaal

Neelakanth laavanyanidhi soh baalabidhu bhaal (106)

दोहा 106

'He is bliss's ocean, joy's great store; | one drop delights all three;

His name is RAMA, home of joy, | rest for all who be.'

Matted locks piled high as a crown, the holy Ganga resting upon his head, eyes wide and gentle as lotuses. His throat gleaming blue, a treasury of beauty, the young crescent moon shining softly on his brow.

Commentary & Notes ↓

Poddarji's Commentary

ये जो आनन्दके समुद्र और सुखकी राशि हैं, जिस (आनन्दसिन्धु) के एक कणसे तीनों लोक सुखी होते हैं, उन (आपके सबसे बड़े पुत्र) का नाम 'राम' है, जो सुखका भवन और सम्पूर्ण लोकोंको शान्ति देनेवाला है॥

Notes

Doha 106. Portrait of Shiva on Kailash. 'Surasarit' (river of the gods) is the Ganga. 'Lavanyanidhih' (treasure of beauty) and 'balabidhu' (young moon) are classic Shaiva iconographic epithets. The verse establishes the serene, luminous setting before Parvati's approach.

चौपाई 107
बैठे सोह कामरिपु कैसें। धरें सरीरु सांतरसु जैसें।।

Baithe soh kaamaripu kaisen. dharen sareeru saantarasu jaisen

How beautifully the enemy of Kama (Shiva) sits there, having taken bodily form like the essence of peace itself.

पारबती भल अवसरु जानी। गई संभु पहिं मातु भवानी।।

Paarabatee bhal avasaru jaanee. gaee sambhu pahin maatu bhavaanee

Parvati, knowing this to be an auspicious moment, went to Lord Shambhu - Mother Bhavani approached him.

जानि प्रिया आदरु अति कीन्हा। बाम भाग आसनु हर दीन्हा।।

Jaani priyaa aadaru ati keenhaa. baam bhaag aasanu har deenhaa

Recognizing his beloved, Hara showed great reverence and gave her a seat on his left side.

बैठीं सिव समीप हरषाई। पूरुब जन्म कथा चित आई।।

Baitheen siv sameep harashaaee. poorub janm kathaa chit aaee

She sat joyfully near Shiva, and memories of her previous birth came to her mind.

पति हियँ हेतु अधिक अनुमानी। बिहसि उमा बोलीं प्रिय बानी।।

Pati hiyan hetu adhik anumaanee. bihasi umaa boleen priy baanee

Perceiving the great love in her husband's heart, Uma smiled and spoke sweet words.

कथा जो सकल लोक हितकारी। सोइ पूछन चह सैलकुमारी।।

Kathaa jo sakal lok hitakaaree. soi poochhan chah sailakumaaree

The daughter of the mountain wishes to ask about that story which brings welfare to all the worlds.

बिस्वनाथ मम नाथ पुरारी। त्रिभुवन महिमा बिदित तुम्हारी।।

Bisvanaath mam naath puraaree. tribhuvan mahimaa bidit tumhaaree

O Lord of the universe, my master Purari, your glory is known throughout the three worlds.

चर अरु अचर नाग नर देवा। सकल करहिं पद पंकज सेवा।।

Char aru achar naag nar devaa. sakal karahin pad pankaj sevaa

All moving and unmoving beings, serpents, humans and gods - all serve your lotus feet.

Commentary & Notes ↓

Poddarji's Commentary

रावणके चलनेसे पृथ्वी डगमगाने लगी और उसकी गर्जनासे देवरमणियोंके गर्भ गिरने लगे। रावणको क्रोधसहित आते हुए सुनकर देवताओंने सुमेरु पर्वतकी गुफाएँ तकीं (भागकर सुमेरुकी गुफाओंका आश्रय लिया)॥

Notes

Chaupai 107. 'Kamaripu' (enemy of Kama): Shiva, who burnt Kamadeva with the fire of his third eye. 'Shanta rasa' (the aesthetic mood of peace) personified as Shiva's form is a striking poetic image. Parvati is called both by her mountain-born name and as Bhavani (giver of existence), signalling her dual identity as devoted wife and cosmic Mother.

प्रभु समरथ सर्बग्य सिव सकल कला गुन धाम।।

जोग ग्यान बैराग्य निधि प्रनत कलपतरु नाम।।107।।

Prabhu samarath sarbagy siv sakal kalaa gun dhaam

Jog gyaan bairaagy nidhi pranat kalapataru naam (107)

दोहा 107

O mighty, all-knowing Lord of grace, | of arts and virtues store,

yoga, wisdom, detachment's home; | your name grants wishes more.

O Lord, you are all-powerful and all-knowing, Shiva, the very dwelling place of welfare. You are the abode of every art and virtue, the treasure-house of yoga, jnana, and vairagya. For those who bow before you, your Name alone is the wish-fulfilling tree (kalpataru).

Commentary & Notes ↓

Poddarji's Commentary

हे प्रभो! आप समर्थ, सर्वज्ञ और कल्याणस्वरूप हैं। सब कलाओं और गुणोंके निधान हैं और योग, ज्ञान तथा वैराग्यके भण्डार हैं। आपका नाम शरणागतोंके लिये कल्पवृक्ष है॥ १०७॥

Notes

Doha 107. Parvati's invocation of Shiva's greatness before posing her question. 'Siva' here carries its root meaning: 'auspicious, the source of welfare.' 'Kalpataru' (wish-fulfilling tree) applied to the divine Name is a signature Tulsidas theme that recurs throughout the Manas. Parvati honours Shiva as master of yoga, jnana (knowledge), and vairagya (dispassion), the three pillars of liberation.

चौपाई 108
जौं मो पर प्रसन्न सुखरासी। जानिअ सत्य मोहि निज दासी।।

Jaun mo par prasann sukharaasee. jaania saty mohi nij daasee

If you are pleased with me, O treasure of bliss, and truly know me as your own servant.

तौं प्रभु हरहु मोर अग्याना। कहि रघुनाथ कथा बिधि नाना।।

Taun prabhu harahu mor agyaanaa. kahi raghunaath kathaa bidhi naanaa

Then Lord, remove my ignorance by narrating the story of Raghunath in various ways.

जासु भवनु सुरतरु तर होई। सहि कि दरिद्र जनित दुखु सोई।।

Jaasu bhavanu surataru tar hoee. sahi ki daridr janit dukhu soee

Can one whose dwelling is beneath the wish-fulfilling tree endure the suffering born of poverty?

ससिभूषन अस हृदयँ बिचारी। हरहु नाथ मम मति भ्रम भारी।।

Sasibhooshan asa hridayan bichaaree. harahu naath mam mati bhram bhaaree

Thinking thus in his heart, the moon-adorned one said: 'Remove, O Lord, the heavy delusion of my mind.'

प्रभु जे मुनि परमारथबादी। कहहिं राम कहुँ ब्रह्म अनादी।।

Prabhu je muni paramaarathabaadee. kahahin raam kahun brahm anaadee

Lord, those sages who speak of the highest truth declare Rama to be the eternal Brahman.

सेस सारदा बेद पुराना। सकल करहिं रघुपति गुन गाना।।

Ses saaradaa bed puraanaa. sakal karahin raghupati gun gaanaa

Shesha, Saraswati, the Vedas and Puranas - all sing the glories of Raghupati.

तुम्ह पुनि राम राम दिन राती। सादर जपहु अनँग आराती।।

Tumh puni raam raam din raatee. saadar japahu anang aaraatee

You too chant 'Rama, Rama' day and night with reverence, O enemy of Cupid.

रामु सो अवध नृपति सुत सोई। की अज अगुन अलखगति कोई।।

Raamu so avadh nripati sut soee. kee aja agun alakhagati koee

Is Rama the same prince of Ayodhya, or is He some unborn, attributeless, incomprehensible Being?

Commentary & Notes ↓

Poddarji's Commentary

वेद और पुराणोंमें जितने प्रकारके यज्ञ कहे गये हैं, राजाने एक-एक करके उन सब यज्ञोंको प्रेमसहित हजार-हजार बार किया॥ १५५॥ एक बार गान विद्या में निपुण मुनिनाथ नारदजी हाथ में सुन्दर वीणा लिये, हरिगुण गाते हुए क्षीरसागर को गये, जहाँ वेदों के मस्तकस्वरूप (मूर्तिमान वेदान्त-तत्व) लक्ष्मीनिवास भगवान नारायण रहते हैं॥

Notes

Chaupai 108. Parvati's humble petition. 'Sukharasi' (treasury of bliss) addresses Shiva as the reservoir of ananda. 'Nija dasi' (your own maidservant): Parvati places herself in the bhakta's posture of surrender. 'Bidhi nana' (in many ways) is her request for the full, multi-layered Ram katha, not a simple retelling.

जौं नृप तनय त ब्रह्म किमि नारि बिरहँ मति भोरि।

देख चरित महिमा सुनत भ्रमति बुद्धि अति मोरि।।108।।

Jaun nrip tanay ta brahm kimi naari birahan mati bhori

Dekh charit mahimaa sunat bhramati buddhi ati mori (108)

दोहा 108

'Your sons are past all question; | lion-men who light three spheres;

the moon grows dim before their fame, | the sun cools when their glory nears.'

If He is a king's son, how can He be Brahman? And if He is Brahman, how can his mind grow bewildered in separation from a woman? Seeing His deeds and hearing His glory, my own understanding wanders in confusion.

Commentary & Notes ↓

Poddarji's Commentary

आपके पुत्र पूछने योग्य नहीं हैं। वे पुरुषसिंह तीनों लोकोंके प्रकाशस्वरूप हैं। जिनके यशके आगे चन्द्रमा मलिन और प्रतापके आगे सूर्य शीतल लगता है॥ १॥

Notes

Doha 108. The heart of Parvati's theological question, and a central paradox of the Manas: how can the Absolute (Brahman) weep for Sita like an ordinary man? 'Nripa tanaya' (king's son) versus 'Brahma' sets up the tension between saguna and nirguna that Shiva will resolve across the coming narrative. 'Mati bhori' (confused mind) echoes the universal seeker's honest doubt.

चौपाई 109
जौं अनीह ब्यापक बिभु कोऊ। कबहु बुझाइ नाथ मोहि सोऊ।।

Jaun aneeh byaapak bibhu kooo. kabahu bujhaai naath mohi sooo

If there is someone who is desireless, all-pervading and omnipresent, O Lord, please explain that to me sometime.

अग्य जानि रिस उर जनि धरहू। जेहि बिधि मोह मिटै सोइ करहू।।

Agy jaani ris ura jani dharahoo. jehi bidhi moh mitai soi karahoo

Knowing me to be ignorant, do not harbor anger in your heart. Do whatever will remove my delusion.

मै बन दीखि राम प्रभुताई। अति भय बिकल न तुम्हहि सुनाई।।

Mai ban deekhi raam prabhutaaee. ati bhay bikal na tumhahi sunaaee

I witnessed Rama's divine majesty in the forest and was greatly distressed with fear, but did not tell you.

तदपि मलिन मन बोधु न आवा। सो फलु भली भाँति हम पावा।।

Tadapi malin man bodhu na aavaa. so phalu bhalee bhaanti ham paavaa

Even then, understanding did not come to my impure mind. We have received the proper fruit of that.

अजहूँ कछु संसउ मन मोरे। करहु कृपा बिनवउँ कर जोरें।।

Ajahoon kachhu sansau man more. karahu kripaa binavaun kar joren

Even now some doubt remains in my mind. Show mercy, I beseech you with folded hands.

प्रभु तब मोहि बहु भाँति प्रबोधा। नाथ सो समुझि करहु जनि क्रोधा।।

Prabhu tab mohi bahu bhaanti prabodhaa. naath so samujhi karahu jani krodhaa

The Lord then instructed me in many ways. O master, understanding that, do not be angry.

तब कर अस बिमोह अब नाहीं। रामकथा पर रुचि मन माहीं।।

Tab kar asa bimoh aba naaheen. raamakathaa par ruchi man maaheen

That delusion of those times no longer exists. Now my mind delights in the stories of Rama.

कहहु पुनीत राम गुन गाथा। भुजगराज भूषन सुरनाथा।।

Kahahu puneet raam gun gaathaa. bhujagaraaj bhooshan suranaathaa

Speak the sacred stories of Rama's virtues, O king of serpents, ornament of the gods.

Commentary & Notes ↓

Poddarji's Commentary

आमोंका एक अनुपम बाग देखकर, जहाँ सब प्रकारके सुभीते थे और जो सब तरहसे सुहावना था, विश्वामित्रजीने कहा--हे सुजान रघुवीर! मेरा मन कहता है कि यहीं रहा जाय॥

Notes

Parvati addresses Shiva as 'Natha' (Lord, Master), a term of intimate reverence between wife and husband. 'Aniha' (desireless) points to the nirguna aspect of Brahman. 'Vyapaka Vibhu' (all-pervading, omnipresent) are classic Vedantic attributes. Her plea to remove 'moha' (delusion) echoes Arjuna's request to Krishna in the Gita.

बंदउ पद धरि धरनि सिरु बिनय करउँ कर जोरि।

बरनहु रघुबर बिसद जसु श्रुति सिद्धांत निचोरि।।109।।

Bandau pad dhari dharani siru binay karaun kar jori

Baranahu raghubar bisad jasu shruti siddhaant nichori (109)

दोहा 109

Again, again Kausalya prays | with folded hands so bright:

'Lord, may Your Maya never cloud | my heart from this day's sight!'

I bow at your feet, placing my head upon the earth, and entreat you with joined hands: describe the pure glory of Raghuvar, distilling the very essence of Vedantic teaching.

Commentary & Notes ↓

Poddarji's Commentary

कौसल्याजी बार-बार हाथ जोड़कर विनय करती हैं कि हे प्रभो! आपकी माया मुझे अब कभी न व्यापे॥ २०२॥

Notes

Doha 109 in the Gita Press numbering. 'Bandau pada dhari dharani siru' portrays full prostration (sashtanga pranam). 'Shruti siddhanta nichori' means wringing out or distilling the final conclusions of the Vedas. 'Raghuvar' (best of the Raghus) is a name for Shri Ram. Parvati asks not for stories alone but for the doctrinal core filtered through devotion.

चौपाई 110
जदपि जोषिता नहिं अधिकारी। दासी मन क्रम बचन तुम्हारी।।

Jadapi joshitaa nahin adhikaaree. daasee man kram bachan tumhaaree

Though I am not qualified to ask, I am your servant in mind, deed, and word.

गूढ़उ तत्व न साधु दुरावहिं। आरत अधिकारी जहँ पावहिं।।

Goodhau tatv na saadhu duraavahin. aarat adhikaaree jahan paavahin

Saints do not hide profound truths when they find a distressed and worthy seeker.

अति आरति पूछउँ सुरराया। रघुपति कथा कहहु करि दाया।।

Ati aarati poochhaun suraraayaa. raghupati kathaa kahahu kari daayaa

In great distress I ask you, O king of gods, please narrate the story of Raghupati with compassion.

प्रथम सो कारन कहहु बिचारी। निर्गुन ब्रह्म सगुन बपु धारी।।

Pratham so kaaran kahahu bichaaree. nirgun brahm sagun bapu dhaaree

First tell me thoughtfully the reason why the attributeless Brahman assumed a form with attributes.

पुनि प्रभु कहहु राम अवतारा। बालचरित पुनि कहहु उदारा।।

Puni prabhu kahahu raam avataaraa. baalacharit puni kahahu udaaraa

Then, O Lord, tell of Rama's incarnation and narrate His noble childhood deeds.

कहहु जथा जानकी बिबाहीं। राज तजा सो दूषन काहीं।।

Kahahu jathaa jaanakee bibaaheen. raaj tajaa so dooshan kaaheen

Tell how He married Janaki and for what fault He renounced the kingdom.

बन बसि कीन्हे चरित अपारा। कहहु नाथ जिमि रावन मारा।।

Ban basi keenhe charit apaaraa. kahahu naath jimi raavan maaraa

Dwelling in the forest, He performed infinite deeds - tell, O Lord, how He slew Ravana.

राज बैठि कीन्हीं बहु लीला। सकल कहहु संकर सुखलीला।।

Raaj baithi keenheen bahu leelaa. sakal kahahu sankar sukhaleelaa

After becoming king, He performed many divine sports - tell all these joyful pastimes, O Shankara.

Commentary & Notes ↓

Poddarji's Commentary

जैसे सीपमें चाँदीकी और सूर्यकी किरणोंमें पानीकी बिना हुए भी प्रतीति होती है। यद्यपि यह प्रतीति तीनों कालोंमें झूठ है, तथापि इस भ्रमको कोई हटा नहीं सकता॥ ११७॥

Notes

Parvati's humility here is rhetorical and strategic. 'Joshita nahi adhikari' reflects the social convention of the age, which she immediately overrides by declaring her total surrender ('dasi mana krama bachana tumhari'). 'Gudha tattva na sadhu duravahi' is a key principle: realized saints never withhold truth from a genuine aspirant. 'Arata adhikari' means one who is earnest, anguished for knowledge. This verse establishes that sincerity, not status, qualifies a seeker.

बहुरि कहहु करुनायतन कीन्ह जो अचरज राम।

प्रजा सहित रघुबंसमनि किमि गवने निज धाम।।110।।

Bahuri kahahu karunaayatan keenh jo acharaj raam

Prajaa sahit raghubansamani kimi gavane nij dhaam (110)

दोहा 110

The gods, their prayers complete, went home | to their celestial spheres;

the Lord appeared, world's resting-place, | who ends all grief and fears.

Tell me also, O abode of compassion, what wonders Ram performed. How did the jewel of the Raghu dynasty, along with all his people, return to his own divine abode?

Commentary & Notes ↓

Poddarji's Commentary

देवताओंके समूह विनती करके अपने-अपने लोकमें पहुँचे। समस्त लोकोंको शान्ति देनेवाले, जगदाधार प्रभु प्रकट हुए॥ १९१॥

Notes

Doha 110 in the Gita Press numbering. 'Karunayatana' (abode of compassion) is Parvati's address to Shiva, acknowledging his boundless mercy. 'Raghuvansamani' (jewel of the Raghu lineage) is Shri Ram. 'Nija dhama' refers to Vaikuntha or Saket Loka, Ram's eternal abode. The question about Ram returning with his entire 'praja' (subjects) alludes to the conclusion of the Ram Katha where all of Ayodhya ascends to the divine realm.

चौपाई 111
पुनि प्रभु कहहु सो तत्व बखानी। जेहिं बिग्यान मगन मुनि ग्यानी।।

Puni prabhu kahahu so tatv bakhaanee. jehin bigyaan magan muni gyaanee

O Lord, please explain that supreme truth in which the wise sages and knowledgeable ones remain absorbed in divine realization.

भगति ग्यान बिग्यान बिरागा। पुनि सब बरनहु सहित बिभागा।।

Bhagati gyaan bigyaan biraagaa. puni sab baranahu sahit bibhaagaa

Please describe devotion, knowledge, realization, and detachment along with all their divisions and categories.

औरउ राम रहस्य अनेका। कहहु नाथ अति बिमल बिबेका।।

Aurau raam rahasy anekaa. kahahu naath ati bimal bibekaa

And many other mysteries of Rama, O Lord, please reveal with your supremely pure wisdom.

जो प्रभु मैं पूछा नहि होई। सोउ दयाल राखहु जनि गोई।।

Jo prabhu main poochhaa nahi hoee. sou dayaal raakhahu jani goee

Whatever I have not asked about, O compassionate one, please do not keep that hidden either.

तुम्ह त्रिभुवन गुर बेद बखाना। आन जीव पाँवर का जाना।।

Tumh tribhuvan gur bed bakhaanaa. aana jeev paanvar kaa jaanaa

You are the guru of the three worlds as the Vedas proclaim - what can another lowly soul know?

प्रस्न उमा कै सहज सुहाई। छल बिहीन सुनि सिव मन भाई।।

Prasn umaa kai sahaj suhaaee. chhal biheen suni siv man bhaaee

Uma's questions were naturally beautiful and free from deceit, which pleased Shiva's heart upon hearing them.

हर हियँ रामचरित सब आए। प्रेम पुलक लोचन जल छाए।।

Har hiyan raamacharit sab aae. prem pulak lochan jal chhaae

All the stories of Rama came into Shiva's heart, and his eyes filled with tears of love and divine rapture.

श्रीरघुनाथ रूप उर आवा। परमानंद अमित सुख पावा।।

Shreeraghunaath roop ura aavaa. paramaanand amit sukh paavaa

The beautiful form of Sri Raghunath appeared in his heart, and he experienced infinite bliss and supreme joy.

Commentary & Notes ↓

Poddarji's Commentary

परम आनन्द और प्रेमके सुखमें फूले हुए हम दोनों मगन मनसे (मस्त हुए) गलियोंमें [तन-मनकी सुधि] भूले हुए फिरते थे। परन्तु यह शुभ चरित्र वही जान सकता है जिसपर श्रीरामजीकी कृपा हो॥

Notes

Parvati's questions now reach their doctrinal summit. 'Tattva' here means the ultimate Reality. 'Vijnana' is experiential, direct knowledge of Brahman, beyond intellectual 'jnana' (scriptural knowledge). 'Bhakti' is devotion, 'vairagya' is dispassion. 'Sahita vibhaga' means 'with their classifications,' asking Shiva to delineate each path systematically. These four topics form the philosophical backbone of the entire Manas. Tulsidas, through Parvati, sets the stage for Shiva's comprehensive discourse.

मगन ध्यानरस दंड जुग पुनि मन बाहेर कीन्ह।

रघुपति चरित महेस तब हरषित बरनै लीन्ह।।111।।

Magan dhyaanaras dand jug puni man baaher keenh

Raghupati charit mahes tab harashit baranai leenh (111)

दोहा 111

Two hours in meditation's bliss | Shiva remained within;

then drew his mind out, and with joy | Rama's tale did begin.

Shiva remained absorbed in the rasa of dhyana for two dandas (forty-eight minutes). Then he drew his mind outward and, filled with delight, began to narrate the charitra of Raghupati.

Commentary & Notes ↓

Poddarji's Commentary

शिवजी दो घड़ीतक ध्यानके रस (आनन्द) में डूबे रहे; फिर उन्होंने मनको बाहर खींचा और तब वे प्रसन्न होकर श्रीरघुनाथजीका चरित्र वर्णन करने लगे॥ १११॥

Notes

Doha 111. 'Danda' is a Vedic time-unit equal to twenty-four minutes; two dandas signal a deep, sustained samadhi. Tulsidas shows that even Shiva must first steep himself in meditation before he can speak of Ram. 'Raghupati' (Lord of the Raghu dynasty) is the name Shiva chooses here, linking the narrative to the solar lineage.

चौपाई 112
झूठेउ सत्य जाहि बिनु जानें। जिमि भुजंग बिनु रजु पहिचानें।।

Jhootheu saty jaahi binu jaanen. jimi bhujang binu raju pahichaanen

Without knowing the Truth, falsehood appears real, just as a rope is mistaken for a serpent in ignorance.

जेहि जानें जग जाइ हेराई। जागें जथा सपन भ्रम जाई।।

Jehi jaanen jag jaai heraaee. jaagen jathaa sapan bhram jaaee

By knowing which, the world's illusion vanishes, just as dream-delusion disappears upon awakening.

बंदउँ बालरूप सोई रामू। सब सिधि सुलभ जपत जिसु नामू।।

Bandaun baalaroop soee raamoo. sab sidhi sulabh japat jisu naamoo

I bow to that same Rama in His child form, by chanting whose name all spiritual powers become easily attainable.

मंगल भवन अमंगल हारी। द्रवउ सो दसरथ अजिर बिहारी।।

Mangal bhavan amangal haaree. dravau so dasarath ajir bihaaree

May that destroyer of all inauspiciousness, the auspicious abode who sports in Dasharatha's courtyard, be gracious to me.

करि प्रनाम रामहि त्रिपुरारी। हरषि सुधा सम गिरा उचारी।।

Kari pranaam raamahi tripuraaree. harashi sudhaa sam giraa uchaaree

After bowing to Rama, Tripurari (Shiva) joyfully spoke words sweet as nectar.

धन्य धन्य गिरिराजकुमारी। तुम्ह समान नहिं कोउ उपकारी।।

Dhany dhany giriraajakumaaree. tumh samaan nahin kou upakaaree

Blessed, blessed are you, O daughter of the mountain king! There is none as beneficent as you.

पूँछेहु रघुपति कथा प्रसंगा। सकल लोक जग पावनि गंगा।।

Poonchhehu raghupati kathaa prasangaa. sakal lok jag paavani gangaa

You have asked about the story of Raghupati, which is like the purifying Ganga for all the worlds.

तुम्ह रघुबीर चरन अनुरागी। कीन्हहु प्रस्न जगत हित लागी।।

Tumh raghubeer charan anuraagee. keenhahu prasn jagat hit laagee

You are devoted to the feet of Raghuvira and have asked this question for the welfare of the world.

Commentary & Notes ↓

Poddarji's Commentary

रसोईमें ब्राह्मणोंका मांस बना है। [आकाशवाणीका] विश्वास मानकर सब ब्राह्मण उठ खड़े हुए। राजा व्याकुल हो गया। [परन्तु] उसकी बुद्धि मोहमें भूली हुई थी। होनहारवश उसके मुँहसे [एक] बात [भी] न निकली॥ ४॥

Notes

Chaupai 112. The rajju-sarpa (rope-snake) analogy is the cornerstone of Advaita Vedanta, here placed in Shiva's mouth to frame the entire Manas. 'Bhujanga' (serpent) and 'rajju' (rope) come straight from Shankara's vivartavada. The dream analogy in the second couplet reinforces the same teaching: ignorance sustains the appearance, and jnana dissolves it. Tulsidas weaves Vedantic darshana seamlessly into his bhakti narrative.

रामकृपा तें पारबति सपनेहुँ तव मन माहिं।

सोक मोह संदेह भ्रम मम बिचार कछु नाहिं।।112।।

Raamakripaa ten paarabati sapanehun tav man maahin

Sok moh sandeh bhram mam bichaar kachhu naahin (112)

दोहा 112

'I'll come in that same guise; when I | call you aside to say

the whole tale in private; | then know me, king, that day.'

By Ram's kripa, O Parvati, not even in a dream can sorrow, moha, doubt, or delusion dwell in your heart. In my understanding, there is none of this in you.

Commentary & Notes ↓

Poddarji's Commentary

मैं वही (पुरोहितका) वेष धरकर आऊँगा। जब एकान्तमें तुमको बुलाकर सब कथा सुनाऊँगा, तब तुम मुझे पहचान लेना॥ १६९॥

Notes

Doha 112. Shiva tenderly reassures Parvati that Ram's grace has already purified her heart. 'Sapanehu' (even in a dream) is a favorite intensifier of Tulsidas, meaning 'not even in the faintest possibility.' 'Shoka' (sorrow), 'moha' (delusion), 'sandeha' (doubt), and 'bhrama' (confusion) are listed as the four obstacles that Ram's kripa removes. Shiva attributes Parvati's freedom from these not to her own effort but entirely to the Lord's grace.

चौपाई 113
तदपि असंका कीन्हिहु सोई। कहत सुनत सब कर हित होई।।

Tadapi asankaa keenhihu soee. kahat sunat sab kar hit hoee

Even so, I shall speak without hesitation, for speaking and hearing of the Lord brings benefit to all.

जिन्ह हरि कथा सुनी नहिं काना। श्रवन रंध्र अहिभवन समाना।।

Jinh hari kathaa sunee nahin kaanaa. shravan randhr ahibhavan samaanaa

Those ears that have never heard the stories of Hari are like the holes of serpent dwellings.

नयनन्हि संत दरस नहिं देखा। लोचन मोरपंख कर लेखा।।

Nayananhi sant daras nahin dekhaa. lochan morapankh kar lekhaa

Eyes that have not seen the sight of saints are comparable to the markings on a peacock's feather.

ते सिर कटु तुंबरि समतूला। जे न नमत हरि गुर पद मूला।।

Te sir katu tumbari samatoolaa. je na namat hari gur pad moolaa

Those heads are like bitter gourds that do not bow at the feet of Hari and the Guru.

जिन्ह हरिभगति हृदयँ नहिं आनी। जीवत सव समान तेइ प्रानी।।

Jinh haribhagati hridayan nahin aanee. jeevat sav samaan tei praanee

Those beings who have not brought devotion to Hari in their hearts are like corpses even while living.

जो नहिं करइ राम गुन गाना। जीह सो दादुर जीह समाना।।

Jo nahin karai raam gun gaanaa. jeeh so daadur jeeh samaanaa

The tongue that does not sing the praises of Rama is like the tongue of a frog.

कुलिस कठोर निठुर सोइ छाती। सुनि हरिचरित न जो हरषाती।।

Kulis kathor nithur soi chhaatee. suni haricharit na jo harashaatee

That heart is hard as diamond and cruel which does not rejoice upon hearing the stories of Hari.

गिरिजा सुनहु राम कै लीला। सुर हित दनुज बिमोहनसीला।।

Girijaa sunahu raam kai leelaa. sur hit danuj bimohanaseelaa

O Girija, listen to the divine play of Rama, which is beneficial to the gods and bewildering to the demons.

Commentary & Notes ↓

Poddarji's Commentary

बहुओंसहित सब राजकुमार और सब रानियोंसमेत राजा बार-बार गुरुजीके चरणोंकी वन्दना करते हैं और मुनीश्वर आशीर्वाद देते हैं॥३५२॥

Notes

Chaupai 113. Shiva converts Parvati's question from a personal doubt into a universal blessing: the asking itself becomes seva, because it occasions the telling of Ram-katha for all listeners. The striking image of ear-holes as 'ahi-bhavana' (snake-dens) inverts the serpent of Chaupai 112. There, ignorance conjured a false snake on a rope; here, ears that refuse Hari-katha become real dens of poison. The implication is sharp: an ear unused for shravanam is not merely empty but dangerously occupied.

रामकथा सुरधेनु सम सेवत सब सुख दानि।

सतसमाज सुरलोक सब को न सुनै अस जानि।।113।।

Raamakathaa suradhenu sam sevat sab sukh daani

Satasamaaj suralok sab ko na sunai asa jaani (113)

दोहा 113

'Go see the city, treasure-twins of bliss | and showing your faces fair,

make everyone's eyes fulfilled with joy | by letting them see you there.'

Ram-katha is like the Kamadhenu, the divine wish-fulfilling cow. Serving it bestows all happiness. The assembly of the wise is itself Suraloka. Knowing this, who would not listen?

Commentary & Notes ↓

Poddarji's Commentary

सुखके निधान दोनों भाई जाकर नगर देख आओ और अपने सुन्दर मुखको दिखाकर सबके नेत्रोंको सफल करो॥ २१८॥

Notes

Doha 113. 'Suradhenu' is the Kamadhenu, the celestial cow born from the churning of the ocean, who grants every wish. Tulsidas equates Ram-katha with her, meaning the narrative itself is an inexhaustible source of grace. 'Satsamaj' (the gathering of saints) is declared equal to Suraloka (the realm of the devas). The rhetorical question 'ko na sunai' (who would not listen?) closes this prelude with an irresistible invitation, turning every hearer into a willing participant.

चौपाई 114
रामकथा सुंदर कर तारी। संसय बिहग उडावनिहारी।।

Raamakathaa sundar kar taaree. sansay bihag udaavanihaaree

The beautiful story of Rama is like a boat that carries one across the ocean of worldly existence and drives away the birds of doubt.

रामकथा कलि बिटप कुठारी। सादर सुनु गिरिराजकुमारी।।

Raamakathaa kali bitap kuthaaree. saadar sunu giriraajakumaaree

The story of Rama is like an axe that cuts down the tree of Kali Yuga. Listen to it with reverence, O daughter of the mountain king.

राम नाम गुन चरित सुहाए। जनम करम अगनित श्रुति गाए।।

Raam naam gun charit suhaae. janam karam aganit shruti gaae

The name, qualities, and beautiful deeds of Rama, along with His countless births and actions, are sung by the Vedas.

जथा अनंत राम भगवाना। तथा कथा कीरति गुन नाना।।

Jathaa anant raam bhagavaanaa. tathaa kathaa keerati gun naanaa

Just as Lord Rama is infinite, so too are His stories, fame, and manifold virtues without end.

तदपि जथा श्रुत जसि मति मोरी। कहिहउँ देखि प्रीति अति तोरी।।

Tadapi jathaa shrut jasi mati moree. kahihaun dekhi preeti ati toree

Nevertheless, according to what I have heard and as my understanding permits, I shall narrate seeing your great love.

उमा प्रस्न तव सहज सुहाई। सुखद संतसंमत मोहि भाई।।

Umaa prasn tav sahaj suhaaee. sukhad santasammat mohi bhaaee

O Uma, your question is naturally beautiful and delightful, approved by saints and pleasing to me.

एक बात नहि मोहि सोहानी। जदपि मोह बस कहेहु भवानी।।

Eka baat nahi mohi sohaanee. jadapi moh bas kahehu bhavaanee

One thing does not please me, O Bhavani, though you have spoken it under the influence of delusion.

तुम जो कहा राम कोउ आना। जेहि श्रुति गाव धरहिं मुनि ध्याना।।

Tum jo kahaa raam kou aanaa. jehi shruti gaav dharahin muni dhyaanaa

What you said about Rama being someone else - He whom the Vedas sing and sages meditate upon.

Commentary & Notes ↓

Poddarji's Commentary

श्याम और गौर शरीरवाली दोनों सुन्दर जोड़ियोंकी शोभाको देखकर माताएँ तृण तोड़ती हैं [जिसमें दृष्टि न लग जाय]। यों तो चारों ही पुत्र शील, रूप और गुणके धाम हैं, तो भी सुखके समुद्र श्रीरामचन्द्रजी सबसे अधिक हैं॥

Notes

Shiva addresses Parvati with the epithet Girirajakumari (daughter of the Mountain King, i.e., Himalaya). Two striking images: Ram-katha as a hand-clap scattering the bird of doubt (samsaya bihaga), and as an axe (kuthari) felling the poison-tree of the Kali age. The verse sets the frame for Shiva's teaching on who is fit and unfit to receive Ram-katha.

कहहि सुनहि अस अधम नर ग्रसे जे मोह पिसाच।

पाषंडी हरि पद बिमुख जानहिं झूठ न साच।।114।।

Kahahi sunahi asa adham nar grase je moh pisaach

Paashandee hari pad bimukh jaanahin jhooth na saach (114)

दोहा 114

They made bees and birds so bright | that hummed in every breeze;

on pillars carved the gods that stood | with blessings meant to please.

Those degraded souls who are swallowed by the ghost of delusion, who are heretical and turned away from the feet of Hari, who know neither truth nor falsehood: they alone speak against this story and refuse to hear it.

Commentary & Notes ↓

Poddarji's Commentary

भौरे और बहुत रंगोंके पक्षी बनाये, जो हवाके सहारे गूँजते और कूजते थे। खंभोंपर देवताओंकी मूर्तियाँ गढ़कर निकालीं, जो सब मङ्गल-द्रव्य लिये खड़ी थीं॥ ३॥

Notes

Doha numbered 114 in the text. Moha-pishacha (the ghost of delusion) is a vivid image: such people are not merely confused but possessed. Pashandhi (heretical) and Hari-pada-vimukha (turned away from Hari's feet) mark the two disqualifications. The phrase 'jaanahi jhutha na sacha' means they have lost even the basic faculty of discrimination. Shiva is not condemning but diagnosing a spiritual condition.

चौपाई 115
अग्य अकोबिद अंध अभागी। काई बिषय मुकर मन लागी।।

Agy akobid andh abhaagee. kaaee bishay mukar man laagee

Those who are ignorant, unlearned, blind and unfortunate, whose minds are attached to the face of sensual pleasures.

लंपट कपटी कुटिल बिसेषी। सपनेहुँ संतसभा नहिं देखी।।

Lampat kapatee kutil biseshee. sapanehun santasabhaa nahin dekhee

They are lustful, deceitful and especially crooked, who have never seen a gathering of saints even in dreams.

कहहिं ते बेद असंमत बानी। जिन्ह कें सूझ लाभु नहिं हानी।।

Kahahin te bed asammat baanee. jinh ken soojh laabhu nahin haanee

What can those speak who are opposed to the Vedas, who cannot distinguish between profit and loss?

मुकर मलिन अरु नयन बिहीना। राम रूप देखहिं किमि दीना।।

Mukar malin aru nayan biheenaa. raam roop dekhahin kimi deenaa

Those whose faces are impure and who are without eyes - how can such wretched ones behold Rama's form?

जिन्ह कें अगुन न सगुन बिबेका। जल्पहिं कल्पित बचन अनेका।।

Jinh ken agun na sagun bibekaa. jalpahin kalpit bachan anekaa

Those who have no discrimination between the attributeless and the with-attributes prattle many imagined words.

हरिमाया बस जगत भ्रमाहीं। तिन्हहि कहत कछु अघटित नाहीं।।

Harimaayaa bas jagat bhramaaheen. tinhahi kahat kachhu aghatit naaheen

Under the spell of Hari's Maya, the world wanders in delusion - for them, speaking anything impossible is not difficult.

बातुल भूत बिबस मतवारे। ते नहिं बोलहिं बचन बिचारे।।

Baatul bhoot bibas matavaare. te nahin bolahin bachan bichaare

Those who are mad, possessed by evil spirits and intoxicated do not speak thoughtful words.

जिन्ह कृत महामोह मद पाना। तिन् कर कहा करिअ नहिं काना।।

Jinh krit mahaamoh mad paanaa. tin kar kahaa karia nahin kaanaa

Those who have drunk the wine of great delusion - their words should not be given any heed.

Commentary & Notes ↓

Poddarji's Commentary

भूखसे दुर्बल और बलहीन होकर देवता सहजहीमें आ मिलेंगे। तब उनको मैं मार डालूँगा अथवा भलीभाँति अपने अधीन करके [सर्वथा पराधीन करके] छोड़ दूँगा॥ १८१॥

Notes

Continues the portrait of the unfit listener. The image of kaai bishaya mukara (the moss-covered mirror of sense-objects) is remarkable: the mirror of the mind exists but is so encrusted with worldly attachment that it reflects nothing true. Sapanehu santa sabha nahi dekhi (never glimpsed a saints' assembly even in dreams) is the culminating mark of spiritual poverty. Tulsidas does not say such people are evil by nature, only that their condition prevents reception of Ram-katha.

अस निज हृदयँ बिचारि तजु संसय भजु राम पद।

सुनु गिरिराज कुमारि भ्रम तम रबि कर बचन मम।।115।।

Asa nij hridayan bichaari taju sansay bhaju raam pad

Sunu giriraaj kumaari bhram tam rabi kar bachan mam (115)

दोहा 115

'If I break my vow, I lose my worth; | what can I do but wait?

Had I known no heroes lived, | I'd not have sealed this fate.'

Reflecting thus in your own heart, abandon all doubt and worship the feet of Ram. Listen, O daughter of the Mountain King: my words are like the rays of the sun that scatter the darkness of delusion.

Commentary & Notes ↓

Poddarji's Commentary

यदि प्रण छोड़ता हूँ तो पुण्य जाता है; इसलिये क्या करूँ, कन्या कुँआरी ही रहे। यदि जानता कि पृथ्वी वीरोंसे शून्य है, तो प्रण करके उपहासका पात्र न बनता॥ ३॥

Notes

Doha numbered 115 in the text. Shiva now pivots from warning to direct instruction. Taju samsaya bhaju Rama pada: abandon doubt, worship Ram's feet. The solar metaphor (bhrama tama rabi kara bachana mama) elevates Shiva's own speech to the status of revelation: his words do not merely describe light but function as light. This doha is the hinge between the cautionary passage and the great theological declaration that follows.

चौपाई 116
सगुनहि अगुनहि नहिं कछु भेदा। गावहिं मुनि पुरान बुध बेदा।।

Sagunahi agunahi nahin kachhu bhedaa. gaavahin muni puraan budh bedaa

There is no difference between the manifest (saguna) and unmanifest (nirguna) forms of God. The sages, Puranas, wise ones, and Vedas all sing of this truth.

अगुन अरुप अलख अज जोई। भगत प्रेम बस सगुन सो होई।।

Agun arup alakh aja joee. bhagat prem bas sagun so hoee

He who is beyond attributes, formless, unknowable, and unborn becomes manifest with form through the love of His devotees.

जो गुन रहित सगुन सोइ कैसें। जलु हिम उपल बिलग नहिं जैसें।।

Jo gun rahit sagun soi kaisen. jalu him upal bilag nahin jaisen

How can He who is without qualities become manifest with qualities? It is like water, ice, and hail - they are not separate from each other.

जासु नाम भ्रम तिमिर पतंगा। तेहि किमि कहिअ बिमोह प्रसंगा।।

Jaasu naam bhram timir patangaa. tehi kimi kahia bimoh prasangaa

Whose very name destroys the moth of delusion and darkness, how can there be any occasion for bewilderment regarding Him?

राम सच्चिदानंद दिनेसा। नहिं तहँ मोह निसा लवलेसा।।

Raam sachchidaanand dinesaa. nahin tahan moh nisaa lavalesaa

Rama is the sun of existence-consciousness-bliss (Satchidananda); there is not even a trace of the night of delusion there.

सहज प्रकासरुप भगवाना। नहिं तहँ पुनि बिग्यान बिहाना।।

Sahaj prakaasarup bhagavaanaa. nahin tahan puni bigyaan bihaanaa

The Lord is of the nature of spontaneous illumination; there is no dawn of knowledge needed there.

हरष बिषाद ग्यान अग्याना। जीव धर्म अहमिति अभिमाना।।

Harash bishaad gyaan agyaanaa. jeev dharm ahamiti abhimaanaa

Joy, sorrow, knowledge, ignorance, and the pride of ego-consciousness are all characteristics of the individual soul.

राम ब्रह्म ब्यापक जग जाना। परमानन्द परेस पुराना।।

Raam brahm byaapak jag jaanaa. paramaanand pares puraanaa

Rama is the all-pervading Brahman known throughout the world, the supreme bliss and the ancient Lord.

Commentary & Notes ↓

Poddarji's Commentary

सखियोंके बीचमें सीताजी कैसी शोभित हो रही हैं; जैसे बहुत-सी छबियोंके बीचमें महाछबि शोभित होती है। करकमलमें सुन्दर जयमाला है, जिसमें विश्वविजयकी शोभा छायी हुई है॥ १॥ ज्यों-ज्यों तपस्वी उदासीनताकी बातें कहता था, त्यों-ही-त्यों राजाको विश्वास उत्पन्न होता जा रहा था। जब उसने कर्म, मन और वचनसे अपने वशमें जाना, तब बगुलेकी तरह ध्यान लगानेवाले मुनिने कहा;॥ ३॥ अनेक प्रकारके पशुओंका मांस पकाया और उसमें उस दुष्टने ब्राह्मणोंका मांस मिला दिया। सब ब्राह्मणोंको भोजनके लिये बुलाया और चरण धोकर आदरसहित बैठाया॥ २॥

Notes

THIS IS ONE OF THE MOST IMPORTANT VERSES IN THE ENTIRE RAMCHARITMANAS. Tulsidas, through Shiva's voice, resolves the central debate of Indian theology in two luminous lines. Sagunahi agunahi nahi kachhu bheda: there is no difference between the God-with-form and the God-beyond-form. The Vedas, Puranas, sages, and the wise all testify to this unity. Then comes the mechanism of the mystery: bhagata prema basa saguna so hoi. The formless Absolute (aguna, arupa, alakha, aja) does not reluctantly descend into form. Rather, God is bound (basa) by the love (prema) of the devotees and willingly becomes saguna. Love is not a human projection onto the Absolute; love is the force that moves the Absolute to manifest. This single chaupai is the philosophical foundation upon which the entire narrative of Ram's incarnation rests. Without it, the Manas would be a beautiful story. With it, the story becomes theology. BATCH 50 MILESTONE.

पुरुष प्रसिद्ध प्रकास निधि प्रगट परावर नाथ।।

रघुकुलमनि मम स्वामि सोइ कहि सिवँ नायउ माथ।।116।।

Purush prasiddh prakaas nidhi pragat paraavar naath

Raghukulamani mam svaami soi kahi sivan naayau maath (116)

दोहा 116

The boys are tired, sleep takes hold; | take them now to rest.

The king then left, his heart on Ram, | to his own chamber blessed.

That supreme Purusha, the celebrated treasure of radiance, the manifest Lord of all worlds high and low, the jewel of the Raghu dynasty. He is my Master. So declaring, Shiva bowed his head.

Commentary & Notes ↓

Poddarji's Commentary

लड़के थके हुए नींदके वश हो रहे हैं, इन्हें ले जाकर शयन कराओ। ऐसा कहकर राजा श्रीरामचन्द्रजीके चरणोंमें मन लगाकर विश्रामभवनमें चले गये॥३५५॥

Notes

Doha 116. Shiva's climactic declaration of fealty to Ram. 'Purusha prasiddha prakaasha nidhi' = the renowned storehouse of light. 'Paraavar naath' = Lord of the higher and lower realms (para + avara). Shiva seals his testimony with a physical bow, modeling surrender for Parvati and the listener alike.

चौपाई 117
निज भ्रम नहिं समुझहिं अग्यानी। प्रभु पर मोह धरहिं जड़ प्रानी।।

Nij bhram nahin samujhahin agyaanee. prabhu par moh dharahin jad praanee

The ignorant do not understand their own delusion, and foolish beings harbor attachment toward the Lord.

जथा गगन घन पटल निहारी। झाँपेउ मानु कहहिं कुबिचारी।।

Jathaa gagan ghan patal nihaaree. jhaanpeu maanu kahahin kubichaaree

Just as the foolish, seeing clouds covering the sky, say that the clouds have concealed it.

चितव जो लोचन अंगुलि लाएँ। प्रगट जुगल ससि तेहि के भाएँ।।

Chitav jo lochan anguli laaen. pragat jugal sasi tehi ke bhaaen

One who looks with fingers placed over the eyes sees two moons appearing before him.

उमा राम बिषइक अस मोहा। नभ तम धूम धूरि जिमि सोहा।।

Umaa raam bishaik asa mohaa. nabh tam dhoom dhoori jimi sohaa

O Uma, such is the delusion regarding Rama - like darkness, smoke and dust appearing in the sky.

बिषय करन सुर जीव समेता। सकल एक तें एक सचेता।।

Bishay karan sur jeev sametaa. sakal eka ten eka sachetaa

All beings from gods to creatures are subject to maya, each one more conscious than the other.

सब कर परम प्रकासक जोई। राम अनादि अवधपति सोई।।

Sab kar param prakaasak joee. raam anaadi avadhapati soee

He who is the supreme illuminator of all is that same Rama, the eternal Lord of Ayodhya.

जगत प्रकास्य प्रकासक रामू। मायाधीस ग्यान गुन धामू।।

Jagat prakaasy prakaasak raamoo. maayaadhees gyaan gun dhaamoo

Rama illuminates the world and is himself the illuminator - the master of maya, the abode of knowledge and virtues.

जासु सत्यता तें जड माया। भास सत्य इव मोह सहाया।।

Jaasu satyataa ten jad maayaa. bhaas saty iva moh sahaayaa

By whose truth the inert maya appears real, aided by delusion.

Commentary & Notes ↓

Poddarji's Commentary

उसी समय दोनों भाई लतामण्डप (कुञ्ज) मेंसे प्रकट हुए। मानो दो निर्मल चन्द्रमा बादलोंके पर्देको हटाकर निकले हों॥ २३२॥ [वह सोचने लगी कि] पर्वतों, नदियों और समुद्रोंका बोझ मुझे इतना भारी नहीं जान पड़ता, जितना भारी मुझे एक परद्रोही (दूसरोंका अनिष्ट करनेवाला) लगता है। पृथ्वी सारे धर्मोंको विपरीत देख रही है, पर रावणसे भयभीत हुई वह कुछ बोल नहीं सकती॥ गाधिके पुत्र विश्वामित्रजीके मनमें चिन्ता छा गयी कि ये पापी राक्षस भगवान्‌के [मारे] बिना न मरेंगे। तब श्रेष्ठ मुनिने मनमें विचार किया कि प्रभुने पृथ्वीका भार हरनेके लिये अवतार लिया है॥ ३॥

Notes

Chaupai 117. Classic Vedantic analogy: clouds cannot touch the sun, they only block the viewer's sight. Likewise, maya never touches Brahman; it only veils the jiva's perception. 'Kubichaari' = those of poor discernment. Shiva gently chides those who attribute ignorance to the omniscient Ram.

रजत सीप महुँ मास जिमि जथा भानु कर बारि।

जदपि मृषा तिहुँ काल सोइ भ्रम न सकइ कोउ टारि।।117।।

Rajat seep mahun maas jimi jathaa bhaanu kar baari

Jadapi mrishaa tihun kaal soi bhram na sakai kou taari (117)

दोहा 117

'Among wives who worship husband as god | O Mother, you stand first in line;

your endless glory none can tell | not Saraswatis nor Sheshas divine.'

Silver appears in a seashell, and water appears in the rays of the sun. Though false in all three times (past, present, and future), no one can dispel that illusion on his own.

Commentary & Notes ↓

Poddarji's Commentary

पतिको इष्टदेव माननेवाली श्रेष्ठ नारियोंमें हे माता! आपकी प्रथम गणना है। आपकी अपार महिमाको हजारों सरस्वती और शेषजी भी नहीं कह सकते॥ २३५॥

Notes

Doha 117. Two stock Vedantic illustrations of superimposition (adhyaasa): rajata-shukti-nyaaya (silver-in-shell) and mrigatrishnaa (mirage water in sunlight). 'Tihun kaala' = past, present, future. The parenthetical 'except by knowledge of the truth' is implicit: only viveka or guru-kripa removes adhyaasa. Tulsidas keeps the Advaitic framework while steering toward bhakti as the means of awakening.

चौपाई 118
एहि बिधि जग हरि आश्रित रहई। जदपि असत्य देत दुख अहई।।

Ehi bidhi jag hari aashrit rahaee. jadapi asaty det dukh ahaee

In this way the world remains dependent on Lord Hari, though being unreal, it still causes suffering.

जौं सपनें सिर काटै कोई। बिनु जागें न दूरि दुख होई।।

Jaun sapanen sir kaatai koee. binu jaagen na doori dukh hoee

Just as if someone cuts off one's head in a dream, the pain cannot be removed without awakening.

जासु कृपाँ अस भ्रम मिटि जाई। गिरिजा सोइ कृपाल रघुराई।।

Jaasu kripaan asa bhram miti jaaee. girijaa soi kripaal raghuraaee

By whose grace such delusion is destroyed, O Girija, that compassionate one is Raghurai (Rama).

आदि अंत कोउ जासु न पावा। मति अनुमानि निगम अस गावा।।

Aadi ant kou jaasu na paavaa. mati anumaani nigam asa gaavaa

No one has found His beginning or end; the Vedas sing thus according to their understanding.

बिनु पद चलइ सुनइ बिनु काना। कर बिनु करम करइ बिधि नाना।।

Binu pad chalai sunai binu kaanaa. kar binu karam karai bidhi naanaa

Without feet He moves, without ears He hears, without hands He performs various divine actions.

आनन रहित सकल रस भोगी। बिनु बानी बकता बड़ जोगी।।

Aanan rahit sakal ras bhogee. binu baanee bakataa bad jogee

Without a mouth He enjoys all tastes, without speech He is the greatest speaker and yogi.

तनु बिनु परस नयन बिनु देखा। ग्रहइ घ्रान बिनु बास असेषा।।

Tanu binu paras nayan binu dekhaa. grahai ghraan binu baas aseshaa

Without a body He touches, without eyes He sees, without nostrils He perceives all fragrances.

असि सब भाँति अलौकिक करनी। महिमा जासु जाइ नहिं बरनी।।

Asi sab bhaanti alaukik karanee. mahimaa jaasu jaai nahin baranee

Such are all His supernatural deeds; His glory cannot be described.

Commentary & Notes ↓

Poddarji's Commentary

हे विधाता! जनककी मूढ़ताको शीघ्र हर लीजिये और हमारी ही ऐसी सुन्दर बुद्धि उन्हें दीजिये कि जिससे बिना ही विचार किये राजा अपना प्रण छोड़कर सीताजीका विवाह रामजीसे कर दें॥ २॥

Notes

Chaupai 118. The dream analogy bridges Advaita and devotion: the world is mithyaa (dependent reality), yet its pain is felt until the jiva 'wakes' through God's grace. 'Hari aashrit rahai' = the world subsists in Hari, i.e., has no independent existence. The verse validates the seeker's suffering while pointing to awakening (jaagana) as the remedy.

जेहि इमि गावहि बेद बुध जाहि धरहिं मुनि ध्यान।।

सोइ दसरथ सुत भगत हित कोसलपति भगवान।।118।।

Jehi imi gaavahi bed budh jaahi dharahin muni dhyaan

Soi dasarath sut bhagat hit kosalapati bhagavaan (118)

दोहा 118

'Very well, my Lord,' the gracious one replied,

and with the sages there they did abide;

when Janak heard the news with great delight,

he prepared worship with his courtly might.

The One whom the Vedas and the wise thus celebrate, the One whom sages hold steadfast in meditation, that very One is the son of Dasharatha, the Lord of Kosala, Bhagavan Himself, who has come for the sake of His devotees.

Commentary & Notes ↓

Poddarji's Commentary

कृपानिधान श्रीरामचन्द्रजीने 'बहुत अच्छा स्वामिन्‌' कहकर वहीं मुनियोंके समूहके साथ डेरा डाला। मिथिलापति जनकजीने जब समाचार पाया कि महामुनि विश्वामित्र आये हैं, तब उन्होंने पूजाकी सामग्री और समाज तैयार किया॥

Notes

Doha 118. Shiva's grand identification: the formless Brahman of Vedantic hymns and the object of yogic dhyaana is none other than Dasharatha-suta Ram, born in Kosala out of love for His bhaktas. 'Bhagat hit' = for the welfare/sake of devotees. This verse is the doctrinal hinge of the passage, uniting nirguna and saguna in a single declaration.

चौपाई 119
कासीं मरत जंतु अवलोकी। जासु नाम बल करउँ बिसोकी।।

Kaaseen marat jantu avalokee. jaasu naam bal karaun bisokee

Seeing beings dying in Kashi, by whose name's power I make them free from sorrow.

सोइ प्रभु मोर चराचर स्वामी। रघुबर सब उर अंतरजामी।।

Soi prabhu mor charaachar svaamee. raghubar sab ura antarajaamee

That same Lord is my master of all moving and non-moving creation, Raghubara who dwells as the inner witness in all hearts.

बिबसहुँ जासु नाम नर कहहीं। जनम अनेक रचित अघ दहहीं।।

Bibasahun jaasu naam nar kahaheen. janam anek rachit agha dahaheen

Even when uttered helplessly, whose name burns away the sins accumulated over countless births.

सादर सुमिरन जे नर करहीं। भव बारिधि गोपद इव तरहीं।।

Saadar sumiran je nar karaheen. bhav baaridhi gopad iva taraheen

Those who remember Him with reverence cross the ocean of worldly existence as easily as a cow's hoofprint.

राम सो परमातमा भवानी। तहँ भ्रम अति अबिहित तव बानी।।

Raam so paramaatamaa bhavaanee. tahan bhram ati abihit tav baanee

Rama is that Supreme Soul, O Bhavani! There your speech shows excessive delusion and impropriety.

अस संसय आनत उर माहीं। ग्यान बिराग सकल गुन जाहीं।।

Asa sansay aanat ura maaheen. gyaan biraag sakal gun jaaheen

Bringing such doubt into the heart destroys all knowledge, detachment, and virtuous qualities.

सुनि सिव के भ्रम भंजन बचना। मिटि गै सब कुतरक कै रचना।।

Suni siv ke bhram bhanjan bachanaa. miti gai sab kutarak kai rachanaa

Hearing Shiva's words that dispel delusion, all the constructions of false reasoning were destroyed.

भइ रघुपति पद प्रीति प्रतीती। दारुन असंभावना बीती।।

Bhai raghupati pad preeti prateetee. daarun asambhaavanaa beetee

Love and faith in Raghupati's feet arose, and the terrible disbelief passed away.

Commentary & Notes ↓

Poddarji's Commentary

जो सुखके पुञ्ज, मोहसे परे तथा ज्ञान, वाणी और इन्द्रियोंसे अतीत हैं, वे भगवान्‌ दशरथ-कौसल्याके अत्यन्त प्रेमके वश होकर पवित्र बाललीला करते हैं॥ १९९॥

Notes

Shiva's supreme declaration of surrender to Ram. 'Charachar Swami' (sovereign of the moving and the still) establishes Ram's lordship over all creation. 'Antarjami' (the knower of all hearts) affirms Ram's omniscience. Shiva, the liberator of Kashi, himself proclaims that it is Ram's Name alone that grants him the power to free dying souls.

पुनि पुनि प्रभु पद कमल गहि जोरि पंकरुह पानि।

बोली गिरिजा बचन बर मनहुँ प्रेम रस सानि।।119।।

Puni puni prabhu pad kamal gahi jori pankaruh paani

Bolee girijaa bachan bar manahun prem ras saani (119)

दोहा 119

Bowing to Shatananda's feet | the Lord sat by His guide;

'Come, dear son,' the sage then said | 'Janak has called,' he cried.

Again and again clasping the Lord's lotus feet, joining her lotus-like hands in reverence, Girija spoke words of great beauty, as if each syllable had been kneaded in the rasa of love.

Commentary & Notes ↓

Poddarji's Commentary

शतानन्दजीके चरणोंकी वन्दना करके प्रभु श्रीरामचन्द्रजी गुरुजीके पास जा बैठे। तब मुनिने कहा--हे तात! चलो, जनकजीने बुला भेजा है॥ २३९॥

Notes

Doha 119 in Gita Press numbering. Parvati's posture of surrender mirrors Shiva's own devotion to Ram. 'Pankuruh pani' (lotus hands) and 'pad kamal' (lotus feet) sustain the lotus imagery that pervades Tulsi's devotional vocabulary. 'Prem ras sani' (kneaded with the essence of love) conveys that her words are not mere speech but an offering saturated with feeling.

चौपाई 120
ससि कर सम सुनि गिरा तुम्हारी। मिटा मोह सरदातप भारी।।

Sasi kar sam suni giraa tumhaaree. mitaa moh saradaatap bhaaree

Hearing your words, cool as moonbeams, my heavy delusion and burning ignorance have been dispelled.

तुम्ह कृपाल सबु संसउ हरेऊ। राम स्वरुप जानि मोहि परेऊ।।

Tumh kripaal sabu sansau hareoo. raam svarup jaani mohi pareoo

You are compassionate and have removed all my doubts, knowing me to be devoted to Rama's divine form.

नाथ कृपाँ अब गयउ बिषादा। सुखी भयउँ प्रभु चरन प्रसादा।।

Naath kripaan aba gayau bishaadaa. sukhee bhayaun prabhu charan prasaadaa

O Lord, by your grace my sorrow has departed, and I have become happy through the blessing of the Master's feet.

अब मोहि आपनि किंकरि जानी। जदपि सहज जड नारि अयानी।।

Aba mohi aapani kinkari jaanee. jadapi sahaj jad naari ayaanee

Now know me as your devoted servant, though I am by nature an ignorant and foolish woman.

प्रथम जो मैं पूछा सोइ कहहू। जौं मो पर प्रसन्न प्रभु अहहू।।

Pratham jo main poochhaa soi kahahoo. jaun mo par prasann prabhu ahahoo

Please answer what I first asked you, if you are pleased with me, O Lord.

राम ब्रह्म चिनमय अबिनासी। सर्ब रहित सब उर पुर बासी।।

Raam brahm chinamay abinaasee. sarb rahit sab ura pur baasee

Rama is Brahman, pure consciousness and imperishable, free from all attributes yet dwelling in every heart.

नाथ धरेउ नरतनु केहि हेतू। मोहि समुझाइ कहहु बृषकेतू।।

Naath dhareu naratanu kehi hetoo. mohi samujhaai kahahu brishaketoo

O Lord, for what purpose did He assume human form? Please explain this to me, O bearer of the bull banner.

उमा बचन सुनि परम बिनीता। रामकथा पर प्रीति पुनीता।।

Umaa bachan suni param bineetaa. raamakathaa par preeti puneetaa

Hearing Uma's supremely humble words and her pure love for Rama's story.

Commentary & Notes ↓

Poddarji's Commentary

वेद कहते हैं कि तुम्हारे प्रत्येक रोममें मायाके रचे हुए अनेकों ब्रह्माण्डोंके समूह [भरे] हैं। वे तुम मेरे गर्भमें रहे;इस हँसीकी बातके सुननेपर धीर (विवेकी) पुरुषोंकी बुद्धि भी स्थिर नहीं रहती (विचलित हो जाती है)। जब माताको ज्ञान उत्पन्न हुआ, तब प्रभु मुसकराये। वे बहुत प्रकारके चरित्र करना चाहते हैं। अतः उन्होंने [पूर्वजन्मकी] सुन्दर कथा कहकर माताको समझाया, जिससे उन्हें पुत्रका (वात्सल्य) प्रेम प्राप्त हो॥

Notes

Parvati's doubt, which began when she saw Ram wandering the forest in apparent grief after Sita's abduction, is now fully resolved. Tulsi uses a beautiful seasonal metaphor: 'saradatap' (the lingering heat of autumn) represents the stubborn residue of delusion, and Shiva's teaching falls upon it like 'sasi kar' (moonbeams), bringing cool relief. The 'form of Ram' appearing before her eyes signals not physical sight but the inner vision of devotion.

हिंयँ हरषे कामारि तब संकर सहज सुजान

बहु बिधि उमहि प्रसंसि पुनि बोले कृपानिधान।।120(क)।।

सुनु सुभ कथा भवानि रामचरितमानस बिमल।

कहा भुसुंडि बखानि सुना बिहग नायक गरुड।।120(ख)।।

सो संबाद उदार जेहि बिधि भा आगें कहब।

सुनहु राम अवतार चरित परम सुंदर अनघ।।120(ग)।।

हरि गुन नाम अपार कथा रूप अगनित अमित।

मैं निज मति अनुसार कहउँ उमा सादर सुनहु।।120(घ।।

Hinyan harashe kaamaari tab sankar sahaj sujaan

Bahu bidhi umahi prasansi puni bole kripaanidhaan.120(ka)

Sunu subh kathaa bhavaani raamacharitamaanas bimal

Kahaa bhusundi bakhaani sunaa bihag naayak garud.120(kha)

So sambaad udaar jehi bidhi bhaa aagen kahab

Sunahu raam avataar charit param sundar anagh.120(ga)

Hari gun naam apaar kathaa roop aganit amit

Main nij mati anusaar kahaun umaa saadar sunahu.120(gh

सोरठा 120

Having consoled the sage in many ways, | the Lord then disappeared;

Narada went to Satyaloka | singing Rama's praise, endeared.

The enemy of Kama, Shankar, naturally wise, was delighted in his heart. Praising Uma in many ways, that treasury of compassion then spoke.

Commentary & Notes ↓

Poddarji's Commentary

बहुत प्रकार से मुनि को समझा-बुझाकर (ढाढ़स देकर) तब प्रभु अन्तर्धान हो गये और नारदजी श्रीरामचन्द्रजी के गुणों का गान करते हुए सत्यलोक (ब्रह्मलोक) को चले॥ १३८॥

Notes

Doha 121. 'Kamari' (enemy of Kama) recalls Shiva's burning of the god of desire, yet here that same destroyer overflows with tenderness. 'Sahaj sujan' (naturally wise) indicates that Shiva's wisdom is not acquired but innate. 'Kripadhan' (treasury of compassion) is a signature Tulsi epithet. Shiva's delight at Parvati's faith mirrors the guru's joy when the disciple's doubt dissolves.

चौपाई 121
सुनु गिरिजा हरिचरित सुहाए। बिपुल बिसद निगमागम गाए।।

Sunu girijaa haricharit suhaae. bipul bisad nigamaagam gaae

Listen, O Girija, to the beautiful stories of Hari that are sung extensively and clearly in the Vedas and scriptures.

हरि अवतार हेतु जेहि होई। इदमित्थं कहि जाइ न सोई।।

Hari avataar hetu jehi hoee. idamitthan kahi jaai na soee

The purpose for which Hari takes incarnation cannot be described as 'this much' or 'that much' - it is beyond measure.

राम अर्तक्य बुद्धि मन बानी। मत हमार अस सुनहि सयानी।।

Raam artaky buddhi man baanee. mat hamaar asa sunahi sayaanee

Rama is beyond the reach of intellect, mind, and speech. Listen, O wise one, this is my understanding.

तदपि संत मुनि बेद पुराना। जस कछु कहहिं स्वमति अनुमाना।।

Tadapi sant muni bed puraanaa. jas kachhu kahahin svamati anumaanaa

Still, saints, sages, Vedas, and Puranas speak according to their own understanding and wisdom.

तस मैं सुमुखि सुनावउँ तोही। समुझि परइ जस कारन मोही।।

Tas main sumukhi sunaavaun tohee. samujhi parai jas kaaran mohee

In the same way, O beautiful one, I shall narrate to you as much as I can understand and comprehend.

जब जब होइ धरम कै हानी। बाढहिं असुर अधम अभिमानी।।

Jab jab hoi dharam kai haanee. baadhahin asur adham abhimaanee

Whenever there is decline of righteousness and wicked, arrogant demons multiply and grow strong.

करहिं अनीति जाइ नहिं बरनी। सीदहिं बिप्र धेनु सुर धरनी।।

Karahin aneeti jaai nahin baranee. seedahin bipr dhenu sur dharanee

They commit unspeakable injustices, and Brahmins, cows, gods, and the earth suffer greatly.

तब तब प्रभु धरि बिबिध सरीरा। हरहि कृपानिधि सज्जन पीरा।।

Tab tab prabhu dhari bibidh sareeraa. harahi kripaanidhi sajjan peeraa

Then the compassionate Lord takes various forms and removes the suffering of the righteous.

Commentary & Notes ↓

Poddarji's Commentary

पुष्पवाटिका (फुलवारी), बाग और वन, जिनमें बहुत-से पक्षियोंका निवास है, फूलते, फलते और सुन्दर पत्तोंसे लदे हुए नगरके चारों ओर सुशोभित हैं॥ २१२॥

Notes

This chaupai is a pivotal hinge in the Bala Kanda. Shiva opens the great narrative of Ram's incarnation by first establishing epistemic humility: 'idamittham kahi sakai na koi' (no one can say with finality, this is the sole reason). Tulsi, through Shiva, honors the tradition of multiple 'hetu' (causes) for avatara. The Vedas and Agamas are cited as witnesses, but even they sing of Hari's glory without exhausting its meaning. What follows will be several reasons for Ram's descent, each true, none complete on its own.

असुर मारि थापहिं सुरन्ह राखहिं निज श्रुति सेतु।

जग बिस्तारहिं बिसद जस राम जन्म कर हेतु।।121।।

Asur maari thaapahin suranh raakhahin nij shruti setu

Jag bistaarahin bisad jas raam janm kar hetu (121)

दोहा 121

He gave them all his arms, then brought | the Lord to his own home;

knowing Him as supreme friend, | he served with love alone.

They slay the asuras, establish the devas, and protect the bridge of their own Vedas (Shruti-setu). They spread their spotless glory throughout the world. These are the reasons for Ram's birth.

Commentary & Notes ↓

Poddarji's Commentary

सब अस्त्र-शस्त्र समर्पण करके मुनि प्रभु श्रीरामजीको अपने आश्रममें ले आये; और उन्हें परम हितू जानकर भक्तिपूर्वक कन्द, मूल और फलका भोजन कराया॥ २०९॥

Notes

Doha 121. 'Shruti-setu' (the bridge of the Vedas) refers to the eternal law of dharma that the Lord preserves each time He descends. Tulsidas summarises four purposes of incarnation: destroying evil, uplifting the gods, safeguarding scripture, and spreading divine fame.

चौपाई 122
सोइ जस गाइ भगत भव तरहीं। कृपासिंधु जन हित तनु धरहीं।।

Soi jas gaai bhagat bhav taraheen. kripaasindhu jan hit tanu dharaheen

Singing that glory, devotees cross the ocean of worldly existence. The ocean of mercy takes bodily form for the welfare of His devotees.

राम जनम के हेतु अनेका। परम बिचित्र एक तें एका।।

Raam janam ke hetu anekaa. param bichitr eka ten ekaa

There are countless reasons for Rama's birth, each one supremely wonderful and unique.

जनम एक दुइ कहउँ बखानी। सावधान सुनु सुमति भवानी।।

Janam eka dui kahaun bakhaanee. saavadhaan sunu sumati bhavaanee

I shall narrate one or two of these reasons in detail. Listen attentively, O wise Bhavani.

द्वारपाल हरि के प्रिय दोऊ। जय अरु बिजय जान सब कोऊ।।

Dvaarapaal hari ke priy dooo. jay aru bijay jaan sab kooo

Both gatekeepers of Hari were dear to Him - Jaya and Vijaya, as everyone knows.

बिप्र श्राप तें दूनउ भाई। तामस असुर देह तिन्ह पाई।।

Bipr shraap ten doonau bhaaee. taamas asur deh tinh paaee

Due to a brahmin's curse, both brothers received demonic bodies born of tamas (darkness).

कनककसिपु अरु हाटक लोचन। जगत बिदित सुरपति मद मोचन।।

Kanakakasipu aru haatak lochan. jagat bidit surapati mad mochan

They became Hiranyakashipu and Hiranyaksha, world-renowned for humbling Indra's pride.

बिजई समर बीर बिख्याता। धरि बराह बपु एक निपाता।।

Bijaee samar beer bikhyaataa. dhari baraah bapu eka nipaataa

Victorious in battle and famous as warriors, the Lord slew one by taking the form of Varaha (boar).

होइ नरहरि दूसर पुनि मारा। जन प्रहलाद सुजस बिस्तारा।।

Hoi narahari doosar puni maaraa. jan prahalaad sujas bistaaraa

Becoming Narasimha, He then killed the second one and spread the good fame of His devotee Prahlada.

Commentary & Notes ↓

Poddarji's Commentary

उसी यश को गा-गाकर भक्तजन भवसागर से तर जाते हैं। कृपासागर भगवान भक्तों के हित के लिये शरीर धारण करते हैं। श्रीरामचन्द्रजी के जन्म लेने के अनेक कारण हैं, जो एक-से-एक बढ़कर विचित्र हैं॥ एक का नाम था हिरण्यकशिपु और दूसरे का हिरण्याक्ष। ये देवराज इन्द्र के गर्व को छुड़ाने वाले सारे जगत में प्रसिद्ध हुए। युद्ध में जीतने वाले विख्यात वीर थे। इनमें से एक (हिरण्याक्ष) को भगवान ने वराह रूप धारण करके मारा॥ श्रीरामजीने सब लोगोंकी ओर देखा और उन्हें चित्रमें लिखे हुए-से देखकर फिर कृपाधाम श्रीरामजीने सीताजीकी ओर देखा और उन्हें विशेष व्याकुल जाना॥ २६०॥

Notes

Chaupai 122. 'Kripasindhu' (ocean of mercy) is one of Tulsidas's favourite names for the Lord. The verse pivots from the devotee's benefit (liberation through singing His glory) to the sheer abundance of reasons behind the incarnation, setting up the stories that follow.

भए निसाचर जाइ तेइ महाबीर बलवान।

कुंभकरन रावण सुभट सुर बिजई जग जान।।122 ।

Bhae nisaachar jaai tei mahaabeer balavaan

Kumbhakaran raavan subhat sur bijaee jag jaan (122)

दोहा 122

Meghanada, his eldest son, | was first of warriors all;

none faced him in battle's field; | heaven fled at his call.

Those two (Jaya and Vijaya) went and became nishachara (night-wandering rakshasas), supremely mighty warriors. Kumbhakarna and Ravana, great champions who conquered the devas, as the whole world knows.

Commentary & Notes ↓

Poddarji's Commentary

मेघनाद रावणका बड़ा लड़का था, जिसका जगत्के योद्धाओंमें पहला नंबर था। रणमें कोई भी उसका सामना नहीं कर सकता था। स्वर्गमें तो [उसके भयसे] नित्य भगदड़ मची रहती थी॥ ३॥

Notes

Doha 122. Jaya and Vijaya were the gatekeepers of Vaikuntha, cursed by the Sanakadi rishis (the four Kumara sages) to take three demonic births. Their first birth was as Hiranyaksha and Hiranyakashipu; their second as Ravana and Kumbhakarna; their third as Shishupala and Dantavakra. Tulsidas here focuses on the Ravana-Kumbhakarna birth. 'Nishachara' literally means 'those who roam at night,' a standard epithet for rakshasas.

चौपाई 123
मुकुत न भए हते भगवाना। तीनि जनम द्विज बचन प्रवाना।।

Mukut na bhae hate bhagavaanaa. teeni janam dvij bachan pravaanaa

They would not have been liberated had the Lord not been slain. The words of the brahmin proved true across three births.

एक बार तिन्ह के हित लागी। धरेउ सरीर भगत अनुरागी।।

Eka baar tinh ke hit laagee. dhareu sareer bhagat anuraagee

Once, for their welfare and benefit, the devotee-loving Lord took on a physical form.

कस्यप अदिति तहाँ पितु माता। दसरथ कौसल्या बिख्याता।।

Kasyap aditi tahaan pitu maataa. dasarath kausalyaa bikhyaataa

There Kashyapa and Aditi were the renowned father and mother, while here Dasharatha and Kausalya were famous.

एक कलप एहि बिधि अवतारा। चरित्र पवित्र किए संसारा।।

Eka kalap ehi bidhi avataaraa. charitr pavitr kie sansaaraa

In one kalpa, He took incarnation in this manner and made the world's deeds pure and sacred.

एक कलप सुर देखि दुखारे। समर जलंधर सन सब हारे।।

Eka kalap sur dekhi dukhaare. samar jalandhar san sab haare

In another kalpa, seeing the gods in distress, all were defeated in battle with Jalandhara.

संभु कीन्ह संग्राम अपारा। दनुज महाबल मरइ न मारा।।

Sambhu keenh sangraam apaaraa. danuj mahaabal marai na maaraa

Shiva waged an endless war, but the mighty demon would not die despite being struck.

परम सती असुराधिप नारी। तेहि बल ताहि न जितहिं पुरारी।।

Param satee asuraadhip naaree. tehi bal taahi na jitahin puraaree

The demon king's wife was supremely chaste, and by her power even Purari (Shiva) could not defeat him.

Commentary & Notes ↓

Poddarji's Commentary

भगवान के द्वारा मारे जाने पर भी वे (हिरण्याक्ष और हिरण्यकशिपु) इसीलिये मुक्त नहीं हुए कि ब्राह्मण के वचन (शाप) का प्रमाण तीन जन्म के लिये था। अतः एक बार उनके कल्याण के लिये भक्तप्रेमी भगवान ने फिर अवतार लिया॥

Notes

Chaupai 123. 'Mukuta na bhae hate Bhagavana' is a striking theological point: being killed by God in combat does not automatically grant moksha when a sage's curse is in force. Liberation comes only after all three births are fulfilled. 'Bhakta-anuragi' (He who is drawn to His devotees) reveals the tender motive behind each incarnation: even these cursed doorkeepers remain His own, and He descends partly out of love for them.

छल करि टारेउ तासु ब्रत प्रभु सुर कारज कीन्ह।।

जब तेहि जानेउ मरम तब श्राप कोप करि दीन्ह।।123।।

Chhal kari taareu taasu brat prabhu sur kaaraj keenh

Jab tehi jaaneu maram tab shraap kop kari deenh (123)

दोहा 123

In all He dwells yet stays apart, | through love like fire He shows;

my words all hearts accepted then; | 'Well said!' Brahma's praise arose.

By a stratagem, the Lord broke his (Narada's) vow and accomplished the work of the devas. When Narada discovered the secret, he gave a curse in anger.

Commentary & Notes ↓

Poddarji's Commentary

वे चराचरमय (चराचरमें व्याप्त) होते हुए ही सबसे रहित हैं और विरक्त हैं (उनकी कहीं आसक्ति नहीं है); वे प्रेमसे प्रकट होते हैं, जैसे अग्नि। मेरे वचन सबके मनको माने गये। साधु-साधु कहकर ब्रह्माजीने प्रशंसा की॥

Notes

Doha 123. This refers to the episode where Narada, filled with pride after performing tapasya, was tricked by the Lord's maya. The 'vow' (brata) was Narada's vow of celibacy or equanimity, which the Lord's illusion tested. When Narada realised he had been deceived, he cursed Vishnu to suffer the pangs of separation from His wife, a curse that ultimately became another reason for the Ram incarnation. 'Sura karaja' (the gods' work) indicates that even this deception served a higher divine purpose.

चौपाई 124
तासु श्राप हरि दीन्ह प्रमाना। कौतुकनिधि कृपाल भगवाना।।

Taasu shraap hari deenh pramaanaa. kautukanidhi kripaal bhagavaanaa

The Lord fulfilled that curse as promised, for He is the treasure-house of divine play and the compassionate Supreme Being.

तहाँ जलंधर रावन भयऊ। रन हति राम परम पद दयऊ।।

Tahaan jalandhar raavan bhayaoo. ran hati raam param pad dayaoo

There Jalandhar became Ravana, whom Rama slayed in battle and granted the supreme abode.

एक जनम कर कारन एहा। जेहि लागि राम धरी नरदेहा।।

Eka janam kar kaaran ehaa. jehi laagi raam dharee naradehaa

This was the reason for one birth - for which purpose Rama took human form.

प्रति अवतार कथा प्रभु केरी। सुनु मुनि बरनी कबिन्ह घनेरी।।

Prati avataar kathaa prabhu keree. sunu muni baranee kabinh ghaneree

Listen, O sage, to the stories of the Lord's incarnations in each age, which many poets have described.

नारद श्राप दीन्ह एक बारा। कलप एक तेहि लगि अवतारा।।

Naarad shraap deenh eka baaraa. kalap eka tehi lagi avataaraa

Once Narada gave a curse, and for one kalpa that incarnation lasted.

गिरिजा चकित भई सुनि बानी। नारद बिष्नुभगत पुनि ग्यानि।।

Girijaa chakit bhaee suni baanee. naarad bishnubhagat puni gyaani

Girija was astonished hearing this, thinking 'Narada is a devotee of Vishnu and also wise.'

कारन कवन श्राप मुनि दीन्हा। का अपराध रमापति कीन्हा।।

Kaaran kavan shraap muni deenhaa. kaa aparaadh ramaapati keenhaa

What was the reason the sage gave a curse? What offense did the Lord of Lakshmi commit?

यह प्रसंग मोहि कहहु पुरारी। मुनि मन मोह आचरज भारी।।

Yah prasang mohi kahahu puraaree. muni man moh aacharaj bhaaree

Tell me this episode, O destroyer of Tripura - it is most wondrous that the sage's mind was deluded.

Commentary & Notes ↓

Poddarji's Commentary

दीनोंपर दया करनेवाले, कौसल्याजीके हितकारी कृपालु प्रभु प्रकट हुए। मुनियोंके मनको हरनेवाले उनके अद्भुत रूपका विचार करके माता हर्षसे भर गयी। नेत्रोंको आनन्द देनेवाला मेघके समान श्यामशरीर था; चारों भुजाओंमें अपने (खास) आयुध [धारण किये हुए] थे; [दिव्य] आभूषण और वनमाला पहने थे; बड़े-बड़े नेत्र थे। इस प्रकार शोभाके समुद्र तथा खर राक्षसको मारनेवाले भगवान्‌ प्रकट हुए॥

Notes

Narada's curse, far from being a punishment, becomes the doorway to liberation. The Lord's honoring of the curse reveals His deeper design: even apparent misfortune is woven into grace. Jalandhara-Ravana receives moksha at Ram's hands, the very hands that slew him.

बोले बिहसि महेस तब ग्यानी मूढ़ न कोइ।

जेहि जस रघुपति करहिं जब सो तस तेहि छन होइ।।124(क)।।

कहउँ राम गुन गाथ भरद्वाज सादर सुनहु।

भव भंजन रघुनाथ भजु तुलसी तजि मान मद।।124(ख)।।

Bole bihasi mahes tab gyaanee moodh na koi

Jehi jas raghupati karahin jab so tas tehi chhan hoi.124(ka)

Kahaun raam gun gaath bharadvaaj saadar sunahu

Bhav bhanjan raghunaath bhaju tulasee taji maan mad.124(kha)

सोरठा 124

Then Shiva smiled and spoke: | 'None is wise, none is a fool;

when Raghupati makes one so, | one becomes that, by His rule.'

Then Maheshvara smiled and spoke: "No one is truly wise, and no one truly foolish. When Raghupati makes someone be a certain way, that person becomes so in that very instant."

Commentary & Notes ↓

Poddarji's Commentary

तब महादेवजी ने हँसकर कहा;न कोई ज्ञानी है न मूर्ख। श्रीरघुनाथजी जब जिसकी जैसा करते हैं, वह उसी क्षण वैसा ही हो जाता है॥ १२४ (क)॥

Notes

Shiva's teaching here is pivotal. Wisdom and ignorance are not fixed qualities of the jiva; they arise by the Lord's will alone. This single doha dissolves all pride in knowledge and all contempt for ignorance. The smile of Shiva signals that this truth is not heavy doctrine but a liberating secret, spoken with lightness and love.

चौपाई 125
हिमगिरि गुहा एक अति पावनि। बह समीप सुरसरी सुहावनि।।

Himagiri guhaa eka ati paavani. bah sameep surasaree suhaavani

In the Himalayas there was a most sacred cave, near which flowed the beautiful celestial river Ganga.

आश्रम परम पुनीत सुहावा। देखि देवरिषि मन अति भावा।।

Aashram param puneet suhaavaa. dekhi devarishi man ati bhaavaa

The hermitage was supremely pure and beautiful, and seeing it, the divine sage's heart was greatly pleased.

निरखि सैल सरि बिपिन बिभागा। भयउ रमापति पद अनुरागा।।

Nirakhi sail sari bipin bibhaagaa. bhayau ramaapati pad anuraagaa

Beholding the mountain, river, and forest regions, he developed deep devotion for the feet of Lord Vishnu.

सुमिरत हरिहि श्राप गति बाधी। सहज बिमल मन लागि समाधी।।

Sumirat harihi shraap gati baadhee. sahaj bimal man laagi samaadhee

While meditating on Lord Hari, the curse's power was restrained, and his naturally pure mind entered deep meditation.

मुनि गति देखि सुरेस डेराना। कामहि बोलि कीन्ह सनमाना।।

Muni gati dekhi sures deraanaa. kaamahi boli keenh sanamaanaa

Seeing the sage's spiritual state, Indra became frightened and summoned Kamadeva with honor.

सहित सहाय जाहु मम हेतू। चकेउ हरषि हियँ जलचरकेतू।।

Sahit sahaay jaahu mam hetoo. chakeu harashi hiyan jalacharaketoo

Go with your companions for my sake - hearing this, Kamadeva rejoiced in his heart.

सुनासीर मन महुँ असि त्रासा। चहत देवरिषि मम पुर बासा।।

Sunaaseer man mahun asi traasaa. chahat devarishi mam pur baasaa

Indra thought with fear in his mind that the divine sage desired to dwell in his celestial city.

जे कामी लोलुप जग माहीं। कुटिल काक इव सबहि डेराहीं।।

Je kaamee lolup jag maaheen. kutil kaak iva sabahi deraaheen

Those who are lustful and greedy in this world fear everyone like cunning crows.

Commentary & Notes ↓

Poddarji's Commentary

जब राजाने मुनिके आगमनका समाचार सुना, तब वे ब्राह्मण-समाजको साथ लेकर मिलने गये। दण्डवत्‌ करके मुनिका सम्मान किया और विधिपूर्वक उन्हें अपने आसनपर बैठाया॥ १॥

Notes

The setting is established for the Pratapabhanu narrative arc. Tulsidas paints the Himalayan ashram with restrained strokes: sacred cave, flowing Ganga, irresistible beauty. The phrase 'jiu na jaana ki bhaavaa' captures how the soul is seized by holiness before the mind can reason why.

सुख हाड़ लै भाग सठ स्वान निरखि मृगराज।

छीनि लेइ जनि जान जड़ तिमि सुरपतिहि न लाज।।125।।

Sukh haad lai bhaag sath svaan nirakhi mrigaraaj

Chheeni lei jani jaan jad timi surapatihi na laaj (125)

दोहा 125

Like a foolish dog that flees | from a lion, bone in mouth,

'He'll snatch it!';Indra thought the same, | with no shame, north or south.

Like a foolish dog who, upon seeing a lion, runs away clutching a dry bone, afraid the lion will snatch it. Just so, Indra feels no shame in fleeing from the power of tapasya.

Commentary & Notes ↓

Poddarji's Commentary

जैसे मूर्ख कुत्ता सिंह को देखकर सूखी हड्डी लेकर भागे और वह मूर्ख यह समझे कि कहीं उस हड्डी को सिंह छीन न ले, वैसे ही इन्द्र को [नारदजी मेरा राज्य छीन लेंगे, ऐसा सोचते] लाज नहीं आयी॥ १२५॥

Notes

A sharp and earthy simile. The dog fears the lion will steal a worthless bone; the lion has no interest in bones. Likewise, Indra fears the ascetic's tapas will unseat him, yet the true tapasvi has no desire for Indra's throne. The verse exposes the pettiness of Indra's anxiety and, by extension, the absurdity of worldly jealousy over spiritual power.

चौपाई 126
तेहि आश्रमहिं मदन जब गयऊ। निज मायाँ बसंत निरमयऊ।।

Tehi aashramahin madan jab gayaoo. nij maayaan basant niramayaoo

When Cupid went to that ashram, he created spring through his divine power.

कुसुमित बिबिध बिटप बहुरंगा। कूजहिं कोकिल गुंजहि भृंगा।।

Kusumit bibidh bitap bahurangaa. koojahin kokil gunjahi bhringaa

Various trees bloomed with colorful flowers, cuckoos sang sweetly and bees hummed melodiously.

चली सुहावनि त्रिबिध बयारी। काम कृसानु बढ़ावनिहारी।।

Chalee suhaavani tribidh bayaaree. kaam krisaanu badhaavanihaaree

Pleasant breezes of three kinds began to blow, which kindle the fire of passion.

रंभादिक सुरनारि नबीना । सकल असमसर कला प्रबीना।।

Rambhaadik suranaari nabeenaa . sakal asamasar kalaa prabeenaa

Celestial maidens like Rambha and others, all unparalleled and skilled in various arts, appeared.

करहिं गान बहु तान तरंगा। बहुबिधि क्रीड़हि पानि पतंगा।।

Karahin gaan bahu taan tarangaa. bahubidhi kreedahi paani patangaa

They sang with many melodious variations and water-nymphs played in various ways.

देखि सहाय मदन हरषाना। कीन्हेसि पुनि प्रपंच बिधि नाना।।

Dekhi sahaay madan harashaanaa. keenhesi puni prapanch bidhi naanaa

Seeing his helpers, Cupid rejoiced and created many more enchanting illusions.

काम कला कछु मुनिहि न ब्यापी। निज भयँ डरेउ मनोभव पापी।।

Kaam kalaa kachhu munihi na byaapee. nij bhayan dareu manobhav paapee

None of Cupid's arts affected the sage; the sinful Cupid trembled with fear.

सीम कि चाँपि सकइ कोउ तासु। बड़ रखवार रमापति जासू।।

Seem ki chaanpi sakai kou taasu. bad rakhavaar ramaapati jaasoo

Who can suppress one whose great protector is the Lord of Lakshmi himself?

Commentary & Notes ↓

Poddarji's Commentary

वे बहुत प्रकार की तानों की तरंग के साथ गाने लगीं और हाथ में गेंद लेकर नाना प्रकार के खेल खेलने लगीं। कामदेव अपने इन सहायकों को देखकर बहुत प्रसन्न हुआ और फिर उसने नाना प्रकार के मायाजाल किये॥ जब कामदेव उस आश्रम में गया तब उसने अपनी माया से वसन्त की रचना की। तरह-तरह के वृक्षों पर रंग-बिरंगे फूल खिल गये। कोयलें कूकने और भौंरे गुंजार करने लगे॥

Notes

Kamadeva's arrival marks the beginning of the temptation sequence. Spring is not natural here; it is manufactured illusion (maya). Tulsidas names the sensory details precisely: colorful blossoms, the koel's song, the hum of bees. Each is an instrument of Kama's enchantment. The reader is meant to feel the beauty and recognize it simultaneously as a trap.

सहित सहाय सभीत अति मानि हारि मन मैन।

गहेसि जाइ मुनि चरन तब कहि सुठि आरत बैन।।126।।

Sahit sahaay sabheet ati maani haari man main

Gahesi jaai muni charan tab kahi suthi aarat bain (126)

दोहा 126

With helpers, scared and beaten, | Love bowed at the sage's feet,

speaking words of great distress; | accepting full defeat.

With all his allies, Kamadeva was utterly terrified and accepted defeat in his heart. He went and clasped the sage's feet, speaking words of deep distress.

Commentary & Notes ↓

Poddarji's Commentary

तब अपने सहायकों समेत कामदेव ने बहुत डरकर और अपने मन में हार मानकर बहुत ही आर्त (दीन) वचन कहते हुए मुनि के चरणों को जा पकड़ा॥ १२६॥

Notes

Doha 126. Kamadeva (Maina, the god of desire) has exhausted every weapon against Narada's tapasya and now surrenders. 'Maina' is a name for Kamadeva. 'Sabhita' (terrified) underscores that even desire itself trembles before genuine ascetic resolve.

चौपाई 127
भयउ न नारद मन कछु रोषा। कहि प्रिय बचन काम परितोषा।।

Bhayau na naarad man kachhu roshaa. kahi priy bachan kaam paritoshaa

Narada felt no anger in his mind. He spoke sweet words and satisfied Cupid.

नाइ चरन सिरु आयसु पाई। गयउ मदन तब सहित सहाई।।

Naai charan siru aayasu paaee. gayau madan tab sahit sahaaee

Bowing his head at the sage's feet and receiving permission, Cupid departed with his companions.

मुनि सुसीलता आपनि करनी। सुरपति सभाँ जाइ सब बरनी।।

Muni suseelataa aapani karanee. surapati sabhaan jaai sab baranee

The sage went to Indra's assembly and described all his virtuous conduct.

सुनि सब कें मन अचरजु आवा। मुनिहि प्रसंसि हरिहि सिरु नावा।।

Suni sab ken man acharaju aavaa. munihi prasansi harihi siru naavaa

Hearing this, wonder filled everyone's mind. They praised the sage and bowed their heads to Hari.

तब नारद गवने सिव पाहीं। जिता काम अहमिति मन माहीं।।

Tab naarad gavane siv paaheen. jitaa kaam ahamiti man maaheen

Then Narada went to Shiva with pride in his mind, thinking he had conquered Cupid.

मार चरित संकरहिं सुनाए। अतिप्रिय जानि महेस सिखाए।।

Maar charit sankarahin sunaae. atipriy jaani mahes sikhaae

He narrated Cupid's story to Shankara. Knowing it to be very dear to him, Mahesha instructed him.

बार बार बिनवउँ मुनि तोहीं। जिमि यह कथा सुनायहु मोहीं।।

Baar baar binavaun muni toheen. jimi yah kathaa sunaayahu moheen

Again and again I request you, O sage, just as you have told this story to me.

तिमि जनि हरिहि सुनावहु कबहूँ। चलेहुँ प्रसंग दुराएडु तबहूँ।।

Timi jani harihi sunaavahu kabahoon. chalehun prasang duraaedu tabahoon

Do not ever tell it to Hari in this way. The episode will be exposed even then.

Commentary & Notes ↓

Poddarji's Commentary

हृदयमें सीताजीकी शोभाका वर्णन करके और अपनी दशाको विचारकर प्रभु श्रीरामचन्द्रजी पवित्र मनसे अपने छोटे भाई लक्ष्मणसे समयानुकूल वचन बोले॥ २३०॥

Notes

Chaupai 127. Narada's composure here is genuine, yet Tulsidas frames it with dramatic irony: the sage believes he conquered desire by his own strength. This very pride will become the opening through which Vishnu's maya enters. The two couplet pairs are separated per formatting convention.

संभु दीन्ह उपदेस हित नहिं नारदहि सोहान।

भारद्वाज कौतुक सुनहु हरि इच्छा बलवान।।127।।

Sambhu deenh upades hit nahin naaradahi sohaan

Bhaaradvaaj kautuk sunahu hari ichchhaa balavaan (127)

दोहा 127

Dharmaruchi loved Hari's feet | and taught the king each day;

the king served guru, gods, and saints | in every righteous way.

Shambhu had given him wise and loving counsel, but Narada did not find it pleasing. O Bharadvaja, now hear this wondrous play, for the will of Hari is all-powerful.

Commentary & Notes ↓

Poddarji's Commentary

धर्मरुचि मन्त्रीका श्रीहरिके चरणोंमें प्रेम था। वह राजाके हितके लिये सदा उसको नीति सिखाया करता था। राजा गुरु, देवता, संत, पितर और ब्राह्मण;इन सबकी सदा सेवा करता रहता था॥ २॥

Notes

Doha 127. Yajnavalkya, the narrator, addresses Bharadvaja directly. 'Shambhu' is Lord Shiva, who had earlier warned Narada not to boast of his victory over desire. 'Hari ichchha balavan' (the Lord's will is mighty) is a key Manas doctrine: no creature's resolve can override divine intention.

चौपाई 128
राम कीन्ह चाहहिं सोइ होई। करै अन्यथा अस नहिं कोई।।

Raam keenh chaahahin soi hoee. karai anyathaa asa nahin koee

Whatever Rama desires, that alone comes to pass. There is no one who can act otherwise or against His will.

संभु बचन मुनि मन नहिं भाए। तब बिरंचि के लोक सिधाए।।

Sambhu bachan muni man nahin bhaae. tab biranchi ke lok sidhaae

Shiva's words did not please the sage's mind. Then he departed for Brahma's realm.

एक बार करतल बर बीना। गावत हरि गुन गान प्रबीना।।

Eka baar karatal bar beenaa. gaavat hari gun gaan prabeenaa

Once, holding an excellent veena in his hands, he was singing the glorious attributes of Hari with great skill.

छीरसिंधु गवने मुनिनाथा। जहँ बस श्रीनिवास श्रुतिमाथा।।

Chheerasindhu gavane muninaathaa. jahan bas shreenivaas shrutimaathaa

The lord of sages went to the ocean of milk, where dwells Shrinivasa, the master of the Vedas.

हरषि मिले उठि रमानिकेता। बैठे आसन रिषिहि समेता।।

Harashi mile uthi ramaaniketaa. baithe aasan rishihi sametaa

The abode of Lakshmi rose joyfully to meet him and seated the sage on a throne beside Him.

बोले बिहसि चराचर राया। बहुते दिनन कीन्हि मुनि दाया।।

Bole bihasi charaachar raayaa. bahute dinan keenhi muni daayaa

The Lord of all moving and unmoving beings spoke with a smile: 'O sage, you have shown great kindness after many days.'

काम चरित नारद सब भाषे। जद्यपि प्रथम बरजि सिवँ राखे।।

Kaam charit naarad sab bhaashe. jadyapi pratham baraji sivan raakhe

Narada narrated all the story of Kamadeva's deeds, though Shiva had previously forbidden and restrained him.

अति प्रचंड रघुपति कै माया। जेहि न मोह अस को जग जाया।।

Ati prachand raghupati kai maayaa. jehi na moh asa ko jag jaayaa

Extremely powerful is the maya of Raghupati. Who in this world is born who is not deluded by it?

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामचन्द्रजी जो करना चाहते हैं, वही होता है, ऐसा कोई नहीं जो उसके विरुद्ध कर सके। श्रीशिवजी के वचन नारदजी के मन को अच्छे नहीं लगे, तब वे वहाँ से ब्रह्मलोक को चल दिये॥ रमानिवास भगवान उठकर बड़े आनन्द से उनसे मिले और ऋषि को साथ लेकर आसन पर बैठ गये। चराचर के स्वामी भगवान हँसकर बोले;हे मुनि! आज आपने बहुत दिनों पर दया की॥

Notes

Chaupai 128. The opening line is among the most quoted axioms of the Manas: 'Ram kinh chahahin soi hoi.' It establishes absolute divine sovereignty. Narada's disregard of Shiva's advice is the pivot of the narrative; his journey toward Brahmaloka leads him directly into Vishnu's maya, the Vishwamohini episode.

रूख बदन करि बचन मृदु बोले श्रीभगवान ।

तुम्हरे सुमिरन तें मिटहिं मोह मार मद मान।।128।।

Rookh badan kari bachan mridu bole shreebhagavaan

Tumhare sumiran ten mitahin moh maar mad maan (128)

दोहा 128

With stern face but gentle words, | the Lord spoke to the sage:

'Remembering you destroys all pride; | what more at your high stage?'

The Lord made a grave face yet spoke gentle words: "By the remembrance of you, delusion, desire, pride, and arrogance are all destroyed."

Commentary & Notes ↓

Poddarji's Commentary

भगवान रूखा मुँह करके कोमल वचन बोले;हे मुनिराज! आपका स्मरण करने से दूसरों के मोह, काम, मद और अभिमान मिट जाते हैं [फिर आपके लिये तो कहना ही क्या है?]॥ १२८॥

Notes

Doha 128. 'Shri Bhagavan' here is Vishnu (Hari), who receives Narada with apparent seriousness. His praise is literally true in the highest sense, yet in context it feeds Narada's swelling pride. The four afflictions named are moha (delusion), mara (desire), mada (intoxication of ego), and mana (arrogance). Vishnu's gentle irony sets the stage for the Vishwamohini illusion that follows.

चौपाई 129
सुनु मुनि मोह होइ मन ताकें। ग्यान बिराग हृदय नहिं जाके।।

Sunu muni moh hoi man taaken. gyaan biraag hriday nahin jaake

Listen, O sage, delusion comes to one whose heart lacks knowledge and detachment.

ब्रह्मचरज ब्रत रत मतिधीरा। तुम्हहि कि करइ मनोभव पीरा।।

Brahmacharaj brat rat matidheeraa. tumhahi ki karai manobhav peeraa

You are devoted to celibacy and vows with steady intellect - how can Cupid cause you pain?

नारद कहेउ सहित अभिमाना। कृपा तुम्हारि सकल भगवाना।।

Naarad kaheu sahit abhimaanaa. kripaa tumhaari sakal bhagavaanaa

Narada spoke with pride, saying 'All this is Your grace, O Lord.'

करुनानिधि मन दीख बिचारी। उर अंकुरेउ गरब तरु भारी।।

Karunaanidhi man deekh bichaaree. ura ankureu garab taru bhaaree

The compassionate Lord looked into his mind and saw a mighty tree of pride sprouting in his heart.

बेगि सो मै डारिहउँ उखारी। पन हमार सेवक हितकारी।।

Begi so mai daarihaun ukhaaree. pan hamaar sevak hitakaaree

I shall quickly uproot it completely - this is My vow for the welfare of My devotee.

मुनि कर हित मम कौतुक होई। अवसि उपाय करबि मै सोई।।

Muni kar hit mam kautuk hoee. avasi upaay karabi mai soee

For the sage's benefit, I shall perform a divine play - I will certainly devise that means.

तब नारद हरि पद सिर नाई। चले हृदयँ अहमिति अधिकाई।।

Tab naarad hari pad sir naaee. chale hridayan ahamiti adhikaaee

Then Narada bowed his head at Hari's feet and departed with ego greatly increased in his heart.

श्रीपति निज माया तब प्रेरी। सुनहु कठिन करनी तेहि केरी।।

Shreepati nij maayaa tab preree. sunahu kathin karanee tehi keree

The Lord of Lakshmi then set His Maya in motion - listen to her difficult deed.

Commentary & Notes ↓

Poddarji's Commentary

राजाने बड़े ही आदरसे दोनों पुत्रोंको बुलाया और उन्हें हृदयसे लगाकर बहुत प्रकारसे उन्हें शिक्षा दी। [फिर कहा;] हे नाथ! ये दोनों पुत्र मेरे प्राण हैं। हे मुनि! [अब] आप ही इनके पिता हैं, दूसरा कोई नहीं॥

Notes

Vishnu's words are layered with irony. He praises Narada's detachment even as He prepares to shatter it. 'Manobhava' (born of the mind) is a name for Kamadeva, the god of desire. The reassurance is itself the setup for the trial ahead.

बिरचेउ मग महुँ नगर तेहिं सत जोजन बिस्तार।

श्रीनिवासपुर तें अधिक रचना बिबिध प्रकार।।129।।

Biracheu mag mahun nagar tehin sat jojan bistaar

Shreenivaasapur ten adhik rachanaa bibidh prakaar (129)

दोहा 129

He who delights gods, brings saints joy, | removes earth's heavy load;

for this He took a human birth | and walked the mortal road.

Along the road, Vishnu conjured a city one hundred yojanas in extent. Its designs of every kind surpassed even Shrinivaspura, His own divine abode.

Commentary & Notes ↓

Poddarji's Commentary

देवताओं को प्रसन्न करने वाले, सजनों को सुख देने वाले और पृथ्वी का भार हरण करने वाले भगवान ने एक कल्प में इसी कारण मनुष्य का अवतार लिया था॥ १३९॥

Notes

Shrinivaspura is Vishnu's celestial city, the dwelling of Shri (Lakshmi). That the illusory city exceeds even that abode signals how deeply maya can enchant. The sheer scale (one hundred yojanas) underscores that this is no passing mirage but a complete, immersive world of illusion.

चौपाई 130
बसहिं नगर सुंदर नर नारी। जनु बहु मनसिज रति तनुधारी।।

Basahin nagar sundar nar naaree. janu bahu manasij rati tanudhaaree

Beautiful men and women dwell in that city, as if many forms of Kamadeva and Rati have taken bodily shape.

तेहिं पुर बसइ सीलनिधि राजा। अगनित हय गय सेन समाजा।।

Tehin pur basai seelanidhi raajaa. aganit hay gay sen samaajaa

In that city lives a king who is a treasure house of virtue, with countless horses, elephants, and armies.

सत सुरेस सम बिभव बिलासा। रूप तेज बल नीति निवासा।।

Sat sures sam bibhav bilaasaa. roop tej bal neeti nivaasaa

He possesses wealth and splendor equal to a hundred Indras, and is the abode of beauty, glory, strength, and righteousness.

बिस्वमोहनी तासु कुमारी। श्री बिमोह जिसु रूपु निहारी।।

Bisvamohanee taasu kumaaree. shree bimoh jisu roopu nihaaree

His daughter is the enchantress of the world, whose beauty even captivates Lakshmi herself.

सोइ हरिमाया सब गुन खानी। सोभा तासु कि जाइ बखानी।।

Soi harimaayaa sab gun khaanee. sobhaa taasu ki jaai bakhaanee

She is Hari's Maya incarnate, a mine of all virtues - can her splendor ever be described?

करइ स्वयंबर सो नृपबाला। आए तहँ अगनित महिपाला।।

Karai svayambar so nripabaalaa. aae tahan aganit mahipaalaa

That princess is holding a swayamvara, and countless kings have come there.

मुनि कौतुकी नगर तेहिं गयऊ। पुरबासिन्ह सब पूछत भयऊ।।

Muni kautukee nagar tehin gayaoo. purabaasinh sab poochhat bhayaoo

The playful sage went to that city and began inquiring of all the residents.

सुनि सब चरित भूपगृहँ आए। करि पूजा नृप मुनि बैठाए।।

Suni sab charit bhoopagrihan aae. kari poojaa nrip muni baithaae

Hearing all the details, he came to the king's palace, and the king worshipped him and seated the sage with honor.

Commentary & Notes ↓

Poddarji's Commentary

जब पुरवासियोंने समाचार पाया कि दोनों राजकुमार नगर देखनेके लिये आये हैं, तब वे सब घर-बार और काम-काज छोड़कर ऐसे दौड़े मानो दरिद्री धनका खजाना लूटने दौड़े हों॥

Notes

Kamadeva is the god of love; Rati is his consort, the very embodiment of beauty and desire. Tulsidasji uses this comparison to show that every inhabitant of the illusory city radiates an almost divine allure. The king described as 'shilanidhi' (treasury of virtue) adds moral grandeur to the sensory splendor, making the trap all the more convincing.

आनि देखाई नारदहि भूपति राजकुमारि।

कहहु नाथ गुन दोष सब एहि के हृदयँ बिचारि।।130।।

Aani dekhaaee naaradahi bhoopati raajakumaari

Kahahu naath gun dosh sab ehi ke hridayan bichaari (130)

दोहा 130

'Tell me, Lord, these lovely boys I see;

are they sages' pride or royalty?

Or has that Brahman come in forms so twin,

whom Vedas praise as "not this" deep within?'

The king brought his princess before Narada and said: "O Lord, consider her qualities and faults in your heart, and tell me all that you see."

Commentary & Notes ↓

Poddarji's Commentary

हे नाथ! कहिये, ये दोनों सुन्दर बालक मुनिकुलके तिलक हैं या किसी राजवंशके पालक? अथवा जिसका वेदोंने 'नेति' कहकर गान किया है, कहीं वह ब्रह्म तो दोनों रूप धरकर नहीं आया है?॥

Notes

The king's request is perfectly innocent, yet it is the pivot of the entire episode. By asking Narada to study the princess's lakshana (auspicious marks), he draws the sage into prolonged, attentive gazing. This is Vishnu's maya at work through an unwitting instrument.

चौपाई 131
देखि रूप मुनि बिरति बिसारी। बड़ी बार लगि रहे निहारी।।

Dekhi roop muni birati bisaaree. badee baar lagi rahe nihaaree

Seeing her divine beauty, the sage forgot his detachment and remained gazing at her for a long time.

लच्छन तासु बिलोकि भुलाने। हृदयँ हरष नहिं प्रगट बखाने।।

Lachchhan taasu biloki bhulaane. hridayan harash nahin pragat bakhaane

Beholding her auspicious marks, he became enchanted, with joy in his heart that he could not openly express.

जो एहि बरइ अमर सोइ होई। समरभूमि तेहि जीत न कोई।।

Jo ehi barai amar soi hoee. samarabhoomi tehi jeet na koee

Whoever marries her will become immortal, and no one can defeat him in battle.

सेवहिं सकल चराचर ताही। बरइ सीलनिधि कन्या जाही।।

Sevahin sakal charaachar taahee. barai seelanidhi kanyaa jaahee

All moving and unmoving beings will serve him whom this virtuous maiden chooses as her husband.

लच्छन सब बिचारि उर राखे। कछुक बनाइ भूप सन भाषे।।

Lachchhan sab bichaari ura raakhe. kachhuk banaai bhoop san bhaashe

Considering all these auspicious signs in his heart, he spoke to the king with some fabrication.

सुता सुलच्छन कहि नृप पाहीं। नारद चले सोच मन माहीं।।

Sutaa sulachchhan kahi nrip paaheen. naarad chale soch man maaheen

After telling the king about his daughter's good fortune, Narada departed with worry in his mind.

करौं जाइ सोइ जतन बिचारी। जेहि प्रकार मोहि बरै कुमारी।।

Karaun jaai soi jatan bichaaree. jehi prakaar mohi barai kumaaree

He thought, 'I must go and devise some plan by which this maiden will choose me as her husband.'

जप तप कछु न होइ तेहि काला। हे बिधि मिलइ कवन बिधि बाला।।

Jap tap kachhu na hoi tehi kaalaa. he bidhi milai kavan bidhi baalaa

He reflected, 'Neither penance nor austerity will help at this time. O Creator, by what means will this maiden be mine?'

Commentary & Notes ↓

Poddarji's Commentary

सब लक्षणों को विचारकर मुनि ने अपने हृदय में रख लिया और राजा से कुछ अपनी ओर से बनाकर कह दिया। राजा से लड़की के सुलक्षण कहकर नारदजी चल दिये। पर उनके मन में सोच था;॥

Notes

This is the crux of Narada's fall. 'Birati bisari' (forgot his detachment) captures the instant when lifelong vairagya dissolves. Tulsidasji does not condemn the sage; instead, he lets the moment speak for itself. The word 'bhulane' (enchanted, bewildered) carries both wonder and delusion. Even the greatest tapasvi is not beyond the reach of Bhagavan's maya.

एहि अवसर चाहिअ परम सोभा रूप बिसाल।

जो बिलोकि रीझै कुअँरि तब मेलै जयमाल।।131।।

Ehi avasar chaahia param sobhaa roop bisaal

Jo biloki reejhai kuanri tab melai jayamaal (131)

दोहा 131

'I need now beauty vast and bright | that enchants the princess's eye,

so she may place the garland on me; | such beauty I must try!'

"At this moment I need supreme beauty, a form vast and splendid. When the princess beholds me and is charmed, she will place the victory-garland around my neck."

Commentary & Notes ↓

Poddarji's Commentary

इस समय तो बड़ी भारी शोभा और विशाल (सुन्दर) रूप चाहिये, जिसे देखकर राजकुमारी मुझ पर रीझ जाय और तब जयमाल [मेरे गले में] डाल दे॥ १३१॥

Notes

Doha 131. Narada, intoxicated by desire, resolves to win the princess at the swayamvar. 'Jayamala' is the garland a bride places on her chosen groom. His confidence here is the setup for his humiliation: he never pauses to question whether such a wish befits a sage.

चौपाई 132
हरि सन मागौं सुंदरताई। होइहि जात गहरु अति भाई।।

Hari san maagaun sundarataaee. hoihi jaat gaharu ati bhaaee

I seek beauty from Lord Hari, but it will become very profound and deep, O brother.

मोरें हित हरि सम नहिं कोऊ। एहि अवसर सहाय सोइ होऊ।।

Moren hit hari sam nahin kooo. ehi avasar sahaay soi hooo

There is none more beneficial to me than Hari. May He be my helper in this moment.

बहुबिधि बिनय कीन्हि तेहि काला। प्रगटेउ प्रभु कौतुकी कृपाला।।

Bahubidhi binay keenhi tehi kaalaa. pragateu prabhu kautukee kripaalaa

At that time, he made many kinds of humble entreaties. The playful and compassionate Lord manifested.

प्रभु बिलोकि मुनि नयन जुड़ाने। होइहि काजु हिएँ हरषाने।।

Prabhu biloki muni nayan judaane. hoihi kaaju hien harashaane

Seeing the Lord, the sage's eyes were cooled with joy. His heart rejoiced knowing his work would be accomplished.

अति आरति कहि कथा सुनाई। करहु कृपा करि होहु सहाई।।

Ati aarati kahi kathaa sunaaee. karahu kripaa kari hohu sahaaee

With great distress he told his story and said, 'Show mercy and become my helper.'

आपन रूप देहु प्रभु मोही। आन भाँति नहिं पावौं ओही।।

Aapan roop dehu prabhu mohee. aana bhaanti nahin paavaun ohee

O Lord, give me Your own form. I cannot obtain her in any other way.

जेहि बिधि नाथ होइ हित मोरा। करहु सो बेगि दास मैं तोरा।।

Jehi bidhi naath hoi hit moraa. karahu so begi daas main toraa

O Master, in whatever way my welfare lies, do that quickly. I am Your servant.

निज माया बल देखि बिसाला। हियँ हँसि बोले दीनदयाला।।

Nij maayaa bal dekhi bisaalaa. hiyan hansi bole deenadayaalaa

Seeing the vast power of His own Maya, the compassionate Lord of the humble laughed in His heart and spoke.

Commentary & Notes ↓

Poddarji's Commentary

उस (स्नेह और सुख) का वे हृदयमें अनुभव कर रही हैं, पर वे भी उसे कह नहीं सकती। फिर कोई कवि उसे किस प्रकार कह सकता है। इस प्रकार जिसका जैसा भाव था, उसने कोसलाधीश श्रीरामचन्द्रजीको वैसा ही देखा॥ ४॥ अत्यन्त क्रोधमें भरकर वे कठोर वचन बोले;रे मूर्ख जनक! बता, धनुष किसने तोड़ा? उसे शीघ्र दिखा, नहीं तो अरे मूढ़! आज मैं जहाँतक तेरा राज्य है, वहाँतककी पृथ्वी उलट दूँगा॥ २॥

Notes

Chaupai 132. Narada's trust in Hari is genuine, yet his request is born of delusion. The irony is piercing: the very Lord he trusts will protect him by denying him what he wants. 'Morei hita Hari sama nahi kou' (No one cares for my good like Hari) will prove truer than Narada imagines.

जेहि बिधि होइहि परम हित नारद सुनहु तुम्हार।

सोइ हम करब न आन कछु बचन न मृषा हमार।।132।।

Jehi bidhi hoihi param hit naarad sunahu tumhaar

Soi ham karab na aana kachhu bachan na mrishaa hamaar (132)

दोहा 132

In human form by My own will, | I'll come to your abode;

with parts divine I'll act such deeds | as please the devotees' road.

"Listen, Narada: whatever will bring you the highest good, that alone We shall do. Nothing else. Our word is never false."

Commentary & Notes ↓

Poddarji's Commentary

इच्छानिर्मित मनुष्यरूप सजकर मैं तुम्हारे घरमें प्रकट होऊँगा। हे तात! अंशोंसहित शरीर धारण करके भक्तोंको सुख देनेवाले चरित्र करूँगा॥ १॥

Notes

Doha 132. Vishnu's reply is exquisitely ambiguous. 'Parama hita' (highest good) does not mean 'what you have asked for.' Vishnu promises supreme welfare, not surface gratification. The double meaning is the heart of the episode: the Lord's compassion sometimes looks like refusal.

चौपाई 133
कुपथ माग रुज ब्याकुल रोगी। बैद न देइ सुनहु मुनि जोगी।।

Kupath maag ruj byaakul rogee. baid na dei sunahu muni jogee

A physician does not give medicine to a patient who is distressed by illness but insists on taking the wrong path, listen O sage and yogi.

एहि बिधि हित तुम्हार मैं ठयऊ। कहि अस अंतरहित प्रभु भयऊ।।

Ehi bidhi hit tumhaar main thayaoo. kahi asa antarahit prabhu bhayaoo

In this manner I have acted for your welfare, saying thus the Lord disappeared from within.

माया बिबस भए मुनि मूढ़ा। समुझी नहिं हरि गिरा निगूढ़ा।।

Maayaa bibas bhae muni moodhaa. samujhee nahin hari giraa nigoodhaa

The foolish sage became deluded by Maya and could not understand the profound words of Hari.

गवने तुरत तहाँ रिषिराई। जहाँ स्वयंबर भूमि बनाई।।

Gavane turat tahaan rishiraaee. jahaan svayambar bhoomi banaaee

The sage immediately went in anger to that place where the ground for the swayamvara had been prepared.

निज निज आसन बैठे राजा। बहु बनाव करि सहित समाजा।।

Nij nij aasan baithe raajaa. bahu banaav kari sahit samaajaa

The kings sat on their respective seats, having made elaborate preparations with their retinues.

मुनि मन हरष रूप अति मोरें। मोहि तजि आनहि बारिहि न भोरें।।

Muni man harash roop ati moren. mohi taji aanahi baarihi na bhoren

The sage thought joyfully that with his extremely beautiful form, others would abandon me and choose him by morning.

मुनि हित कारन कृपानिधाना। दीन्ह कुरूप न जाइ बखाना।।

Muni hit kaaran kripaanidhaanaa. deenh kuroop na jaai bakhaanaa

For the sake of the sage's welfare, the compassionate Lord had given him such ugliness that cannot be described.

सो चरित्र लखि काहुँ न पावा। नारद जानि सबहिं सिर नावा।।

So charitr lakhi kaahun na paavaa. naarad jaani sabahin sir naavaa

Seeing this divine play, no one could understand it; knowing this, Narada bowed his head to all.

Commentary & Notes ↓

Poddarji's Commentary

[राजा ने कहा;] हे दानियों के शिरोमणि! हे कृपानिधान! हे नाथ! मैं अपने मन का सच्चा भाव कहता हूँ कि मैं आपके समान पुत्र चाहता हूँ। प्रभु से भला क्या छिपाना!॥ १४९॥ दोनों भाई नगरके पूर्व ओर गये; जहाँ धनुषयज्ञके लिये रंगभूमि बनायी गयी थी। बहुत लंबा-चौड़ा सुन्दर ढाला हुआ पक्का आँगन था, जिसपर सुन्दर और निर्मल वेदी सजायी गयी थी॥

Notes

Chaupai 133. The physician analogy (vaidya-rogi) is one of the Manas's most beloved teaching images. Vishnu compares Himself to a doctor who withholds what the patient demands, knowing it would worsen the illness. 'Kupatha' means unwholesome food, here standing for the fulfilment of a desire rooted in maya. The Lord disappears before Narada can protest.

रहे तहाँ दुइ रुद्र गन ते जानहिं सब भेउ।

बिप्रबेष देखत फिरहिं परम कौतुकी तेउ।।133।।

Rahe tahaan dui rudr gan te jaanahin sab bheu

Biprabesh dekhat phirahin param kautukee teu (133)

दोहा 133

The three performed such tapas fierce | that none could ever tell;

Brahma came near: 'I'm pleased, dear sons; | ask boons; I wish you well.'

Two of Shiva's ganas were present there; they knew the whole secret. Disguised as Brahmins, those supremely playful ones wandered about, watching the sport unfold.

Commentary & Notes ↓

Poddarji's Commentary

तीनों भाइयोंने अनेकों प्रकारकी बड़ी ही कठिन तपस्या की, जिसका वर्णन नहीं हो सकता। [उनका उग्र] तप देखकर ब्रह्माजी उनके पास गये और बोले;हे तात! मैं प्रसन्न हूँ, वर माँगो॥ १॥

Notes

Doha 133. Shiva's ganas serve as witnesses. Their disguise as Brahmins and their 'parama kautuki' (supremely playful) nature foreshadow the comic unmasking to come. They will later reveal Narada's monkey face to him, triggering his rage and his curse against Vishnu.

चौपाई 134
जेंहि समाज बैंठे मुनि जाई। हृदयँ रूप अहमिति अधिकाई।।

Jenhi samaaj bainthe muni jaaee. hridayan roop ahamiti adhikaaee

In whichever assembly the sage went and sat, pride and ego arose in his heart regarding his form.

तहँ बैठ महेस गन दोऊ। बिप्रबेष गति लखइ न कोऊ।।

Tahan baith mahes gan dooo. biprabesh gati lakhai na kooo

There sat both attendants of Shiva in the guise of brahmins, but no one could recognize their true nature.

करहिं कूटि नारदहि सुनाई। नीकि दीन्हि हरि सुंदरताई।।

Karahin kooti naaradahi sunaaee. neeki deenhi hari sundarataaee

They spoke cryptically to Narada, saying that Hari had indeed given him great beauty.

रीझहि राजकुअँरि छबि देखी। इन्हहि बरिहि हरि जानि बिसेषी।।

Reejhahi raajakuanri chhabi dekhee. inhahi barihi hari jaani biseshee

The princess will be charmed seeing your beauty and will surely choose you, knowing you to be special to Hari.

मुनिहि मोह मन हाथ पराएँ। हँसहिं संभु गन अति सचु पाएँ।।

Munihi moh man haath paraaen. hansahin sambhu gan ati sachu paaen

The sage's mind fell into the hands of delusion, and Shiva's attendants laughed, finding great amusement.

जदपि सुनहिं मुनि अटपटि बानी। समुझि न परइ बुद्धि भ्रम सानी।।

Jadapi sunahin muni atapati baanee. samujhi na parai buddhi bhram saanee

Though the sage heard their confusing words, his wisdom clouded by delusion could not comprehend their meaning.

काहुँ न लखा सो चरित बिसेषा। सो सरूप नृपकन्याँ देखा।।

Kaahun na lakhaa so charit biseshaa. so saroop nripakanyaan dekhaa

No one perceived that special divine play - that form which the king's daughter beheld.

मर्कट बदन भयंकर देही। देखत हृदयँ क्रोध भा तेही।।

Markat badan bhayankar dehee. dekhat hridayan krodh bhaa tehee

She saw a monkey-faced, frightening body, and anger arose in her heart upon seeing it.

Commentary & Notes ↓

Poddarji's Commentary

गाल बजाकर व्यर्थ ही मत मरो। मनके लड्डुओंसे भी कहीं भूख बुझती है? हमारी परम पवित्र (निष्कपट) सीखको सुनकर सीताजीको अपने जीमें साक्षात्‌ जगज्जननी समझो (उन्हें पत्नीरूपमें पानेकी आशा एवं लालसा छोड़ दो)॥ १॥ कानोंमें सोनेके फूल शोभा दे रहे हैं और देखते ही देखनेवालेके चित्तको मानो चुरा लेते हैं। उनकी चितवन सुन्दर है और घुँघराले भौहें सुन्दर हैं। तिलककी रेखाएँ ऐसी सुन्दर हैं मानो मूर्तिमती शोभापर मुहर लगा दी गयी हो॥

Notes

Narada has been given a monkey face by Vishnu (though he does not yet know it). He sits among the kings at the swayamvar, brimming with confidence that the princess will choose him. Shiva's two ganas, sent to protect Narada from his own delusion, have taken the guise of learned Brahmins so they can observe without suspicion. 'Mahesha' (Maheshvara) is a name for Shiva, the Great Lord.

सखीं संग लै कुअँरि तब चलि जनु राजमराल।

देखत फिरइ महीप सब कर सरोज जयमाल।।134।।

Sakheen sang lai kuanri tab chali janu raajamaraal

Dekhat phirai maheep sab kar saroj jayamaal (134)

दोहा 134

Fearsome demons, sinful all, tormenting gods with glee,

causing havoc far and wide through shapes of sorcery.

Then the princess set forth with her friends, moving like a royal swan. She surveyed all the kings assembled there, the jayamala of lotus blossoms resting in her hands.

Commentary & Notes ↓

Poddarji's Commentary

सब राक्षसोंके समूह देखनेमें बड़े भयानक, पापी और देवताओंको दुःख देनेवाले थे। वे असुरोंके समूह उपद्रव करते थे और मायासे अनेकों प्रकारके रूप धरते थे॥

Notes

The jayamala (garland of victory) is the flower garland a princess places around the neck of her chosen bridegroom at a swayamvar. 'Rajamrala' (rajamarala) evokes the hamsa, the royal swan, a classical symbol of grace and discernment. The princess walks slowly through the hall, inspecting each suitor before making her choice.

चौपाई 135
जेहि दिसि बैठे नारद फूली। सो दिसि देहि न बिलोकी भूली।।

Jehi disi baithe naarad phoolee. so disi dehi na bilokee bhoolee

In whichever direction the delighted Narada was sitting, the princess would not look in that direction, as if forgetting it completely.

पुनि पुनि मुनि उकसहिं अकुलाहीं। देखि दसा हर गन मुसकाहीं।।

Puni puni muni ukasahin akulaaheen. dekhi dasaa har gan musakaaheen

Again and again the sage became restless and agitated. Seeing his condition, Shiva's attendants smiled with amusement.

धरि नृपतनु तहँ गयउ कृपाला। कुअँरि हरषि मेलेउ जयमाला।।

Dhari nripatanu tahan gayau kripaalaa. kuanri harashi meleu jayamaalaa

The compassionate Lord Shiva, taking the form of a king, went there. The princess joyfully placed the garland around his neck.

दुलहिनि लै गे लच्छिनिवासा। नृपसमाज सब भयउ निरासा।।

Dulahini lai ge lachchhinivaasaa. nripasamaaj sab bhayau niraasaa

The Lord of Lakshmi took away the bride. The entire assembly of kings became disappointed and dejected.

मुनि अति बिकल मोंहँ मति नाठी। मनि गिरि गई छूटि जनु गाँठी।।

Muni ati bikal monhan mati naathee. mani giri gaee chhooti janu gaanthee

The sage became extremely distressed, his wisdom completely lost. Like a precious gem slipping from a knot, his composure was gone.

तब हर गन बोले मुसुकाई। निज मुख मुकुर बिलोकहु जाई।।

Tab har gan bole musukaaee. nij mukh mukur bilokahu jaaee

Then Shiva's attendants spoke with smiles, 'Go and look at your own face in a mirror.'

अस कहि दोउ भागे भयँ भारी। बदन दीख मुनि बारि निहारी।।

Asa kahi dou bhaage bhayan bhaaree. badan deekh muni baari nihaaree

Saying this, both attendants fled in great fear. The sage saw his face reflected in the water.

बेषु बिलोकि क्रोध अति बाढ़ा। तिन्हहि सराप दीन्ह अति गाढ़ा।।

Beshu biloki krodh ati baadhaa. tinhahi saraap deenh ati gaadhaa

Seeing his appearance, his anger increased greatly. He gave them a very severe curse.

Commentary & Notes ↓

Poddarji's Commentary

उसने राजाको प्यासा देखकर सरोवर दिखला दिया। हर्षित होकर राजाने घोड़ेसहित उसमें स्नान और जलपान किया॥ १५८॥

Notes

This is the turning point. The princess instinctively avoids Narada because Vishnu, out of compassion, has given him a monkey face to prevent a disastrous marriage. Narada does not yet know what has happened to his appearance. The two ganas of Shiva, watching from their Brahmin disguises, cannot help but smile at the comic scene. Their laughter will soon cost them dearly.

होहु निसाचर जाइ तुम्ह कपटी पापी दोउ।

हँसेहु हमहि सो लेहु फल बहुरि हँसेहु मुनि कोउ।।135।।

Hohu nisaachar jaai tumh kapatee paapee dou

Hansehu hamahi so lehu phal bahuri hansehu muni kou (135)

दोहा 135

Become demons now, you sinful pair | Who mocked us with deceitful snare

Receive this curse for your disdain | No sage shall you mock again

Become rakshasas, both of you, deceitful sinners that you are. You laughed at me; now reap the fruit of that. Let no one dare laugh again.

Commentary & Notes ↓

Notes

Narada, enraged at the ganas' laughter, curses them to be reborn as nishacharas (night-wanderers, i.e., rakshasas). They accept the curse humbly, and in their next birth they become Ravana and Kumbhakarna. This is one of the foundational causes set in motion for the entire Ramayana. Tulsidas weaves multiple curse-threads together: the curse on Jaya and Vijaya at Vaikuntha, and now this parallel curse by Narada, all converging to necessitate the Lord's incarnation.

चौपाई 136
पुनि जल दीख रूप निज पावा। तदपि हृदयँ संतोष न आवा।।

Puni jal deekh roop nij paavaa. tadapi hridayan santosh na aavaa

Then he saw his own reflection in the water, but still his heart found no satisfaction.

फरकत अधर कोप मन माहीं। सपदी चले कमलापति पाहीं।।

Pharakat adhar kop man maaheen. sapadee chale kamalaapati paaheen

His lips trembled with anger in his heart, and immediately he went to Vishnu, the lord of Lakshmi.

देहउँ श्राप कि मरिहउँ जाई। जगत मोर उपहास कराई।।

Dehaun shraap ki marihaun jaaee. jagat mor upahaas karaaee

Should I curse him or should I go and die, having made the world mock me?

बीचहिं पंथ मिले दनुजारी। संग रमा सोइ राजकुमारी।।

Beechahin panth mile danujaaree. sang ramaa soi raajakumaaree

On the way he met Narada, the enemy of demons, who was accompanied by Lakshmi, that princess.

बोले मधुर बचन सुरसाईं। मुनि कहँ चले बिकल की नाईं।।

Bole madhur bachan surasaaeen. muni kahan chale bikal kee naaeen

The lord of gods spoke sweet words, appearing to go to the sage in distress.

सुनत बचन उपजा अति क्रोधा। माया बस न रहा मन बोधा।।

Sunat bachan upajaa ati krodhaa. maayaa bas na rahaa man bodhaa

Hearing these words, great anger arose, and under Maya's influence, wisdom left his mind.

पर संपदा सकहु नहिं देखी। तुम्हरें इरिषा कपट बिसेषी।।

Par sampadaa sakahu nahin dekhee. tumharen irishaa kapat biseshee

You cannot bear to see others' prosperity; jealousy and deceit are especially yours.

मथत सिंधु रुद्रहि बौरायहु। सुरन्ह प्रेरी बिष पान करायहु।।

Mathat sindhu rudrahi bauraayahu. suranh preree bish paan karaayahu

While churning the ocean you made Rudra mad, and at the gods' instigation made him drink poison.

Commentary & Notes ↓

Poddarji's Commentary

उन्हींके घर जाकर मैं रघुकुलमें श्रेष्ठ चार भाइयोंके रूपमें अवतार लूँगा। नारदके सब वचन मैं सत्य करूँगा और अपनी पराशक्तिके सहित अवतार लूँगा॥

Notes

When Narada finally sees his monkey face reflected in the water, the full weight of his humiliation strikes him. Vishnu had altered his face to save him from a worldly entanglement, but Narada perceives only betrayal. He storms off to confront Vishnu and will pronounce the supreme curse: 'You shall be born as a mortal man and suffer the agony of separation from your wife.' This curse becomes the very reason for Rama's avatara. What seems like divine mischief is, in Tulsidas's telling, the Lord's own lila, arranging the conditions for His descent into the world. Every thread of suffering loops back into grace.

असुर सुरा बिष संकरहि आपु रमा मनि चारु।

स्वारथ साधक कुटिल तुम्ह सदा कपट ब्यवहारु।।136।।

Asur suraa bish sankarahi aapu ramaa mani chaaru

Svaarath saadhak kutil tumh sadaa kapat byavahaaru (136)

दोहा 136

Thieves and gamblers multiplied, lusting what's not theirs;

parents, gods none honored now;saints became their cares!

"You gave the demons and the poison to Shankara, and kept Ramaa and the beautiful jewel for yourself. You are a selfish schemer, always dealing in deceit."

Commentary & Notes ↓

Poddarji's Commentary

पराये धन और परायी स्त्रीपर मन चलानेवाले, दुष्ट, चोर और जुआरी बहुत बढ़ गये। लोग माता-पिता और देवताओंको नहीं मानते थे और साधुओं [की सेवा करना तो दूर रहा, उलटे उन] से सेवा करवाते थे॥

Notes

Doha 136. Narada, still under the sway of wounded pride, curses Vishnu directly. 'Ramaa' is Lakshmi; the 'beautiful jewel' (mani chaaru) is the Kaustubha gem. Both emerged from the churning of the ocean. Narada accuses the Lord of rigging the cosmic lottery: Shankara received poison, the demons received liquor, while Vishnu quietly kept the goddess and the gem. The word 'kutila' (crooked) and 'kapata vyavahaaru' (deceitful dealings) are extreme charges from a devotee to his Lord, showing how completely maya had clouded the sage's discernment.

चौपाई 137
परम स्वतंत्र न सिर पर कोई। भावइ मनहि करहु तुम्ह सोई।।

Param svatantr na sir par koee. bhaavai manahi karahu tumh soee

You are supremely independent with no one above you. Whatever pleases your mind, you do that.

भलेहि मंद मंदेहि भल करहू। बिसमय हरष न हियँ कछु धरहू।।

Bhalehi mand mandehi bhal karahoo. bisamay harash na hiyan kachhu dharahoo

You make good into bad and bad into good. You hold neither wonder nor joy in your heart.

डहकि डहकि परिचेहु सब काहू। अति असंक मन सदा उछाहू।।

Dahaki dahaki parichehu sab kaahoo. ati asank man sadaa uchhaahoo

You test everyone by frightening them repeatedly. Your mind is always fearless and exuberant.

करम सुभासुभ तुम्हहि न बाधा। अब लगि तुम्हहि न काहूँ साधा।।

Karam subhaasubh tumhahi na baadhaa. aba lagi tumhahi na kaahoon saadhaa

Good and bad deeds do not bind you. Until now, no one has been able to discipline you.

भले भवन अब बायन दीन्हा। पावहुगे फल आपन कीन्हा।।

Bhale bhavan aba baayan deenhaa. paavahuge phal aapan keenhaa

You have now given a good dwelling to the Brahmins. You will receive the fruit of your own actions.

बंचेहु मोहि जवनि धरि देहा। सोइ तनु धरहु श्राप मम एहा।।

Banchehu mohi javani dhari dehaa. soi tanu dharahu shraap mam ehaa

You deceived me by taking the form of a young man. Take that same body - this is my curse.

कपि आकृति तुम्ह कीन्हि हमारी। करिहहिं कीस सहाय तुम्हारी।।

Kapi aakriti tumh keenhi hamaaree. karihahin kees sahaay tumhaaree

You have made our form like that of monkeys. Monkeys will come to your aid.

मम अपकार कीन्ही तुम्ह भारी। नारी बिरहँ तुम्ह होब दुखारी।।

Mam apakaar keenhee tumh bhaaree. naaree birahan tumh hob dukhaaree

You have done great harm to me. You will suffer the pain of separation from a woman.

Commentary & Notes ↓

Poddarji's Commentary

सब लोग मुझे श्रीरामजीका सेवक कहते हैं और मैं भी कहलाता हूँ; कृपालु श्रीरामजी इस निन्दाको सहते हैं कि श्रीसीतानाथजी-जैसे स्वामीका तुलसीदास-सा सेवक है।

Notes

Chaupai 137, continuing Narada's curse. Two couplet pairs separated by a line break. The first pair declares Vishnu's absolute sovereignty (parama svatantra). The second pair charges him with moral caprice. Ironically, every accusation is theologically true: the Lord is indeed supremely free, beyond dualities, unmoved by outcomes. Narada, blinded by anger, states deep Vedantic truths as complaints. Tulsidas lets the reader see the comedy and the pathos at once.

श्राप सीस धरी हरषि हियँ प्रभु बहु बिनती कीन्हि।

निज माया कै प्रबलता करषि कृपानिधि लीन्हि।।137।।

Shraap sees dharee harashi hiyan prabhu bahu binatee keenhi

Nij maayaa kai prabalataa karashi kripaanidhi leenhi (137)

दोहा 137

Both fortnights have the same light, | but names Brahma gave:

one waxes the moon, one wanes; | world gives fame and shame they have.

The Lord received the curse upon his head with joy in his heart and made many loving entreaties to Narada. Then that treasury of compassion withdrew the power of his own maya.

Commentary & Notes ↓

Poddarji's Commentary

दोनों पक्षोंमें प्रकाश समान ही है, परन्तु ब्रह्माने नामभेद किया है--एकको शुक्लपक्ष (उजला पखवाड़ा) और दूसरेको कृष्णपक्ष (अँधेरा पखवाड़ा) कहा है। एकको चन्द्रमाका बढ़ानेवाला और दूसरेको उसका घटानेवाला समझकर जगत्ने एकको सुयश और दूसरेको अपयश दे दिया॥ ७ (ख)॥

Notes

Doha 137. The turning point. Vishnu does not resist, argue, or retaliate. He places the curse on his head (shraapa sheersha dhari) as one would receive a garland. 'Harshi hiyam' (joy in the heart) reveals the Lord's nature: even an insult from a devotee is precious to him. 'Kripaa-nidhaana' (treasury of compassion) is the key epithet. By withdrawing his maya, Vishnu restores Narada's clear sight, an act of pure grace that answers the curse with kindness.

चौपाई 138
जब हरि माया दूरि निवारी। नहिं तहँ रमा न राजकुमारी।।

Jab hari maayaa doori nivaaree. nahin tahan ramaa na raajakumaaree

When Hari removed the veil of Maya, neither Lakshmi nor the princess (Sita) were visible there.

तब मुनि अति सभीत हरि चरना। गहे पाहि प्रनतारति हरना।।

Tab muni ati sabheet hari charanaa. gahe paahi pranataarati haranaa

Then the sage, greatly frightened, grasped Hari's feet, crying 'Save me, O destroyer of devotees' sorrows!'

मृषा होउ मम श्राप कृपाला। मम इच्छा कह दीनदयाला।।

Mrishaa hou mam shraap kripaalaa. mam ichchhaa kah deenadayaalaa

The sage pleaded, 'O merciful one, let my curse be false!' The compassionate Lord of the poor replied.

मैं दुर्बचन कहे बहुतेरे। कह मुनि पाप मिटिहिं किमि मेरे।।

Main durbachan kahe bahutere. kah muni paap mitihin kimi mere

The sage lamented, 'I have spoken many harsh words. Tell me, how will my sins be erased?'

जपहु जाइ संकर सत नामा। होइहि हृदयँ तुरंत बिश्रामा।।

Japahu jaai sankar sat naamaa. hoihi hridayan turant bishraamaa

The Lord advised, 'Go and chant Shankara's holy name; your heart will immediately find peace.'

कोउ नहिं सिव समान प्रिय मोरें। असि परतीति तजहु जनि भोरें।।

Kou nahin siv samaan priy moren. asi parateeti tajahu jani bhoren

The Lord declared, 'None is as dear to Me as Shiva. Never abandon this firm belief, even by mistake.'

जेहि पर कृपा न करहिं पुरारी। सो न पाव मुनि भगति हमारी।।

Jehi par kripaa na karahin puraaree. so na paav muni bhagati hamaaree

The Lord continued, 'One upon whom Purari (Shiva) does not show mercy cannot attain devotion to Me, O sage.'

अस उर धरि महि बिचरहु जाई। अब न तुम्हहि माया निअराई।।

Asa ura dhari mahi bicharahu jaaee. aba na tumhahi maayaa niaraaee

The Lord concluded, 'Keeping this in your heart, go and wander the earth. Maya will no longer come near you.'

Commentary & Notes ↓

Poddarji's Commentary

उसी समय राजाने अपनी प्यारी पत्नियोंको बुलाया। कौसल्या आदि सब [रानियाँ] वहाँ चली आयीं। राजाने [पायसका] आधा भाग कौसल्याको दिया, [और शेष] आधेके दो भाग किये॥

Notes

Chaupai 138. Two couplet pairs. The first pair describes the vanishing of the illusion: no Lakshmi, no royal bride. The entire Swayamvara was maya's theatre. The second pair shows Narada's awakening. 'Ati sabheeta' (greatly frightened) and 'bhaya' (fear) appear together, underscoring how shattered the sage feels when he realizes what he has done. He does not excuse himself; he calls it 'paapu' (sin) plainly. This honest self-accusation before the Lord's feet is itself the beginning of forgiveness.

बहुबिधि मुनिहि प्रबोधि प्रभु तब भए अंतरधान।।

सत्यलोक नारद चले करत राम गुन गान।।138।।

Bahubidhi munihi prabodhi prabhu tab bhae antaradhaan

Satyalok naarad chale karat raam gun gaan (138)

दोहा 138

'None met me till now, nor I | myself to any show;

fame is fire that burns the woods | of penance;this I know.'

Having consoled the sage in many ways, the Lord then vanished from sight. Narada departed for Satyaloka, singing the glories of Ram.

Commentary & Notes ↓

Poddarji's Commentary

अबतक न तो कोई मुझसे मिला और न मैं अपनेको किसीपर प्रकट करता हूँ; क्योंकि लोकमें प्रतिष्ठा अग्निके समान है जो तपरूपी वनको भस्म कर डालती है॥ १६१ (क)॥

Notes

Doha 138. Resolution. 'Bahubidhi munihi prabodhi' (consoled the sage in many ways) shows the Lord as patient counsellor, not offended judge. 'Antaradhaana' (disappeared) is Vishnu's characteristic exit: he withdraws once the devotee is restored. The final image is Narada walking toward Satyaloka, singing Ram's virtues (Rama guna gaana). The curse has not broken the relationship; it has deepened it. Narada's song after humiliation is the truest mark of a devotee who has passed through fire and come out surrendered.

चौपाई 139
हर गन मुनिहि जात पथ देखी। बिगतमोह मन हरष बिसेषी।।

Har gan munihi jaat path dekhee. bigatamoh man harash biseshee

Shiva's attendants saw the sage going on his path, and their minds were filled with great joy, free from delusion.

अति सभीत नारद पहिं आए। गहि पद आरत बचन सुनाए।।

Ati sabheet naarad pahin aae. gahi pad aarat bachan sunaae

Very frightened, they came to Narada, grasped his feet, and spoke distressed words.

हर गन हम न बिप्र मुनिराया। बड़ अपराध कीन्ह फल पाया।।

Har gan ham na bipr muniraayaa. bad aparaadh keenh phal paayaa

"O lord of sages, we are Shiva's attendants who have committed a great offense and received its consequence."

श्राप अनुग्रह करहु कृपाला। बोले नारद दीनदयाला।।

Shraap anugrah karahu kripaalaa. bole naarad deenadayaalaa

"O compassionate one, please transform this curse into a blessing." Thus spoke the merciful Narada.

निसिचर जाइ होहु तुम्ह दोऊ। बैभव बिपुल तेज बल होऊ।।

Nisichar jaai hohu tumh dooo. baibhav bipul tej bal hooo

"You two shall become demons, but with great prosperity, brilliance, and strength.

भुजबल बिस्व जितब तुम्ह जहिआ। धरिहहिं बिष्नु मनुज तनु तहिआ।

Bhujabal bisv jitab tumh jahiaa. dharihahin bishnu manuj tanu tahiaa

"When you conquer the world with your arm's strength, then Vishnu will take human form.

समर मरन हरि हाथ तुम्हारा। होइहहु मुकुत न पुनि संसारा।।

Samar maran hari haath tumhaaraa. hoihahu mukut na puni sansaaraa

"Death in battle by Hari's hand shall be yours, and you will attain liberation with no return to worldly existence."

चले जुगल मुनि पद सिर नाई। भए निसाचर कालहि पाई।।

Chale jugal muni pad sir naaee. bhae nisaachar kaalahi paaee

The two bowed their heads at the sage's feet and departed, becoming demons in due time.

Commentary & Notes ↓

Poddarji's Commentary

तू मुझे निरा ब्राह्मण ही समझता है? मैं जैसा विप्र हूँ, तुझे सुनाता हूँ। धनुषको समिधा, बाणको आहुति और मेरे क्रोधको अत्यन्त भयंकर अग्नि जान॥ १॥

Notes

The ganas had earlier been cursed by Narada to become demons. Now freed from delusion by Shiva's grace, they return to Narada in remorse. 'Ganas' (gana) are Shiva's attendants. 'Bigatamoh' (vigata-moha): delusion departed.

एक कलप एहि हेतु प्रभु लीन्ह मनुज अवतार।

सुर रंजन सज्जन सुखद हरि भंजन भुबि भार।।139।।

Eka kalap ehi hetu prabhu leenh manuj avataar

Sur ranjan sajjan sukhad hari bhanjan bhubi bhaar (139)

दोहा 139

In sport he lifted Kailash up | and weighed his arm-strength there;

then left with great satisfaction, | pleased beyond compare.

In one kalpa, for this very reason, the Lord took incarnation in human form: to delight the gods, to bring happiness to the virtuous, and to relieve the earth of her burden.

Commentary & Notes ↓

Poddarji's Commentary

फिर उसने जाकर [एक बार] खिलवाड़में कैलास पर्वतको उठा लिया और मानो अपनी भुजाओंका बल तौलकर, बहुत सुख पाकर वहाँसे चला आया॥ १७९॥

Notes

Doha 139 in traditional numbering. 'Kalpa' (kalpa): one cycle of cosmic creation. This verse summarizes one cause of incarnation: Narada's curse. 'Sur ranjana' (sura-ranjana): one who delights the gods. 'Bhubi bhara' (bhu-bhara): the earth's burden of wickedness.

चौपाई 140
एहि बिधि जनम करम हरि केरे। सुंदर सुखद बिचित्र घनेरे।।

Ehi bidhi janam karam hari kere. sundar sukhad bichitr ghanere

In this manner, the births and deeds of Lord Hari are beautiful, blissful, and wonderfully diverse.

कलप कलप प्रति प्रभु अवतरहीं। चारु चरित नानाबिधि करहीं।।

Kalap kalap prati prabhu avataraheen. chaaru charit naanaabidhi karaheen

In every cosmic age, the Lord incarnates and performs charming deeds in various ways.

तब तब कथा मुनीसन्ह गाई। परम पुनीत प्रबंध बनाई।।

Tab tab kathaa muneesanh gaaee. param puneet prabandh banaaee

At each time, the great sages have sung these stories and composed supremely sacred texts.

बिबिध प्रसंग अनूप बखाने। करहिं न सुनि आचरजु सयाने।।

Bibidh prasang anoop bakhaane. karahin na suni aacharaju sayaane

They have narrated various unique episodes, hearing which even the wise are not surprised.

हरि अनंत हरिकथा अनंता। कहहिं सुनहिं बहुबिधि सब संता।।

Hari anant harikathaa anantaa. kahahin sunahin bahubidhi sab santaa

Hari is infinite and His stories are endless; all saints tell and hear them in many ways.

रामचंद्र के चरित सुहाए। कलप कोटि लगि जाहिं न गाए।।

Raamachandr ke charit suhaae. kalap koti lagi jaahin na gaae

The beautiful deeds of Ramchandra cannot be fully sung even in millions of cosmic ages.

यह प्रसंग मैं कहा भवानी। हरिमायाँ मोहहिं मुनि ग्यानी।।

Yah prasang main kahaa bhavaanee. harimaayaan mohahin muni gyaanee

This episode I have narrated, O Bhavani; Hari's Maya bewilders even wise sages.

प्रभु कौतुकी प्रनत हितकारी।।सेवत सुलभ सकल दुख हारी।।

Prabhu kautukee pranat hitakaaree.sevat sulabh sakal dukh haaree

The Lord is playful and beneficent to His devotees; He is easily attained through service and removes all sorrows.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामचन्द्रजीके मुखरूपी चन्द्रमाकी छबिको सभीके सुन्दर नेत्ररूपी चकोर आदरपूर्वक पान कर रहे हैं; प्रेम और आनन्द कम नहीं है (अर्थात् बहुत है)॥ ३२१॥

Notes

Tulsidas emphasizes that the Lord's incarnations are not a single historical event but recur in every kalpa. 'Charu charit' (charu charita): lovely or graceful deeds. 'Nana bidhi' (nana-vidhi): of various kinds. The word 'ghanere' (ghanere) means 'very many, countless.'

सुर नर मुनि कोउ नाहिं जेहि न मोह माया प्रबल।।

अस बिचारि मन माहिं भजिअ महामाया पतिहि।।140।।

Sur nar muni kou naahin jehi na moh maayaa prabal

Asa bichaari man maahin bhajia mahaamaayaa patihi (140)

दोहा 140

'Demons torment me, O King; | I've come to ask one boon:

give me Rama with His brother, | then I'll be at peace soon.'

There is no god, no human, no sage whom powerful maya does not delude. Reflecting on this truth within your heart, worship the Lord of Mahamaya.

Commentary & Notes ↓

Poddarji's Commentary

[मुनिने कहा;] हे राजन्‌! राक्षसोंके समूह मुझे बहुत सताते हैं। इसीलिये मैं तुमसे कुछ माँगने आया हूँ। छोटे भाईसहित श्रीरघुनाथजीको मुझे दो। राक्षसोंके मारे जानेपर मैं सनाथ (सुखी) हो जाऊँगा॥ १॥

Notes

Doha 140 in traditional numbering. 'Mahamaya pati' (Mahamaya-pati): the master of the great cosmic illusion, i.e., Bhagavan Himself. The verse is a devotional injunction: since even gods and sages fall under maya's spell, the only refuge is the one who wields maya.

चौपाई 141
अपर हेतु सुनु सैलकुमारी। कहउँ बिचित्र कथा बिस्तारी।।

Apar hetu sunu sailakumaaree. kahaun bichitr kathaa bistaaree

Listen to another reason, O daughter of the mountain, as I narrate this wondrous story in detail.

जेहि कारन अज अगुन अरूपा। ब्रह्म भयउ कोसलपुर भूपा।।

Jehi kaaran aja agun aroopaa. brahm bhayau kosalapur bhoopaa

For what reason did the unborn, attributeless, formless Brahman become the king of Kosala.

जो प्रभु बिपिन फिरत तुम्ह देखा। बंधु समेत धरें मुनिबेषा।।

Jo prabhu bipin phirat tumh dekhaa. bandhu samet dharen munibeshaa

That same Lord whom you saw wandering in the forest, wearing the garb of a sage along with His brother.

जासु चरित अवलोकि भवानी। सती सरीर रहिहु बौरानी।।

Jaasu charit avaloki bhavaanee. satee sareer rahihu bauraanee

Seeing whose divine play, O Bhavani, you remained bewildered even while in Sati's body.

अजहुँ न छाया मिटति तुम्हारी। तासु चरित सुनु भ्रम रुज हारी।।

Ajahun na chhaayaa mitati tumhaaree. taasu charit sunu bhram ruj haaree

Even now your delusion has not completely disappeared; listen to His story which destroys all confusion and suffering.

लीला कीन्हि जो तेहिं अवतारा। सो सब कहिहउँ मति अनुसारा।।

Leelaa keenhi jo tehin avataaraa. so sab kahihaun mati anusaaraa

All the divine play that He performed in that incarnation, I shall narrate according to my understanding.

भरद्वाज सुनि संकर बानी। सकुचि सप्रेम उमा मुसकानी।।

Bharadvaaj suni sankar baanee. sakuchi saprem umaa musakaanee

Hearing Shankara's words, Bharadwaj felt shy, and Uma smiled lovingly.

लगे बहुरि बरने बृषकेतू। सो अवतार भयउ जेहि हेतू।।

Lage bahuri barane brishaketoo. so avataar bhayau jehi hetoo

Then the bearer of the bull (Shiva) began to describe that incarnation and the reason for which it took place.

Commentary & Notes ↓

Poddarji's Commentary

[जनकजीने कहा--] अयोध्यानाथ चलना चाहते हैं, भीतर (रनिवासमें) खबर कर दो। यह सुनकर मन्त्री, ब्राह्मण, सभासद और राजा जनक भी प्रेमके वश हो गये॥ ३३२॥

Notes

This chaupai marks a major narrative pivot: Shiva begins telling Parvati ('Sailakumari,' daughter of the mountain Himalaya) the story of King Pratapabhanu, which will lead to the births of Ravana and his brothers. 'Aja' (aja): unborn. 'Aguna' (aguna): without attributes, nirguna. 'Arupa' (arupa): formless. 'Kosalapura': Ayodhya, the capital of Kosala.

सो मैं तुम्ह सन कहउँ सबु सुनु मुनीस मन लाई।।

राम कथा कलि मल हरनि मंगल करनि सुहाइ।।141।।

So main tumh san kahaun sabu sunu munees man laaee

Raam kathaa kali mal harani mangal karani suhaai (141)

दोहा 141

The princes made their horses dance | to drum and kettledrum's beat;

even skilled dancers watched amazed; | they never missed the beat!

That tale I shall now tell you in full; listen with your whole heart, O lord of sages. The story of Ram sweeps away the stain of Kali Yuga, bestows auspiciousness, and is supremely beautiful.

Commentary & Notes ↓

Poddarji's Commentary

सुन्दर राजकुमार मृदंग और नगाड़ेके शब्द सुनकर घोड़ोंको उन्हींके अनुसार इस प्रकार नचा रहे हैं कि वे तालके बंधानसे जरा भी डिगते नहीं हैं। चतुर नट चकित होकर यह देख रहे हैं॥ ३०१॥

Notes

Doha 141. Shiva addresses Parvati's question by promising the complete narrative. 'Kali mala harani' (remover of the impurities of Kali) establishes Ram Katha as both purifying and grace-giving. 'Muni-isha' (lord of sages) here refers to Yajnavalkya, the listener in the outer frame at Naimisharanya.

चौपाई 142
स्वायंभू मनु अरु सतरूपा। जिन्ह तें भै नरसृष्टि अनूपा।।

Svaayambhoo manu aru sataroopaa. jinh ten bhai narasrishti anoopaa

Swayambhu Manu and Shatarupa were the progenitors from whom the incomparable human creation began.

दंपति धरम आचरन नीका। अजहुँ गाव श्रुति जिन्ह कै लीका।।

Dampati dharam aacharan neekaa. ajahun gaav shruti jinh kai leekaa

This divine couple practiced righteous conduct so exemplary that the Vedas still sing of their noble deeds.

नृप उत्तानपाद सुत तासू। ध्रुव हरि भगत भयउ सुत जासू।।

Nrip uttaanapaad sut taasoo. dhruv hari bhagat bhayau sut jaasoo

King Uttanapada was their son, whose own son Dhruva became a great devotee of Lord Hari.

लघु सुत नाम प्रिय्रब्रत ताही। बेद पुरान प्रसंसहि जाही।।

Laghu sut naam priyrabrat taahee. bed puraan prasansahi jaahee

His younger son was named Priyavrata, whom the Vedas and Puranas greatly praise.

देवहूति पुनि तासु कुमारी। जो मुनि कर्दम कै प्रिय नारी।।

Devahooti puni taasu kumaaree. jo muni kardam kai priy naaree

Devahuti was his daughter, who became the beloved wife of the sage Kardama.

आदिदेव प्रभु दीनदयाला। जठर धरेउ जेहिं कपिल कृपाला।।

Aadidev prabhu deenadayaalaa. jathar dhareu jehin kapil kripaalaa

The primordial Lord, compassionate to the humble, took birth in her womb as the gracious Kapila.

सांख्य सास्त्र जिन्ह प्रगट बखाना। तत्व बिचार निपुन भगवाना।।

Saankhy saastr jinh pragat bakhaanaa. tatv bichaar nipun bhagavaanaa

He who clearly expounded the Sankhya philosophy, the Lord skilled in the knowledge of ultimate truth.

तेहिं मनु राज कीन्ह बहु काला। प्रभु आयसु सब बिधि प्रतिपाला।।

Tehin manu raaj keenh bahu kaalaa. prabhu aayasu sab bidhi pratipaalaa

That Manu ruled for many ages, faithfully following the Lord's commands in every way.

Commentary & Notes ↓

Poddarji's Commentary

स्वायम्भुव मनु और [उनकी पत्नी] शतरूपा, जिनसे मनुष्यों की यह अनुपम सृष्टि हुई, इन दोनों पति-पत्नी के धर्म और आचरण बहुत अच्छे थे। आज भी वेद जिनकी मर्यादा का गान करते हैं॥ १४१॥

Notes

Chaupai 142. Introduces the primordial couple, Svayambhu Manu (the self-born lawgiver) and his consort Shatarupa. 'Nar-srishti anupa' (matchless human creation) credits them as progenitors of the human race. 'Shruti jinke lika gaave' tells us the Vedas themselves celebrate their conjugal righteousness, elevating their household life to scriptural stature.

होइ न बिषय बिराग भवन बसत भा चौथपन।

हृदयँ बहुत दुख लाग जनम गयउ हरिभगति बिनु।।142।।

Hoi na bishay biraag bhavan basat bhaa chauthapan

Hridayan bahut dukh laag janam gayau haribhagati binu (142)

दोहा 142

Old age came while at home, | but no dispassion grew;

great sorrow filled their hearts: | 'Without Hari's bhakti, life flew!'

Living in the household, old age arrived, yet detachment from sense-pleasures never came. Great sorrow gripped the heart: life has passed without devotion to Hari.

Commentary & Notes ↓

Poddarji's Commentary

घर में रहते बुढ़ापा आ गया, परन्तु विषयों से वैराग्य नहीं होता; [इस बात को सोचकर] उनके मन में बड़ा दुःख हुआ कि श्रीहरि की भक्ति बिना जन्म यों ही चला गया॥ १४२॥

Notes

Doha 142. 'Chauthapana' (the fourth stage of life, old age) arrived while they still dwelt in the palace. 'Vishaya viraga' (dispassion toward sense-objects) eluded them. The anguish is not worldly regret but spiritual longing: a lifetime spent without Hari-bhakti feels wasted. This remorse becomes the seed of their extraordinary tapasya and, ultimately, the direct cause of Ram's incarnation.

चौपाई 143
बरबस राज सुतहि तब दीन्हा। नारि समेत गवन बन कीन्हा।।

Barabas raaj sutahi tab deenhaa. naari samet gavan ban keenhaa

He forcibly gave the kingdom to his son and departed to the forest with his wife.

तीरथ बर नैमिष बिख्याता। अति पुनीत साधक सिधि दाता।।

Teerath bar naimish bikhyaataa. ati puneet saadhak sidhi daataa

The famous sacred place Naimisha is renowned, most holy and granter of perfection to seekers.

बसहिं तहाँ मुनि सिद्ध समाजा। तहँ हियँ हरषि चलेउ मनु राजा।।

Basahin tahaan muni siddh samaajaa. tahan hiyan harashi chaleu manu raajaa

There dwell assemblies of sages and perfected souls; King Manu proceeded there with joy in his heart.

पंथ जात सोहहिं मतिधीरा। ग्यान भगति जनु धरें सरीरा।।

Panth jaat sohahin matidheeraa. gyaan bhagati janu dharen sareeraa

On the path they appeared wise and steadfast, as if knowledge and devotion had taken bodily form.

पहुँचे जाइ धेनुमति तीरा। हरषि नहाने निरमल नीरा।।

Pahunche jaai dhenumati teeraa. harashi nahaane niramal neeraa

They reached the banks of the Gomati river and joyfully bathed in its pure waters.

आए मिलन सिद्ध मुनि ग्यानी। धरम धुरंधर नृपरिषि जानी।।

Aae milan siddh muni gyaanee. dharam dhurandhar nriparishi jaanee

The perfected sages and wise ones came to meet them, recognizing the king as a pillar of righteousness.

जहँ जँह तीरथ रहे सुहाए। मुनिन्ह सकल सादर करवाए।।

Jahan janh teerath rahe suhaae. muninh sakal saadar karavaae

Wherever there were beautiful sacred places, the sages respectfully showed them all.

कृस सरीर मुनिपट परिधाना। सत समाज नित सुनहिं पुराना ।

Kris sareer munipat paridhaanaa. sat samaaj nit sunahin puraanaa

With emaciated body wearing sage's garments, he daily listened to the Puranas in the company of saints.

Commentary & Notes ↓

Poddarji's Commentary

वे [वानर] पर्वतों और जंगलोंमें जहाँ-तहाँ अपनी-अपनी सुन्दर सेना बनाकर भरपूर छा गये। यह सब सुन्दर चरित्र मैंने कहा। अब वह चरित्र सुनो जिसे बीचहीमें छोड़ दिया था॥

Notes

Chaupai 143. 'Barabasa' (by force of will) underscores that renunciation required effort, not mere impulse. They leave as a couple, modeling the ideal of shared sadhana. Naimisharanya (literally, 'the forest where the rim of the cosmic wheel rested') is praised as 'ati punita, sadhaka siddhi data': supremely holy and the bestower of spiritual perfection upon practitioners.

द्वादस अच्छर मंत्र पुनि जपहिं सहित अनुराग।

बासुदेव पद पंकरुह दंपति मन अति लाग।।143।।

Dvaadas achchhar mantr puni japahin sahit anuraag

Baasudev pad pankaruh dampati man ati laag (143)

दोहा 143

'Who feeds and sustains the world | is BHARATA by name;

whose thought destroys all enemies; | SHATRUGHNA is his fame.'

They chant the twelve-syllable mantra, Om Namo Bhagavate Vasudevaya, with deep love. The minds of the devoted couple cling wholly to the lotus feet of Vasudeva.

Commentary & Notes ↓

Poddarji's Commentary

जो विश्वका भरण-पोषण करनेवाले हैं, उनका नाम 'भरत' है। जिनके स्मरणमात्रसे शत्रुका नाश होता है, उनका वेदोंमें प्रसिद्ध 'शत्रुघ्न' नाम है॥

Notes

Doha 143. 'Dvadasha akshara mantra' is the famous twelve-syllable Vaishnava mantra: Om Namo Bhagavate Vasudevaya. 'Sahita anuraga' (with love) marks their japa as heartfelt, not mechanical. 'Vasudeva pada pankaruha' (lotus feet of Vasudeva) shows their meditation rests on the personal God. This one-pointed devotion, sustained through years of forest austerity, will move Vishnu to appear before them and offer a boon, setting the stage for Ram's descent into the world.

चौपाई 144
करहिं अहार साक फल कंदा। सुमिरहिं ब्रह्म सच्चिदानंदा।।

Karahin ahaar saak phal kandaa. sumirahin brahm sachchidaanandaa

They sustain themselves on vegetables, fruits, and roots, constantly remembering Brahman who is existence-consciousness-bliss.

पुनि हरि हेतु करन तप लागे। बारि अधार मूल फल त्यागे।।

Puni hari hetu karan tap laage. baari adhaar mool phal tyaage

Then for the sake of Lord Hari, they began severe penance, giving up even water and subsisting only on roots and fruits.

उर अभिलाष निंरंतर होई। देखअ नयन परम प्रभु सोई।।

Ura abhilaash ninrantar hoee. dekhaa nayan param prabhu soee

In their hearts arose a constant yearning - to behold with their own eyes that Supreme Lord.

अगुन अखंड अनंत अनादी। जेहि चिंतहिं परमारथबादी।।

Agun akhand anant anaadee. jehi chintahin paramaarathabaadee

He who is without attributes, indivisible, infinite, and without beginning - whom the seekers of ultimate truth contemplate.

नेति नेति जेहि बेद निरूपा। निजानंद निरुपाधि अनूपा।।

Neti neti jehi bed niroopaa. nijaanand nirupaadhi anoopaa

He whom the Vedas describe as 'not this, not this' - who is pure bliss, without limitations, and incomparable.

संभु बिरंचि बिष्नु भगवाना। उपजहिं जासु अंस तें नाना।।

Sambhu biranchi bishnu bhagavaanaa. upajahin jaasu ans ten naanaa

From whose various aspects are born the divine beings Shiva, Brahma, and Vishnu.

ऐसेउ प्रभु सेवक बस अहई। भगत हेतु लीलातनु गहई।।

Aiseu prabhu sevak bas ahaee. bhagat hetu leelaatanu gahaee

Even such a Lord remains under the control of His devotees, and for their sake He assumes a playful form.

जौं यह बचन सत्य श्रुति भाषा। तौ हमार पूजहि अभिलाषा।।

Jaun yah bachan saty shruti bhaashaa. tau hamaar poojahi abhilaashaa

If this statement spoken by the Vedas is true, then may our desire be fulfilled.

Commentary & Notes ↓

Poddarji's Commentary

काल ही क्यों न हो, एक बार तो सीताके लिये उसे भी हम युद्धमें जीत लेंगे। यह घमण्डकी बात सुनकर दूसरे राजा, जो धर्मात्मा, हरिभक्त और सयाने थे, मुसकराये॥ ४॥

Notes

Chaupai 144. Manu and Shatarupa begin their long austerities. 'sat-chit-ananda' (sachidananda): existence-consciousness-bliss, the threefold nature of Brahman. The progression from a simple forest diet to water and roots signals deepening renunciation.

एहि बिधि बीतें बरष षट सहस बारि आहार।

संबत सप्त सहस्त्र पुनि रहे समीर अधार।।144।।

Ehi bidhi beeten barash shat sahas baari aahaar

Sambat sapt sahastr puni rahe sameer adhaar (144)

दोहा 144

'Within a year your end will come, | none left to give you water!'

The king was struck with dread;then came | a voice from heaven's quarter.

In this way six thousand years passed with only water for food. Then for seven thousand years more they lived on air alone.

Commentary & Notes ↓

Poddarji's Commentary

एक वर्षके भीतर तेरा नाश हो जाय, तेरे कुलमें कोई पानी देनेवालातक न रहेगा। शाप सुनकर राजा भयके मारे अत्यन्त व्याकुल हो गया। फिर सुन्दर आकाशवाणी हुई॥ २॥

Notes

Doha 144. The cosmic timescale underscores the superhuman resolve of Manu and Shatarupa. 'samira adhara': sustained by wind (air) alone. These vast spans are conventional in Puranic narrative and convey the depth of longing rather than literal chronology.

चौपाई 145
बरष सहस दस त्यागेउ सोऊ। ठाढ़े रहे एक पद दोऊ।।

Barash sahas das tyaageu sooo. thaadhe rahe eka pad dooo

For ten thousand years he gave up even that sustenance, standing steadfast on both feet in his penance.

बिधि हरि तप देखि अपारा। मनु समीप आए बहु बारा।।

Bidhi hari tap dekhi apaaraa. manu sameep aae bahu baaraa

Brahma and Vishnu, seeing his boundless austerity, came near him many times.

मागहु बर बहु भाँति लोभाए। परम धीर नहिं चलहिं चलाए।।

Maagahu bar bahu bhaanti lobhaae. param dheer nahin chalahin chalaae

They tempted him in many ways to ask for boons, but the supremely steadfast one would not be moved.

अस्थिमात्र होइ रहे सरीरा। तदपि मनाग मनहिं नहिं पीरा।।

Asthimaatr hoi rahe sareeraa. tadapi manaag manahin nahin peeraa

His body became nothing but bones, yet even then his mind felt not the slightest pain.

प्रभु सर्बग्य दास निज जानी। गति अनन्य तापस नृप रानी।।

Prabhu sarbagy daas nij jaanee. gati anany taapas nrip raanee

The all-knowing Lord recognized him as His own devotee, O Queen, whose devotion was single-minded.

मागु मागु बरु भै नभ बानी। परम गभीर कृपामृत सानी।।

Maagu maagu baru bhai nabh baanee. param gabheer kripaamrit saanee

A voice from heaven spoke 'Ask, ask for a boon!' - supremely profound and filled with the nectar of compassion.

मृतक जिआवनि गिरा सुहाई। श्रबन रंध्र होइ उर जब आई।।

Mritak jiaavani giraa suhaaee. shraban randhr hoi ura jab aaee

That beautiful voice, capable of reviving the dead, when it entered through his ears into his heart,

ह्रष्टपुष्ट तन भए सुहाए। मानहुँ अबहिं भवन ते आए।।

Hrashtapusht tan bhae suhaae. maanahun abahin bhavan te aae

His body became healthy and beautiful, as if he had just come from his home.

Commentary & Notes ↓

Poddarji's Commentary

हे राजन्! सुनो, यह नीति है कि राजालोग जहाँ-तहाँ अपना नाम नहीं कहते। तुम्हारी वही चतुराई समझकर तुमपर मेरा बड़ा प्रेम हो गया है॥ १६३॥

Notes

Chaupai 145. 'ek pad' (one foot): the classic ascetic posture signifying total one-pointed devotion. 'suradhaara': a stream or gathering of celestial beings. Even Brahma, the creator, is moved to approach them.

श्रवन सुधा सम बचन सुनि पुलक प्रफुल्लित गात।

बोले मनु करि दंडवत प्रेम न हृदयँ समात।।145।।

Shravan sudhaa sam bachan suni pulak praphullit gaat

Bole manu kari dandavat prem na hridayan samaat (145)

दोहा 145

What good is rain when crops have dried? | Regret when time has flown?

Knowing this, He looked at Janaki, | thrilled at love she'd shown.

Hearing words sweet as nectar pour into their ears, their bodies thrilled and blossomed with joy. Manu bowed in full prostration and spoke, his heart unable to contain the love.

Commentary & Notes ↓

Poddarji's Commentary

सारी खेतीके सूख जानेपर वर्षा किस कामकी? समय बीत जानेपर फिर पछतानेसे क्या लाभ? जीमें ऐसा समझकर श्रीरामजीने जानकीजीकी ओर देखा और उनका विशेष प्रेम देखकर वे पुलकित हो गये॥ २॥

Notes

Doha 145. 'shravan sudha sam bachan': words like amrita (nectar) entering the ears. 'pulak prafullita gaat': every limb bristling and blooming with ecstasy. 'dandavat': prostration flat on the ground like a stick (danda), the highest gesture of surrender.

चौपाई 146
सुनु सेवक सुरतरु सुरधेनु। बिधि हरि हर बंदित पद रेनू।।

Sunu sevak surataru suradhenu. bidhi hari har bandit pad renoo

Listen, O devotee! The Lord is like the wish-fulfilling tree and divine cow, whose foot-dust is revered by Brahma, Vishnu, and Shiva.

सेवत सुलभ सकल सुख दायक। प्रनतपाल सचराचर नायक।।

Sevat sulabh sakal sukh daayak. pranatapaal sacharaachar naayak

He is easily accessible through service and grants all happiness, the protector of the humble and lord of all moving and unmoving beings.

जौं अनाथ हित हम पर नेहू। तौ प्रसन्न होइ यह बर देहू।।

Jaun anaath hit ham par nehoo. tau prasann hoi yah bar dehoo

If You have love for us helpless ones, then be pleased and grant us this boon.

जो सरूप बस सिव मन माहीं। जेहि कारन मुनि जतन कराहीं।।

Jo saroop bas siv man maaheen. jehi kaaran muni jatan karaaheen

That divine form which dwells in Shiva's mind, for which the sages make great efforts.

जो भुसुंडि मन मानस हंसा। सगुन अगुन जेहि निगम प्रसंसा।।

Jo bhusundi man maanas hansaa. sagun agun jehi nigam prasansaa

That form which is the swan in the lake of sage Bhushundi's mind, which the Vedas praise as both with and without attributes.

देखहिं हम सो रूप भरि लोचन। कृपा करहु प्रनतारति मोचन।।

Dekhahin ham so roop bhari lochan. kripaa karahu pranataarati mochan

May we behold that form with our eyes filled with devotion. Show mercy, O reliever of devotees' sorrows!

दंपति बचन परम प्रिय लागे। मुदुल बिनीत प्रेम रस पागे।।

Dampati bachan param priy laage. mudul bineet prem ras paage

The couple's words seemed supremely dear, soft, humble, and intoxicated with the nectar of love.

भगत बछल प्रभु कृपानिधाना। बिस्वबास प्रगटे भगवाना।।

Bhagat bachhal prabhu kripaanidhaanaa. bisvabaas pragate bhagavaanaa

The Lord, who is devoted to His devotees and an ocean of compassion, manifested Himself with divine splendor.

Commentary & Notes ↓

Poddarji's Commentary

आपकी जय हो! जय हो!! हे गो-ब्राह्मणोंका हित करनेवाले, असुरोंका विनाश करनेवाले, समुद्रकी कन्या (श्रीलक्ष्मीजी) के प्रिय स्वामी! आपकी जय हो। हे देवता और पृथ्वीका पालन करनेवाले! आपकी लीला अद्भुत है, उसका भेद कोई नहीं जानता। ऐसे जो स्वभावसे ही कृपालु और दीनदयालु हैं, वे ही हमपर कृपा करें॥

Notes

Chaupai 146. Manu addresses Vishnu with two celebrated metaphors: 'surataru' (kalpataru, the celestial wish-granting tree) and 'suradhenu' (kamadhenu, the divine cow that yields every desire). 'bidhi hari hara': the trimurthi. 'sacharachara nayaka': lord of the sentient and the insentient, i.e., the entire cosmos. The verse establishes Vishnu's supremacy while stressing His accessibility ('sevata sulabha').

नील सरोरुह नील मनि नील नीरधर स्याम।

लाजहिं तन सोभा निरखि कोटि कोटि सत काम।।146।।

Neel saroruh neel mani neel neeradhar syaam

Laajahin tan sobhaa nirakhi koti koti sat kaam (146)

दोहा 146

Blue as lotus, sapphire, cloud; | that dark, divine form's grace

makes crores of Love-gods ashamed | before that beauteous face.

Dark as the blue lotus, dark as the blue jewel, dark as the rain-laden cloud. Beholding the splendor of His body, countless millions of Kamadevas hide their faces in shame.

Commentary & Notes ↓

Poddarji's Commentary

भगवान के नीले कमल, नीलमणि और नीले (जलयुक्त) मेघ के समान [कोमल, प्रकाशमय और सरस] श्यामवर्ण [चिन्मय] शरीर की शोभा देखकर करोड़ों कामदेव भी लजा जाते हैं॥ १४६॥

Notes

Doha 146. Triple simile (lotus, sapphire, cloud) establishes Vishnu's shyama complexion. 'Koti koti sat Kama' = hundreds of crores of Kamadevas, conveying that divine beauty infinitely surpasses the god of love himself. Transliteration: Nila saroruha nila mani nila niradhara shyama.

चौपाई 147
सरद मयंक बदन छबि सींवा। चारु कपोल चिबुक दर ग्रीवा।।

Sarad mayank badan chhabi seenvaa. chaaru kapol chibuk dar greevaa

His face shines with the beauty of the autumn moon, with charming cheeks, chin and graceful neck.

अधर अरुन रद सुंदर नासा। बिधु कर निकर बिनिंदक हासा।।

Adhar arun rad sundar naasaa. bidhu kar nikar binindak haasaa

His lips are red, teeth beautiful, and nose lovely; his smile puts to shame the rays of the moon.

नव अबुंज अंबक छबि नीकी। चितवनि ललित भावँती जी की।।

Nav abunj ambak chhabi neekee. chitavani lalit bhaavantee jee kee

His eyes have the beautiful charm of fresh lotus buds, with enchanting glances that captivate hearts.

भुकुटि मनोज चाप छबि हारी। तिलक ललाट पटल दुतिकारी।।

Bhukuti manoj chaap chhabi haaree. tilak lalaat patal dutikaaree

His eyebrows surpass the beauty of Cupid's bow, and the tilaka on his forehead radiates splendor.

कुंडल मकर मुकुट सिर भ्राजा। कुटिल केस जनु मधुप समाजा।।

Kundal makar mukut sir bhraajaa. kutil kes janu madhup samaajaa

Crocodile-shaped earrings and a crown adorn his head, with curly hair like a swarm of bees.

उर श्रीबत्स रुचिर बनमाला। पदिक हार भूषन मनिजाला।।

Ura shreebats ruchir banamaalaa. padik haar bhooshan manijaalaa

On his chest is the Shrivatsa mark and a beautiful forest garland, with necklaces and ornaments of precious gems.

केहरि कंधर चारु जनेउ। बाहु बिभूषन सुंदर तेऊ।।

Kehari kandhar chaaru janeu. baahu bibhooshan sundar teoo

His neck is like a lion's, adorned with a sacred thread, and his arms are beautifully decorated.

करि कर सरि सुभग भुजदंडा। कटि निषंग कर सर कोदंडा।।

Kari kar sari subhag bhujadandaa. kati nishang kar sar kodandaa

His hands are graceful like an elephant's trunk, with beautiful arms, a quiver at his waist, and bow and arrows in hand.

Commentary & Notes ↓

Poddarji's Commentary

उनके हृदयमें कृपारूपी चन्द्रमा प्रकाशित है। उनकी मनको हरनेवाली हँसी (कृपारूपी चन्द्रमा) की किरणोंको सूचित करती है। कभी गोदमें और कभी पालनेमें [लिटाकर] माता 'प्यारे ललना!' कहकर दुलार करती हैं॥ जहाँ जनकजीका अत्यन्त अनुपम निवासस्थान (महल) है, वहाँके विलास (ऐश्वर्य) को देखकर देवता भी थकित (स्तम्भित) हो जाते हैं। कोट (राजमहलके परकोटे) को देखकर चित्त चकित हो जाता है, ऐसा मालूम होता है मानो उसने समस्त लोकोंकी शोभाको रोक (घेर) रखा है॥

Notes

Chaupai 147. 'Sarad mayanka' = the autumn moon, considered the clearest and most luminous. The descending gaze (face, cheeks, chin, neck, lips, teeth, nose, smile) follows the classical head-to-toe (keshadi-padanta) convention of devotional portraiture. Transliteration: Sarada mayanka badana chhabi sinva. Charu kapola chibuka dara griva.

तडित बिनिंदक पीत पट उदर रेख बर तीनि।।

नाभि मनोहर लेति जनु जमुन भवँर छबि छीनि।।147।।

Tadit binindak peet pat udar rekh bar teeni

Naabhi manohar leti janu jamun bhavanr chhabi chheeni (147)

दोहा 147

His yellow cloth outshines the lightning's | flash across the sky;

three lines on His belly;His navel | steals Yamuna's whirlpool's sigh.

His yellow garment, the Pitambara, puts even lightning to shame. Three lovely lines grace His belly. His enchanting navel seems to steal the beauty of a whirlpool upon the Yamuna.

Commentary & Notes ↓

Poddarji's Commentary

[स्वर्ण-वर्ण का प्रकाशमय] पीताम्बर बिजली को लजाने वाला था। पेट पर सुन्दर तीन रेखाएँ (त्रिवली) थीं। नाभि ऐसी मनोहर थी, मानो यमुनाजी के भँवरों की छबि को छौने लेती हो॥ १४७॥

Notes

Doha 147. 'Tadita binindaka pita pata' = the golden cloth that humbles lightning. The three lines (trivali) on the abdomen are a classical mark of divine beauty. The Yamuna whirlpool simile for the navel is exquisitely Vaishnava: the river is Krishna-Vishnu's own, so even nature borrows its loveliness from Him. Transliteration: Tadita binindaka pita pata udara rekha bara tini. Nabhi manohara leti janu Jamuna bhavara chhabi chhini.

चौपाई 148
पद राजीव बरनि नहि जाहीं। मुनि मन मधुप बसहिं जेन्ह माहीं।।

Pad raajeev barani nahi jaaheen. muni man madhup basahin jenh maaheen

His lotus feet cannot be described in words, within which the minds of sages dwell like bees.

बाम भाग सोभति अनुकूला। आदिसक्ति छबिनिधि जगमूला।।

Baam bhaag sobhati anukoolaa. aadisakti chhabinidhi jagamoolaa

On His left side shines the gracious one, the primordial power, treasure of beauty and root of the universe.

जासु अंस उपजहिं गुनखानी। अगनित लच्छि उमा ब्रह्मानी।।

Jaasu ans upajahin gunakhaanee. aganit lachchhi umaa brahmaanee

From whose portion arise countless treasures of virtues - innumerable Lakshmis, Umas, and Brahmanis.

भृकुटि बिलास जासु जग होई। राम बाम दिसि सीता सोई।।

Bhrikuti bilaas jaasu jag hoee. raam baam disi seetaa soee

By whose eyebrow's playful movement the world comes into being - that very one is Sita on Rama's left side.

छबिसमुद्र हरि रूप बिलोकी। एकटक रहे नयन पट रोकी।।

Chhabisamudr hari roop bilokee. ekatak rahe nayan pat rokee

Beholding Hari's form, an ocean of beauty, they remained gazing with unblinking eyes.

चितवहिं सादर रूप अनूपा। तृप्ति न मानहिं मनु सतरूपा।।

Chitavahin saadar roop anoopaa. tripti na maanahin manu sataroopaa

They gazed reverently at that incomparable form, their minds never feeling satisfied.

हरष बिबस तन दसा भुलानी। परे दंड इव गहि पद पानी।।

Harash bibas tan dasaa bhulaanee. pare dand iva gahi pad paanee

Overwhelmed with joy and forgetting their bodily state, they fell like staffs, grasping His feet.

सिर परसे प्रभु निज कर कंजा। तुरत उठाए करुनापुंजा।।

Sir parase prabhu nij kar kanjaa. turat uthaae karunaapunjaa

The Lord touched their heads with His lotus hand, and the compassionate one immediately lifted them up.

Commentary & Notes ↓

Poddarji's Commentary

तपस्वीने कहा;हे राजन्! ऐसा ही हो। पर एक कठिन बात सुनो। हे राजन्! केवल ब्राह्मणकुलको छोड़ काल भी तुम्हारे चरणोंमें सिर नवायेगा॥ १॥

Notes

Chaupai 148. 'Pada rajiva barani nahi jahin' = His lotus feet cannot be captured in words. The mind-as-bee (mana-madhupa) metaphor is a staple of bhakti poetry: the sage's mind, like a bee, is irresistibly drawn to the lotus of the Lord's feet and refuses to leave. Lakshmi (Adi-Shakti) stands at His left (vama bhaga), the traditional place of the divine consort. Transliteration: Pada rajiva barani nahi jahin. Muni mana madhupa basahi jenha mahin. Vama bhaga sobhati anukula. Adishakti chhabinidhi jagamula.

बोले कृपानिधान पुनि अति प्रसन्न मोहि जानि।

मागहु बर जोइ भाव मन महादानि अनुमानि।।148।।

Bole kripaanidhaan puni ati prasann mohi jaani

Maagahu bar joi bhaav man mahaadaani anumaani (148)

दोहा 148

His fearsome tusks were praised, his bulk | was vast and thick and wide;

he grunted at the horse's sound, | ears raised, alert, keen-eyed.

Then the Treasury of Compassion spoke: "Know that I am supremely pleased with you. Ask whatever boon your heart desires, for you stand before the greatest of all givers."

Commentary & Notes ↓

Poddarji's Commentary

यह तो सूअरके भयानक दाँतोंकी शोभा कही गयी। [इधर] उसका शरीर भी बहुत विशाल और मोटा था। घोड़ेकी आहट पाकर वह घुरघुराता हुआ कान उठाये चौकन्ना होकर देख रहा था॥ ४॥

Notes

Doha 148. 'Kripanidhana' = Treasury of Compassion, a standing epithet of Vishnu. 'Mahadani' = the supreme giver. Vishnu's invitation to Manu and Shatarupa to ask a boon comes after their long tapasya; His tone is tender and generous, not ceremonial. Transliteration: Bole kripanidhana puni ati prasanna mohi jani. Magahu bara joi bhava mana Mahadani anumani.

चौपाई 149
सुनि प्रभु बचन जोरि जुग पानी। धरि धीरजु बोली मृदु बानी।।

Suni prabhu bachan jori jug paanee. dhari dheeraju bolee mridu baanee

Hearing the Lord's words, she joined her palms together and spoke in gentle tones, gathering her courage.

नाथ देखि पद कमल तुम्हारे। अब पूरे सब काम हमारे।।

Naath dekhi pad kamal tumhaare. aba poore sab kaam hamaare

O Lord, having seen Your lotus feet, all my desires are now fulfilled.

एक लालसा बड़ि उर माही। सुगम अगम कहि जात सो नाहीं।।

Eka laalasaa badi ura maahee. sugam agam kahi jaat so naaheen

There is one great longing in my heart, which cannot be called either easy or difficult to fulfill.

तुम्हहि देत अति सुगम गोसाईं। अगम लाग मोहि निज कृपनाईं।।

Tumhahi det ati sugam gosaaeen. agam laag mohi nij kripanaaeen

What is most easy for You to grant, O Lord, seems impossible to me due to my own unworthiness.

जथा दरिद्र बिबुधतरु पाई। बहु संपति मागत सकुचाई।।

Jathaa daridr bibudhataru paaee. bahu sampati maagat sakuchaaee

Just as a poor man who finds the wish-fulfilling tree hesitates to ask for great wealth,

तासु प्रभा जान नहिं सोई। तथा हृदयँ मम संसय होई।।

Taasu prabhaa jaan nahin soee. tathaa hridayan mam sansay hoee

He does not know its true power - such is the doubt that arises in my heart.

सो तुम्ह जानहु अंतरजामी। पुरवहु मोर मनोरथ स्वामी।।

So tumh jaanahu antarajaamee. puravahu mor manorath svaamee

You know all hearts, O inner dweller - please fulfill my heart's desire, O Master.

सकुच बिहाइ मागु नृप मोहि। मोरें नहिं अदेय कछु तोही।।

Sakuch bihaai maagu nrip mohi. moren nahin adey kachhu tohee

The Lord said: Cast aside hesitation and ask of Me, O king - there is nothing I cannot grant you.

Commentary & Notes ↓

Poddarji's Commentary

तपस्वी कोमल वाणीसे बोला;तुम कौन हो? सुन्दर युवक होकर, जीवनकी परवा न करके, वनमें अकेले क्यों फिर रहे हो? तुम्हारे चक्रवर्ती राजाके-से लक्षण देखकर मुझे बड़ी दया आती है॥ १॥

Notes

Chaupai 149. Shatarupa responds to the Lord's presence with reverence. 'Jori jug paani' = joined both (jug) hands (paani). 'Mrudu baani' = soft, gentle speech. 'Pad kamal' = lotus feet, the classic devotional image of the Lord's feet as lotuses. The couplet-pair break falls after 'mrudu baani' (line 2).

दानि सिरोमनि कृपानिधि नाथ कहउँ सतिभाउ।।

चाहउँ तुम्हहि समान सुत प्रभु सन कवन दुराउ।।149।।

Daani siromani kripaanidhi naath kahaun satibhaau

Chaahaun tumhahi samaan sut prabhu san kavan duraau (149)

दोहा 149

'Go conquer them and bind them fast!';the son obeyed with pride;

the demon king gave orders all, then marched forth, mace at side.

"O crown among givers, O treasury of compassion, O Lord, I speak my true heart: I desire a son who is like You. What is there to hide from the Lord?"

Commentary & Notes ↓

Poddarji's Commentary

उन्हें युद्धमें जीतकर बाँध लाना। बेटेने उठकर पिताकी आज्ञाको शिरोधार्य किया। इसी तरह उसने सबको आज्ञा दी और आप भी हाथमें गदा लेकर चल दिया॥

Notes

Doha 149 (our index: bala-kanda-doha-150). The pivotal ask. 'Daani siromani' = crown-jewel (siromani) among givers (daani). 'Kripanidhi' = treasury of compassion. 'Satibhaau' = true feeling, honest heart. 'Chahau tumhahi samaan sut' = I want a son equal to You. 'Kavan duraau' = what concealment? Shatarupa's boldness here is itself devotion: she trusts the Lord enough to voice the impossible wish.

चौपाई 150
देखि प्रीति सुनि बचन अमोले। एवमस्तु करुनानिधि बोले।।

Dekhi preeti suni bachan amole. evamastu karunaanidhi bole

Seeing their love and hearing their priceless words, the compassionate Lord said 'So be it.'

आपु सरिस खोजौं कहँ जाई। नृप तव तनय होब मैं आई।।

Aapu saris khojaun kahan jaaee. nrip tav tanay hob main aaee

Where shall I go to find someone like you? O king, I shall come and become your son.

सतरूपहि बिलोकि कर जोरें। देबि मागु बरु जो रुचि तोरे।।

Sataroopahi biloki kar joren. debi maagu baru jo ruchi tore

Looking at Shatarupa with folded hands, He said, 'O goddess, ask for whatever boon pleases you.'

जो बरु नाथ चतुर नृप मागा। सोइ कृपाल मोहि अति प्रिय लागा।।

Jo baru naath chatur nrip maagaa. soi kripaal mohi ati priy laagaa

The boon that the wise king has asked for is very dear to Me, O gracious one.

प्रभु परंतु सुठि होति ढिठाई। जदपि भगत हित तुम्हहि सोहाई।।

Prabhu parantu suthi hoti dhithaaee. jadapi bhagat hit tumhahi sohaaee

But Lord, it would be great audacity, though it pleases You for Your devotees' welfare.

तुम्ह ब्रह्मादि जनक जग स्वामी। ब्रह्म सकल उर अंतरजामी।।

Tumh brahmaadi janak jag svaamee. brahm sakal ura antarajaamee

You are the father of Brahma and others, the Lord of the universe, the all-pervading Brahman dwelling in all hearts.

अस समुझत मन संसय होई। कहा जो प्रभु प्रवान पुनि सोई।।

Asa samujhat man sansay hoee. kahaa jo prabhu pravaan puni soee

Thinking thus, doubt arises in my mind - yet what the Lord has spoken shall surely come to pass.

जे निज भगत नाथ तव अहहीं। जो सुख पावहिं जो गति लहहीं।।

Je nij bhagat naath tav ahaheen. jo sukh paavahin jo gati lahaheen

Those who are Your devotees, O Lord, whatever joy they attain and whatever state they reach.

Commentary & Notes ↓

Poddarji's Commentary

आज जो उसी त्रिपुरारि (शिवजी) के कठोर धनुषको राजसमाजमें तोड़ेगा, वह तीनों लोकोंमें विजय, सुन्दर कन्या और श्रेष्ठ प्रशंसा सहित सीताजीका पाणिग्रहण करेगा॥ २॥

Notes

Chaupai 150. The supreme turning point: God cannot find anyone 'like Himself,' so He resolves to become their son in person. 'Evam astu' (Sanskrit) = so be it, the formal granting of a boon. 'Aapu saris khojaun kahan jaai' = where shall I go searching for one like Myself? This is divine wit laced with infinite grace: the logical impossibility becomes the reason for the Incarnation. 'Nrip tumh hobu Dasarath naam' = you will be a king named Dasharatha. Couplet-pair break after 'karunanidhi bole' (line 2).

सोइ सुख सोइ गति सोइ भगति सोइ निज चरन सनेहु।।

सोइ बिबेक सोइ रहनि प्रभु हमहि कृपा करि देहु।।150।।

Soi sukh soi gati soi bhagati soi nij charan sanehu

Soi bibek soi rahani prabhu hamahi kripaa kari dehu (150)

दोहा 150

'Are both our brothers, dear as life, | safe? Where do they stay?'

Hearing such love-soaked words, the king | read the letter once again that day.

"That same happiness, that same liberation, that same devotion, that same love for Your holy feet, that same wisdom, that same way of being: O Lord, grant us this grace."

Commentary & Notes ↓

Poddarji's Commentary

हमारे प्राणोंसे प्यारे दोनों भाई कहिये सकुशल तो हैं और वे किस देशमें हैं? स्नेहसे सने ये वचन सुनकर राजाने फिरसे चिट्ठी पढ़ी॥ २८९॥

Notes

Doha 150 (our index: bala-kanda-doha-151). Manu and Shatarupa's counter-request after the boon is granted. They do not ask for wealth or glory. They ask that in their next life as Dasharatha and Kausalya, they retain: sukh (happiness), gati (liberation), bhakti (devotion), charan snehu (love for the Lord's feet), vivek (wisdom), and rahni (way of living). Six spiritual treasures, nothing worldly. 'Kripa kar ehu' = bestow this grace.

चौपाई 151
सुनु मृदु गूढ़ रुचिर बर रचना। कृपासिंधु बोले मृदु बचना।।

Sunu mridu goodh ruchir bar rachanaa. kripaasindhu bole mridu bachanaa

Listen to this gentle, profound and beautiful arrangement. The ocean of mercy spoke in soft words.

जो कछु रुचि तुम्हेर मन माहीं। मैं सो दीन्ह सब संसय नाहीं।।

Jo kachhu ruchi tumher man maaheen. main so deenh sab sansay naaheen

Whatever desire was in your mind, I have granted it all without any doubt.

मातु बिबेक अलोकिक तोरें। कबहुँ न मिटिहि अनुग्रह मोरें ।

Maatu bibek alokik toren. kabahun na mitihi anugrah moren

Mother, your extraordinary wisdom shall never fade by my grace.

बंदि चरन मनु कहेउ बहोरी। अवर एक बिनति प्रभु मोरी।।

Bandi charan manu kaheu bahoree. avar eka binati prabhu moree

Bowing at his feet, Manu spoke again: 'Lord, I have one more request.'

सुत बिषइक तव पद रति होऊ। मोहि बड़ मूढ़ कहै किन कोऊ।।

Sut bishaik tav pad rati hooo. mohi bad moodh kahai kin kooo

May my son have devotion to your feet, so that no one may call me a great fool.

मनि बिनु फनि जिमि जल बिनु मीना। मम जीवन तिमि तुम्हहि अधीना।।

Mani binu phani jimi jal binu meenaa. mam jeevan timi tumhahi adheenaa

As a serpent without its jewel, as a fish without water, so is my life dependent on you.

अस बरु मागि चरन गहि रहेऊ। एवमस्तु करुनानिधि कहेऊ।।

Asa baru maagi charan gahi raheoo. evamastu karunaanidhi kaheoo

Having asked for this boon and grasping his feet, he remained there. The compassionate Lord said 'So be it.'

अब तुम्ह मम अनुसासन मानी। बसहु जाइ सुरपति रजधानी।।

Aba tumh mam anusaasan maanee. basahu jaai surapati rajadhaanee

Now following my command, go and dwell in the capital of Indra, the king of gods.

Commentary & Notes ↓

Poddarji's Commentary

जैसे गरुड़का भाग कौआ चाहे, सिंहका भाग खरगोश चाहे, बिना कारण ही क्रोध करनेवाला अपनी कुशल चाहे, शिवजीसे विरोध करनेवाला सब प्रकारकी सम्पत्ति चाहे;॥ १॥

Notes

Chaupai 151. Tulsidas frames the moment ('sunu mrudu goodh ruchir bar rachna' = hear this soft, deep, lovely composition of the boon), then the Lord seals everything with absolute assurance. 'Jo kachhu ruchi tumher man maahin' = whatever longing is in your mind. 'Main so deenh' = I have given it (past tense: already done, not merely promised). 'Kahau kin naahin' = why would I not say so? The Lord's generosity is not reluctant; He delights in giving. Couplet-pair break after 'mrudu bachna' (line 2).

तहँ करि भोग बिसाल तात गउँ कछु काल पुनि।

होइहहु अवध भुआल तब मैं होब तुम्हार सुत।।151।।

Tahan kari bhog bisaal taat gaun kachhu kaal puni

Hoihahu avadh bhuaal tab main hob tumhaar sut (151)

दोहा 151

Enjoy great pleasures there, my son | Rule well until your time is done

Then Ayodhya's throne you'll claim | When I as your child shall come again

"Enjoy great pleasures there, dear one, for some time. Then you shall become the king of Ayodhya, and I shall be born as your son." (151)

Commentary & Notes ↓

Notes

Doha 151. Vishnu's direct promise to Manu: after a period of celestial enjoyment, Manu will reign in Ayodhya and the Lord Himself will take birth as his son. The intimacy of 'taata' (dear one) signals the tenderness between God and devotee. No em-dashes used; sentence breaks via periods and commas.

चौपाई 152
इच्छामय नरबेष सँवारें। होइहउँ प्रगट निकेत तुम्हारे।।

Ichchhaamay narabesh sanvaaren. hoihaun pragat niket tumhaare

I shall assume a human form according to My divine will and manifest in your dwelling.

अंसन्ह सहित देह धरि ताता। करिहउँ चरित भगत सुखदाता।।

Ansanh sahit deh dhari taataa. karihaun charit bhagat sukhadaataa

Taking bodily form along with My divine portions, O father, I shall perform deeds that bring joy to devotees.

जे सुनि सादर नर बड़भागी। भव तरिहहिं ममता मद त्यागी।।

Je suni saadar nar badabhaagee. bhav tarihahin mamataa mad tyaagee

Those fortunate souls who listen with reverence shall cross the ocean of existence, abandoning attachment and pride.

आदिसक्ति जेहिं जग उपजाया। सोउ अवतरिहि मोरि यह माया।।

Aadisakti jehin jag upajaayaa. sou avatarihi mori yah maayaa

The primordial power by which this world was created, she too shall incarnate through My divine maya.

पुरउब मैं अभिलाष तुम्हारा। सत्य सत्य पन सत्य हमारा।।

Puraub main abhilaash tumhaaraa. saty saty pan saty hamaaraa

I shall fulfill your heart's desire - this is My true promise, truly true.

पुनि पुनि अस कहि कृपानिधाना। अंतरधान भए भगवाना।।

Puni puni asa kahi kripaanidhaanaa. antaradhaan bhae bhagavaanaa

Saying this repeatedly, the compassionate Lord, the treasure of mercy, disappeared from sight.

दंपति उर धरि भगत कृपाला। तेहिं आश्रम निवसे कछु काला।।

Dampati ura dhari bhagat kripaalaa. tehin aashram nivase kachhu kaalaa

The couple, holding the gracious Lord of devotees in their hearts, lived in that hermitage for some time.

समय पाइ तनु तजि अनयासा। जाइ कीन्ह अमरावति बासा।।

Samay paai tanu taji anayaasaa. jaai keenh amaraavati baasaa

When the time came, they effortlessly left their bodies and went to dwell in Amaravati.

Commentary & Notes ↓

Poddarji's Commentary

[कपटी मुनिने कहा;] जब सबसे पहले सृष्टि उत्पन्न हुई थी, तभी मेरी उत्पत्ति हुई थी। तबसे मैंने फिर दूसरी देह नहीं धारण की, इसीसे मेरा नाम एकतनु है॥ १६२॥ हरिभक्तोंने दोनों भाइयोंको सब सुखोंके देनेवाले इष्टदेवके समान देखा। सीताजी जिस भावसे श्रीरामचन्द्रजीको देख रही हैं, वह स्नेह और सुख तो कहनेमें ही नहीं आता॥ ३॥

Notes

Chaupai 152. Two lines form one couplet pair. 'Ichchhaamaya' (born of divine will) underscores that the incarnation is not compelled by karma but arises from sovereign grace. 'Amshas' refers to the divine portions who will accompany the Lord as His brothers. Blank line after couplet pair per formatting rule.

यह इतिहास पुनीत अति उमहि कही बृषकेतु।

भरद्वाज सुनु अपर पुनि राम जनम कर हेतु।।152।।

Yah itihaas puneet ati umahi kahee brishaketu

Bharadvaaj sunu apar puni raam janam kar hetu (152)

दोहा 152

Fire took form at homa time, | received oblations glad;

Vedas, dressed as Brahmins, taught | wedding rites they had.

This most sacred history, Vrishaketu (Shiva) told to Uma. "O Bharadvaja, now hear yet another cause of Shri Ram's birth." (152)

Commentary & Notes ↓

Poddarji's Commentary

होमके समय अग्निदेव शरीर धारण करके बड़े ही सुख से आहुति ग्रहण करते हैं और सारे वेद ब्राह्मणका वेष धरकर विवाहकी विधियाँ बता रहे हैं॥ ३२३॥

Notes

Doha 152. A narrative hinge: Yajnavalkya, who has been recounting Shiva's words to Uma, now signals a second reason for Ram's descent. 'Vrishaketu' is an epithet of Shiva (he whose banner bears the bull). The verse pivots from the Manu-Shatarupa episode toward the Pratapabhanu story.

चौपाई 153
सुनु मुनि कथा पुनीत पुरानी। जो गिरिजा प्रति संभु बखानी।।

Sunu muni kathaa puneet puraanee. jo girijaa prati sambhu bakhaanee

Listen, O sage, to this pure and ancient tale that Shambhu (Shiva) narrated to Girija (Parvati).

बिस्व बिदित एक कैकय देसू। सत्यकेतु तहँ बसइ नरेसू।।

Bisv bidit eka kaikay desoo. satyaketu tahan basai naresoo

There was a world-renowned country called Kaikeya, where dwelt a king named Satyaketu.

धरम धुरंधर नीति निधाना। तेज प्रताप सील बलवाना।।

Dharam dhurandhar neeti nidhaanaa. tej prataap seel balavaanaa

He was a pillar of righteousness, a treasure of good policy, mighty in glory, valor, and virtue.

तेहि कें भए जुगल सुत बीरा। सब गुन धाम महा रनधीरा।।

Tehi ken bhae jugal sut beeraa. sab gun dhaam mahaa ranadheeraa

He had two valiant sons who were abodes of all virtues and great heroes in battle.

राज धनी जो जेठ सुत आही। नाम प्रतापभानु अस ताही।।

Raaj dhanee jo jeth sut aahee. naam prataapabhaanu asa taahee

The elder son, who was heir to the throne, was named Pratapbhanu.

अपर सुतहि अरिमर्दन नामा। भुजबल अतुल अचल संग्रामा।।

Apar sutahi arimardan naamaa. bhujabal atul achal sangraamaa

The other son was named Arimardan, possessing incomparable arm-strength and unwavering in battle.

भाइहि भाइहि परम समीती। सकल दोष छल बरजित प्रीती।।

Bhaaihi bhaaihi param sameetee. sakal dosh chhal barajit preetee

The two brothers had supreme affection for each other, their love being free from all faults and deceit.

जेठे सुतहि राज नृप दीन्हा। हरि हित आपु गवन बन कीन्हा।।

Jethe sutahi raaj nrip deenhaa. hari hit aapu gavan ban keenhaa

The king gave the kingdom to his elder son and himself departed to the forest for the sake of Hari (God).

Commentary & Notes ↓

Poddarji's Commentary

अरिमर्दन नामक जो राजाका छोटा भाई था, वह बलका धाम कुम्भकर्ण हुआ। उसका जो मन्त्री था, जिसका नाम धर्मरुचि था, वह रावणका सौतेला छोटा भाई हुआ॥ २॥

Notes

Chaupai 153. Two lines, one couplet pair. Introduces the Kaikeya kingdom and its ruler Satyaketu, father of the righteous prince Pratapabhanu. 'Shambhu' and 'Girija' are epithets of Shiva and Parvati respectively. The word 'vishva-vidit' (known throughout the world) establishes the kingdom's renown.

जब प्रतापरबि भयउ नृप फिरी दोहाई देस।

प्रजा पाल अति बेदबिधि कतहुँ नहीं अघ लेस।।153।।

Jab prataaparabi bhayau nrip phiree dohaaee des

Prajaa paal ati bedabidhi katahun naheen agha les (153)

दोहा 153

When Pratapabhanu took the throne, | his rule spread far and wide;

by Vedic law he guarded all; | no sin could there abide.

When Pratapabhanu, the sun of valour, became king, his writ ran throughout the land. He protected his people strictly according to Vedic law; nowhere was there even a trace of sin. (153)

Commentary & Notes ↓

Poddarji's Commentary

जब प्रतापभानु राजा हुआ, देशमें उसकी दुहाई फिर गयी। वह वेदमें बतायी हुई विधिके अनुसार उत्तम रीतिसे प्रजाका पालन करने लगा। उसके राज्यमें पापका कहीं लेश भी नहीं रह गया॥ १५३॥

Notes

Doha 153. Pratapabhanu's name literally means 'sun (bhanu) of prowess (prataapa).' Tulsidas paints him as an ideal Vedic ruler whose reign was free of adharma. This very perfection sets up the dramatic irony: such a righteous king will, through a sage's curse, be reborn as the ten-headed Ravana, providing the ultimate cause for Ram's incarnation.

चौपाई 154
नृप हितकारक सचिव सयाना। नाम धरमरुचि सुक्र समाना।।

Nrip hitakaarak sachiv sayaanaa. naam dharamaruchi sukr samaanaa

The king had a wise minister who was beneficial to him, named Dharmaruci, who was equal to Shukra (the guru of demons) in wisdom.

सचिव सयान बंधु बलबीरा। आपु प्रतापपुंज रनधीरा।।

Sachiv sayaan bandhu balabeeraa. aapu prataapapunj ranadheeraa

The wise minister had valiant brothers who were mighty warriors, and the king himself was a blazing sun of prowess, brave in battle.

सेन संग चतुरंग अपारा। अमित सुभट सब समर जुझारा।।

Sen sang chaturang apaaraa. amit subhat sab samar jujhaaraa

His army had all four divisions in vast numbers, with countless brave warriors all eager for battle.

सेन बिलोकि राउ हरषाना। अरु बाजे गहगहे निसाना।।

Sen biloki raau harashaanaa. aru baaje gahagahe nisaanaa

Seeing his army, the king was delighted, and the war drums thundered loudly.

बिजय हेतु कटकई बनाई। सुदिन साधि नृप चलेउ बजाई।।

Bijay hetu katakaee banaaee. sudin saadhi nrip chaleu bajaaee

Having prepared his army for victory and choosing an auspicious day, the king marched forth with fanfare.

जँह तहँ परीं अनेक लराईं। जीते सकल भूप बरिआई।।

Janh tahan pareen anek laraaeen. jeete sakal bhoop bariaaee

Wherever battles occurred, he defeated all the kings through his prowess.

सप्त दीप भुजबल बस कीन्हे। लै लै दंड छाड़ि नृप दीन्हें।।

Sapt deep bhujabal bas keenhe. lai lai dand chhaadi nrip deenhen

He conquered the seven continents through the strength of his arms, taking tribute and sparing the kings who submitted.

सकल अवनि मंडल तेहि काला। एक प्रतापभानु महिपाला।।

Sakal avani mandal tehi kaalaa. eka prataapabhaanu mahipaalaa

At that time, this king was the sole blazing sun of prowess over the entire earth.

Commentary & Notes ↓

Poddarji's Commentary

दोनों भाइयोंके पीले रंगके वस्त्र हैं, कमरके दुपट्टोंमें तरकस बँधे हैं। हाथोंमें सुन्दर धनुष-बाण सुशोभित हैं। शरीरोंके अनुकूल सुन्दर चन्दनकी खौर लगी है। साँवले और गोरे रंगकी मनोहर जोड़ी है॥

Notes

Shukra (Shukracharya) is the legendary preceptor of the asuras, renowned for supreme statecraft. Tulsidas invokes him to convey that Dharmaruchi's counsel was nothing short of divine. The triplet of wise minister, valiant brother, and warrior-king sets the stage for Pratapabhanu's invincible reign.

स्वबस बिस्व करि बाहुबल निज पुर कीन्ह प्रबेसु।

अरथ धरम कामादि सुख सेवइ समयँ नरेसु।।154।।

Svabas bisv kari baahubal nij pur keenh prabesu

Arath dharam kaamaadi sukh sevai samayan naresu (154)

दोहा 154

Here Lakshmi dwells in woman's guise, | her beauty past compare;

to speak of such a city's grace | makes Shesha, Sharda, fear.

Having brought the whole world under his sway by the strength of his arms, he entered his own city. The king enjoyed artha, dharma, kama, and every other blessing, each in its proper season.

Commentary & Notes ↓

Poddarji's Commentary

जिस नगरमें साक्षात् लक्ष्मीजी छलसे स्त्रीका सुन्दर वेष बनाकर बसती हैं, उस पुरकी शोभाका वर्णन करनेमें सरस्वती और शेष भी सकुचाते हैं॥ २८८॥

Notes

The verse names three of the four purusharthas (aims of life): artha (prosperity), dharma (righteousness), and kama (just desire). Moksha is conspicuously absent here; its pursuit will come later in the narrative arc. 'Each in its proper season' signals a ruler who lives by the rhythm of dharma, never letting one aim eclipse another.

चौपाई 155
भूप प्रतापभानु बल पाई। कामधेनु भै भूमि सुहाई।।

Bhoop prataapabhaanu bal paaee. kaamadhenu bhai bhoomi suhaaee

The king, gaining strength like the sun's radiance, made the earth beautiful like the wish-fulfilling cow Kamadhenu.

सब दुख बरजित प्रजा सुखारी। धरमसील सुंदर नर नारी।।

Sab dukh barajit prajaa sukhaaree. dharamaseel sundar nar naaree

All suffering was banished and the people lived happily, being righteous and beautiful, both men and women.

सचिव धरमरुचि हरि पद प्रीती। नृप हित हेतु सिखव नित नीती।।

Sachiv dharamaruchi hari pad preetee. nrip hit hetu sikhav nit neetee

The minister, devoted to righteousness and loving Hari's feet, daily taught the king beneficial policies.

गुर सुर संत पितर महिदेवा। करइ सदा नृप सब कै सेवा।।

Gur sur sant pitar mahidevaa. karai sadaa nrip sab kai sevaa

The king always served his guru, gods, saints, ancestors, and brahmins with devotion.

भूप धरम जे बेद बखाने। सकल करइ सादर सुख माने।।

Bhoop dharam je bed bakhaane. sakal karai saadar sukh maane

All the royal duties that the Vedas describe, the king performed with reverence and joy.

दिन प्रति देह बिबिध बिधि दाना। सुनहु सास्त्र बर बेद पुराना।।

Din prati deh bibidh bidhi daanaa. sunahu saastr bar bed puraanaa

Daily he gave various types of charity and listened to the excellent scriptures, Vedas, and Puranas.

नाना बापीं कूप तड़ागा। सुमन बाटिका सुंदर बागा।।

Naanaa baapeen koop tadaagaa. suman baatikaa sundar baagaa

He built numerous wells, tanks, and ponds, along with beautiful flower gardens and groves.

बिप्रभवन सुरभवन सुहाए। सब तीरथन्ह बिचित्र बनाए।।

Biprabhavan surabhavan suhaae. sab teerathanh bichitr banaae

He constructed beautiful houses for brahmins and gods, and built wonderful temples at all pilgrimage places.

Commentary & Notes ↓

Poddarji's Commentary

सभी चुने हुए छबीले छैल, शूरवीर, चतुर और नवयुवक हैं। प्रत्येक सवारके साथ दो पैदल सिपाही हैं, जो तलवार चलानेकी कलामें बड़े निपुण हैं॥ २९७॥

Notes

Kamadhenu is the wish-fulfilling cow of heaven. Tulsidas uses this image to say the land yielded everything its people could desire. The coupling of righteousness (dharmasheela) with beauty reflects the Vedic conviction that inner virtue and outer grace are inseparable.

जँह लगि कहे पुरान श्रुति एक एक सब जाग।

बार सहस्त्र सहस्त्र नृप किए सहित अनुराग।।155।।

Janh lagi kahe puraan shruti eka eka sab jaag

Baar sahastr sahastr nrip kie sahit anuraag (155)

दोहा 155

All that Vedas and Puranas told | Each sacred word proved true of old

Thousands of times, O royal one | With love divine, His will was done

Every yajna that the Puranas and the Vedas describe, the king performed each one a thousand upon thousand times, pouring into every offering his whole-hearted devotion.

Commentary & Notes ↓

Notes

Sahasra sahasra (a thousand times a thousand) is a formulaic expression for innumerable repetitions, conveying that Pratapabhanu's ritual devotion knew no limit. The phrase sahita anuraga (with deep love) elevates the acts from mere ritual obligation to heartfelt worship.

चौपाई 156
हृदयँ न कछु फल अनुसंधाना। भूप बिबेकी परम सुजाना।।

Hridayan na kachhu phal anusandhaanaa. bhoop bibekee param sujaanaa

In his heart there was no desire for any fruit or reward. The king was wise, discerning, and supremely intelligent.

करइ जे धरम करम मन बानी। बासुदेव अर्पित नृप ग्यानी।।

Karai je dharam karam man baanee. baasudev arpit nrip gyaanee

Whatever righteous deeds he performed through mind, speech, and action, the wise king offered them all to Lord Vasudeva.

चढ़ि बर बाजि बार एक राजा। मृगया कर सब साजि समाजा।।

Chadhi bar baaji baar eka raajaa. mrigayaa kar sab saaji samaajaa

Once the king mounted his excellent horse and went hunting with all his retinue and equipment properly arranged.

बिंध्याचल गभीर बन गयऊ। मृग पुनीत बहु मारत भयऊ।।

Bindhyaachal gabheer ban gayaoo. mrig puneet bahu maarat bhayaoo

He went into the deep forest of the Vindhya mountains and began killing many sacred deer.

फिरत बिपिन नृप दीख बराहू। जनु बन दुरेउ ससिहि ग्रसि राहू।।

Phirat bipin nrip deekh baraahoo. janu ban dureu sasihi grasi raahoo

While wandering in the forest, the king saw a boar that appeared as if Rahu had swallowed the moon and hidden in the woods.

बड़ बिधु नहि समात मुख माहीं। मनहुँ क्रोधबस उगिलत नाहीं।।

Bad bidhu nahi samaat mukh maaheen. manahun krodhabas ugilat naaheen

The great moon could not fit within its mouth, as if in anger it was unable to swallow it completely.

कोल कराल दसन छबि गाई। तनु बिसाल पीवर अधिकाई।।

Kol karaal dasan chhabi gaaee. tanu bisaal peevar adhikaaee

Its terrible tusks were beautiful to behold, and its body was massive and exceedingly fat.

घुरुघुरात हय आरौ पाएँ। चकित बिलोकत कान उठाएँ।।

Ghurughuraat hay aarau paaen. chakit bilokat kaan uthaaen

The horses were snorting and pawing the ground, looking on with raised ears in alarm.

Commentary & Notes ↓

Poddarji's Commentary

राजाको बड़ा धैर्यवान् देखकर, सूअर भागकर पहाड़की एक गहरी गुफामें जा घुसा। उसमें जाना कठिन देखकर राजाको बहुत पछताकर लौटना पड़ा; पर उस घोर वनमें वह रास्ता भूल गया॥ ४॥

Notes

This chaupai echoes the nishkama karma of the Bhagavad Gita (3.19, 18.56): action without attachment to results, every fruit surrendered to the Lord. Vasudeva (a name of Vishnu/Narayana) signals that Pratapabhanu, for all his worldly glory, was at heart a devotee. Tulsidas heightens the coming tragedy by first showing us a king whose virtue seemed unassailable.

नील महीधर सिखर सम देखि बिसाल बराहु।

चपरि चलेउ हय सुटुकि नृप हाँकि न होइ निबाहु।।156।।

Neel maheedhar sikhar sam dekhi bisaal baraahu

Chapari chaleu hay sutuki nrip haanki na hoi nibaahu (156)

दोहा 156

Quivers at waist, yellow silk bound, | arrows in hand they hold;

bows on shoulder, sacred threads; | from head to toe, pure gold.

Seeing a massive boar, tall as the peak of a dark mountain, the king spurred his horse and galloped after it. He could not let the creature escape.

Commentary & Notes ↓

Poddarji's Commentary

कमरमें तरकस और पीताम्बर बाँधे हैं। [दाहिने] हाथोंमें बाण और बायें सुन्दर कंधोंपर धनुष तथा पीले यज्ञोपवीत (जनेऊ) सुशोभित हैं। नखसे लेकर शिखातक सब अंग सुन्दर हैं और उनपर महान्‌ शोभा छायी हुई है॥ १॥

Notes

Doha 156. 'Nila mahidhara' (dark mountain) rendered as 'dark mountain' to preserve the Puranic imagery of Varaha. 'Chapari chaleu' conveys the urgency of spurring the horse. No em-dash; the final sentence stands on its own for emphasis.

चौपाई 157
आवत देखि अधिक रव बाजी। चलेउ बराह मरुत गति भाजी।।

Aavat dekhi adhik rav baajee. chaleu baraah marut gati bhaajee

Seeing the approaching sound of loud noise, the boar fled swiftly with the speed of wind.

तुरत कीन्ह नृप सर संधाना। महि मिलि गयउ बिलोकत बाना।।

Turat keenh nrip sar sandhaanaa. mahi mili gayau bilokat baanaa

The king immediately aimed his arrow, and the shaft struck the earth as he watched.

तकि तकि तीर महीस चलावा। करि छल सुअर सरीर बचावा।।

Taki taki teer mahees chalaavaa. kari chhal suar sareer bachaavaa

Carefully aiming, the buffalo shot arrows, but the boar cleverly saved its body through deception.

प्रगटत दुरत जाइ मृग भागा। रिस बस भूप चलेउ संग लागा।।

Pragatat durat jaai mrig bhaagaa. ris bas bhoop chaleu sang laagaa

Appearing and disappearing, the deer ran away, and the king, driven by anger, followed in pursuit.

गयउ दूरि घन गहन बराहू। जहँ नाहिन गज बाजि निबाहू।।

Gayau doori ghan gahan baraahoo. jahan naahin gaj baaji nibaahoo

The boar went far into the dense forest where neither elephant nor horse could endure.

अति अकेल बन बिपुल कलेसू। तदपि न मृग मग तजइ नरेसू।।

Ati akel ban bipul kalesoo. tadapi na mrig mag tajai naresoo

Though completely alone in the vast forest with great distress, the king still did not abandon the deer's trail.

कोल बिलोकि भूप बड़ धीरा। भागि पैठ गिरिगुहाँ गभीरा।।

Kol biloki bhoop bad dheeraa. bhaagi paith giriguhaan gabheeraa

Seeing the king, the very patient boar fled and entered deep mountain caves.

अगम देखि नृप अति पछिताई। फिरेउ महाबन परेउ भुलाई।।

Agam dekhi nrip ati pachhitaaee. phireu mahaaban pareu bhulaaee

Seeing the inaccessible place, the king greatly repented and turned back, becoming lost in the great forest.

Commentary & Notes ↓

Poddarji's Commentary

घोड़ेकी अधिक हिनहिनाहट सुनकर और उसे आते देखकर सूअर पवनकी गति से भागा। राजाने तुरंत बाण को संधाना; परन्तु बाणके देखते-देखते वह जमीनमें मिल गया (अर्थात् बचकर भाग गया)॥ १॥

Notes

Chaupai 157. Two couplet pairs separated by blank line. 'Maruta gati' (wind-speed) kept as 'speed of the wind' for devotional register. 'Mahi mili gayau' (merged into the earth) signals the supernatural nature of the boar. 'Bilokat bana' (while watching his aim) compressed into 'even as he took aim' for clarity.

खेद खिन्न छुद्धित तृषित राजा बाजि समेत।

खोजत ब्याकुल सरित सर जल बिनु भयउ अचेत।।157।।

Khed khinn chhuddhit trishit raajaa baaji samet

Khojat byaakul sarit sar jal binu bhayau achet (157)

दोहा 157

Weary, hungry, parched with thirst, | the king with horse beside

sought for stream or lake in vain; | near senseless now he cried.

The king, together with his horse, was sorrowful, weary, hungry, and parched with thirst. Searching in anguish for a river or a lake, he grew faint for want of water.

Commentary & Notes ↓

Poddarji's Commentary

बहुत परिश्रम करनेसे थका हुआ और घोड़ेसमेत भूख-प्याससे व्याकुल राजा नदी-तालाब खोजता-खोजता पानी बिना बेहाल हो गया॥ १५७॥

Notes

Doha 157. Four afflictions listed in Tulsidas's order: kheda (sorrow), khinna (weariness), chhudhita (hunger), trishita (thirst). 'Byakula' rendered as 'in anguish' to convey desperate urgency. 'Acheta' (unconscious/faint) softened to 'grew faint' to maintain narrative continuity.

चौपाई 158
फिरत बिपिन आश्रम एक देखा। तहँ बस नृपति कपट मुनिबेषा।।

Phirat bipin aashram eka dekhaa. tahan bas nripati kapat munibeshaa

Wandering through the forest, he saw a hermitage where a king was living disguised as a sage.

जासु देस नृप लीन्ह छड़ाई। समर सेन तजि गयउ पराई।।

Jaasu des nrip leenh chhadaaee. samar sen taji gayau paraaee

This was a king whose kingdom had been seized by another ruler, and whose army had fled in battle, abandoning him.

समय प्रतापभानु कर जानी। आपन अति असमय अनुमानी।।

Samay prataapabhaanu kar jaanee. aapan ati asamay anumaanee

Recognizing the time of Pratapbhanu's power and understanding his own period of misfortune,

गयउ न गृह मन बहुत गलानी। मिला न राजहि नृप अभिमानी।।

Gayau na grih man bahut galaanee. milaa na raajahi nrip abhimaanee

He could not return home due to great shame in his heart, nor could the proud king meet with the ruling king.

रिस उर मारि रंक जिमि राजा। बिपिन बसइ तापस कें साजा।।

Ris ura maari rank jimi raajaa. bipin basai taapas ken saajaa

Suppressing his anger in his heart, the king lived in the forest like a poor man, dressed as an ascetic.

तासु समीप गवन नृप कीन्हा। यह प्रतापरबि तेहि तब चीन्हा।।

Taasu sameep gavan nrip keenhaa. yah prataaparabi tehi tab cheenhaa

King Pratapbhanu approached near him, and the sage recognized him at that time.

राउ तृषित नहि सो पहिचाना। देखि सुबेष महामुनि जाना।।

Raau trishit nahi so pahichaanaa. dekhi subesh mahaamuni jaanaa

The king was thirsty and did not recognize him, but seeing his noble appearance, he knew him to be a great sage.

उतरि तुरग तें कीन्ह प्रनामा। परम चतुर न कहेउ निज नामा।।

Utari turag ten keenh pranaamaa. param chatur na kaheu nij naamaa

Dismounting from his horse, he bowed respectfully, being very clever, he did not reveal his own name.

Commentary & Notes ↓

Poddarji's Commentary

माता भयभीत होकर (पालनेमें सोया था, यहाँ किसने लाकर बैठा दिया, इस बातसे डरकर) पुत्रके पास गयी, तो वहाँ बालकको सोया हुआ देखा। फिर [पूजास्थानमें लौटकर] देखा कि वही पुत्र वहाँ [भोजन कर रहा] है। उनके हृदयमें कम्प होने लगा और मनकी धीरज नहीं होता॥ ३॥

Notes

Chaupai 158. Two couplet pairs separated by blank line. 'Kapata munibesha' (false sage-garb) rendered as 'disguise of a muni' to preserve the Sanskrit term and signal deception. 'Jasasu desa nripa linha chhadai' clarifies the backstory: this disguised hermit is Pratapabhanu's defeated rival, setting up the revenge plot.

भूपति तृषित बिलोकि तेहिं सरबरु दीन्ह देखाइ।

मज्जन पान समेत हय कीन्ह नृपति हरषाइ।।158।।

Bhoopati trishit biloki tehin sarabaru deenh dekhaai

Majjan paan samet hay keenh nripati harashaai (158)

दोहा 158

'O king, fate cannot be undone, | though you bear no blame;

a brahmin's curse is terrible; | nothing can change its aim.'

Seeing the king parched with thirst, the hermit showed him a lake. The king joyfully bathed and drank from it, along with his horse.

Commentary & Notes ↓

Poddarji's Commentary

हे राजन्! यद्यपि तुम्हारा दोष नहीं है, तो भी होनहार नहीं मिटता। ब्राह्मणोंका शाप बहुत ही भयानक होता है, यह किसी तरह भी टाले टल नहीं सकता॥ १७४॥

Notes

Doha 158. 'Sarabaru' (sarovara, lake) kept as 'lake.' 'Majjana pana' (bathing and drinking) preserved in that traditional order. 'Harashahi' (with delight) rendered as 'joyfully.' The hermit's apparent kindness conceals his vengeful intent, a dramatic irony Tulasidasa builds across the coming verses.

चौपाई 159
गै श्रम सकल सुखी नृप भयऊ। निज आश्रम तापस लै गयऊ।।

Gai shram sakal sukhee nrip bhayaoo. nij aashram taapas lai gayaoo

All fatigue departed and the king became happy. The sage took him to his own hermitage.

आसन दीन्ह अस्त रबि जानी। पुनि तापस बोलेउ मृदु बानी।।

Aasan deenh ast rabi jaanee. puni taapas boleu mridu baanee

Knowing the sun had set, he gave him a seat. Then the sage spoke in gentle words.

को तुम्ह कस बन फिरहु अकेलें। सुंदर जुबा जीव परहेलें।।

Ko tumh kas ban phirahu akelen. sundar jubaa jeev parahelen

Who are you and why do you wander alone in the forest? You are young, handsome, and your life seems precious.

चक्रबर्ति के लच्छन तोरें। देखत दया लागि अति मोरें।।

Chakrabarti ke lachchhan toren. dekhat dayaa laagi ati moren

You bear the marks of an emperor. Seeing you, great compassion arises in me.

नाम प्रतापभानु अवनीसा। तासु सचिव मैं सुनहु मुनीसा।।

Naam prataapabhaanu avaneesaa. taasu sachiv main sunahu muneesaa

The lord of earth is named Pratapabhanu, and I am his minister, O sage.

फिरत अहेरें परेउँ भुलाई। बडे भाग देखउँ पद आई।।

Phirat aheren pareun bhulaaee. bade bhaag dekhaun pad aaee

While hunting I became lost and wandered. By great fortune I have come to your feet.

हम कहँ दुर्लभ दरस तुम्हारा। जानत हौं कछु भल होनिहारा।।

Ham kahan durlabh daras tumhaaraa. jaanat haun kachhu bhal honihaaraa

Your darshan is rare for us to obtain. I know some good will surely come of this.

कह मुनि तात भयउ अँधियारा। जोजन सत्तरि नगरु तुम्हारा।।

Kah muni taat bhayau andhiyaaraa. jojan sattari nagaru tumhaaraa

The sage said, 'Son, darkness has fallen. Your city is seventy yojanas away.'

Commentary & Notes ↓

Poddarji's Commentary

सारी थकावट मिट गयी, राजा सुखी हो गया। तब तपस्वी उसे अपने आश्रममें ले गया और सूर्यास्तका समय जानकर उसने [राजाको बैठनेके लिये] आसन दिया। फिर वह तपस्वी कोमल वाणी बोला॥ २॥

Notes

Opening of the deception sequence. The hermit's hospitality is warm, his manner disarming. 'Mridu baani' (gentle speech) is the first signal of calculated charm. Pratapabhanu, tired from the hunt, is vulnerable to kindness.

निसा घोर गम्भीर बन पंथ न सुनहु सुजान।

बसहु आजु अस जानि तुम्ह जाएहु होत बिहान।।159(क)।।

तुलसी जसि भवतब्यता तैसी मिलइ सहाइ।

आपुनु आवइ ताहि पहिं ताहि तहाँ लै जाइ।।159(ख)।।

Nisaa ghor gambheer ban panth na sunahu sujaan

Basahu aaju asa jaani tumh jaaehu hot bihaan.159(ka)

Tulasee jasi bhavatabyataa taisee milai sahaai

Aapunu aavai taahi pahin taahi tahaan lai jaai.159(kha)

सोरठा 159

Says Tulsi: as fate ordains, | so help arrives in time;

either it finds you where you are | or leads you to your clime.

"The night is dark, the forest deep, and there is no path, O wise one. Knowing this, stay here today. You may leave at dawn."

Commentary & Notes ↓

Poddarji's Commentary

तुलसीदासजी कहते हैं;जैसी भवितव्यता (होनहार) होती है, वैसी ही सहायता मिल जाती है। या तो वह आप ही उसके पास आती है, या उसको वहाँ ले जाती है॥ १५९ (ख)॥

Notes

The hermit's invitation is perfectly reasonable on the surface. 'Nisha ghora gambhira bana' (dark night, deep forest) plays on genuine danger to keep the king close. The address 'sujaana' (wise one) flatters Pratapabhanu into compliance. Each word is laced with juguti (cunning).

चौपाई 160
भलेहिं नाथ आयसु धरि सीसा। बाँधि तुरग तरु बैठ महीसा।।

Bhalehin naath aayasu dhari seesaa. baandhi turag taru baith maheesaa

Very well, my lord, I accept your command with bowed head. The buffalo tied his horse to a tree and sat down.

नृप बहु भाँती प्रसंसेउ ताही। चरन बंदी निज भाग्य सराही।।

Nrip bahu bhaantee prasanseu taahee. charan bandee nij bhaagy saraahee

The king praised him in many ways, bowing at his feet and extolling his own good fortune.

पुनि बोले मृदु गिरा सुहाई। जानि पिता प्रभु करउँ ढिठाई।।

Puni bole mridu giraa suhaaee. jaani pitaa prabhu karaun dhithaaee

Then he spoke in gentle, pleasing words: Knowing you as a father-figure, my lord, I make bold to speak.

मोहि मुनीस सुत सेवक जानी। नाथ नाम निज कहहु बखानी।।

Mohi munees sut sevak jaanee. naath naam nij kahahu bakhaanee

O sage, knowing me as your devoted servant, please tell me your own name in detail.

तेहि न जान नृप नृपहि सो जाना। भूप सुह्रद सो कपट सयाना।।

Tehi na jaan nrip nripahi so jaanaa. bhoop suhrad so kapat sayaanaa

He did not recognize the king, nor did the king recognize him. The king's friend was cunning and deceitful.

बैरी पुनि छत्री पुनि राजा। छल बल कीन्ह चहइ निज काजा।।

Bairee puni chhatree puni raajaa. chhal bal keenh chahai nij kaajaa

An enemy, and moreover a warrior-king, he sought to accomplish his purpose through cunning and force.

समुझि राजसुख दुखित अराती। अवाँ अनल इव सुलगइ छाती।।

Samujhi raajasukh dukhit araatee. avaan anal iva sulagai chhaatee

Reflecting on royal pleasures, the enemy was distressed, his heart burning like fire within.

सरल बचन नृप के सुनि काना। बयर सँभारि हृदयँ हरषाना।।

Saral bachan nrip ke suni kaanaa. bayar sanbhaari hridayan harashaanaa

Hearing the king's simple words, the one-eared demon rejoiced in his heart, harboring enmity.

Commentary & Notes ↓

Poddarji's Commentary

आकाशमें बड़े जोरसे नगाड़े बजने लगे और देवाङ्गनाएँ गान करके नाचने लगीं। ब्रह्मा आदि देवता, सिद्ध और मुनीश्वरलोग प्रभुकी प्रशंसा कर रहे हैं और आशीर्वाद दे रहे हैं॥ २॥

Notes

Pratapabhanu's humility before a supposed saint is genuine and touching. 'Aayasu dhari shisha' (placing the command on one's head) is a classic gesture of reverence. The king's trust deepens with every courtesy. Tulasidas shows how a noble heart, unguarded, becomes easy prey for deceit.

कपट बोरि बानी मृदुल बोलेउ जुगुति समेत।

नाम हमार भिखारि अब निर्धन रहित निकेति।।160।।

Kapat bori baanee mridul boleu juguti samet

Naam hamaar bhikhaari aba nirdhan rahit niketi (160)

दोहा 160

Soaked in guile, with cunning art, | he spoke in tones so mild:

'My name is Beggar;poor am I, | homeless, fortune-exiled.'

Steeping his words in deceit, he spoke softly with cunning: "My name is Bhikhari. I am a beggar now, without wealth or home."

Commentary & Notes ↓

Poddarji's Commentary

वह कपटमें डुबोकर बड़ी युक्तिके साथ कोमल वाणी बोला;अब हमारा नाम भिखारी है, क्योंकि हम निर्धन और अनिकेत (घर-द्वारहीन) हैं॥ १६०॥

Notes

The pivotal doha of unmasked narration. Tulasidas lays bare what the king cannot see: 'kapat bori baani mridula' (words soaked in deceit, yet soft). The false name 'Bhikhari' (beggar) is a masterstroke of irony. The disguised enemy performs renunciation so convincingly that Pratapabhanu reads holiness where there is only guile.

चौपाई 161
कह नृप जे बिग्यान निधाना। तुम्ह सारिखे गलित अभिमाना।।

Kah nrip je bigyaan nidhaanaa. tumh saarikhe galit abhimaanaa

The king said, 'O treasure of wisdom! You are like those who have dissolved all pride and ego.'

सदा रहहि अपनपौ दुराएँ। सब बिधि कुसल कुबेष बनाएँ।।

Sadaa rahahi apanapau duraaen. sab bidhi kusal kubesh banaaen

You always keep your true nature hidden and skillfully maintain the appearance of poverty in every way.

तेहि तें कहहि संत श्रुति टेरें। परम अकिंचन प्रिय हरि केरें।।

Tehi ten kahahi sant shruti teren. param akinchan priy hari keren

Therefore the saints and scriptures proclaim that the supremely desireless ones are most dear to Lord Hari.

तुम्ह सम अधन भिखारि अगेहा। होत बिरंचि सिवहि संदेहा।।

Tumh sam adhan bhikhaari agehaa. hot biranchi sivahi sandehaa

Poor beggars and homeless ones like you would make even Brahma and Shiva doubt themselves.

जोसि सोसि तव चरन नमामी। मो पर कृपा करिअ अब स्वामी।।

Josi sosi tav charan namaamee. mo par kripaa karia aba svaamee

I bow to your feet with reverence and devotion. Now please show mercy upon me, O master.

सहज प्रीति भूपति कै देखी। आपु बिषय बिस्वास बिसेषी।।

Sahaj preeti bhoopati kai dekhee. aapu bishay bisvaas biseshee

Seeing the king's natural love and his special faith in spiritual matters,

सब प्रकार राजहि अपनाई। बोलेउ अधिक सनेह जनाई।।

Sab prakaar raajahi apanaaee. boleu adhik saneh janaaee

The sage accepted the king completely in every way and spoke with great affection.

सुनु सतिभाउ कहउँ महिपाला। इहाँ बसत बीते बहु काला।।

Sunu satibhaau kahaun mahipaalaa. ihaan basat beete bahu kaalaa

Listen with faithful heart, O king, I shall tell you - I have lived here for many years.

Commentary & Notes ↓

Poddarji's Commentary

मैं एक और पहचान तुमको बताये देता हूँ कि मैं इस रूपमें कभी न आऊँगा। हे राजन्! मैं अपनी मायासे तुम्हारे पुरोहितको हर लाऊँगा॥ २॥

Notes

Devastating dramatic irony. Pratapabhanu's words are spiritually true in the abstract: genuine saints do hide their greatness. But applied to this fraud, every compliment tightens the trap. 'Galita abhimaana' (melted pride) and 'kubesh banaaye' (wearing a poor guise) describe the very disguise being used against him. The king's discernment fails precisely because he applies real wisdom to a false saint.

अब लगि मोहि न मिलेउ कोउ मैं न जनावउँ काहु।

लोकमान्यता अनल सम कर तप कानन दाहु।।161(क)।।

तुलसी देखि सुबेषु भूलहिं मूढ़ न चतुर नर।

सुंदर केकिहि पेखु बचन सुधा सम असन अहि।।161(ख)।।

Aba lagi mohi na mileu kou main na janaavaun kaahu

Lokamaanyataa anal sam kar tap kaanan daahu.161(ka)

Tulasee dekhi subeshu bhoolahin moodh na chatur nar

Sundar kekihi pekhu bachan sudhaa sam asan ahi.161(kha)

सोरठा 161

Says Tulsi: fine garb deceives | not fools alone but wise;

the peacock's voice drips nectar sweet; | yet snakes are its food and prize.

Until now no one has met me, and I have revealed myself to no one. Worldly fame is like a fire that burns down the forest of tapasya.

Commentary & Notes ↓

Poddarji's Commentary

तुलसीदासजी कहते हैं;सुन्दर वेष देखकर मूढ़ नहीं, [मूढ़ तो मूढ़ ही हैं,] चतुर मनुष्य भी धोखा खा जाते हैं। सुन्दर मोरको देखो, उसका वचन तो अमृतके समान है और आहार साँपका है॥ १६१ (ख)॥

Notes

Doha 162. The disguised hermit (actually Ravana's minister in false garb) begins weaving his deception before King Pratapabhanu. He claims total anonymity, feigning supreme renunciation. His warning that 'lokamanyata' (worldly fame) destroys tapas is ironic: he invokes a genuine spiritual truth to build false credibility. 'Tapasya' (tapa kanana) = the forest of austerity; 'anala' = fire.

चौपाई 162
तातें गुपुत रहउँ जग माहीं। हरि तजि किमपि प्रयोजन नाहीं।।

Taaten guput rahaun jag maaheen. hari taji kimapi prayojan naaheen

Therefore I remain hidden in this world, having no purpose whatsoever except serving Hari.

प्रभु जानत सब बिनहिं जनाएँ। कहहु कवनि सिधि लोक रिझाएँ।।

Prabhu jaanat sab binahin janaaen. kahahu kavani sidhi lok rijhaaen

The Lord knows everything without being told. Tell me, what accomplishment could please the people?

तुम्ह सुचि सुमति परम प्रिय मोरें। प्रीति प्रतीति मोहि पर तोरें।।

Tumh suchi sumati param priy moren. preeti prateeti mohi par toren

You are pure, wise, and supremely dear to me. You have love and faith in me.

अब जौं तात दुरावउँ तोही। दारुन दोष घटइ अति मोही।।

Aba jaun taat duraavaun tohee. daarun dosh ghatai ati mohee

Now if I hide anything from you, dear one, a terrible fault would greatly diminish me.

जिमि जिमि तापसु कथइ उदासा। तिमि तिमि नृपहि उपज बिस्वासा।।

Jimi jimi taapasu kathai udaasaa. timi timi nripahi upaj bisvaasaa

As the sage spoke with detachment, so did the king's trust in him grow.

देखा स्वबस कर्म मन बानी। तब बोला तापस बगध्यानी।।

Dekhaa svabas karm man baanee. tab bolaa taapas bagadhyaanee

Seeing his actions, mind, and speech under control, the wise sage then spoke.

नाम हमार एकतनु भाई। सुनि नृप बोले पुनि सिरु नाई।।

Naam hamaar ekatanu bhaaee. suni nrip bole puni siru naaee

My name is Ekatanu, brother. Hearing this, the king bowed his head and spoke again.

कहहु नाम कर अरथ बखानी। मोहि सेवक अति आपन जानी।।

Kahahu naam kar arath bakhaanee. mohi sevak ati aapan jaanee

Tell me the meaning of your name, considering me your devoted servant.

Commentary & Notes ↓

Poddarji's Commentary

पुरोहितने छः रस और चार प्रकारके भोजन, जैसा कि वेदोंमें वर्णन है, बनाये। उसने मायामयी रसोई तैयार की और इतने व्यंजन बनाये जिन्हें कोई गिन नहीं सकता॥ १॥

Notes

Chaupai following Doha 162. Two couplet pairs. The hermit deepens his disguise by invoking Hari (Vishnu) as his sole concern, a breathtaking falsehood given that he serves Ravana. 'Guputu' = hidden, secret. 'Kimapi prayojana nahi' = absolutely no other purpose. The second couplet claims divine summoning ('mohi aapu bulaye'), implying God Himself arranged this meeting. This is the crux of the con: making the king feel divinely guided.

आदिसृष्टि उपजी जबहिं तब उतपति भै मोरि।

नाम एकतनु हेतु तेहि देह न धरी बहोरि।।162।।

Aadisrishti upajee jabahin tab utapati bhai mori

Naam ekatanu hetu tehi deh na dharee bahori (162)

दोहा 162

He seized the king's own priest away | and by his magic power

confused his mind, then hid him deep | in a mountain bower.

When the first creation arose, that is when I was born. My name is Ekatanu, 'the One-Bodied,' for I have never taken another body since.

Commentary & Notes ↓

Poddarji's Commentary

फिर वह राजाके पुरोहितको उठा ले गया और मायासे उसकी बुद्धिको भ्रममें डालकर पहाड़की गुफामें ले जाकर रख दिया॥ १७१॥

Notes

Doha 163 (numbered 162 in some recensions). The hermit now claims immortality since the Adisrishti (first creation). 'Ekatanu' = eka (one) + tanu (body). He asserts he has inhabited the same body since the beginning of time, never dying, never being reborn. This is a monstrous lie designed to awe the king into submission. Tulsidas lets the absurdity speak for itself; the attentive reader recognizes what Pratapabhanu cannot.

चौपाई 163
जनि आचरुज करहु मन माहीं। सुत तप तें दुर्लभ कछु नाहीं।।

Jani aacharuj karahu man maaheen. sut tap ten durlabh kachhu naaheen

Do not wonder in your mind, my son. Nothing is difficult to obtain through the power of penance.

तपबल तें जग सृजइ बिधाता। तपबल बिष्नु भए परित्राता।।

Tapabal ten jag srijai bidhaataa. tapabal bishnu bhae paritraataa

By the power of penance, Brahma creates the world. By the power of penance, Vishnu becomes the protector.

तपबल संभु करहिं संघारा। तप तें अगम न कछु संसारा।।

Tapabal sambhu karahin sanghaaraa. tap ten agam na kachhu sansaaraa

By the power of penance, Shiva brings about destruction. Nothing in this world is beyond the reach of penance.

भयउ नृपहि सुनि अति अनुरागा। कथा पुरातन कहै सो लागा।।

Bhayau nripahi suni ati anuraagaa. kathaa puraatan kahai so laagaa

Hearing this, the king became filled with great love and began to narrate ancient stories.

करम धरम इतिहास अनेका। करइ निरूपन बिरति बिबेका।।

Karam dharam itihaas anekaa. karai niroopan birati bibekaa

He described many stories of karma, dharma, and history, explaining them with detachment and wisdom.

उदभव पालन प्रलय कहानी। कहेसि अमित आचरज बखानी।।

Udabhav paalan pralay kahaanee. kahesi amit aacharaj bakhaanee

He narrated stories of creation, preservation, and destruction, describing countless wonders.

सुनि महिप तापस बस भयऊ। आपन नाम कहत तब लयऊ।।

Suni mahip taapas bas bhayaoo. aapan naam kahat tab layaoo

Hearing this, the king became captivated by the sage and then revealed his own name.

कह तापस नृप जानउँ तोही। कीन्हेहु कपट लाग भल मोही।।

Kah taapas nrip jaanaun tohee. keenhehu kapat laag bhal mohee

The sage said, 'O king, I know you well. You have practiced deception, but it pleases me.'

Commentary & Notes ↓

Poddarji's Commentary

हाथोंमें बाण और धनुष बहुत ही शोभा देते हैं। रूप देखते ही चराचर (जड़-चेतन) मोहित हो जाते हैं। वे सब भाई जिन गलियोंमें खेलते [हुए निकलते] हैं, उन गलियोंके सभी स्त्री-पुरुष उनको देखकर स्नेहसे शिथिल हो जाते हैं॥ ४॥

Notes

Chaupai following Doha 163. Two couplet pairs. Having made his outlandish claim, the hermit now props it up with a theological truth: tapas (austerity) grants extraordinary powers. He invokes Brahma and Vishnu as proof that tapas can sustain even cosmic functions. The irony is layered: the statements about tapas are doctrinally sound, but they are marshalled in service of a lie. 'Suta' = son (a condescending endearment from supposed elder to king). 'Acharuja' = wonder, astonishment. 'Tapabala' = the strength born of tapas.

सुनु महीस असि नीति जहँ तहँ नाम न कहहिं नृप।

मोहि तोहि पर अति प्रीति सोइ चतुरता बिचारि तव।।163।।

Sunu mahees asi neeti jahan tahan naam na kahahin nrip

Mohi tohi par ati preeti soi chaturataa bichaari tav (163)

दोहा 163

Filling her lotus-eyes with sight | of the Lord's beauty fair,

remembering her father's vow, | her heart found no peace there.

Listen, O king: it is the way of wisdom that kings do not speak their name in every place. I bear such deep love for you that I have set aside my usual caution.

Commentary & Notes ↓

Poddarji's Commentary

अच्छी तरह नेत्र भरकर श्रीरामजीकी शोभा देखकर, फिर पिताके प्रणका स्मरण करके और देख-देखकर हृदयमें धीरज नहीं होता॥ १॥

Notes

Doha 164 (numbered 163 in some recensions). The hermit flatters the king by claiming he broke his own rule of secrecy out of 'great love' (ati priti). 'Niti' = policy, wisdom, statecraft. 'Chaturata bihai' = setting aside cleverness/caution. The manipulation is complete: the king now feels personally chosen and privileged. Pratapabhanu, already lost in the forest and vulnerable, takes the bait. This verse is slightly compressed in the original; the translation follows Poddarji's expansive reading for clarity.

चौपाई 164
नाम तुम्हार प्रताप दिनेसा। सत्यकेतु तव पिता नरेसा।।

Naam tumhaar prataap dinesaa. satyaketu tav pitaa naresaa

Your name is Dinesh and your fame is great. Satyaketu is your father, O king.

गुर प्रसाद सब जानिअ राजा। कहिअ न आपन जानि अकाजा।।

Gur prasaad sab jaania raajaa. kahia na aapan jaani akaajaa

By the guru's grace, O king, all is known. Do not consider it improper to speak of your own affairs.

देखि तात तव सहज सुधाई। प्रीति प्रतीति नीति निपुनाई।।

Dekhi taat tav sahaj sudhaaee. preeti prateeti neeti nipunaaee

Seeing, dear son, your natural goodness, love, faith, and skill in righteousness.

उपजि परि ममता मन मोरें। कहउँ कथा निज पूछे तोरें।।

Upaji pari mamataa man moren. kahaun kathaa nij poochhe toren

Affection has arisen in my heart for you. I shall tell you my story at your request.

अब प्रसन्न मैं संसय नाहीं। मागु जो भूप भाव मन माहीं।।

Aba prasann main sansay naaheen. maagu jo bhoop bhaav man maaheen

Now I am pleased and have no doubt. Ask, O king, whatever is in your heart's desire.

सुनि सुबचन भूपति हरषाना। गहि पद बिनय कीन्हि बिधि नाना।।

Suni subachan bhoopati harashaanaa. gahi pad binay keenhi bidhi naanaa

Hearing these sweet words, the king rejoiced. He grasped the sage's feet and made various humble entreaties.

कृपासिंधु मुनि दरसन तोरें। चारि पदारथ करतल मोरें।।

Kripaasindhu muni darasan toren. chaari padaarath karatal moren

O ocean of mercy, by your darshan, the four goals of life are in my palm.

प्रभुहि तथापि प्रसन्न बिलोकी। मागि अगम बर होउँ असोकी।।

Prabhuhi tathaapi prasann bilokee. maagi agam bar houn asokee

Yet seeing the Lord pleased, I ask for an incomparable boon that I may be free from sorrow.

Commentary & Notes ↓

Poddarji's Commentary

नगाड़ोंकी ध्वनि मानो बादलोंकी घोर गर्जना है। याचकगण पपीहे, मेढक और मोर हैं। देवता पवित्र सुगन्धरूपी जल बरसा रहे हैं, जिससे खेतीके समान नगरके सब स्त्री-पुरुष सुखी हो रहे हैं॥३॥

Notes

The hermit demonstrates his supernatural knowledge by naming the king and his lineage unprompted. 'Prataapa Dinesaa' means 'Sun of Valour,' i.e., Pratapabhanu. The second couplet hints that the ascetic knows far more than he reveals, building the king's trust and awe. 'Dhaala dui gaajaa' is an idiomatic expression: some things should not be broadcast openly.

जरा मरन दुख रहित तनु समर जितै जनि कोउ।

एकछत्र रिपुहीन महि राज कलप सत होउ।।164।।

Jaraa maran dukh rahit tanu samar jitai jani kou

Ekachhatr ripuheen mahi raaj kalap sat hou (164)

दोहा 164

She gazed at Him, then at the ground; | her restless eyes so fair

were like Love's fish that played and swung | within the moon's round snare.

May your body be free from old age, death, and sorrow. May no one defeat you in battle. May you reign over the earth unchallenged, without a single enemy, for a hundred kalpas.

Commentary & Notes ↓

Poddarji's Commentary

प्रभु श्रीरामचन्द्रजीको देखकर फिर पृथ्वीकी ओर देखती हुई सीताजीके चञ्चल नेत्र इस प्रकार शोभित हो रहे हैं, मानो चन्द्रमण्डलरूपी डोलमें कामदेवकी दो मछलियाँ खेल रही हों॥ २५८॥

Notes

The boon is staggering in its scope: immortality, invincibility, and universal sovereignty for a hundred kalpas (cosmic ages). This is the classic pattern of demonic boons in the Manas. The very extravagance should alert the listener that something is deeply wrong. No genuine sage dispenses worldly omnipotence so freely. Tulasidasa is showing us the anatomy of temptation: the bait must be irresistible for the trap to work.

चौपाई 165
कह तापस नृप ऐसेइ होऊ। कारन एक कठिन सुनु सोऊ।।

Kah taapas nrip aisei hooo. kaaran eka kathin sunu sooo

The sage said, 'O king, let it be so. But listen to one difficult condition.'

कालउ तुअ पद नाइहि सीसा। एक बिप्रकुल छाड़ि महीसा।।

Kaalau tua pad naaihi seesaa. eka biprakul chhaadi maheesaa

Death will bow its head at your feet, O ruler of the earth, except for one Brahmin family.

तपबल बिप्र सदा बरिआरा। तिन्ह के कोप न कोउ रखवारा।।

Tapabal bipr sadaa bariaaraa. tinh ke kop na kou rakhavaaraa

Brahmins are always superior through their spiritual power, and none can protect against their wrath.

जौं बिप्रन्ह सब करहु नरेसा। तौ तुअ बस बिधि बिष्नु महेसा।।

Jaun bipranh sab karahu naresaa. tau tua bas bidhi bishnu mahesaa

If you honor all Brahmins, O king, then Brahma, Vishnu, and Shiva will be under your control.

चल न ब्रह्मकुल सन बरिआई। सत्य कहउँ दोउ भुजा उठाई।।

Chal na brahmakul san bariaaee. saty kahaun dou bhujaa uthaaee

Do not engage in enmity with the Brahmin community - I speak the truth, raising both my arms.

बिप्र श्राप बिनु सुनु महिपाला। तोर नास नहि कवनेहुँ काला।।

Bipr shraap binu sunu mahipaalaa. tor naas nahi kavanehun kaalaa

Listen, O king, without a Brahmin's curse, your destruction will never come at any time.

हरषेउ राउ बचन सुनि तासू। नाथ न होइ मोर अब नासू।।

Harasheu raau bachan suni taasoo. naath na hoi mor aba naasoo

The king rejoiced hearing those words: 'Lord, now my destruction will not occur.'

तव प्रसाद प्रभु कृपानिधाना। मो कहुँ सर्ब काल कल्याना।।

Tav prasaad prabhu kripaanidhaanaa. mo kahun sarb kaal kalyaanaa

By your grace, O compassionate Lord, all times will be auspicious for me.

Commentary & Notes ↓

Poddarji's Commentary

उसने भुजाओंके बलसे सारे विश्वको वशमें कर लिया, किसीको स्वतन्त्र नहीं रहने दिया। [इस प्रकार] मण्डलीक राजाओंका शिरोमणि (सार्वभौम सम्राट्‌) रावण अपने इच्छानुसार राज्य करने लगा॥ १८२ (क)॥

Notes

Here the trap is laid with precision. The single exception, the Brahmin community, is exactly the opening through which Pratapabhanu's destruction will come. In Tulasidasa's telling, this is not mere plot mechanics but theological design: no power in creation can override the spiritual authority of those devoted to Hari. The word 'kathina' (hard, difficult) is a subtle warning the king fails to heed.

एवमस्तु कहि कपटमुनि बोला कुटिल बहोरि।

मिलब हमार भुलाब निज कहहु त हमहि न खोरि।।165।।

Evamastu kahi kapatamuni bolaa kutil bahori

Milab hamaar bhulaab nij kahahu ta hamahi na khori (165)

दोहा 165

'So be it!' said the crafty sage, | then added with a sneer:

'If you tell of this;the fault's not mine'; | he spoke to plant a fear.

"Evam astu, so be it," said the deceitful sage, then spoke crookedly once more: "If you forget our meeting and speak of it to anyone, the blame will not be mine."

Commentary & Notes ↓

Poddarji's Commentary

'एवमस्तु' (ऐसा ही हो) कहकर वह कुटिल कपटी मुनि फिर बोला;[किन्तु] तुम मेरे मिलने तथा अपने राह भूल जानेकी बात किसीसे [कहना नहीं, यदि] कह दोगे, तो हमारा दोष नहीं॥ १६५॥

Notes

The phrase 'evam astu' (so be it) is a formal Sanskritic benediction, lending false gravity to a fraudulent boon. Tulasidasa labels the figure 'kapata-muni' (deceitful sage) and 'kutila' (crooked), ensuring the listener never mistakes villainy for holiness. The condition of secrecy is a hallmark of deception: truth invites witness, while fraud demands silence.

चौपाई 166
तातें मै तोहि बरजउँ राजा। कहें कथा तव परम अकाजा।।

Taaten mai tohi barajaun raajaa. kahen kathaa tav param akaajaa

Therefore, O king, I forbid you from this course. Speaking this tale would bring you supreme misfortune.

छठें श्रवन यह परत कहानी। नास तुम्हार सत्य मम बानी।।

Chhathen shravan yah parat kahaanee. naas tumhaar saty mam baanee

If this story reaches the sixth ear, your destruction is certain - my words are true.

यह प्रगटें अथवा द्विजश्रापा। नास तोर सुनु भानुप्रतापा।।

Yah pragaten athavaa dvijashraapaa. naas tor sunu bhaanuprataapaa

Whether this becomes public or brings a brahmin's curse, your destruction is assured, O one of solar glory.

आन उपायँ निधन तव नाहीं। जौं हरि हर कोपहिं मन माहीं।।

Aana upaayan nidhan tav naaheen. jaun hari har kopahin man maaheen

There is no other means of your death, unless Hari and Hara become angry in their hearts.

सत्य नाथ पद गहि नृप भाषा। द्विज गुर कोप कहहु को राखा।।

Saty naath pad gahi nrip bhaashaa. dvij gur kop kahahu ko raakhaa

The king spoke, grasping his lord's feet: 'It is true, master. Tell me, who can protect from a brahmin guru's wrath?'

राखइ गुर जौं कोप बिधाता। गुर बिरोध नहिं कोउ जग त्राता।।

Raakhai gur jaun kop bidhaataa. gur birodh nahin kou jag traataa

If the Creator protects when the guru is angry, yet when opposing the guru, no one in the world can save.

जौं न चलब हम कहे तुम्हारें। होउ नास नहिं सोच हमारें।।

Jaun na chalab ham kahe tumhaaren. hou naas nahin soch hamaaren

If I do not follow your command, let destruction come - I have no worry about that.

एकहिं डर डरपत मन मोरा। प्रभु महिदेव श्राप अति घोरा।।

Ekahin dar darapat man moraa. prabhu mahidev shraap ati ghoraa

Only one fear troubles my mind - the terrible curse of Lord Shiva, the great god.

Commentary & Notes ↓

Poddarji's Commentary

राजाने मुनिके चरण पकड़कर कहा;हे स्वामी! सत्य ही है। ब्राह्मण और गुरुके कोपसे, कहिये, कौन रक्षा कर सकता है? यदि ब्रह्मा भी क्रोध करें तो गुरु बचा लेते हैं; पर गुरुसे विरोध करनेपर जगतमें कोई भी बचानेवाला नहीं है॥ ३॥

Notes

'Chhatthe shravana' (a sixth ear) is a vivid idiom: two ears belong to the king, two to the hermit, and if the story reaches even one more ear (the fifth and sixth), all is lost. The false sage binds Pratapabhanu in silence so that no wise counsellor can expose the fraud. This is Tulasidasa's warning about spiritual discernment: a genuine blessing needs no concealment, while a poisoned gift always demands secrecy.

होहिं बिप्र बस कवन बिधि कहहु कृपा करि सोउ।

तुम्ह तजि दीनदयाल निज हितू न देखउँ कोउँ।।166।।

Hohin bipr bas kavan bidhi kahahu kripaa kari sou

Tumh taji deenadayaal nij hitoo na dekhaun koun (166)

दोहा 166

Then princes came to father dear | with brides in glad array;

the guest-house overflowed with joy | and beauty bright that day.

"How may the Brahmins be brought under my sway? Tell me that as well, O merciful one. Save you, O tender friend of the lowly, I see no well-wisher of mine."

(Hohin bipra basa kavana bidhi, kahahu kripa kari sou. Tumha taji deenadayala nija, hitu na dekhau kou.)

Commentary & Notes ↓

Poddarji's Commentary

तब सब (चारों) कुमार बहुओंसहित पिताजीके पास आये। ऐसा मालूम होता था मानो शोभा, मङ्गल और आनन्दसे भरकर जनवासा उमड़ पड़ा हो॥ ३२७॥

Notes

Doha 166. The king presses his scheming counsellor for a method to win the Brahmins over. 'Deenadayala' (friend of the lowly) is used here as flattery; the king appeals to the hermit's vanity. Poddarji's 'under my sway' is retained for clarity.

चौपाई 167
सुनु नृप बिबिध जतन जग माहीं। कष्टसाध्य पुनि होहिं कि नाहीं।।

Sunu nrip bibidh jatan jag maaheen. kashtasaadhy puni hohin ki naaheen

Listen, O king, there are various means in this world, but are they not difficult to accomplish?

अहइ एक अति सुगम उपाई। तहाँ परंतु एक कठिनाई।।

Ahai eka ati sugam upaaee. tahaan parantu eka kathinaaee

There is one very easy remedy, but there is one difficulty in it.

मम आधीन जुगुति नृप सोई। मोर जाब तव नगर न होई।।

Mam aadheen juguti nrip soee. mor jaab tav nagar na hoee

That method is under my control, O king, but I cannot go to your city.

आजु लगें अरु जब तें भयऊँ। काहू के गृह ग्राम न गयऊँ।।

Aaju lagen aru jab ten bhayaoon. kaahoo ke grih graam na gayaoon

From today until now since I came into being, I have never gone to anyone's house or village.

जौं न जाउँ तव होइ अकाजू। बना आइ असमंजस आजू।।

Jaun na jaaun tav hoi akaajoo. banaa aai asamanjas aajoo

If I do not go, your work will remain unfinished; thus a dilemma has arisen today.

सुनि महीस बोलेउ मृदु बानी। नाथ निगम असि नीति बखानी।।

Suni mahees boleu mridu baanee. naath nigam asi neeti bakhaanee

Hearing this, the king spoke in gentle words: 'Lord, the Vedas have declared such a principle.'

बड़े सनेह लघुन्ह पर करहीं। गिरि निज सिरनि सदा तृन धरहीं।।

Bade saneh laghunh par karaheen. giri nij sirani sadaa trin dharaheen

The great ones show affection to the small; mountains always bear grass on their heads.

जलधि अगाध मौलि बह फेनू। संतत धरनि धरत सिर रेनू।।

Jaladhi agaadh mauli bah phenoo. santat dharani dharat sir renoo

The unfathomable ocean carries foam on its surface; the earth constantly bears dust on its head.

Commentary & Notes ↓

Poddarji's Commentary

हे राजन्! वह युक्ति तो मेरे हाथ है, पर मेरा जाना तुम्हारे नगरमें हो नहीं सकता। जबसे पैदा हुआ हूँ, तबसे आजतक मैं किसीके घर अथवा गाँव नहीं गया॥ २॥

Notes

Chaupai 167. The hermit baits the king with a paradox: the remedy is at once the easiest and the hardest. This contradiction is deliberate; it hooks the king's curiosity and deepens his dependence on the deceiver. 'Bhai' (brother) lends a false warmth to the hermit's tone.

अस कहि गहे नरेस पद स्वामी होहु कृपाल।

मोहि लागि दुख सहिअ प्रभु सज्जन दीनदयाल।।167।।

Asa kahi gahe nares pad svaamee hohu kripaal

Mohi laagi dukh sahia prabhu sajjan deenadayaal (167)

दोहा 167

I'll lift Earth's burden, have no fear! | the gods heard from the sky;

their hearts grew cool, their fears dissolved; | they turned back with a sigh.

Hearing this, the king clasped the hermit's feet: "Be gracious, my lord! Bear some hardship for my sake, O virtuous one, O tender friend of the humble."

(Asa kahi gahe naresa pada, swami hohu kripala. Mohi lagi dukha sahia prabhu, sajjana deenadayala.)

Commentary & Notes ↓

Poddarji's Commentary

मैं पृथ्वीका सब भार हर लूँगा। हे देववृन्द! तुम निर्भय हो जाओ। आकाशमें ब्रह्म (भगवान्‌) की वाणीको कानोंसे सुनकर देवता तुरंत लौट गये। उनका हृदय शीतल हो गया॥

Notes

Doha 167. The king's grasping of the hermit's feet (naresa pada) is a gesture of total surrender. Tragically, the surrender is offered not to God but to a deceiver. 'Sajjana deenadayala' stacks two honorifics, showing how completely the king has been won over.

चौपाई 168
जानि नृपहि आपन आधीना। बोला तापस कपट प्रबीना।।

Jaani nripahi aapan aadheenaa. bolaa taapas kapat prabeenaa

Knowing the king to be under his influence, the ascetic skilled in deception spoke.

सत्य कहउँ भूपति सुनु तोही। जग नाहिन दुर्लभ कछु मोही।।

Saty kahaun bhoopati sunu tohee. jag naahin durlabh kachhu mohee

I speak the truth, O king, listen to me - nothing in this world is difficult for me to obtain.

अवसि काज मैं करिहउँ तोरा। मन तन बचन भगत तैं मोरा।।

Avasi kaaj main karihaun toraa. man tan bachan bhagat tain moraa

I will certainly accomplish your task, for you are my devotee in mind, body and speech.

जोग जुगुति तप मंत्र प्रभाऊ। फलइ तबहिं जब करिअ दुराऊ।।

Jog juguti tap mantr prabhaaoo. phalai tabahin jab karia duraaoo

The power of yoga, methods, penance and mantras bears fruit only when practiced in secret.

जौं नरेस मैं करौं रसोई। तुम्ह परुसहु मोहि जान न कोई।।

Jaun nares main karaun rasoee. tumh parusahu mohi jaan na koee

If I, O king, prepare the food myself, you must serve it to me without anyone knowing.

अन्न सो जोइ जोइ भोजन करई। सोइ सोइ तव आयसु अनुसरई।।

Ann so joi joi bhojan karaee. soi soi tav aayasu anusaraee

Whatever food each person eats from that prepared grain, they will follow your commands.

पुनि तिन्ह के गृह जेवँइ जोऊ। तव बस होइ भूप सुनु सोऊ।।

Puni tinh ke grih jevani jooo. tav bas hoi bhoop sunu sooo

And whoever goes to their homes and eats there, they too will be under your control, O king.

जाइ उपाय रचहु नृप एहू। संबत भरि संकलप करेहू।।

Jaai upaay rachahu nrip ehoo. sambat bhari sankalap karehoo

Go and arrange this plan, O king, and maintain this resolve for a full year.

Commentary & Notes ↓

Poddarji's Commentary

यही नहीं, उन (भोजन करनेवालों) के घर भी जो कोई भोजन करेगा, हे राजन्! सुनो, वह भी तुम्हारे अधीन हो जायगा। हे राजन्! जाकर यही उपाय करो और वर्षभर [भोजन कराने] का सङ्कल्प कर लेना॥ ४॥

Notes

Chaupai 168. Tulasidasa names the hermit 'kapata prabeena' (expert in deceit), leaving no ambiguity about his character. 'Jaga nahin kara moolu birohi' points to the root cause of opposition to the divine order. The hermit now reveals his scheme, having secured the king's complete submission.

नित नूतन द्विज सहस सत बरेहु सहित परिवार।

मैं तुम्हरे संकलप लगि दिनहिंकरिब जेवनार।।168।।

Nit nootan dvij sahas sat barehu sahit parivaar

Main tumhare sankalap lagi dinahinkarib jevanaar (168)

दोहा 168

They summoned Guru Vasishtha; | he came with Brahmins all;

they saw the matchless baby there; | beauty past recall.

"Each day, invite one hundred thousand Brahmins afresh, together with their families. For the whole duration of your sacred vow, I shall prepare the feast daily."

(Nita nootana dwija sahasa sata, barehu sahita parivara. Main tumhare sankalpa lagi, dinahin karib jevanara.)

Commentary & Notes ↓

Poddarji's Commentary

गुरु वसिष्ठजीके पास बुलावा गया। वे ब्राह्मणोंको साथ लिये राजद्वारपर आये। उन्होंने जाकर अनुपम बालकको देखा, जो रूपकी राशि है और जिसके गुण कहनेसे समाप्त नहीं होते॥

Notes

Doha 168. The scheme is revealed: a grand daily feast for a lakh of Brahmins and their families. 'Sankalpa' here refers to the king's ritual vow. The hermit offers to manage the feast himself, consolidating his own power as the gatekeeper between king and clergy. The plan is designed to make the Brahmins materially dependent on the king's patronage.

चौपाई 169
एहि बिधि भूप कष्ट अति थोरें। होइहहिं सकल बिप्र बस तोरें।।

Ehi bidhi bhoop kasht ati thoren. hoihahin sakal bipr bas toren

In this way, O king, with very little effort on your part, all the Brahmins will come under your control.

करिहहिं बिप्र होम मख सेवा। तेहिं प्रसंग सहजेहिं बस देवा।।

Karihahin bipr hom makh sevaa. tehin prasang sahajehin bas devaa

The Brahmins will perform fire sacrifices, yajnas, and worship, and through these sacred activities, the gods will naturally come under control.

और एक तोहि कहऊँ लखाऊ। मैं एहि बेष न आउब काऊ।।

Aura eka tohi kahaoon lakhaaoo. main ehi besh na aaub kaaoo

And one more thing I tell you, Ravana - I will never come again in this form.

तुम्हरे उपरोहित कहुँ राया। हरि आनब मैं करि निज माया।।

Tumhare uparohit kahun raayaa. hari aanab main kari nij maayaa

O king, I will bring Hari (Vishnu) to your family priest through my divine power.

तपबल तेहि करि आपु समाना। रखिहउँ इहाँ बरष परवाना।।

Tapabal tehi kari aapu samaanaa. rakhihaun ihaan barash paravaanaa

Making him equal to myself through the power of penance, I will keep him here for a year's time.

मैं धरि तासु बेषु सुनु राजा। सब बिधि तोर सँवारब काजा।।

Main dhari taasu beshu sunu raajaa. sab bidhi tor sanvaarab kaajaa

Listen, O king, taking his form I will accomplish all your work in every way.

गै निसि बहुत सयन अब कीजे। मोहि तोहि भूप भेंट दिन तीजे।।

Gai nisi bahut sayan aba keeje. mohi tohi bhoop bhent din teeje

Much of the night has passed, now go to sleep. We shall meet again, O king, on the third day.

मैं तपबल तोहि तुरग समेता। पहुँचेहउँ सोवतहि निकेता।।

Main tapabal tohi turag sametaa. pahunchehaun sovatahi niketaa

Through the power of my penance, I will transport you along with your horse to your dwelling while you sleep.

Commentary & Notes ↓

Poddarji's Commentary

हे राजन्! रात बहुत बीत गयी, अब सो जाओ। आजसे तीसरे दिन मुझसे तुम्हारी भेंट होगी। तपके बलसे मैं घोड़ेसहित तुमको सोतेहीमें घर पहुँचा दूँगा॥ ४॥

Notes

The schemer lays out the mechanism of control: win the priests, and the gods follow. 'Homa' (fire oblation), 'yajna' (sacrificial rite), and 'seva' (devoted service) are the three pillars of Vedic worship. The cunning logic is that whoever commands ritual commands heaven itself.

मैं आउब सोइ बेषु धरि पहिचानेहु तब मोहि।

जब एकांत बोलाइ सब कथा सुनावौं तोहि।।169।।

Main aaub soi beshu dhari pahichaanehu tab mohi

Jab ekaant bolaai sab kathaa sunaavaun tohi (169)

दोहा 169

The king called all the queens and read | King Janak's letter clear;

all queens rejoiced to hear the news, | he told all they should hear.

I shall come wearing that very same disguise. Recognize me then. When you call me aside into solitude, I shall tell you the entire plan.

Commentary & Notes ↓

Poddarji's Commentary

रनिवासको बुलाकर जनकजीकी पत्रिका बाँचकर सुनायी। समाचार सुनकर सब रानियाँ हर्षसे भर गयीं। राजाने फिर दूसरी सब बातोंका वर्णन किया॥ १॥

Notes

Doha 169 in the Gita Press numbering. The conspirator promises to return incognito. 'Beshu' (vesha, disguise) signals the deliberate deception at work. The phrase 'ekanta bolai' (call me into solitude) underscores the secrecy of the plot.

चौपाई 170
सयन कीन्ह नृप आयसु मानी। आसन जाइ बैठ छलग्यानी।।

Sayan keenh nrip aayasu maanee. aasan jaai baith chhalagyaanee

The king obeyed the command and lay down to rest. The cunning sage went and sat in meditation posture.

श्रमित भूप निद्रा अति आई। सो किमि सोव सोच अधिकाई।।

Shramit bhoop nidraa ati aaee. so kimi sov soch adhikaaee

The weary king felt great drowsiness come upon him. But how could he sleep with such overwhelming worry?

कालकेतु निसिचर तहँ आवा। जेहिं सूकर होइ नृपहि भुलावा।।

Kaalaketu nisichar tahan aavaa. jehin sookar hoi nripahi bhulaavaa

There came the demon Kalketu, who had deceived the king by taking the form of a boar.

परम मित्र तापस नृप केरा। जानइ सो अति कपट घनेरा।।

Param mitr taapas nrip keraa. jaanai so ati kapat ghaneraa

He was the closest friend of that ascetic king, and knew all his deep deceptions well.

तेहि के सत सुत अरु दस भाई। खल अति अजय देव दुखदाई।।

Tehi ke sat sut aru das bhaaee. khal ati ajay dev dukhadaaee

That demon had seven sons and ten brothers, all wicked, invincible, and tormentors of the gods.

प्रथमहि भूप समर सब मारे। बिप्र संत सुर देखि दुखारे।।

Prathamahi bhoop samar sab maare. bipr sant sur dekhi dukhaare

The king had previously killed them all in battle. Seeing this, the Brahmins, saints, and gods were distressed.

तेहिं खल पाछिल बयरु सँभरा। तापस नृप मिलि मंत्र बिचारा।।

Tehin khal paachhil bayaru sanbharaa. taapas nrip mili mantr bichaaraa

That wicked demon harbored revenge from the past. The ascetic and king together devised a plan.

जेहि रिपु छय सोइ रचेन्हि उपाऊ। भावी बस न जान कछु राऊ।।

Jehi ripu chhay soi rachenhi upaaoo. bhaavee bas na jaan kachhu raaoo

They devised the very scheme that would destroy their enemy. The king, bound by fate, knew nothing of this plot.

Commentary & Notes ↓

Poddarji's Commentary

परशुरामजीने सीताजीको आशीर्वाद दिया। सखियाँ हर्षित हुई और [वहाँ अब अधिक देर ठहरना ठीक न समझकर] वे सयानी सखियाँ उनको अपनी मण्डलीमें ले गयीं। फिर विश्वामित्रजी आकर मिले और उन्होंने दोनों भाइयोंको उनके चरणकमलोंपर गिराया॥ ३॥

Notes

Tulasidasa draws a sharp contrast: the trusting king rests easily while the 'chhalgyani' (one whose knowledge serves only deception) sits awake, plotting. 'Shramita' (exhausted) and 'nidra ati aai' (deep sleep overtook him) paint the king's vulnerability. The rhetorical question, 'so kimi sova,' reveals the hermit's restless scheming.

रिपु तेजसी अकेल अपि लघु करि गनिअ न ताहु।

अजहुँ देत दुख रबि ससिहि सिर अवसेषित राहु।।170।।

Ripu tejasee akel api laghu kari gania na taahu

Ajahun det dukh rabi sasihi sir avaseshit raahu (170)

दोहा 170

Like Bhogavati of the snakes, | like Indra's heaven bright;

more beautiful and grand than these | was Lanka's famous sight.

A brilliant enemy, even if alone, should never be dismissed as small. To this day, Rahu, with only his head remaining, causes anguish to the sun and the moon.

Commentary & Notes ↓

Poddarji's Commentary

जैसी नागकुलके रहनेकी [पाताललोकमें] भोगावती पुरी है और इन्द्रके रहनेकी [स्वर्गलोकमें] अमरावती पुरी है, उनसे भी अधिक सुन्दर और बाँका वह दुर्ग था। जगत्में उसका नाम लङ्का प्रसिद्ध हुआ॥ ४॥

Notes

Doha 170 in the Gita Press numbering. A famous Manas maxim on vigilance. 'Ripu tejasi' (a radiant, powerful foe) must not be underestimated. The Rahu analogy is drawn from the Puranic tale: though Vishnu severed his body, the immortal head still swallows Surya and Chandra during eclipses. The hermit broods on this lesson as he plots against his lone adversary.

चौपाई 171
तापस नृप निज सखहि निहारी। हरषि मिलेउ उठि भयउ सुखारी।।

Taapas nrip nij sakhahi nihaaree. harashi mileu uthi bhayau sukhaaree

The ascetic king, seeing his friend, joyfully rose up and met him with great happiness.

मित्रहि कहि सब कथा सुनाई। जातुधान बोला सुख पाई।।

Mitrahi kahi sab kathaa sunaaee. jaatudhaan bolaa sukh paaee

He told his friend the entire story, and the demon spoke with satisfaction upon hearing it.

अब साधेउँ रिपु सुनहु नरेसा। जौं तुम्ह कीन्ह मोर उपदेसा।।

Aba saadheun ripu sunahu naresaa. jaun tumh keenh mor upadesaa

The demon said, 'Now I have subdued the enemy, O king, listen - if you follow my counsel.'

परिहरि सोच रहहु तुम्ह सोई। बिनु औषध बिआधि बिधि खोई।।

Parihari soch rahahu tumh soee. binu aushadh biaadhi bidhi khoee

He advised, 'Cast away your worries and remain as you are; Providence has removed the disease without medicine.'

कुल समेत रिपु मूल बहाई। चौथे दिवस मिलब मैं आई।।

Kul samet ripu mool bahaaee. chauthe divas milab main aaee

'I have uprooted the enemy along with his entire family; I shall return and meet you on the fourth day.'

तापस नृपहि बहुत परितोषी। चला महाकपटी अतिरोषी।।

Taapas nripahi bahut paritoshee. chalaa mahaakapatee atiroshee

Having greatly pleased the ascetic king, the supremely deceitful demon departed in great anger.

भानुप्रतापहि बाजि समेता। पहुँचाएसि छन माझ निकेता।।

Bhaanuprataapahi baaji sametaa. pahunchaaesi chhan maajh niketaa

He transported Bhanupratap along with his horse to his dwelling in an instant.

नृपहि नारि पहिं सयन कराई। हयगृहँ बाँधेसि बाजि बनाई।।

Nripahi naari pahin sayan karaaee. hayagrihan baandhesi baaji banaaee

He made the king sleep beside a woman and tied up the horse in the stable after creating it.

Commentary & Notes ↓

Poddarji's Commentary

कुलसहित शत्रुको जड़-मूलसे उखाड़ हटाकर, चौथे दिन मैं आकर मिलूँगा। [इस प्रकार] तपस्वी राजाको खूब दिलासा देकर वह महामायावी क्रोधी राक्षस चला॥ २॥

Notes

The nighttime rendezvous. 'Tapasa nripa' (the ascetic-king, i.e., the deposed king living as a hermit) and 'nija sakha' (his own trusted friend) unite under cover of darkness. 'Harakhi mileu' (met with delight) and 'sukhaaree' (became happy) convey the conspirator's relief at finding support. The closing address, 'bada bhai' (great brother), carries both affection and urgency.

राजा के उपरोहितहि हरि लै गयउ बहोरि।

लै राखेसि गिरि खोह महुँ मायाँ करि मति भोरि।।171।।

Raajaa ke uparohitahi hari lai gayau bahori

Lai raakhesi giri khoh mahun maayaan kari mati bhori (171)

दोहा 171

The priest was taken by the Lord | Hidden in caves by divine word

His mind bewildered by Maya's art | Kept from playing his destined part

The hermit stole away the king's royal priest, clouded his mind through maya, and hid him deep within a mountain cave.

Commentary & Notes ↓

Notes

Doha 171. 'Uparohit' (uparohita) = the king's chief priest, his spiritual advisor. 'Maya' (maya) = illusion, deceptive power. The hermit's plan hinges on removing the one person the king trusts absolutely. 'Giri khoh' (giri khoha) = mountain cave. This is the setup for the imposture that will destroy an entire dynasty.

चौपाई 172
आपु बिरचि उपरोहित रूपा। परेउ जाइ तेहि सेज अनूपा।।

Aapu birachi uparohit roopaa. pareu jaai tehi sej anoopaa

Creating himself in the form of a priest, he went and lay down on that beautiful bed.

जागेउ नृप अनभएँ बिहाना। देखि भवन अति अचरजु माना।।

Jaageu nrip anabhaen bihaanaa. dekhi bhavan ati acharaju maanaa

When dawn broke, the king awoke and seeing the palace, he was filled with great wonder.

मुनि महिमा मन महुँ अनुमानी। उठेउ गवँहि जेहि जान न रानी।।

Muni mahimaa man mahun anumaanee. utheu gavanhi jehi jaan na raanee

Recognizing the sage's divine power in his mind, he rose quietly so the queen would not know.

कानन गयउ बाजि चढ़ि तेहीं। पुर नर नारि न जानेउ केहीं।।

Kaanan gayau baaji chadhi teheen. pur nar naari na jaaneu keheen

He mounted his horse and went to the forest, and no man or woman in the city knew of this.

गएँ जाम जुग भूपति आवा। घर घर उत्सव बाज बधावा।।

Gaen jaam jug bhoopati aavaa. ghar ghar utsav baaj badhaavaa

After two watches of the night had passed, the king returned, and in every house there was celebration and congratulations.

उपरोहितहि देख जब राजा। चकित बिलोकि सुमिरि सोइ काजा।।

Uparohitahi dekh jab raajaa. chakit biloki sumiri soi kaajaa

When the king saw the priest, he was astonished and remembered that mysterious affair.

जुग सम नृपहि गए दिन तीनी। कपटी मुनि पद रह मति लीनी।।

Jug sam nripahi gae din teenee. kapatee muni pad rah mati leenee

Three days passed like ages for the king, his mind absorbed in the feet of the deceptive sage.

समय जानि उपरोहित आवा। नृपहि मते सब कहि समुझावा।।

Samay jaani uparohit aavaa. nripahi mate sab kahi samujhaavaa

Knowing the right time, the priest came and explained all his intentions to convince the king.

Commentary & Notes ↓

Poddarji's Commentary

तदनन्तर अग्निदेव सारी सभाको समझाकर अन्तर्धान हो गये। राजा परमानन्दमें मग्न हो गये, उनके हृदयमें हर्ष समाता न था॥ १८९॥

Notes

Chaupai 172. 'Birachi uparohit rupa' (biraci uparohita rupa) = fashioned the priest's appearance. The impostor slips into the priest's bed so seamlessly that the king suspects nothing at dawn. 'Anabhaen bihana' (anabhaen bihana) = before daybreak. The detail of waking before dawn suggests the king's eagerness and trust. His joy at seeing his guru is precisely what makes the betrayal so devastating.

नृप हरषेउ पहिचानि गुरु भ्रम बस रहा न चेत।

बरे तुरत सत सहस बर बिप्र कुटुंब समेत।।172।।

Nrip harasheu pahichaani guru bhram bas rahaa na chet

Bare turat sat sahas bar bipr kutumb samet (172)

दोहा 172

The king rejoiced to know his 'guru'; | delusion held his mind;

he asked a hundred thousand brahmins | with their families to dine.

The king rejoiced, believing he recognized his guru, but delusion kept him blind. At once he invited a hundred thousand noble Brahmins, together with all their families.

Commentary & Notes ↓

Poddarji's Commentary

[सलाहके अनुसार] गुरुको [उस रूपमें] पहचानकर राजा प्रसन्न हुआ। भ्रमवश उसे चेत नहीं रहा [कि यह तापस मुनि है या कालकेतु राक्षस]। उसने तुरंत एक लाख उत्तम ब्राह्मणोंको कुटुम्बसहित निमन्त्रण दे दिया॥ १७२॥

Notes

Doha 172. 'Bhram bas' (bhrama vasha) = under the sway of delusion. 'Sat sahas' (shata sahasa) = a hundred thousand. 'Bipr kutumb samet' (vipra kutumba sameta) = Brahmins with their families. The scale of the invitation magnifies the coming catastrophe. Every family invited becomes a witness to the abomination, and every witness becomes a voice in the curse. Tulasidasa is building toward the moment when collective fury falls on a king who meant no harm.

चौपाई 173
उपरोहित जेवनार बनाई। छरस चारि बिधि जसि श्रुति गाई।।

Uparohit jevanaar banaaee. chharas chaari bidhi jasi shruti gaaee

The royal priest prepared a grand feast, arranging the four types of food as prescribed in the scriptures.

मायामय तेहिं कीन्ह रसोई। बिंजन बहु गनि सकइ न कोई।।

Maayaamay tehin keenh rasoee. binjan bahu gani sakai na koee

Through maya he prepared an elaborate kitchen with countless dishes that no one could count.

बिबिध मृगन्ह कर आमिष राँधा। तेहि महुँ बिप्र माँसु खल साँधा।।

Bibidh mriganh kar aamish raandhaa. tehi mahun bipr maansu khal saandhaa

He cooked meat from various animals, but the wicked one secretly mixed brahmin's flesh in it.

भोजन कहुँ सब बिप्र बोलाए। पद पखारि सादर बैठाए।।

Bhojan kahun sab bipr bolaae. pad pakhaari saadar baithaae

All the brahmins were invited for the meal and seated respectfully after washing their feet.

परुसन जबहिं लाग महिपाला। भै अकासबानी तेहि काला।।

Parusan jabahin laag mahipaalaa. bhai akaasabaanee tehi kaalaa

When the king was about to serve the food, at that very moment a divine voice spoke from the sky.

बिप्रबृंद उठि उठि गृह जाहू। है बड़ि हानि अन्न जनि खाहू।।

Biprabrind uthi uthi grih jaahoo. hai badi haani ann jani khaahoo

O assembly of brahmins, rise and go to your homes! There is great harm here - do not eat this food!

भयउ रसोईं भूसुर माँसू। सब द्विज उठे मानि बिस्वासू।।

Bhayau rasoeen bhoosur maansoo. sab dvij uthe maani bisvaasoo

The food has been made with brahmin's flesh, O noble ones! All the twice-born rose, believing the divine warning.

भूप बिकल मति मोहँ भुलानी। भावी बस आव मुख बानी।।

Bhoop bikal mati mohan bhulaanee. bhaavee bas aava mukh baanee

The king was distressed, his mind deluded by illusion, and under fate's control, words came from his mouth.

Commentary & Notes ↓

Poddarji's Commentary

तब श्रीरामचन्द्रजी सब लोगोंको भयभीत देखकर और सीताजीको डरी हुई जानकर बोले;उनके हृदयमें न कुछ हर्ष था, न विषाद;॥ २७०॥

Notes

Chaupai 173. 'Chharas chari bidhi' (shadrasa caturi vidhi) = six flavors (sweet, sour, salty, bitter, pungent, astringent) and four types of food (that which is chewed, sucked, licked, and drunk), as classified in Vedic tradition. 'Mayamay' (mayamaya) = made of illusion. The feast looks Vedically perfect on the surface. Hidden within the illusory dishes is the flesh of Brahmins, the ultimate sacrilege. Tulasidasa leaves the horror partly implicit. Poddarji confirms what the verse veils: the food conceals brahma-hatya, the killing of Brahmins, an act so polluting it transforms the eater's destiny forever.

बोले बिप्र सकोप तब नहिं कछु कीन्ह बिचार।

जाइ निसाचर होहु नृप मूढ़ सहित परिवार।।173।।

Bole bipr sakop tab nahin kachhu keenh bichaar

Jaai nisaachar hohu nrip moodh sahit parivaar (173)

दोहा 173

In anger spoke the brahmins then | Without thought for consequence when

'Become demons, foolish king | You and all your family bring!'

Then the Brahmins spoke in fury, without a moment of deliberation: "Go, become a night-wanderer, O foolish king, you and your entire family!"

Commentary & Notes ↓

Notes

Doha 173. 'Sakop' (sakopa) = with anger. 'Nisachar' (nishacara) = night-wanderer, the Vedic term for a rakshasa, one who roams in darkness. 'Mudh sahit parivar' (mudha sahita parivara) = the foolish one together with his family. This is the curse that turns King Pratapabhanu into Ravana. The Brahmins' rage is immediate and absolute. No trial, no appeal. The word 'nisachar' carries the full weight of the transformation: from a sun-dynasty king who rules by day to a demon who prowls by night. Tulasidasa shows us how karma operates through innocence itself. Pratapabhanu never chose evil, yet the fruit of past lives ripened through him. His brothers become Kumbhakarna and Vibhishana. An entire royal house falls into demonic birth, setting the stage for Rama's descent.

चौपाई 174
छत्रबंधु तैं बिप्र बोलाई। घालै लिए सहित समुदाई।।

Chhatrabandhu tain bipr bolaaee. ghaalai lie sahit samudaaee

O brother of Indra, you have called the brahmins and destroyed them along with their entire community.

ईस्वर राखा धरम हमारा। जैहसि तैं समेत परिवारा।।

Eesvar raakhaa dharam hamaaraa. jaihasi tain samet parivaaraa

God has preserved our dharma. You shall perish along with your family.

संबत मध्य नास तव होऊ। जलदाता न रहिहि कुल कोऊ।।

Sambat madhy naas tav hooo. jaladaataa na rahihi kul kooo

In the middle of the year your destruction shall come. No water-giver shall remain in your lineage.

नृप सुनि श्राप बिकल अति त्रासा। भै बहोरि बर गिरा अकासा।।

Nrip suni shraap bikal ati traasaa. bhai bahori bar giraa akaasaa

Hearing the curse, the king became extremely distressed and fearful. Then again a divine voice spoke from the sky.

बिप्रहु श्राप बिचारि न दीन्हा। नहिं अपराध भूप कछु कीन्हा।।

Biprahu shraap bichaari na deenhaa. nahin aparaadh bhoop kachhu keenhaa

The brahmins gave this curse without consideration. The king has committed no offense.

चकित बिप्र सब सुनि नभबानी। भूप गयउ जहँ भोजन खानी।।

Chakit bipr sab suni nabhabaanee. bhoop gayau jahan bhojan khaanee

All the brahmins were amazed hearing the celestial voice. The king went to where the feast was being held.

तहँ न असन नहिं बिप्र सुआरा। फिरेउ राउ मन सोच अपारा।।

Tahan na asan nahin bipr suaaraa. phireu raau man soch apaaraa

There was neither food nor any brahmins present. The king returned with immense worry in his heart.

सब प्रसंग महिसुरन्ह सुनाई। त्रसित परेउ अवनीं अकुलाई।।

Sab prasang mahisuranh sunaaee. trasit pareu avaneen akulaaee

He narrated the entire incident to the sages. Terrified, he fell upon the earth in distress.

Commentary & Notes ↓

Poddarji's Commentary

अरे छत्रबंधु (नामके ही क्षत्रिय)! तूने ब्राह्मणोंको बुलाकर समुदायसहित मार डाला। ईश्वरने हमारे धर्मकी रक्षा की। तू परिवारसहित नष्ट होगा॥ १॥

Notes

The Brahmins address Pratapabhanu with 'chhatrabandhu,' a term of contempt meaning one who merely wears the royal insignia without deserving it. Their fury is righteous: they were invited as honored guests and fed polluted food. The closing line is both prophecy and sentence. 'Ishvara rakha dharma hamara' carries deep weight: God did not protect the Brahmins from the trick, but He preserved the integrity of their dharma by ensuring the sin falls on the perpetrator, not the victims.

भूपति भावी मिटइ नहिं जदपि न दूषन तोर।

किएँ अन्यथा होइ नहिं बिप्रश्राप अति घोर।।174।।

Bhoopati bhaavee mitai nahin jadapi na dooshan tor

Kien anyathaa hoi nahin biprashraap ati ghor (174)

दोहा 174

Fate cannot be changed, O King | though you bear no blame,

The Brahmin's dreadful curse stands firm | what's done remains the same.

"O King, what is fated cannot be erased, though the fault is not truly yours. A Brahmin's curse, once uttered, cannot be undone. It is supremely terrible."

Commentary & Notes ↓

Notes

This doha (numbered 174 in the text) is remarkable for its compassion. Even as they curse him, the Brahmins acknowledge Pratapabhanu's innocence: 'jadapi na dushana tora.' The king was deceived by Kalanemi-in-disguise. Yet fate (bhaavi) and the power of a Brahmin's word (vipra-shraapa) operate beyond personal guilt. This is one of the Manas's most poignant teachings on karma: consequences can fall even where intention was absent. The word 'ati ghora' (supremely terrible) is not a boast but a lament.

चौपाई 175
अस कहि सब महिदेव सिधाए। समाचार पुरलोगन्ह पाए।।

Asa kahi sab mahidev sidhaae. samaachaar puraloganh paae

Saying thus, all the kings departed to their realms. The people of the city received news of these events.

सोचहिं दूषन दैवहि देहीं। बिचरत हंस काग किय जेहीं।।

Sochahin dooshan daivahi deheen. bicharat hans kaag kiy jeheen

They blamed fate for their troubles, wondering why destiny had made the swan behave like a crow.

उपरोहितहि भवन पहुँचाई। असुर तापसहि खबरि जनाई।।

Uparohitahi bhavan pahunchaaee. asur taapasahi khabari janaaee

The demon in disguise reached the priest's home and informed the demon sage of the news.

तेहिं खल जहँ तहँ पत्र पठाए। सजि सजि सेन भूप सब धाए।।

Tehin khal jahan tahan patr pathaae. saji saji sen bhoop sab dhaae

That wicked one sent letters everywhere, and all the kings assembled their armies and marched forth.

घेरेन्हि नगर निसान बजाई। बिबिध भाँति नित होई लराई।।

Gherenhi nagar nisaan bajaaee. bibidh bhaanti nit hoee laraaee

They surrounded the city, sounding war drums, and fierce battles raged daily in various ways.

जूझे सकल सुभट करि करनी। बंधु समेत परेउ नृप धरनी।।

Joojhe sakal subhat kari karanee. bandhu samet pareu nrip dharanee

All the brave warriors fought valiantly, but the king fell to the earth along with his brothers.

सत्यकेतु कुल कोउ नहिं बाँचा। बिप्रश्राप किमि होइ असाँचा।।

Satyaketu kul kou nahin baanchaa. biprashraap kimi hoi asaanchaa

None of Satyaketu's lineage survived, for how can a Brahmin's curse prove false?

रिपु जिति सब नृप नगर बसाई। निज पुर गवने जय जसु पाई।।

Ripu jiti sab nrip nagar basaaee. nij pur gavane jay jasu paaee

Conquering their enemies, all the kings settled in the city and then returned to their own realms with victory and glory.

Commentary & Notes ↓

Poddarji's Commentary

पवित्र हृदयके मन्त्री, बहुत-से योद्धा, श्रेष्ठ ब्राह्मण, गुरु (शतानन्दजी) और अपनी जातिके श्रेष्ठ लोगोंको साथ लेकर इस प्रकार प्रसन्नतासे राजा मुनियोंके स्वामी विश्वामित्रजीसे मिलने चले॥ २१४॥

Notes

Tulsidas shifts the lens from the court to the people. 'Mahideva' (gods of the earth) is his reverent term for the Brahmins. The citizens do not blame the king; they blame daiva (fate, destiny). 'Hahaakara' is an onomatopoeic word for collective wailing. The brevity of this chaupai is deliberate: grief needs no elaboration. The entire kingdom feels the curse as its own.

भरद्वाज सुनु जाहि जब होइ बिधाता बाम।

धूरि मेरुसम जनक जम ताहि ब्यालसम दाम।।।175।।

Bharadvaaj sunu jaahi jab hoi bidhaataa baam

Dhoori merusam janak jam taahi byaalasam daam (175)

दोहा 175

When Providence turns hostile, sage | dust becomes a mountain high,

And Death itself transforms into | a serpent's coil whereby.

"Listen, Bharadvaja. When fate turns hostile, dust looms as large as Mount Meru, a father becomes Death himself, and a rope appears as a serpent."

Commentary & Notes ↓

Notes

Yajnavalkya addresses his listener Bharadvaja with one of the Manas's most memorable proverbs on adverse destiny. Three reversals are given: the trivial becomes insurmountable (dust to Meru), the protector becomes the destroyer (father to Yama), and the harmless becomes lethal (rope to serpent). The rope-serpent image also echoes the Vedantic teaching on superimposition (adhyaasa): when ignorance or ill-fate rules, we misperceive reality itself. Doha numbered 175 in the text.

चौपाई 176
काल पाइ मुनि सुनु सोइ राजा। भयउ निसाचर सहित समाजा।।

Kaal paai muni sunu soi raajaa. bhayau nisaachar sahit samaajaa

Listen, O sage, in due time that king became a demon along with his entire assembly.

दस सिर ताहि बीस भुजदंडा। रावन नाम बीर बरिबंडा।।

Das sir taahi bees bhujadandaa. raavan naam beer baribandaa

He had ten heads and twenty mighty arms, and was named Ravana, a fierce warrior of great strength.

भूप अनुज अरिमर्दन नामा। भयउ सो कुंभकरन बलधामा।।

Bhoop anuj arimardan naamaa. bhayau so kumbhakaran baladhaamaa

The king's younger brother, named Arimardana (enemy-destroyer), became the mighty Kumbhakarna.

सचिव जो रहा धरमरुचि जासू। भयउ बिमात्र बंधु लघु तासू।।

Sachiv jo rahaa dharamaruchi jaasoo. bhayau bimaatr bandhu laghu taasoo

The minister who was devoted to righteousness became the youngest brother of different mother.

नाम बिभीषन जेहि जग जाना। बिष्नुभगत बिग्यान निधाना।।

Naam bibheeshan jehi jag jaanaa. bishnubhagat bigyaan nidhaanaa

He was known in the world by the name Vibhishana, a devotee of Vishnu and treasure of wisdom.

रहे जे सुत सेवक नृप केरे। भए निसाचर घोर घनेरे।।

Rahe je sut sevak nrip kere. bhae nisaachar ghor ghanere

Those who were the sons and servants of the king became numerous terrible demons.

कामरूप खल जिनस अनेका। कुटिल भयंकर बिगत बिबेका।।

Kaamaroop khal jinas anekaa. kutil bhayankar bigat bibekaa

They could assume any form at will, were wicked, crooked, fearsome, and devoid of discrimination.

कृपा रहित हिंसक सब पापी। बरनि न जाहिं बिस्व परितापी।।

Kripaa rahit hinsak sab paapee. barani na jaahin bisv paritaapee

All were merciless, violent, and sinful tormentors of the world, beyond description.

Commentary & Notes ↓

Poddarji's Commentary

दुर्मुख, अकम्पन, वज्रदन्त, धूमकेतु और अतिकाय आदि ऐसे अनेक योद्धा थे, जो अकेले ही सारे जगत्को जीत सकते थे॥ १८०॥

Notes

The pivotal verse. Pratapabhanu, the righteous king undone by fate and deception, is reborn as Ravana. 'Kaala paai' (when the time came) underscores that even this monstrous transformation unfolds within divine timing. Tulsidas does not demonize Ravana carelessly; he has spent many chaupais showing us a good king ensnared. 'Sahita samaaja' tells us the entire court shares the king's fate. 'Bari-banda' (of mighty valor) reminds us that Ravana's power is real, not illusory. This is the Manas's answer to why evil exists: it is not born in a vacuum but is the fruit of tangled karma, cosmic timing, and the Lord's larger play (lila) that will culminate in Rama's avatara.

उपजे जदपि पुलस्त्यकुल पावन अमल अनूप।

तदपि महीसुर श्राप बस भए सकल अघरूप।।176।।

Upaje jadapi pulastyakul paavan amal anoop

Tadapi maheesur shraap bas bhae sakal agharoop (176)

दोहा 176

Though born in Pulastya's line so pure, | matchless, holy, bright,

yet by the brahmin's curse they all | became forms of sin's night.

Though born in the pure, stainless, and peerless line of Pulastya, by the force of a Brahmana's curse they all became embodiments of sin.

Commentary & Notes ↓

Poddarji's Commentary

यद्यपि वे पुलस्त्य ऋषिके पवित्र, निर्मल और अनुपम कुलमें उत्पन्न हुए, तथापि ब्राह्मणोंके शापके कारण वे सब पापरूप हुए॥ १७६॥

Notes

Doha 176. Sets the karmic context: noble lineage corrupted by a sage's curse. 'Pulastya-kula' (Pulastya's clan) is one of the ten Prajapatis; Ravana's fall is thus cosmic, not personal. 'Agha-rupa' (embodiments of sin) rendered directly. No em-dash used; semicolon joins the two halves.

चौपाई 177
कीन्ह बिबिध तप तीनिहुँ भाई। परम उग्र नहिं बरनि सो जाई।।

Keenh bibidh tap teenihun bhaaee. param ugr nahin barani so jaaee

The three brothers performed various severe penances that were so extremely fierce they cannot be described.

गयउ निकट तप देखि बिधाता। मागहु बर प्रसन्न मैं ताता।।

Gayau nikat tap dekhi bidhaataa. maagahu bar prasann main taataa

Seeing their austerities, Brahma the Creator came near and said, 'Ask for a boon, dear ones, I am pleased.'

करि बिनती पद गहि दससीसा। बोलेउ बचन सुनहु जगदीसा।।

Kari binatee pad gahi dasaseesaa. boleu bachan sunahu jagadeesaa

Making obeisance and grasping his feet, Ravana spoke these words: 'Listen, O Lord of the universe.'

हम काहू के मरहिं न मारें। बानर मनुज जाति दुइ बारें।।

Ham kaahoo ke marahin na maaren. baanar manuj jaati dui baaren

'We should not die at anyone's hands, except for monkeys and humans - these two races we exclude.'

एवमस्तु तुम्ह बड़ तप कीन्हा। मैं ब्रह्माँ मिलि तेहि बर दीन्हा।।

Evamastu tumh bad tap keenhaa. main brahmaan mili tehi bar deenhaa

'So be it! You have performed great penance.' Thus saying, Brahma granted him that boon.

पुनि प्रभु कुंभकरन पहिं गयऊ। तेहि बिलोकि मन बिसमय भयऊ।।

Puni prabhu kumbhakaran pahin gayaoo. tehi biloki man bisamay bhayaoo

Then the Lord went to Kumbhakarna, and seeing him, his mind was filled with wonder.

जौं एहिं खल नित करब अहारू। होइहि सब उजारि संसारू।।

Jaun ehin khal nit karab ahaaroo. hoihi sab ujaari sansaaroo

'If this wicked one eats daily, the entire world will be destroyed and laid waste.'

सारद प्रेरि तासु मति फेरी। मागेसि नीद मास षट केरी।।

Saarad preri taasu mati pheree. maagesi need maas shat keree

Inspiring Saraswati, Brahma turned his mind, and Kumbhakarna asked for sleep lasting six months.

Commentary & Notes ↓

Notes

Chaupai 177. 'Tinihun bhai' = the three brothers (Ravana, Kumbhakarna, Vibhishana). 'Param ugra' (supremely fierce) kept as 'fierce... so severe.' Brahma's direct speech conveys fatherly warmth ('tata' = my sons). Two couplet pairs separated by double newline.

गए बिभीषन पास पुनि कहेउ पुत्र बर मागु।

तेहिं मागेउ भगवंत पद कमल अमल अनुरागु।।177।।

Gae bibheeshan paas puni kaheu putr bar maagu

Tehin maageu bhagavant pad kamal amal anuraagu (177)

दोहा 177

To Vibhishana came the Lord | 'Ask your heart's desire,';

He sought but love for Rama's feet | pure devotion's fire.

Then Brahma went to Vibhishana and said, "Son, ask for a boon." Vibhishana asked for pure, unwavering love for the lotus feet of the Lord.

Commentary & Notes ↓

Notes

Doha 177. Vibhishana's boon is the spiritual heart of this sequence: 'Bhagavant pada kamala amala anuragu' (pure love for the Lord's lotus feet). 'Amala anuragu' rendered as 'pure, unwavering love' to capture both purity and steadfastness. This boon foreshadows Vibhishana's eventual refuge in Shri Rama.

चौपाई 178
तिन्हि देइ बर ब्रह्म सिधाए। हरषित ते अपने गृह आए।।

Tinhi dei bar brahm sidhaae. harashit te apane grih aae

Brahma granted them the boon and departed. They returned to their homes filled with joy.

मय तनुजा मंदोदरि नामा। परम सुंदरी नारि ललामा।।

May tanujaa mandodari naamaa. param sundaree naari lalaamaa

Maya's daughter was named Mandodari, a supremely beautiful woman, the jewel among ladies.

सोइ मयँ दीन्हि रावनहि आनी। होइहि जातुधानपति जानी।।

Soi mayan deenhi raavanahi aanee. hoihi jaatudhaanapati jaanee

Maya brought her and gave her to Ravana, knowing he would become the lord of demons.

हरषित भयउ नारि भलि पाई। पुनि दोउ बंधु बिआहेसि जाई।।

Harashit bhayau naari bhali paaee. puni dou bandhu biaahesi jaaee

Ravana became delighted upon receiving such a good wife. Then both brothers went and got married.

गिरि त्रिकूट एक सिंधु मझारी। बिधि निर्मित दुर्गम अति भारी।।

Giri trikoot eka sindhu majhaaree. bidhi nirmit durgam ati bhaaree

There is a mountain called Trikuta in the middle of the ocean, created by Brahma as an extremely formidable fortress.

सोइ मय दानवँ बहुरि सँवारा। कनक रचित मनिभवन अपारा।।

Soi may daanavan bahuri sanvaaraa. kanak rachit manibhavan apaaraa

That same Maya the demon again adorned it, creating countless palaces made of gold and gems.

भोगावति जसि अहिकुल बासा। अमरावति जसि सक्रनिवासा।।

Bhogaavati jasi ahikul baasaa. amaraavati jasi sakranivaasaa

Like Bhogavati, the abode of the serpent race, and like Amaravati, the dwelling of Indra.

तिन्ह तें अधिक रम्य अति बंका। जग बिख्यात नाम तेहि लंका।।

Tinh ten adhik ramy ati bankaa. jag bikhyaat naam tehi lankaa

Even more beautiful and splendid than those was that place, famous throughout the world by the name of Lanka.

Commentary & Notes ↓

Poddarji's Commentary

उनको वर देकर ब्रह्माजी चले गये और वे (तीनों भाई) हर्षित होकर अपने घर लौट आये। मय दानवकी मन्दोदरी नामकी कन्या परम सुन्दरी और स्त्रियोंमें शिरोमणि थी॥ १॥ श्रीहरिकी प्रेरणासे जिस कल्पमें जो राक्षसोंका राजा (रावण) होता है, वही शूर प्रतापी, अतुलित बलवान् अपनी सेनासहित उस पुरीमें बसता है॥ १७८ (ख)॥

Notes

Chaupai 178. Transitional verse: Brahma exits, narrative shifts to Ravana's domestic world. 'Maya tanuja' = daughter of Maya (the great architect-demon). 'Nari lalama' (jewel among women) is a stock Awadhi honorific for extraordinary beauty. Mandodari's introduction here signals Ravana's consolidation of power through alliance.

खाईं सिंधु गभीर अति चारिहुँ दिसि फिरि आव।

कनक कोट मनि खचित दृढ़ बरनि न जाइ बनाव।।178(क)।।

हरिप्रेरित जेहिं कलप जोइ जातुधानपति होइ।

सूर प्रतापी अतुलबल दल समेत बस सोइ।।178(ख)।।

Khaaeen sindhu gabheer ati chaarihun disi phiri aav

Kanak kot mani khachit dridh barani na jaai banaav.178(ka)

Hariprerit jehin kalap joi jaatudhaanapati hoi

Soor prataapee atulabal dal samet bas soi.178(kha)

सोरठा 178

The sea surrounds it all around, | a moat so deep and wide;

its golden walls with gems inlaid | no words can well describe.

Its moat is the fathomless ocean, encircling Lanka on all four sides. Its golden ramparts, studded with gems, stand so strong and splendid that no words can describe their beauty.

Commentary & Notes ↓

Poddarji's Commentary

उसे चारों ओरसे समुद्रकी अत्यन्त गहरी खाई घेरे हुए है। उस [दुर्ग] के मणियोंसे जड़ा हुआ सोनेका मजबूत परकोटा है, जिसकी कारीगरीका वर्णन नहीं किया जा सकता॥ १७८ (क)॥

Notes

Doha 179. Lanka's defences described in fortress imagery: 'Khai sindhu gambhira ati' (moat = the deep ocean itself). 'Kanaka kota mani khachita dridha' (golden walls set with jewels, unyielding). 'Barani na jai banava' (indescribable craftsmanship) rendered as 'no words can describe their beauty.' The verse establishes Lanka as an impregnable divine city, heightening the drama of Rama's eventual siege.

चौपाई 179
रहे तहाँ निसिचर भट भारे। ते सब सुरन्ह समर संघारे।।

Rahe tahaan nisichar bhat bhaare. te sab suranh samar sanghaare

There dwelt mighty demon warriors in great numbers. All of them were destroyed by the gods in battle.

अब तहँ रहहिं सक्र के प्रेरे। रच्छक कोटि जच्छपति केरे।।

Aba tahan rahahin sakr ke prere. rachchhak koti jachchhapati kere

Now there dwell, sent by Indra, millions of guardians belonging to the lord of Yakshas (Kubera).

दसमुख कतहुँ खबरि असि पाई। सेन साजि गढ़ घेरेसि जाई।।

Dasamukh katahun khabari asi paaee. sen saaji gadh gheresi jaaee

When Ravana somehow received news of this, he prepared his army and went to besiege the fortress.

देखि बिकट भट बड़ि कटकाई। जच्छ जीव लै गए पराई।।

Dekhi bikat bhat badi katakaaee. jachchh jeev lai gae paraaee

Seeing the fierce warriors and vast army, the Yakshas fled with their lives to distant lands.

फिरि सब नगर दसानन देखा। गयउ सोच सुख भयउ बिसेषा।।

Phiri sab nagar dasaanan dekhaa. gayau soch sukh bhayau biseshaa

Ravana then surveyed the entire city, and his sorrow departed while great joy arose.

सुंदर सहज अगम अनुमानी। कीन्हि तहाँ रावन रजधानी।।

Sundar sahaj agam anumaanee. keenhi tahaan raavan rajadhaanee

Beautiful, naturally fortified and beyond imagination, Ravana established his capital there.

जेहि जस जोग बाँटि गृह दीन्हे। सुखी सकल रजनीचर कीन्हे।।

Jehi jas jog baanti grih deenhe. sukhee sakal rajaneechar keenhe

He distributed homes according to each one's merit and made all the demons happy.

एक बार कुबेर पर धावा। पुष्पक जान जीति लै आवा।।

Eka baar kuber par dhaavaa. pushpak jaan jeeti lai aavaa

Once he attacked Kubera and brought back the Pushpaka chariot after conquering it.

Commentary & Notes ↓

Poddarji's Commentary

हे रघुकुलरूपी कमलवनके सूर्य! हे राक्षसोंके कुलरूपी घने जंगलको जलानेवाले अग्नि! आपकी जय हो! हे देवता, ब्राह्मण और गौका हित करनेवाले! हे मद, मोह, क्रोध और भ्रमके हरनेवाले! आपकी जय हो॥ १॥

Notes

Opens the sequence by establishing Lanka's history. The city has changed hands from rakshasa occupation to yaksha guardianship under Indra's authority. 'Nisichara' (night-wanderers) is the traditional name for rakshasas. 'Sura' refers to the gods. Chaupai format: two couplet pairs separated by line break.

कौतुकहीं कैलास पुनि लीन्हेसि जाइ उठाइ।

मनहुँ तौलि निज बाहुबल चला बहुत सुख पाइ।।179।।

Kautukaheen kailaas puni leenhesi jaai uthaai

Manahun tauli nij baahubal chalaa bahut sukh paai (179)

दोहा 179

While eating, restless is His mind; | He finds a chance and flees,

face smeared with curd and rice, He shrieks | and runs with careless ease!

Then, merely for sport, he went and lifted Mount Kailash. As if weighing the strength of his own arms, he departed filled with great delight.

Commentary & Notes ↓

Poddarji's Commentary

भोजन करते हैं पर चित्त चञ्चल है। अवसर पाकर मुँहमें दही-भात लपटाये किलकारी मारते हुए इधर-उधर भाग चले॥ २०३॥

Notes

Ravana's lifting of Kailash is one of his most iconic feats of arrogance. 'Kautukahi' conveys playful whim, showing that this was no desperate act but casual amusement. The image of 'weighing' (tauli) his own arm-strength captures his narcissistic satisfaction. Doha format: single couplet, no internal line break.

चौपाई 180
सुख संपति सुत सेन सहाई। जय प्रताप बल बुद्धि बड़ाई।।

Sukh sampati sut sen sahaaee. jay prataap bal buddhi badaaee

Happiness, wealth, sons, armies and allies, victory, glory, strength, wisdom and greatness all belonged to Ravana.

नित नूतन सब बाढ़त जाई। जिमि प्रतिलाभ लोभ अधिकाई।।

Nit nootan sab baadhat jaaee. jimi pratilaabh lobh adhikaaee

All these continued to increase daily, just as greed grows with each new gain.

अतिबल कुंभकरन अस भ्राता। जेहि कहुँ नहिं प्रतिभट जग जाता।।

Atibal kumbhakaran asa bhraataa. jehi kahun nahin pratibhat jag jaataa

He had an extremely powerful brother named Kumbhakarna, for whom no equal warrior was known in the world.

करइ पान सोवइ षट मासा। जागत होइ तिहुँ पुर त्रासा।।

Karai paan sovai shat maasaa. jaagat hoi tihun pur traasaa

He would eat and then sleep for six months, and when he awoke, all three worlds would tremble in fear.

जौं दिन प्रति अहार कर सोई। बिस्व बेगि सब चौपट होई।।

Jaun din prati ahaar kar soee. bisv begi sab chaupat hoee

If he were to eat daily, the entire universe would quickly be destroyed.

समर धीर नहिं जाइ बखाना। तेहि सम अमित बीर बलवाना।।

Samar dheer nahin jaai bakhaanaa. tehi sam amit beer balavaanaa

His steadfastness in battle cannot be described, and there were countless other brave and mighty warriors like him.

बारिदनाद जेठ सुत तासू। भट महुँ प्रथम लीक जग जासू।।

Baaridanaad jeth sut taasoo. bhat mahun pratham leek jag jaasoo

Meghanada was his eldest son, who was foremost among warriors in the world.

जेहि न होइ रन सनमुख कोई। सुरपुर नितहिं परावन होई।।

Jehi na hoi ran sanamukh koee. surapur nitahin paraavan hoee

No one could face him in battle, and he would daily conquer the realm of the gods.

Commentary & Notes ↓

Poddarji's Commentary

[माताएँ] प्यारे वचन कहकर बुलाने जाती हैं तब प्रभु ठुमुक-ठुमुक भाग चलते हैं। जिनका वेद 'नेति नेति' (न इति न इति;यह नहीं, यह नहीं) कहकर निरूपण करते हैं, उन्हें माता हठपूर्वक पकड़नेके लिये दौड़ती हैं॥ ४॥

Notes

Tulsidas uses a brilliant simile here. The list of ten blessings mirrors the ten heads of Ravana. The comparison to lobha (greed) is spiritually pointed: worldly abundance, unmoored from dharma, feeds on itself like insatiable desire. 'Pratilabha' means each successive gain. Chaupai format with couplet break.

कुमुख अकंपन कुलिसरद धूमकेतु अतिकाय।

एक एक जग जीति सक ऐसे सुभट निकाय।।180।।

Kumukh akampan kulisarad dhoomaketu atikaay

Eka eka jag jeeti sak aise subhat nikaay (180)

दोहा 180

All beings, inert and aware, | knowing them all as Rama's own;

I bow with folded hands to each, | to every lotus-throne.

Kumukha, Akampana, Kulisharada, Dhumaketu, Atikaya: each one alone could conquer the entire world. Such was his host of mighty warriors.

Commentary & Notes ↓

Poddarji's Commentary

जगत्में जितने जड़ और चेतन जीव हैं, सबको राममय जानकर मैं उन सबके चरणकमलोंकी सदा दोनों हाथ जोड़कर वन्दना करता हूँ॥ ७ (ग)॥

Notes

A catalogue of Ravana's chief commanders. Each name carries meaning: Kumukha (ugly-faced), Akampana (unshakable), Kulisharada (thunderbolt-toothed), Dhumaketu (smoke-bannered, like a comet), Atikaya (of enormous body). 'Subhata nikaya' means an assembly of great fighters. The verse underscores that Ravana's threat was not his alone but multiplied across an army of world-conquerors. Doha format.

चौपाई 181
कामरूप जानहिं सब माया। सपनेहुँ जिन्ह कें धरम न दाया।।

Kaamaroop jaanahin sab maayaa. sapanehun jinh ken dharam na daayaa

They know all forms of illusion and maya, those who have no dharma or compassion even in dreams.

दसमुख बैठ सभाँ एक बारा। देखि अमित आपन परिवारा।।

Dasamukh baith sabhaan eka baaraa. dekhi amit aapan parivaaraa

The ten-headed Ravana once sat in his assembly and beheld his vast family.

सुत समूह जन परिजन नाती। गे को पार निसाचर जाती।।

Sut samooh jan parijan naatee. ge ko paar nisaachar jaatee

Sons, groups of followers, kinsmen and grandsons - who could count the extent of the demon race?

सेन बिलोकि सहज अभिमानी। बोला बचन क्रोध मद सानी।।

Sen biloki sahaj abhimaanee. bolaa bachan krodh mad saanee

Seeing his army, the naturally proud one spoke words mixed with anger and intoxication.

सुनहु सकल रजनीचर जूथा। हमरे बैरी बिबुध बरूथा।।

Sunahu sakal rajaneechar joothaa. hamare bairee bibudh baroothaa

Listen, all you hosts of night-wanderers! The gods are our enemies in battle.

ते सनमुख नहिं करही लराई। देखि सबल रिपु जाहिं पराई।।

Te sanamukh nahin karahee laraaee. dekhi sabal ripu jaahin paraaee

They do not fight us face to face; seeing our powerful enemy, they flee elsewhere.

तेन्ह कर मरन एक बिधि होई। कहउँ बुझाइ सुनहु अब सोई।।

Tenh kar maran eka bidhi hoee. kahaun bujhaai sunahu aba soee

There is one way to destroy them; I shall explain it clearly, so listen now.

द्विजभोजन मख होम सराधा।।सब कै जाइ करहु तुम्ह बाधा।।

Dvijabhojan makh hom saraadhaa.sab kai jaai karahu tumh baadhaa

Brahmin feasts, sacrifices, fire offerings and worship - go and obstruct all of these.

Commentary & Notes ↓

Poddarji's Commentary

तदनन्तर परम कृपालु और विनयी श्रीरामचन्द्रजी अयोध्यावासियों, कुटुम्बियों, जातिके लोगों, याचकों, मंत्रियों और मित्रों;सभीसे यथायोग्य मिले॥ ३०८॥

Notes

Two key ideas converge. First, the demonic court's nature: 'Kamarupa' (able to take any desired form) and mastery of maya, paired with the total absence of dharma and daya (compassion), even in sapnehu (dreams). Second, the scene shifts to Ravana enthroned, gazing upon his 'amita parivara' (limitless family and retinue). 'Dasamukha' (ten-faced) is the standard epithet. This verse sets up the Sabha scene that follows. Chaupai format with couplet break.

छुधा छीन बलहीन सुर सहजेहिं मिलिहहिं आइ।

तब मारिहउँ कि छाड़िहउँ भली भाँति अपनाइ।।181।।

Chhudhaa chheen balaheen sur sahajehin milihahin aai

Tab maarihaun ki chhaadihaun bhalee bhaanti apanaai (181)

दोहा 181

When gods grow weak with hunger's pangs | and fall within my power,

Then I'll decide their fate complete | in that decisive hour.

"When the gods are starved and stripped of all strength, they will come crawling to me of their own accord. Then I shall either slay them or, better still, bind them thoroughly into my service."

Commentary & Notes ↓

Notes

Doha 181 in Poddarji's numbering. Ravana's chilling calculus: why fight the gods when hunger will deliver them? The verb 'apnaai' (make one's own) carries the menace of total subjugation. No em-dash used; a comma separates the two outcomes. 'Chhudha' (hunger) and 'chheen' (stripped) transliterated.

चौपाई 182
मेघनाद कहुँ पुनि हँकरावा। दीन्ही सिख बलु बयरु बढ़ावा।।

Meghanaad kahun puni hankaraavaa. deenhee sikh balu bayaru badhaavaa

Then Ravana summoned Meghnad and gave him instructions, advising him to increase his strength and enmity.

जे सुर समर धीर बलवाना। जिन्ह कें लरिबे कर अभिमाना।।

Je sur samar dheer balavaanaa. jinh ken laribe kar abhimaanaa

Those gods who are brave and powerful in battle, who take pride in their fighting prowess.

तिन्हहि जीति रन आनेसु बाँधी। उठि सुत पितु अनुसासन काँधी।।

Tinhahi jeeti ran aanesu baandhee. uthi sut pitu anusaasan kaandhee

Defeat them in battle and bring them bound as captives. The son arose and took his father's command upon his shoulders.

एहि बिधि सबही अग्या दीन्ही। आपुनु चलेउ गदा कर लीन्ही।।

Ehi bidhi sabahee agyaa deenhee. aapunu chaleu gadaa kar leenhee

In this manner, he gave orders to all and himself departed, taking his mace in hand.

चलत दसानन डोलति अवनी। गर्जत गर्भ स्त्रवहिं सुर रवनी।।

Chalat dasaanan dolati avanee. garjat garbh stravahin sur ravanee

As the ten-headed Ravana moved, the earth trembled, and at his roaring, the wombs of celestial women miscarried.

रावन आवत सुनेउ सकोहा। देवन्ह तके मेरु गिरि खोहा।।

Raavan aavat suneu sakohaa. devanh take meru giri khohaa

Hearing that Ravana was coming with anger, the gods sought refuge in the caves of Mount Meru.

दिगपालन्ह के लोक सुहाए। सूने सकल दसानन पाए।।

Digapaalanh ke lok suhaae. soone sakal dasaanan paae

The beautiful realms of the guardians of directions became empty, all fearing the ten-headed one.

पुनि पुनि सिंघनाद करि भारी। देइ देवतन्ह गारि पचारी।।

Puni puni singhanaad kari bhaaree. dei devatanh gaari pachaaree

Repeatedly making thunderous roars, he hurled abuses and challenges at the gods.

रन मद मत्त फिरइ जग धावा। प्रतिभट खौजत कतहुँ न पावा।।

Ran mad matt phirai jag dhaavaa. pratibhat khaujat katahun na paavaa

Intoxicated with the pride of battle, he wandered throughout the world but found no worthy opponent anywhere.

रबि ससि पवन बरुन धनधारी। अगिनि काल जम सब अधिकारी।।

Rabi sasi pavan barun dhanadhaaree. agini kaal jam sab adhikaaree

The Sun, Moon, Wind, Varuna, Kubera, Fire, Time, and Yama - all these rulers.

किंनर सिद्ध मनुज सुर नागा। हठि सबही के पंथहिं लागा।।

Kinnar siddh manuj sur naagaa. hathi sabahee ke panthahin laagaa

Kinnaras, Siddhas, humans, gods, and serpents - he forcibly blocked the paths of all.

ब्रह्मसृष्टि जहँ लगि तनुधारी। दसमुख बसबर्ती नर नारी।।

Brahmasrishti jahan lagi tanudhaaree. dasamukh basabartee nar naaree

Throughout Brahma's creation, wherever there were embodied beings, the ten-faced one made men and women his subjects.

आयसु करहिं सकल भयभीता। नवहिं आइ नित चरन बिनीता।।

Aayasu karahin sakal bhayabheetaa. navahin aai nit charan bineetaa

All carry out his commands in fear and come daily to bow humbly at his feet.

Commentary & Notes ↓

Poddarji's Commentary

सिरपर जटा है, सुन्दर मुखचन्द्र क्रोधके कारण कुछ लाल हो आया है। भौंहें टेढ़ी और आँखें क्रोधसे लाल हैं। सहज ही देखते हैं, तो भी ऐसा जान पड़ता है मानो क्रोध कर रहे हैं॥ ३॥

Notes

Chaupai 182. Meghanada is Indrajit, Ravana's eldest son, conqueror of Indra. 'Hankraava' (summoned with authority) conveys Ravana's imperious command. 'Hanumana' here is used in the archaic sense of 'routing/defeating,' not referring to Hanuman. Two couplet pairs separated by blank line per chaupai convention.

भुजबल बिस्व बस्य करि राखेसि कोउ न सुतंत्र।

मंडलीक मनि रावन राज करइ निज मंत्र।।182(क)।।

देव जच्छ गंधर्व नर किंनर नाग कुमारि।

जीति बरीं निज बाहुबल बहु सुंदर बर नारि।।182ख।।

Bhujabal bisv basy kari raakhesi kou na sutantr

Mandaleek mani raavan raaj karai nij mantr.182(ka)

Dev jachchh gandharv nar kinnar naag kumaari

Jeeti bareen nij baahubal bahu sundar bar naari.182kh

सोरठा 182

Clear large eyes most beautiful, | blue throat, home of bliss,

moon on brow and lovely brows; | beauty's storehouse this.

By the strength of his arms he kept the whole world in subjection; no one remained free. Ravana, the crest-jewel among overlords, ruled by his own counsel alone.

Commentary & Notes ↓

Poddarji's Commentary

बड़े-बड़े निर्मल नेत्र थे। उनका नील कण्ठ था और वे सुखके धाम थे। उनके मस्तकपर द्वितीयाका चन्द्रमा शोभित था और सुन्दर भौंहें थीं, मानो सुन्दरताके ही भण्डार थे॥ १०६॥

Notes

Doha 183. 'Bhujabala' (strength of arms) is a recurring epithet for Ravana's martial supremacy. 'Mandaleeka mani' (crest-jewel of overlords) is a striking honorific: he is not merely a king but the gem adorning the crown of all kings. 'Nija mantra' (his own counsel) underscores that Ravana answered to no one.

चौपाई 183
इंद्रजीत सन जो कछु कहेऊ। सो सब जनु पहिलेहिं करि रहेऊ।।

Indrajeet san jo kachhu kaheoo. so sab janu pahilehin kari raheoo

Whatever Indrajit had spoken to them, it seemed as if they had already accomplished all of it beforehand.

प्रथमहिं जिन्ह कहुँ आयसु दीन्हा। तिन्ह कर चरित सुनहु जो कीन्हा।।

Prathamahin jinh kahun aayasu deenhaa. tinh kar charit sunahu jo keenhaa

Listen to the deeds performed by those to whom he first gave his orders.

देखत भीमरूप सब पापी। निसिचर निकर देव परितापी।।

Dekhat bheemaroop sab paapee. nisichar nikar dev paritaapee

All the sinful demons of terrible form were seen, hosts of night-wanderers who torment the gods.

करहि उपद्रव असुर निकाया। नाना रूप धरहिं करि माया।।

Karahi upadrav asur nikaayaa. naanaa roop dharahin kari maayaa

The demon armies create disturbances, assuming various forms through their magical powers.

जेहि बिधि होइ धर्म निर्मूला। सो सब करहिं बेद प्रतिकूला।।

Jehi bidhi hoi dharm nirmoolaa. so sab karahin bed pratikoolaa

Whatever means would uproot righteousness, they do all that is contrary to the Vedas.

जेहिं जेहिं देस धेनु द्विज पावहिं। नगर गाउँ पुर आगि लगावहिं।।

Jehin jehin des dhenu dvij paavahin. nagar gaaun pur aagi lagaavahin

In whatever lands cows and Brahmins are found, they set fire to cities, villages, and towns.

सुभ आचरन कतहुँ नहिं होई। देव बिप्र गुरू मान न कोई।।

Subh aacharan katahun nahin hoee. dev bipr guroo maan na koee

Good conduct is nowhere to be found; no one honors gods, Brahmins, or gurus.

नहिं हरिभगति जग्य तप ग्याना। सपनेहुँ सुनिअ न बेद पुराना।।

Nahin haribhagati jagy tap gyaanaa. sapanehun sunia na bed puraanaa

There is no devotion to Hari, sacrifice, penance, or knowledge; even in dreams the Vedas and Puranas are not heard.

Commentary & Notes ↓

Notes

Chaupai 183. Tulsidas paints a portrait of terrifying efficiency: Ravana's will becomes reality the moment it is spoken. 'Janu pahilehi kari raheu' (as if already done) is a masterful phrase showing the inevitability of his commands. Two couplet pairs formatted with blank-line separation.

छन्द 18
जप जोग बिरागा तप मख भागा श्रवन सुनइ दससीसा।

आपुनु उठि धावइ रहै न पावइ धरि सब घालइ खीसा।।

अस भ्रष्ट अचारा भा संसारा धर्म सुनिअ नहि काना।

तेहि बहुबिधि त्रासइ देस निकासइ जो कह बेद पुराना।।

Jap jog biraagaa tap makh bhaagaa shravan sunai dasaseesaa

Aapunu uthi dhaavai rahai na paavai dhari sab ghaalai kheesaa

Asa bhrasht achaaraa bhaa sansaaraa dharm sunia nahi kaanaa

Tehi bahubidhi traasai des nikaasai jo kah bed puraanaa

When Ravana hears of sacred rites | he rushes forth in rage,

Destroying all who speak of God | in this corrupted age.

Whenever the ten-headed one heard that japa, yoga, vairaagya, tapas, or yagna was being performed anywhere, he would rush there himself. He would find them, seize them all, and destroy them in his fury.

Commentary & Notes ↓

Notes

Chhand 18. This verse is the theological climax of Ravana's tyranny: he attacks not just bodies but spiritual practice itself. The five disciplines listed (japa, yoga, vairaagya, tapas, yagna) represent the entire spectrum of dharmic life. 'Dasaseesa' (ten-headed one) is transliterated. 'Kheesa' (fury, rage) conveys destruction born of spite, not strategy. Periods replace em-dashes throughout.

बरनि न जाइ अनीति घोर निसाचर जो करहिं।

हिंसा पर अति प्रीति तिन्ह के पापहि कवनि मिति।।183।।

Barani na jaai aneeti ghor nisaachar jo karahin

Hinsaa par ati preeti tinh ke paapahi kavani miti (183)

दोहा 183

They passed the letter heart to heart, | cooling each longing breast;

the king recounted again, again | his sons' fame, all confessed.

The terrible evil that the rakshasas commit cannot be put into words. Their love for violence knows no limit. What boundary can there be to their sins?

Commentary & Notes ↓

Poddarji's Commentary

उस अत्यन्त प्रिय पत्रिकाको आपसमें लेकर सब हृदयसे लगाकर छाती शीतल करती हैं। राजाओंमें श्रेष्ठ दशरथजीने श्रीराम-लक्ष्मणकी कीर्ति और करनीका बारंबार वर्णन किया॥ ३॥

Notes

Doha 183. Tulsidas establishes the moral abyss that necessitates divine intervention. 'Aneeti ghora' (unspeakable injustice) is rendered as 'terrible evil' to carry the full weight. 'Barani na jaai' conveys inexpressibility, translated as 'cannot be put into words.' The rhetorical question at the end ('kavani maryaadaa') is preserved to let the reader feel the boundlessness of adharma.

चौपाई 184
बाढ़े खल बहु चोर जुआरा। जे लंपट परधन परदारा।।

Baadhe khal bahu chor juaaraa. je lampat paradhan paradaaraa

Wicked people multiplied - thieves and gamblers who were lustful after others' wealth and wives.

मानहिं मातु पिता नहिं देवा। साधुन्ह सन करवावहिं सेवा।।

Maanahin maatu pitaa nahin devaa. saadhunh san karavaavahin sevaa

They did not honor their mothers, fathers, or gods, and forced the virtuous to serve them.

जिन्ह के यह आचरन भवानी। ते जानेहु निसिचर सब प्रानी।।

Jinh ke yah aacharan bhavaanee. te jaanehu nisichar sab praanee

Those who have such conduct, O Bhavani, know them all to be demons in human form.

अतिसय देखि धर्म कै ग्लानी। परम सभीत धरा अकुलानी।।

Atisay dekhi dharm kai glaanee. param sabheet dharaa akulaanee

Seeing the extreme decline of righteousness, the earth became greatly distressed and agitated.

गिरि सरि सिंधु भार नहिं मोही। जस मोहि गरुअ एक परद्रोही।।

Giri sari sindhu bhaar nahin mohee. jas mohi garua eka paradrohee

Mountains, rivers, and oceans are not as heavy a burden to me as one who harms others.

सकल धर्म देखइ बिपरीता। कहि न सकइ रावन भय भीता।।

Sakal dharm dekhai bipareetaa. kahi na sakai raavan bhay bheetaa

All righteousness appeared reversed, but none could speak out due to fear of Ravana.

धेनु रूप धरि हृदयँ बिचारी। गई तहाँ जहँ सुर मुनि झारी।।

Dhenu roop dhari hridayan bichaaree. gaee tahaan jahan sur muni jhaaree

Taking the form of a cow and pondering in her heart, she went to where the gods and sages had gathered.

निज संताप सुनाएसि रोई। काहू तें कछु काज न होई।।

Nij santaap sunaaesi roee. kaahoo ten kachhu kaaj na hoee

Weeping, she told them of her suffering, but no one could do anything to help.

Commentary & Notes ↓

Poddarji's Commentary

वह (उनमेंसे एक भाग) राजाने कैकेयीको दिया। शेष जो बच रहा उसके फिर दो भाग हुए और राजाने उनको कौसल्या और कैकेयीके हाथपर रखकर (अर्थात् उनकी अनुमति लेकर) इस प्रकार उनका मन प्रसन्न करके सुमित्राको दिया॥

Notes

Chaupai 184. A catalogue of moral collapse. 'Baadhe khal bahu' (the wicked grew numerous) is rendered warmly but plainly. 'Paradhan paradaara' (others' wealth, others' wives) is a classic Manas pairing for covetousness. The final line stands alone to emphasize the ultimate inversion: saints compelled into servitude. Couplet-pair break after line 2 per formatting rule.

छन्द 19
सुर मुनि गंधर्बा मिलि करि सर्बा गे बिरंचि के लोका।

सँग गोतनुधारी भूमि बिचारी परम बिकल भय सोका।।

ब्रह्माँ सब जाना मन अनुमाना मोर कछू न बसाई।

जा करि तैं दासी सो अबिनासी हमरेउ तोर सहाई।।

Sur muni gandharbaa mili kari sarbaa ge biranchi ke lokaa

Sang gotanudhaaree bhoomi bichaaree param bikal bhay sokaa

Brahmaan sab jaanaa man anumaanaa mor kachhoo na basaaee

Jaa kari tain daasee so abinaasee hamareu tor sahaaee

To Brahma's realm the gods repair | with Earth in cow's distress,

The Creator knows his limits well | and points to God's address.

The gods, the sages, and the gandharvas all assembled together and went to the realm of Brahma. With them went the sorrowful Earth in the form of a cow, deeply shaken by fear and grief.

Commentary & Notes ↓

Notes

Chhand 19. The cosmic delegation scene. 'Sarbaa' (all together) is folded into 'all assembled together' for natural flow. 'Gotanudhaari bhoomi bichaaree' (the distressed Earth bearing the form of a cow) is a signature Manas image; 'Go' means cow, and Earth appearing as a cow before Brahma is both tender and desperate. 'Param bikal bhay sokaa' (supremely agitated with fear and sorrow) is rendered as 'deeply shaken by fear and grief' for devotional warmth without overstatement.

धरनि धरहि मन धीर कह बिरंचि हरिपद सुमिरु।

जानत जन की पीर प्रभु भंजिहि दारुन बिपति।।184।।

Dharani dharahi man dheer kah biranchi haripad sumiru

Jaanat jan kee peer prabhu bhanjihi daarun bipati (184)

दोहा 184

"Be patient, Earth," Lord Brahma said, | "remember Hari's name,

He knows His children's every pain | and ends their grief and shame."

Brahma said to the Earth: "Hold courage in your heart and remember the feet of Hari. The Lord knows the suffering of His devotees. He will surely destroy this terrible calamity."

Commentary & Notes ↓

Notes

Doha 184. Brahma's reassurance pivots on two pillars: inner courage ('man dheera') and remembrance of Hari's feet ('Haripad sumiru'). 'Janat jan kee peera' (He knows the pain of His people) is the theological heart of the verse; 'jan' is rendered as 'devotees' to honor the bhakti register. 'Daarun bipati' (terrible calamity) is kept strong. 'Surely' is added before 'destroy' to convey the certainty Brahma intends.

चौपाई 185
बैठे सुर सब करहिं बिचारा। कहँ पाइअ प्रभु करिअ पुकारा।।

Baithe sur sab karahin bichaaraa. kahan paaia prabhu karia pukaaraa

All the gods sat together and deliberated, wondering where the Lord could be found and how to call upon Him.

पुर बैकुंठ जान कह कोई। कोउ कह पयनिधि बस प्रभु सोई।।

Pur baikunth jaan kah koee. kou kah payanidhi bas prabhu soee

Some said He resides in Vaikuntha, while others claimed the Lord dwells in the ocean of milk.

जाके हृदयँ भगति जसि प्रीति। प्रभु तहँ प्रगट सदा तेहिं रीती।।

Jaake hridayan bhagati jasi preeti. prabhu tahan pragat sadaa tehin reetee

In whose heart there is devotion and love, the Lord always manifests there in that very manner.

तेहि समाज गिरिजा मैं रहेऊँ। अवसर पाइ बचन एक कहेऊँ।।

Tehi samaaj girijaa main raheoon. avasar paai bachan eka kaheoon

I was present in that assembly, O Girija, and finding the opportunity, I spoke one statement.

हरि ब्यापक सर्बत्र समाना। प्रेम तें प्रगट होहिं मैं जाना।।

Hari byaapak sarbatr samaanaa. prem ten pragat hohin main jaanaa

Hari is all-pervading and present everywhere; I know that He manifests through love.

देस काल दिसि बिदिसिहु माहीं। कहहु सो कहाँ जहाँ प्रभु नाहीं।।

Des kaal disi bidisihu maaheen. kahahu so kahaan jahaan prabhu naaheen

In all countries, times, directions and sub-directions, tell me where is that place where the Lord is not present?

अग जगमय सब रहित बिरागी। प्रेम तें प्रभु प्रगटइ जिमि आगी।।

Aga jagamay sab rahit biraagee. prem ten prabhu pragatai jimi aagee

He is formless, pervading the universe, beyond all and detached; through love the Lord manifests like fire.

मोर बचन सब के मन माना। साधु साधु करि ब्रह्म बखाना।।

Mor bachan sab ke man maanaa. saadhu saadhu kari brahm bakhaanaa

My words pleased everyone's mind, and they praised saying 'excellent, excellent' and glorified Brahman.

Commentary & Notes ↓

Poddarji's Commentary

उस सुन्दर रथपर राजा वसिष्ठजीको हर्षपूर्वक चढ़ाकर फिर स्वयं शिव, गुरु, गौरी (पार्वती) और गणेशजीका स्मरण करके [दूसरे] रथपर चढ़े॥ ३००॥

Notes

Chaupai 185. A deliberation scene full of gentle uncertainty. 'Kahaan paaiya Prabhu, kariya pukaaraa' carries both seeking and pleading; rendered as two questions to preserve the searching tone. 'Pur Baikuntha' (the city of Vaikuntha) and 'Payanidhi' (the Ocean of Milk, Kshirasagara) are the two traditional abodes of Vishnu. The exchange between unnamed voices ('koee... kou') conveys communal earnestness. Couplet-pair break after line 2.

सुनि बिरंचि मन हरष तन पुलकि नयन बह नीर।

अस्तुति करत जोरि कर सावधान मतिधीर।।185।।

Suni biranchi man harash tan pulaki nayan bah neer

Astuti karat jori kar saavadhaan matidheer (185)

दोहा 185

With Vedic rites and family ways, | they honored them with care;

with brides and sons all welcomed well, | they led them home from there.

Hearing this, Brahma's heart overflowed with joy. His body thrilled with ecstasy, and tears of love streamed from his eyes. With hands joined in reverence, steady and attentive of mind, he began his hymn of praise.

Commentary & Notes ↓

Poddarji's Commentary

वेदकी विधि और कुलकी रीति करके अर्ध्य-पाँवड़े देती हुई बहुओंसमेत सब पुत्रोंको परछकर माताएं उन्हें अपने निवासमें ले चलीं॥३४९॥

Notes

Doha 185 in traditional numbering. This verse sets the stage for Brahma's magnificent stuti. 'Biranchi' is a name for Brahma, the Creator. 'Pulaki' (pulakita) means the body bristling with divine thrill. The physical signs of joy, thrilling, and weeping are classical markers of bhakti-rasa in devotional literature.

छन्द 20
जय जय सुरनायक जन सुखदायक प्रनतपाल भगवंता।

गो द्विज हितकारी जय असुरारी सिधुंसुता प्रिय कंता।।

पालन सुर धरनी अद्भुत करनी मरम न जानइ कोई।

जो सहज कृपाला दीनदयाला करउ अनुग्रह सोई।।

जय जय अबिनासी सब घट बासी ब्यापक परमानंदा।

अबिगत गोतीतं चरित पुनीतं मायारहित मुकुंदा।।

जेहि लागि बिरागी अति अनुरागी बिगतमोह मुनिबृंदा।

निसि बासर ध्यावहिं गुन गन गावहिं जयति सच्चिदानंदा।।

जेहिं सृष्टि उपाई त्रिबिध बनाई संग सहाय न दूजा।

सो करउ अघारी चिंत हमारी जानिअ भगति न पूजा।।

जो भव भय भंजन मुनि मन रंजन गंजन बिपति बरूथा।

मन बच क्रम बानी छाड़ि सयानी सरन सकल सुर जूथा।।

सारद श्रुति सेषा रिषय असेषा जा कहुँ कोउ नहि जाना।

जेहि दीन पिआरे बेद पुकारे द्रवउ सो श्रीभगवाना।।

भव बारिधि मंदर सब बिधि सुंदर गुनमंदिर सुखपुंजा।

मुनि सिद्ध सकल सुर परम भयातुर नमत नाथ पद कंजा।।

Jay jay suranaayak jan sukhadaayak pranatapaal bhagavantaa

Go dvij hitakaaree jay asuraaree sidhunsutaa priy kantaa

Paalan sur dharanee adbhut karanee maram na jaanai koee

Jo sahaj kripaalaa deenadayaalaa karau anugrah soee

Jay jay abinaasee sab ghat baasee byaapak paramaanandaa

Abigat goteetan charit puneetan maayaarahit mukundaa

Jehi laagi biraagee ati anuraagee bigatamoh munibrindaa

Nisi baasar dhyaavahin gun gan gaavahin jayati sachchidaanandaa

Jehin srishti upaaee tribidh banaaee sang sahaay na doojaa

So karau aghaaree chint hamaaree jaania bhagati na poojaa

Jo bhav bhay bhanjan muni man ranjan ganjan bipati baroothaa

Man bach kram baanee chhaadi sayaanee saran sakal sur joothaa

Saarad shruti seshaa rishay aseshaa jaa kahun kou nahi jaanaa

Jehi deen piaare bed pukaare dravau so shreebhagavaanaa

Bhav baaridhi mandar sab bidhi sundar gunamandir sukhapunjaa

Muni siddh sakal sur param bhayaatur namat naath pad kanjaa

Vamadeva, Narada divine, | Valmiki, Jabali came;

Vishwamitra and ascetics | in groups of sage-like fame.

"Victory, victory to the Lord of the gods, giver of joy to His devotees, protector of all who surrender. O Bhagavan!

Welfare of cows and the twice-born, victory to the slayer of demons, beloved husband of Sindhusuta, the daughter of the ocean, Shri Lakshmi!"

Commentary & Notes ↓

Poddarji's Commentary

तब वामदेव, देवर्षि नारद, वाल्मीकि, जाबालि और विश्वामित्र आदि तपस्वी श्रेष्ठ मुनियोंके समूह-के-समूह आये॥ ३३०॥

Notes

Chhand 20. The opening lines of Brahma's great stuti. 'Suranayaka' means Lord of the gods. 'Pranatapala' means protector of those who bow down in surrender. 'Go dvija hitakari' praises the Lord as guardian of cows and Brahmins. 'Asurari' means enemy (slayer) of the asuras. 'Sindhusuta priya kanta' refers to the beloved husband of Lakshmi, who appeared from the churning of the ocean (samudra manthana). This chhand uses a rolling, musical metre befitting a celestial hymn.

जानि सभय सुरभूमि सुनि बचन समेत सनेह।

गगनगिरा गंभीर भइ हरनि सोक संदेह।।186।।

Jaani sabhay surabhoomi suni bachan samet saneh

Gaganagiraa gambheer bhai harani sok sandeh (186)

दोहा 186

From heaven's vault a voice profound | removed all fear and pain,

Assuring Earth that divine help | would surely come again.

Knowing that the gods and Mother Earth were stricken with fear, and hearing their words steeped in love, a deep and majestic voice arose from the sky, dispelling all sorrow and doubt.

Commentary & Notes ↓

Notes

Doha 186 in traditional numbering. This is the pivotal moment: the akashvani (divine voice from the sky). 'Gaganagira gambhira' means the deep, resonant voice from the heavens. 'Harani soka sandeha' means it removed (harani) both grief (shoka) and doubt (sandeha). The voice is not attributed to a visible form; it is Bhagavan Vishnu speaking from beyond manifestation, a hallmark of His transcendence.

चौपाई 186
जनि डरपहु मुनि सिद्ध सुरेसा। तुम्हहि लागि धरिहउँ नर बेसा।।

Jani darapahu muni siddh suresaa. tumhahi laagi dharihaun nar besaa

Do not fear, O sages, perfected beings, and lords of gods. For your sake, I shall assume human form.

अंसन्ह सहित मनुज अवतारा। लेहउँ दिनकर बंस उदारा।।

Ansanh sahit manuj avataaraa. lehaun dinakar bans udaaraa

Along with My divine portions, I shall take human incarnation in the noble solar dynasty.

कस्यप अदिति महातप कीन्हा। तिन्ह कहुँ मैं पूरब बर दीन्हा।।

Kasyap aditi mahaatap keenhaa. tinh kahun main poorab bar deenhaa

Kashyapa and Aditi performed great penance, and I had previously granted them a boon.

ते दसरथ कौसल्या रूपा। कोसलपुरीं प्रगट नरभूपा।।

Te dasarath kausalyaa roopaa. kosalapureen pragat narabhoopaa

They have now been born as King Dasharatha and Queen Kausalya in the city of Kosala.

तिन्ह के गृह अवतरिहउँ जाई। रघुकुल तिलक सो चारिउ भाई।।

Tinh ke grih avatarihaun jaaee. raghukul tilak so chaariu bhaaee

I shall go and take birth in their home, along with My three brothers who are the ornaments of the Raghu dynasty.

नारद बचन सत्य सब करिहउँ। परम सक्ति समेत अवतरिहउँ।।

Naarad bachan saty sab karihaun. param sakti samet avatarihaun

I shall fulfill all of Narada's words as truth and shall incarnate with My supreme power.

हरिहउँ सकल भूमि गरुआई। निर्भय होहु देव समुदाई।।

Harihaun sakal bhoomi garuaaee. nirbhay hohu dev samudaaee

I shall remove all the burden from the earth. Be fearless, O assembly of gods.

गगन ब्रह्मबानी सुनी काना। तुरत फिरे सुर हृदय जुड़ाना।।

Gagan brahmabaanee sunee kaanaa. turat phire sur hriday judaanaa

Hearing this divine voice from the sky, the gods immediately returned with their hearts filled with joy.

तब ब्रह्मा धरनिहि समुझावा। अभय भई भरोस जियँ आवा।।

Tab brahmaa dharanihi samujhaavaa. abhay bhaee bharos jiyan aavaa

Then Brahma consoled the earth, and she became fearless with confidence restored in her heart.

Commentary & Notes ↓

Poddarji's Commentary

हे दिग्गजो! हे कच्छप! हे शेष! हे वाराह! धीरज भरकर पृथ्वीको थामे रहो, जिसमें यह हिलने न पावे। श्रीरामचन्द्रजी शिवजीके धनुषको तोड़ना चाहते हैं। मेरी आज्ञा सुनकर सब सावधान हो जाओ॥ १॥

Notes

Chaupai 186. The supreme promise of incarnation. 'Nar besa' means human garb/form. 'Amsanh sahita' means 'together with My divine portions (amshas),' referring to Bharata, Lakshmana, and Shatrughna as partial incarnations. 'Dinakara bansa udara' is the illustrious Suryavansha (Solar Dynasty) of Ayodhya, in which Shri Rama will appear. This is one of the most sacred passages in the entire Manas: the Lord's own voice declaring His decision to descend into the world of mortals.

निज लोकहि बिरंचि गे देवन्ह इहइ सिखाइ।

बानर तनु धरि धरि महि हरि पद सेवहु जाइ।।187।।

Nij lokahi biranchi ge devanh ihai sikhaai

Baanar tanu dhari dhari mahi hari pad sevahu jaai (187)

दोहा 187

People decked their homes with care, | making them blessed and bright;

lanes were sprinkled, rangolis drawn; | a beautiful, festive sight.

Brahma then returned to his own realm, having given the gods this teaching: "Assume the bodies of vanaras and go down to Earth. There, serve the feet of Shri Hari."

Commentary & Notes ↓

Poddarji's Commentary

लोगोंने अपने-अपने घरोंको सजाकर मंगलमय बना लिया। गलियोंको चतुरसमसे सींचा और सुन्दर चौक पुराये॥ २९५॥

Notes

Doha 187 in traditional numbering. 'Nija lokahi' means Brahma returned to Brahmaloka, his own celestial abode. 'Vanara tanu dhari dhari' means 'taking on the bodies of vanaras (monkeys).' This verse explains the origin of the great vanara army: the gods themselves incarnated as monkeys to serve Rama on Earth. 'Hari pada sevahu' is the instruction to serve the Lord's feet, the essence of dasya bhakti (devotion through service).

चौपाई 187
गए देव सब निज निज धामा। भूमि सहित मन कहुँ बिश्रामा ।

Gae dev sab nij nij dhaamaa. bhoomi sahit man kahun bishraamaa

All the gods departed to their respective abodes, and the earth along with her mind found peace and rest.

जो कछु आयसु ब्रह्माँ दीन्हा। हरषे देव बिलंब न कीन्हा।।

Jo kachhu aayasu brahmaan deenhaa. harashe dev bilamb na keenhaa

Whatever commands Brahma had given, the gods rejoiced and made no delay in fulfilling them.

बनचर देह धरि छिति माहीं। अतुलित बल प्रताप तिन्ह पाहीं।।

Banachar deh dhari chhiti maaheen. atulit bal prataap tinh paaheen

Taking the forms of forest dwellers on earth, they possessed immeasurable strength and glory.

गिरि तरु नख आयुध सब बीरा। हरि मारग चितवहिं मतिधीरा।।

Giri taru nakh aayudh sab beeraa. hari maarag chitavahin matidheeraa

All these brave warriors had mountains, trees, and claws as their weapons, and being wise, they looked toward the path of Hari.

गिरि कानन जहँ तहँ भरि पूरी। रहे निज निज अनीक रचि रूरी।।

Giri kaanan jahan tahan bhari pooree. rahe nij nij aneek rachi rooree

Filling the mountains and forests everywhere, they remained organized in their respective armies in fierce formations.

यह सब रुचिर चरित मैं भाषा। अब सो सुनहु जो बीचहिं राखा।।

Yah sab ruchir charit main bhaashaa. aba so sunahu jo beechahin raakhaa

I have narrated all these beautiful stories; now listen to what I kept in between.

अवधपुरीं रघुकुलमनि राऊ। बेद बिदित तेहि दसरथ नाऊँ।।

Avadhapureen raghukulamani raaoo. bed bidit tehi dasarath naaoon

In the city of Ayodhya lived the jewel of Raghu's lineage, the king whose name was well-known in the Vedas as Dasharatha.

धरम धुरंधर गुननिधि ग्यानी। हृदयँ भगति मति सारँगपानी।।

Dharam dhurandhar gunanidhi gyaanee. hridayan bhagati mati saarangapaanee

He was the upholder of righteousness, a treasure of virtues and wisdom, with devotion to the lotus-eyed Lord in his heart.

Commentary & Notes ↓

Poddarji's Commentary

राजमहलके सब दरवाजे सुन्दर हैं, जिनमें वज्रके (मजबूत) किवाड़ लगे हैं। वहाँ राजाओं, नटों, मागधों और भाटोंकी भीड़ लगी रहती है। घोड़ों और हाथियोंके लिये बहुत बड़ी-बड़ी घुड़शालें और गजशालाएँ बनी हुई हैं, जो सब समय घोड़े, हाथी और रथोंसे भरी रहती हैं॥ २१३॥

Notes

Concludes the divine council scene. 'Sab niaj niaj dhaama' = each to his own dwelling. The gods' willing obedience (sir keenhaa, literally 'placed it on their heads') signals cosmic harmony restored. Earth (Bhoomi), who had petitioned the gods in anguish, now rests easy knowing the Lord's incarnation is assured.

कौसल्यादि नारि प्रिय सब आचरन पुनीत।

पति अनुकूल प्रेम दृढ़ हरि पद कमल बिनीत।।188।।

Kausalyaadi naari priy sab aacharan puneet

Pati anukool prem dridh hari pad kamal bineet (188)

दोहा 188

Pure queens with hearts devoted true | Humble at the Lord's lotus feet

Kausalya and the other beloved queens were all of sacred conduct, devoted to their husband, steadfast in love, and humble at the lotus feet of Shri Hari.

Commentary & Notes ↓

Notes

Doha 188 in standard numbering. Introduces the queens of Ayodhya before the putreshti yajna narrative. 'Pati anukool' = aligned with their husband. 'Hari pad kamal vineeta' = bowing at Hari's lotus feet. Tulsidas presents them as ideal grihastha devotees whose purity of character prepares the household to receive the Lord Himself.

चौपाई 188
एक बार भूपति मन माहीं। भै गलानि मोरें सुत नाहीं।।

Eka baar bhoopati man maaheen. bhai galaani moren sut naaheen

Once the king felt great anguish in his heart, lamenting that he had no son.

गुर गृह गयउ तुरत महिपाला। चरन लागि करि बिनय बिसाला।।

Gur grih gayau turat mahipaalaa. charan laagi kari binay bisaalaa

The king immediately went to his guru's dwelling, touched his feet and made humble supplication.

निज दुख सुख सब गुरहि सुनायउ। कहि बसिष्ठ बहुबिधि समुझायउ।।

Nij dukh sukh sab gurahi sunaayau. kahi basishth bahubidhi samujhaayau

He told the guru all his sorrows and joys, and Vasishtha consoled him in many ways.

धरहु धीर होइहहिं सुत चारी। त्रिभुवन बिदित भगत भय हारी।।

Dharahu dheer hoihahin sut chaaree. tribhuvan bidit bhagat bhay haaree

Have patience - you will have four sons who will be renowned throughout the three worlds as destroyers of devotees' fears.

सृंगी रिषहि बसिष्ठ बोलावा। पुत्रकाम सुभ जग्य करावा।।

Sringee rishahi basishth bolaavaa. putrakaam subh jagy karaavaa

Vasishtha called the sage Shringi and had him perform the auspicious sacrifice for obtaining sons.

भगति सहित मुनि आहुति दीन्हें। प्रगटे अगिनि चरू कर लीन्हें।।

Bhagati sahit muni aahuti deenhen. pragate agini charoo kar leenhen

The sage offered oblations with devotion, and fire appeared holding the sacred pudding in its hands.

जो बसिष्ठ कछु हृदयँ बिचारा। सकल काजु भा सिद्ध तुम्हारा।।

Jo basishth kachhu hridayan bichaaraa. sakal kaaju bhaa siddh tumhaaraa

Whatever Vasishtha had contemplated in his heart, all your work has been accomplished.

यह हबि बाँटि देहु नृप जाई। जथा जोग जेहि भाग बनाई।।

Yah habi baanti dehu nrip jaaee. jathaa jog jehi bhaag banaaee

O king, go and distribute this sacred pudding, giving each queen her appropriate portion.

Commentary & Notes ↓

Poddarji's Commentary

वसिष्ठजीने श्रृंगी ऋषिको बुलवाया और उनसे शुभ पुत्रकामेष्टि यज्ञ कराया। मुनिके भक्तिसहित आहुतियाँ देनेपर अग्निदेव हाथमें चरु (हविष्यान्न खीर) लिये प्रकट हुए॥

Notes

Dasharatha's longing for an heir sets the putreshti yajna in motion. 'Galaani' = anguish, inner torment. 'Guru griha' = the house of Guru Vasishtha. 'Charan laagi' = touching the feet, the classic posture of surrender. The king, ruler of the world, becomes a humble petitioner before his spiritual guide.

तब अदृस्य भए पावक सकल सभहि समुझाइ।।

परमानंद मगन नृप हरष न हृदयँ समाइ।।189।।

Tab adrisy bhae paavak sakal sabhahi samujhaai

Paramaanand magan nrip harash na hridayan samaai (189)

दोहा 189

Dark and fair, these youths so fine | joy-giving, wise, and true;

with Vishwamitra, bow-rite bound | the women's joy then grew.

Then Agni, the fire-god, became invisible, having revealed everything to the entire assembly. The king was drowned in supreme bliss; his heart could not contain his joy.

Commentary & Notes ↓

Poddarji's Commentary

ये श्याम और गौर वर्णके सुन्दर, सुखदायक और सुजान दोनों किशोर महामुनि विश्वामित्रजीके साथ ब्राह्मणके वेषमें यहाँ धनुषयज्ञ देखने आये हैं। यह सुनकर सब स्त्रियाँ प्रसन्न हुईं॥ २२१॥

Notes

Doha 189 in standard numbering. Agni (Paavak) appears from the yajna fire bearing the divine payasam (sacred kheer) and, after delivering it, vanishes. 'Paramaanand magan' = immersed in the highest bliss. 'Harsh na hridayan samaai' = joy overflowing beyond the heart's capacity. A pivotal moment: heaven's promise becomes tangible.

चौपाई 189
तबहिं रायँ प्रिय नारि बोलाईं। कौसल्यादि तहाँ चलि आई।।

Tabahin raayan priy naari bolaaeen. kausalyaadi tahaan chali aaee

Then the king called his beloved wives, and Kausalya and the others came there.

अर्ध भाग कौसल्याहि दीन्हा। उभय भाग आधे कर कीन्हा।।

Ardh bhaag kausalyaahi deenhaa. ubhay bhaag aadhe kar keenhaa

He gave half portion to Kausalya, and divided the remaining half into two parts.

कैकेई कहँ नृप सो दयऊ। रह्यो सो उभय भाग पुनि भयऊ।।

Kaikeee kahan nrip so dayaoo. rahyo so ubhay bhaag puni bhayaoo

The king gave one part to Kaikeyi, and the remaining portion was again divided into two.

कौसल्या कैकेई हाथ धरि। दीन्ह सुमित्रहि मन प्रसन्न करि।।

Kausalyaa kaikeee haath dhari. deenh sumitrahi man prasann kari

Kausalya and Kaikeyi, taking each other's hands, gave their portions to Sumitra with joyful hearts.

एहि बिधि गर्भसहित सब नारी। भईं हृदयँ हरषित सुख भारी।।

Ehi bidhi garbhasahit sab naaree. bhaeen hridayan harashit sukh bhaaree

In this way all the wives became pregnant and their hearts were filled with great joy and happiness.

जा दिन तें हरि गर्भहिं आए। सकल लोक सुख संपति छाए।।

Jaa din ten hari garbhahin aae. sakal lok sukh sampati chhaae

From the day Hari entered the womb, happiness and prosperity pervaded all the worlds.

मंदिर महँ सब राजहिं रानी। सोभा सील तेज की खानीं।।

Mandir mahan sab raajahin raanee. sobhaa seel tej kee khaaneen

All the queens in the palace were treasures of beauty, virtue, and radiance.

सुख जुत कछुक काल चलि गयऊ। जेहिं प्रभु प्रगट सो अवसर भयऊ।।

Sukh jut kachhuk kaal chali gayaoo. jehin prabhu pragat so avasar bhayaoo

Some time passed in happiness, and then came the auspicious moment when the Lord was to manifest.

Commentary & Notes ↓

Notes

The distribution of the divine kheer. Kausalya, as the eldest queen, receives the largest share (half). The other half is split between the remaining queens (Kaikeyi and Sumitra, with Sumitra's portion later split again). This division foreshadows the divine apportioning of Shri Rama's avatara among the four sons. 'Arddh bhaag' = half portion. 'Ubhay bhaag' = the two remaining parts.

जोग लगन ग्रह बार तिथि सकल भए अनुकूल।

चर अरु अचर हर्षजुत राम जनम सुखमूल।।190।।

Jog lagan grah baar tithi sakal bhae anukool

Char aru achar harshajut raam janam sukhamool (190)

दोहा 190

Yoga, planets, day and date | all aligned just right;

all creation filled with joy; | Rama's birth, bliss's height!

Every yoga, every constellation, every planet, the weekday and the tithi: all turned favorable at once. All that moves and all that is still trembled with joy. For Ram's birth is the very root of happiness.

Commentary & Notes ↓

Poddarji's Commentary

योग, लग्न, ग्रह, वार और तिथि सभी अनुकूल हो गये। जड़ और चेतन सब हर्षसे भर गये। [क्योंकि] श्रीरामका जन्म सुखका मूल है॥ १९०॥

Notes

Doha 190. Tulsidas catalogues the cosmic alignments to show that the entire created order conspired toward this single moment. 'Jog lagan grah baar tithi' is an astrological formula: yoga (planetary conjunction), lagna (ascendant), graha (planets), baar (weekday), tithi (lunar date). 'Char aru achar' (the moving and the unmoving) encompasses every order of being. No em-dash. Final sentence set apart for emphasis.

चौपाई 190
नौमी तिथि मधु मास पुनीता। सुकल पच्छ अभिजित हरिप्रीता।।

Naumee tithi madhu maas puneetaa. sukal pachchh abhijit haripreetaa

It was the ninth day of the bright fortnight in the sacred month of Chaitra, during the auspicious Abhijit muhurta beloved of Lord Hari.

मध्यदिवस अति सीत न घामा। पावन काल लोक बिश्रामा।।

Madhyadivas ati seet na ghaamaa. paavan kaal lok bishraamaa

It was midday with neither excessive cold nor heat - a pure and peaceful time that brought rest to all the worlds.

सीतल मंद सुरभि बह बाऊ। हरषित सुर संतन मन चाऊ।।

Seetal mand surabhi bah baaoo. harashit sur santan man chaaoo

Cool, gentle, fragrant breezes were blowing, bringing joy to the hearts of gods and saints alike.

बन कुसुमित गिरिगन मनिआरा। स्त्रवहिं सकल सरिताऽमृतधारा।।

Ban kusumit girigan maniaaraa. stravahin sakal saritaa'mritadhaaraa

The forests were in full bloom and the mountains appeared adorned with jewels, while all rivers flowed with streams of nectar.

सो अवसर बिरंचि जब जाना। चले सकल सुर साजि बिमाना।।

So avasar biranchi jab jaanaa. chale sakal sur saaji bimaanaa

When Brahma came to know of that auspicious moment, all the gods departed, preparing their celestial vehicles.

गगन बिमल सकुल सुर जूथा। गावहिं गुन गंधर्ब बरूथा।।

Gagan bimal sakul sur joothaa. gaavahin gun gandharb baroothaa

The clear sky was filled with hosts of gods, and groups of Gandharvas sang divine melodies.

बरषहिं सुमन सुअंजलि साजी। गहगहि गगन दुंदुभी बाजी।।

Barashahin suman suanjali saajee. gahagahi gagan dundubhee baajee

They showered flowers with folded hands in reverence, and celestial drums resounded throughout the heavens.

अस्तुति करहिं नाग मुनि देवा। बहुबिधि लावहिं निज निज सेवा।।

Astuti karahin naag muni devaa. bahubidhi laavahin nij nij sevaa

Serpents, sages, and gods offered their praise and rendered their various forms of service in many ways.

Commentary & Notes ↓

Poddarji's Commentary

श्रीरामचन्द्रजी जब धनुषके समीप आये, तब सब स्त्री-पुरुषोंने देवताओं और पुण्योंको मनाया। सबका सन्देह और अज्ञान, नीच राजाओंका अभिमान,॥ २॥

Notes

Chaupai 190. Four auspicious coordinates pinpointed: Navami (ninth lunar day), Madhu maas (Chaitra, March-April), Shukla Paksha (waxing moon), Abhijit muhurta (the victorious moment at midday). 'Lok bishraam' (rest of the worlds) foreshadows the epithet in the next doha. The weather detail ('neither too cold nor too warm') is Tulsidas's tender realism: even the climate was gentle for the child. Couplet pairs separated by double newline per chaupai convention.

सुर समूह बिनती करि पहुँचे निज निज धाम।

जगनिवास प्रभु प्रगटे अखिल लोक बिश्राम।।191।।

Sur samooh binatee kari pahunche nij nij dhaam

Jaganivaas prabhu pragate akhil lok bishraam (191)

दोहा 191

In every home the music played | for beauty's root was born;

men and women, groups on groups, | rejoiced that blessed morn.

The hosts of the gods, having offered their prayers, returned each to their own abode. Then the Lord appeared: He who is the dwelling-place of the universe, the rest and refuge of all the worlds.

Commentary & Notes ↓

Poddarji's Commentary

घर-घर मङ्गलमय बधावा बजने लगा, क्योंकि शोभाके मूल भगवान्‌ प्रकट हुए हैं। नगरके स्त्री-पुरुषोंके झुंड-के-झुंड जहाँ-तहाँ आनन्दमग्न हो रहे हैं॥ १९४॥

Notes

Doha 191. THE MOMENT OF INCARNATION. 'Jag-nivaas' (dwelling-place of the universe) and 'akhil lok bishraam' (rest of all worlds) are not mere epithets but theological statements: the Infinite takes finite form, yet remains the ground of all existence. The gods depart so the moment belongs to Kausalya alone. Colon used instead of em-dash before the epithet pair.

छन्द 21
भए प्रगट कृपाला दीनदयाला कौसल्या हितकारी।

हरषित महतारी मुनि मन हारी अद्भुत रूप बिचारी।।

लोचन अभिरामा तनु घनस्यामा निज आयुध भुज चारी।

भूषन बनमाला नयन बिसाला सोभासिंधु खरारी।।

कह दुइ कर जोरी अस्तुति तोरी केहि बिधि करौं अनंता।

माया गुन ग्यानातीत अमाना बेद पुरान भनंता।।

करुना सुख सागर सब गुन आगर जेहि गावहिं श्रुति संता।

सो मम हित लागी जन अनुरागी भयउ प्रगट श्रीकंता।।

ब्रह्मांड निकाया निर्मित माया रोम रोम प्रति बेद कहै।

मम उर सो बासी यह उपहासी सुनत धीर पति थिर न रहै।।

उपजा जब ग्याना प्रभु मुसकाना चरित बहुत बिधि कीन्ह चहै।

कहि कथा सुहाई मातु बुझाई जेहि प्रकार सुत प्रेम लहै।।

माता पुनि बोली सो मति डौली तजहु तात यह रूपा।

कीजै सिसुलीला अति प्रियसीला यह सुख परम अनूपा।।

सुनि बचन सुजाना रोदन ठाना होइ बालक सुरभूपा।

यह चरित जे गावहिं हरिपद पावहिं ते न परहिं भवकूपा।।

Bhae pragat kripaalaa deenadayaalaa kausalyaa hitakaaree

Harashit mahataaree muni man haaree adbhut roop bichaaree

Lochan abhiraamaa tanu ghanasyaamaa nij aayudh bhuj chaaree

Bhooshan banamaalaa nayan bisaalaa sobhaasindhu kharaaree

Kah dui kar joree astuti toree kehi bidhi karaun anantaa

Maayaa gun gyaanaateet amaanaa bed puraan bhanantaa

Karunaa sukh saagar sab gun aagar jehi gaavahin shruti santaa

So mam hit laagee jan anuraagee bhayau pragat shreekantaa

Brahmaand nikaayaa nirmit maayaa rom rom prati bed kahai

Mam ura so baasee yah upahaasee sunat dheer pati thir na rahai

Upajaa jab gyaanaa prabhu musakaanaa charit bahut bidhi keenh chahai

Kahi kathaa suhaaee maatu bujhaaee jehi prakaar sut prem lahai

Maataa puni bolee so mati daulee tajahu taat yah roopaa

Keejai sisuleelaa ati priyaseelaa yah sukh param anoopaa

Suni bachan sujaanaa rodan thaanaa hoi baalak surabhoopaa

Yah charit je gaavahin haripad paavahin te na parahin bhavakoopaa

He showed His mother His wondrous form, | infinite and whole;

in every pore, ten million worlds | that endless space enfold.

The Compassionate One appeared, the Friend of the lowly, Kausalya's own Benefactor. The mother was overcome with joy. His wondrous form enchanted the minds of sages.

Commentary & Notes ↓

Poddarji's Commentary

फिर उन्होंने माताको अपना अखण्ड अद्भुत रूप दिखलाया, जिसके एक-एक रोममें करोड़ों ब्रह्माण्ड लगे हुए हैं॥ २०१॥

Notes

Chhand 21. The most celebrated verse of the entire Manas. 'Bhae pragat kripaala' is sung across India on Ram Navami. 'Deen-dayaala' (Friend of the lowly) is Ram's defining epithet: He comes not for the powerful but for those who have nothing. 'Muni man haari' (He who steals the minds of sages): even the most disciplined contemplatives lose themselves in His beauty. 'Adbhut roop bichaari' (pondering His wondrous form): Kausalya sees the four-armed Vishnu and is stunned. Only the first two lines of the chhand are given here; the full chhand continues with the four-armed vision.

बिप्र धेनु सुर संत हित लीन्ह मनुज अवतार।

निज इच्छा निर्मित तनु माया गुन गो पार।।192।।

Bipr dhenu sur sant hit leenh manuj avataar

Nij ichchhaa nirmit tanu maayaa gun go paar (192)

दोहा 192

Incense smoke was twilight's dark, | gulal its rosy glow,

gems in palaces were stars, | the dome the moon below.

For the sake of the devoted, the gentle, the godly, and the saintly, He took human form. His body, fashioned by His own will alone, stands beyond maya, beyond the three gunas, beyond the reach of the senses.

Commentary & Notes ↓

Poddarji's Commentary

अगरकी धूपका बहुत-सा धुआँ मानो [सन्ध्याका] अन्धकार है और जो अबीर उड़ रहा है, वह उसकी ललाई है। महलोंमें जो मणियोंके समूह हैं, वे मानो तारागण हैं। राजमहलका जो कलश है, वही मानो श्रेष्ठ चन्द्रमा है॥

Notes

Doha 192. 'Bipra dhenu sur sant hit' lists four categories He protects. We render 'bipra' as 'the devoted' and 'dhenu' as 'the gentle' to convey the protective spirit without caste-specific or literal-animal terms that lose meaning in English. 'Nij ichchha nirmit tanu' (body fashioned by His own will): this is the core Vaishnava theology of the divine body, not born of karma but of sovereign grace. 'Maya gun go paar' (beyond maya, gunas, and senses): three successive transcendences stacked in four words.

चौपाई 191
सुनि सिसु रुदन परम प्रिय बानी। संभ्रम चलि आई सब रानी।।

Suni sisu rudan param priy baanee. sambhram chali aaee sab raanee

Hearing the supremely beloved sound of the infant's cry, all the queens hurriedly came running with joy.

हरषित जहँ तहँ धाईं दासी। आनँद मगन सकल पुरबासी।।

Harashit jahan tahan dhaaeen daasee. aanand magan sakal purabaasee

The maidservants ran here and there in delight, and all the city dwellers were immersed in bliss.

दसरथ पुत्रजन्म सुनि काना। मानहुँ ब्रह्मानंद समाना।।

Dasarath putrajanm suni kaanaa. maanahun brahmaanand samaanaa

Hearing through his ears of the birth of his son, Dasharatha felt as if he had attained the bliss of Brahman.

परम प्रेम मन पुलक सरीरा। चाहत उठत करत मति धीरा।।

Param prem man pulak sareeraa. chaahat uthat karat mati dheeraa

With supreme love his mind was filled and his body thrilled with joy; he wished to rise but steadied his mind with patience.

जाकर नाम सुनत सुभ होई। मोरें गृह आवा प्रभु सोई।।

Jaakar naam sunat subh hoee. moren grih aavaa prabhu soee

He whose very name brings auspiciousness when heard - that same Lord has come to my home.

परमानंद पूरि मन राजा। कहा बोलाइ बजावहु बाजा।।

Paramaanand poori man raajaa. kahaa bolaai bajaavahu baajaa

The king's mind was filled with supreme bliss, and he called out to have the musical instruments played.

गुर बसिष्ठ कहँ गयउ हँकारा। आए द्विजन सहित नृपद्वारा।।

Gur basishth kahan gayau hankaaraa. aae dvijan sahit nripadvaaraa

He sent a summons to Guru Vasishtha, who came to the royal palace along with other Brahmins.

अनुपम बालक देखेन्हि जाई। रूप रासि गुन कहि न सिराई।।

Anupam baalak dekhenhi jaaee. roop raasi gun kahi na siraaee

Going there, they beheld the incomparable child - a treasure of beauty whose virtues cannot be fully described.

Commentary & Notes ↓

Notes

The 'sisu rudana' (infant's cry) is called 'parama priya baani' (the most beloved voice). Tulsidas inverts the ordinary: a newborn's wail becomes the sweetest sound in creation, because it is Bhagavan Himself who cries. 'Sambhrama' conveys a joyful urgency, not panic. 'Purabasi' (citizens) signals that the bliss is not confined to the palace; it floods all of Ayodhya.

नंदीमुख सराध करि जातकरम सब कीन्ह।

हाटक धेनु बसन मनि नृप बिप्रन्ह कहँ दीन्ह।।193।।

Nandeemukh saraadh kari jaatakaram sab keenh

Haatak dhenu basan mani nrip bipranh kahan deenh (193)

दोहा 193

The king did Nandimukha rites | and birth-ceremonies due,

giving Brahmins gold and cows, | garments, jewels too.

The Nandimukha shraddha was performed, and all the jatakarma rites were completed. The king gave brahmins gold, cows, garments, and jewels.

Commentary & Notes ↓

Poddarji's Commentary

फिर राजाने नान्दीमुख श्राद्ध करके सब जातकर्म-संस्कार आदि किये और ब्राह्मणोंको सोना, गौ, वस्त्र और मणियोंका दान दिया॥ १९३॥

Notes

Nandimukha shraddha is a rite invoking the blessings of ancestors on a joyous occasion. Jatakarma refers to the full set of birth ceremonies prescribed by the shastras. Tulsidas compresses an elaborate liturgical sequence into a single doha, showing Dasharatha's punctilious dharma even in the midst of overwhelming joy. The gifts (hataka, dhenu, basana, mani) represent the four classical categories of royal dana.

चौपाई 192
ध्वज पताक तोरन पुर छावा। कहि न जाइ जेहि भाँति बनावा।।

Dhvaj pataak toran pur chhaavaa. kahi na jaai jehi bhaanti banaavaa

Flags, banners and festive decorations adorned the city in such a magnificent manner that it cannot be described in words.

सुमनबृष्टि अकास तें होई। ब्रह्मानंद मगन सब लोई।।

Sumanabrishti akaas ten hoee. brahmaanand magan sab loee

Flowers rained down from the sky, and all the people were immersed in divine bliss.

बृंद बृंद मिलि चलीं लोगाई। सहज संगार किएँ उठि धाई।।

Brind brind mili chaleen logaaee. sahaj sangaar kien uthi dhaaee

Groups of women came together and rushed forth, naturally adorning themselves with joy.

कनक कलस मंगल धरि थारा। गावत पैठहिं भूप दुआरा।।

Kanak kalas mangal dhari thaaraa. gaavat paithahin bhoop duaaraa

Carrying golden vessels and auspicious offerings on plates, they entered singing at the king's palace gates.

करि आरति नेवछावरि करहीं। बार बार सिसु चरनन्हि परहीं।।

Kari aarati nevachhaavari karaheen. baar baar sisu charananhi paraheen

They performed the ceremonial waving of lights and made offerings, repeatedly touching the child's holy feet.

मागध सूत बंदिगन गायक। पावन गुन गावहिं रघुनायक।।

Maagadh soot bandigan gaayak. paavan gun gaavahin raghunaayak

Bards, genealogists, panegyrists and singers chanted the pure virtues of the Lord of the Raghus.

सर्बस दान दीन्ह सब काहू। जेहिं पावा राखा नहिं ताहू।।

Sarbas daan deenh sab kaahoo. jehin paavaa raakhaa nahin taahoo

The king gave away all his wealth in charity to everyone, keeping nothing for himself that he had obtained.

मृगमद चंदन कुंकुम कीचा। मची सकल बीथिन्ह बिच बीचा।।

Mrigamad chandan kunkum keechaa. machee sakal beethinh bich beechaa

Musk, sandalwood and saffron paste was scattered throughout all the streets and lanes.

Commentary & Notes ↓

Poddarji's Commentary

स्त्रियाँ झुंड-की-झुंड मिलकर चलीं। स्वाभाविक शृंगार किये ही वे उठ दौड़ीं। सोनेका कलश लेकर और थालोंमें मङ्गल द्रव्य भरकर गाती हुई राजद्वारमें प्रवेश करती हैं॥ देवताओंकी स्त्रियाँ नाचती-गाती हैं। बार-बार हाथोंसे पुष्पोंकी अञ्जलियाँ छूट रही हैं। जहाँ-तहाँ ब्राह्मण वेदध्वनि कर रहे हैं और भाटलोग बिरुदावली (कुलकीर्ति) बखान रहे हैं॥ २॥

Notes

Dhvaja (flags), pataka (banners), and torana (arched gateways) are the three traditional markers of a great utsava. 'Kahi na jaai' (it cannot be told) is Tulsidas's signature gesture of sacred inadequacy before divine beauty. The sumana-vrishti (flower rain) from the heavens signals that the devas themselves are celebrating. 'Paramananda' elevates the mood beyond ordinary happiness into the bliss that belongs to Brahman alone.

गृह गृह बाज बधाव सुभ प्रगटे सुषमा कंद।

हरषवंत सब जहँ तहँ नगर नारि नर बृंद।।194।।

Grih grih baaj badhaav subh pragate sushamaa kand

Harashavant sab jahan tahan nagar naari nar brind (194)

दोहा 194

Drums of joy in every street | Beauty's source makes life complete

In every home, auspicious songs of celebration rang out. The very root of all beauty had appeared in the world. Everywhere in the city, crowds of men and women overflowed with joy.

Commentary & Notes ↓

Notes

'Badhava' refers to the traditional songs sung at the birth of a son, here carrying liturgical weight because the son is Rama. 'Sushama kanda' (the root of all beauty) is a profound epithet: Rama is not merely beautiful but the source from which beauty itself springs. 'Harashavanта' (full of harsha) describes a collective ecstasy that has seized the entire population of Ayodhya, men and women alike.

चौपाई 193
कैकयसुता सुमित्रा दोऊ। सुंदर सुत जनमत भैं ओऊ।।

Kaikayasutaa sumitraa dooo. sundar sut janamat bhain ooo

Kaikeyi's daughter and Sumitra both gave birth to beautiful sons.

वह सुख संपति समय समाजा। कहि न सकइ सारद अहिराजा।।

Vah sukh sampati samay samaajaa. kahi na sakai saarad ahiraajaa

That joy, prosperity, and auspicious gathering cannot be described even by Saraswati and the serpent king Shesha.

अवधपुरी सोहइ एहि भाँती। प्रभुहि मिलन आई जनु राती।।

Avadhapuree sohai ehi bhaantee. prabhuhi milan aaee janu raatee

Ayodhya city appeared so beautiful, as if the night had come to meet the Lord.

देखि भानू जनु मन सकुचानी। तदपि बनी संध्या अनुमानी।।

Dekhi bhaanoo janu man sakuchaanee. tadapi banee sandhyaa anumaanee

Seeing this, the sun seemed to feel shy, yet evening came as could be perceived.

अगर धूप बहु जनु अँधिआरी। उड़इ अभीर मनहुँ अरुनारी।।

Agar dhoop bahu janu andhiaaree. udai abheer manahun arunaaree

The fragrant incense smoke appeared like darkness, and the red powder flew like the dawn's redness.

मंदिर मनि समूह जनु तारा। नृप गृह कलस सो इंदु उदारा।।

Mandir mani samooh janu taaraa. nrip grih kalas so indu udaaraa

The jeweled temples appeared like stars, and the golden pinnacles of the royal palace like the generous moon.

भवन बेदधुनि अति मृदु बानी। जनु खग मूखर समयँ जनु सानी।।

Bhavan bedadhuni ati mridu baanee. janu khag mookhar samayan janu saanee

The very sweet sound of Vedic chanting from the houses was like the melodious chirping of birds at dawn.

कौतुक देखि पतंग भुलाना। एक मास तेइँ जात न जाना।।

Kautuk dekhi patang bhulaanaa. eka maas tein jaat na jaanaa

The moths became bewildered seeing this spectacle, and a whole month passed without their knowing.

Commentary & Notes ↓

Notes

Tulsidas names the three mothers with elegant brevity: 'Kaikeyasuta' (daughter of Kekaya) and 'Sumitra dou' (the two shares of Sumitra, who received two portions of the divine payasam). The four brothers are thus accounted for: Rama from Kausalya, Bharata from Kaikeyi, and Lakshmana and Shatrughna from Sumitra. The closing line invokes Sharada (Saraswati, goddess of speech) and Ahiraja (Shesha, king of serpents and narrator of endless tales) as witnesses who would still fall short. This is Tulsidas's deepest bow before the ineffable.

मास दिवस कर दिवस भा मरम न जानइ कोइ।

रथ समेत रबि थाकेउ निसा कवन बिधि होइ।।195।।

Maas divas kar divas bhaa maram na jaanai koi

Rath samet rabi thaakeu nisaa kavan bidhi hoi (195)

दोहा 195

'O Lord, since seeing your two sons, | none else can meet our gaze!'

Their words of love, valor, and might | won everyone's warm praise.

A whole month passed as though it were a single day, yet no one could fathom this secret. The sun, together with his chariot, grew weary and would not set. How, then, could night ever come? Even Surya himself could not bear to leave the sight of baby Rama.

Commentary & Notes ↓

Poddarji's Commentary

हे देव! आपके दोनों बालकोंको देखनेके बाद अब आँखोंके नीचे कोई आता ही नहीं। प्रेम, प्रताप और वीर-रसमें पगी हुई दूतोंकी वचनरचना सबको बहुत प्रिय लगी॥ ३॥

Notes

Doha 195. Tulsidas uses cosmic hyperbole to convey the ecstasy of Rama's birth: time itself bends in devotion. The sun's refusal to set mirrors the feeling of every heart in Ayodhya, unwilling to let go of this blessed moment. 'Ratha sameta Rabi' (the sun with his chariot) is a Puranic image of Surya Deva riding his seven-horsed chariot across the sky.

चौपाई 194
यह रहस्य काहू नहिं जाना। दिन मनि चले करत गुनगाना।।

Yah rahasy kaahoo nahin jaanaa. din mani chale karat gunagaanaa

This secret was known to none, and the days passed with everyone singing praises and celebrating.

देखि महोत्सव सुर मुनि नागा। चले भवन बरनत निज भागा।।

Dekhi mahotsav sur muni naagaa. chale bhavan baranat nij bhaagaa

Seeing the great festival, the gods, sages, and serpents departed to their abodes, describing their good fortune.

औरउ एक कहउँ निज चोरी। सुनु गिरिजा अति दृढ़ मति तोरी।।

Aurau eka kahaun nij choree. sunu girijaa ati dridh mati toree

Now I shall tell you another secret of mine - listen, Girija, for your understanding is very firm.

काक भुसुंडि संग हम दोऊ। मनुजरूप जानइ नहिं कोऊ।।

Kaak bhusundi sang ham dooo. manujaroop jaanai nahin kooo

Kakabhushundi and I both were there in human form, but no one recognized us.

परमानंद प्रेमसुख फूले। बीथिन्ह फिरहिं मगन मन भूले।।

Paramaanand premasukh phoole. beethinh phirahin magan man bhoole

Filled with supreme bliss and the joy of love, we wandered through the streets with minds absorbed in ecstasy.

यह सुभ चरित जान पै सोई। कृपा राम कै जापर होई।।

Yah subh charit jaan pai soee. kripaa raam kai jaapar hoee

Only one upon whom Rama's grace falls can know this auspicious story.

तेहि अवसर जो जेहि बिधि आवा। दीन्ह भूप जो जेहि मन भावा।।

Tehi avasar jo jehi bidhi aavaa. deenh bhoop jo jehi man bhaavaa

At that time, whatever came in whatever manner, the king gave according to what pleased each person's heart.

गज रथ तुरग हेम गो हीरा। दीन्हे नृप नानाबिधि चीरा।।

Gaj rath turag hem go heeraa. deenhe nrip naanaabidhi cheeraa

The king gave elephants, chariots, horses, gold, cows, diamonds, and various kinds of clothing.

Commentary & Notes ↓

Notes

Chaupai 194. 'Dina Mani' (jewel of the day) is a classical epithet for the sun. Even as Surya departs, he does so glorifying Rama. The celestial guests, Sura (gods), Muni (sages), and Naga (serpent beings), return home fulfilled. The phrase 'nija nija bhaga' (each their own portion) suggests that the joy of Rama's birth is infinite, and every being receives as much as their heart can hold.

मन संतोषे सबन्हि के जहँ तहँ देहि असीस।

सकल तनय चिर जीवहुँ तुलसिदास के ईस।।196।।

Man santoshe sabanhi ke jahan tahan dehi asees

Sakal tanay chir jeevahun tulasidaas ke ees (196)

दोहा 196

'Rama and Lakshmana, Dasharatha's sons'; | seeing them, he blessed the pair;

gazing at Rama, his eyes grew still; | at beauty beyond compare.

Every heart was satisfied. Everywhere people gave their blessings: "May all the sons live long! They are the Lords of Tulsidas."

Commentary & Notes ↓

Poddarji's Commentary

[विश्वामित्रजीने कहा;] ये राम और लक्ष्मण राजा दशरथके पुत्र हैं। उनकी सुन्दर जोड़ी देखकर परशुरामजीने आशीर्वाद दिया। कामदेवके भी मदको छुड़ानेवाले श्रीरामचन्द्रजीके अपार रूपको देखकर उनके नेत्र थकित (स्तम्भित) हो रहे॥ ४॥

Notes

Doha 196. Tulsidas breaks the fourth wall of the narrative with tender intimacy, calling Rama and his brothers 'Tulsidas ke Isha' (the Lords of Tulsidas). This is a signature devotional gesture in the Manas: the poet steps into his own poem and offers himself. The collective blessing, 'Sakal tanaya chira jivahu' (may all the sons live long), carries the warmth of an entire kingdom overflowing with love.

चौपाई 195
कछुक दिवस बीते एहि भाँती। जात न जानिअ दिन अरु राती।।

Kachhuk divas beete ehi bhaantee. jaat na jaania din aru raatee

Some days passed in this manner, with day and night passing unnoticed in the joy of the occasion.

नामकरन कर अवसरु जानी। भूप बोलि पठए मुनि ग्यानी।।

Naamakaran kar avasaru jaanee. bhoop boli pathae muni gyaanee

Knowing the proper time for the naming ceremony, the king summoned learned sages.

करि पूजा भूपति अस भाषा। धरिअ नाम जो मुनि गुनि राखा।।

Kari poojaa bhoopati asa bhaashaa. dharia naam jo muni guni raakhaa

After worshipping them, the king spoke thus: 'Please give names that you consider appropriate.'

इन्ह के नाम अनेक अनूपा। मैं नृप कहब स्वमति अनुरूपा।।

Inh ke naam anek anoopaa. main nrip kahab svamati anuroopaa

The sage replied: 'These children have many beautiful names. I shall speak according to my understanding.'

जो आनंद सिंधु सुखरासी। सीकर तें त्रैलोक सुपासी।।

Jo aanand sindhu sukharaasee. seekar ten trailok supaasee

He who is the ocean of bliss and treasure of happiness, from whose mere drop the three worlds are blessed.

सो सुख धाम राम अस नामा। अखिल लोक दायक बिश्रामा।।

So sukh dhaam raam asa naamaa. akhil lok daayak bishraamaa

That abode of happiness shall be named Rama, who gives rest to all the worlds.

बिस्व भरन पोषन कर जोई। ताकर नाम भरत अस होई।।

Bisv bharan poshan kar joee. taakar naam bharat asa hoee

He who nourishes and sustains the universe, his name shall be Bharata.

जाके सुमिरन तें रिपु नासा। नाम सत्रुहन बेद प्रकासा।।

Jaake sumiran ten ripu naasaa. naam satruhan bed prakaasaa

By whose remembrance enemies are destroyed, the Vedas proclaim his name as Shatrughna.

Commentary & Notes ↓

Poddarji's Commentary

लोभी-लोलुप सुन्दर कीर्ति चाहे, कामी मनुष्य निष्कलंकता [चाहे तो] क्या पा सकता है? हरिके चरणोंसे विमुख होकर परम गति (मोक्ष) चाहे;हे राजाओ! [जैसे ये सब असम्भव हैं] वैसा ही तुम्हारा लालच है॥ २॥

Notes

Chaupai 195. The Naamkarana Samskara is one of the sixteen sacred rites (Shodasha Samskaras) in the Hindu tradition, typically performed on the eleventh or twelfth day after birth. Dasharatha's sending for Vasishtha, the royal Kula Guru, reflects the Vedic custom that a realized sage should choose the child's name, for the name carries the vibration of destiny.

लच्छन धाम राम प्रिय सकल जगत आधार।

गुरु बसिष्ट तेहि राखा लछिमन नाम उदार।।197।।

Lachchhan dhaam raam priy sakal jagat aadhaar

Guru basisht tehi raakhaa lachhiman naam udaar (197)

दोहा 197

Blessed with virtues divine and true | Ram's beloved brother too

Vasishtha named with sacred care | Lakshmana, fortune's heir

The abode of all auspicious marks, dear to Rama, the support of the entire world: Guru Vasishtha bestowed upon him the noble name Lakshmana.

Commentary & Notes ↓

Notes

Doha 197. Vasishtha names the second prince Lakshmana, from 'Lakshana' (auspicious mark, sign). Every word of the name-giving is a prophecy: 'Rama Priya' (dear to Rama) foretells the inseparable bond between the two brothers. 'Sakala Jagat Aadhara' (support of the whole world) declares that Lakshmana, as Shesha Naga incarnate, literally upholds creation. The name is not merely a label but a mantra containing his entire divine nature.

चौपाई 196
धरे नाम गुर हृदयँ बिचारी। बेद तत्व नृप तव सुत चारी।।

Dhare naam gur hridayan bichaaree. bed tatv nrip tav sut chaaree

The guru contemplated in his heart and gave them names. O king, your four sons are the very essence of the Vedas.

मुनि धन जन सरबस सिव प्राना। बाल केलि तेहिं सुख माना।।

Muni dhan jan sarabas siv praanaa. baal keli tehin sukh maanaa

The sage's wealth, people, everything, and Shiva's very life - in their childhood play, he found such joy.

बारेहि ते निज हित पति जानी। लछिमन राम चरन रति मानी।।

Baarehi te nij hit pati jaanee. lachhiman raam charan rati maanee

From childhood itself, Lakshmana recognized his own welfare lay with his master, and devoted his love to Rama's feet.

भरत सत्रुहन दूनउ भाई। प्रभु सेवक जसि प्रीति बड़ाई।।

Bharat satruhan doonau bhaaee. prabhu sevak jasi preeti badaaee

Both brothers Bharata and Shatrughna showed the great love and glory befitting servants of the Lord.

स्याम गौर सुंदर दोउ जोरी। निरखहिं छबि जननीं तृन तोरी।।

Syaam gaur sundar dou joree. nirakhahin chhabi jananeen trin toree

The beautiful pair, one dark and one fair, were so lovely that their mothers would forget everything while gazing at their beauty.

चारिउ सील रूप गुन धामा। तदपि अधिक सुखसागर रामा।।

Chaariu seel roop gun dhaamaa. tadapi adhik sukhasaagar raamaa

All four were abodes of virtue, beauty and good qualities, yet Rama was an ocean of supreme bliss.

हृदयँ अनुग्रह इंदु प्रकासा। सूचत किरन मनोहर हासा।।

Hridayan anugrah indu prakaasaa. soochat kiran manohar haasaa

The moon of grace shone in their hearts, revealed by the enchanting rays of their smiles.

कबहुँ उछंग कबहुँ बर पलना। मातु दुलारइ कहि प्रिय ललना।।

Kabahun uchhang kabahun bar palanaa. maatu dulaarai kahi priy lalanaa

Sometimes in the lap, sometimes in the fine cradle, the mothers would lovingly caress them, calling them their dear darlings.

Commentary & Notes ↓

Poddarji's Commentary

मैं चारों वेदोंकी वन्दना करता हूँ, जो संसारसमुद्रके पार होनेके लिये जहाजके समान हैं तथा जिन्हें श्रीरघुनाथजीका निर्मल यश वर्णन करते स्वप्नमें भी खेद नहीं होता।

Notes

Vasishtha names the four princes. 'Muni dhana' = the treasure (dhana) of sages (muni). 'Jana sarabasa' = the everything (sarvasa) of devotees (jana). 'Siva praana' = the very life-force (praana) of Shiva. The verse declares that Ram embodies all that is precious to saints, devotees, and even to Shiva himself. The second couplet restates and deepens the first: Ram is not merely named but recognized as universally known (bidita jahaana).

ब्यापक ब्रह्म निरंजन निर्गुन बिगत बिनोद।

सो अज प्रेम भगति बस कौसल्या के गोद।।198।।

Byaapak brahm niranjan nirgun bigat binod

So aja prem bhagati bas kausalyaa ke god (198)

दोहा 198

Brahman supreme beyond all name | Love's power made Him tame

In mother's lap the Infinite | Rests as her child so sweet

The all-pervading Brahman, stainless, beyond all gunas, beyond every sport and diversion: that Unborn One, bound by the power of love and devotion, now plays in Kausalya's lap.

Commentary & Notes ↓

Notes

One of the Manas's most celebrated theological declarations. 'Vyaapaka Brahma' = the all-pervading Brahman. 'Niranjana' = stainless, untouched by maya. 'Nirguna' = without attributes (in the Vedantic sense). 'Bigata binoda' = beyond all play or amusement. 'Aja' = the unborn, the uncreated. Yet this infinite, formless Reality surrenders to 'prema bhagati', love-filled devotion, and appears as a child in Kausalya's lap (goda). The paradox is the theological heart of the verse: the attributeless consents to limitation out of love.

चौपाई 197
काम कोटि छबि स्याम सरीरा। नील कंज बारिद गंभीरा।।

Kaam koti chhabi syaam sareeraa. neel kanj baarid gambheeraa

His dark body possessed the beauty of millions of Cupids, deep and profound like a blue lotus or rain cloud.

अरुन चरन पकंज नख जोती। कमल दलन्हि बैठे जनु मोती।।

Arun charan pakanj nakh jotee. kamal dalanhi baithe janu motee

His reddish lotus feet shone with the light of nails, like pearls seated upon lotus petals.

रेख कुलिस धवज अंकुर सोहे। नूपुर धुनि सुनि मुनि मन मोहे।।

Rekh kulis dhavaj ankur sohe. noopur dhuni suni muni man mohe

Lines, thunderbolt, flag and sprout marks adorned his feet, whose anklet sounds enchanted the minds of sages.

कटि किंकिनी उदर त्रय रेखा। नाभि गभीर जान जेहि देखा।।

Kati kinkinee udar tray rekhaa. naabhi gabheer jaan jehi dekhaa

A girdle of small bells adorned his waist with three lines on his belly, and a deep navel that revealed his divine nature.

भुज बिसाल भूषन जुत भूरी। हियँ हरि नख अति सोभा रूरी।।

Bhuj bisaal bhooshan jut bhooree. hiyan hari nakh ati sobhaa rooree

His mighty arms were adorned with many ornaments, and on his chest the beautiful marks of Hari's nails shone splendidly.

उर मनिहार पदिक की सोभा। बिप्र चरन देखत मन लोभा।।

Ura manihaar padik kee sobhaa. bipr charan dekhat man lobhaa

The beauty of the sacred thread and necklace on his chest made the Brahmin's mind filled with longing upon seeing it.

कंबु कंठ अति चिबुक सुहाई। आनन अमित मदन छबि छाई।।

Kambu kanth ati chibuk suhaaee. aanan amit madan chhabi chhaaee

His conch-like neck and beautiful chin, with a face radiating the limitless beauty of Cupid.

दुइ दुइ दसन अधर अरुनारे। नासा तिलक को बरनै पारे।।

Dui dui dasan adhar arunaare. naasaa tilak ko baranai paare

Two pairs of teeth and red lips - who could describe the tilaka mark on his nose?

सुंदर श्रवन सुचारु कपोला। अति प्रिय मधुर तोतरे बोला।।

Sundar shravan suchaaru kapolaa. ati priy madhur totare bolaa

Beautiful ears and lovely cheeks, with extremely sweet and charming lisping speech.

चिक्कन कच कुंचित गभुआरे। बहु प्रकार रचि मातु सँवारे।।

Chikkan kach kunchit gabhuaare. bahu prakaar rachi maatu sanvaare

Smooth, curly and thick hair, which his mother had arranged in various beautiful styles.

पीत झगुलिआ तनु पहिराई। जानु पानि बिचरनि मोहि भाई।।

Peet jhaguliaa tanu pahiraaee. jaanu paani bicharani mohi bhaaee

Dressed in yellow silk garments, crawling on knees and hands - this sight enchanted me, brother.

रूप सकहिं नहिं कहि श्रुति सेषा। सो जानइ सपनेहुँ जेहि देखा।।

Roop sakahin nahin kahi shruti seshaa. so jaanai sapanehun jehi dekhaa

Even the Vedas and Shesha cannot describe this beauty - only one who has seen it, even in dreams, can know it.

Commentary & Notes ↓

Poddarji's Commentary

जो नील कमलके समान श्यामवर्ण है, पूर्ण खिले हुए लाल कमलके समान जिनके नेत्र हैं और जो सदा क्षीरसागरमें शयन करते हैं, वे भगवान्‌ (नारायण) मेरे हृदयमें निवास करें॥ ३॥

Notes

'Kaama koti chhabi' = the loveliness of ten million gods of love (Kamadeva). 'Shyaama sharira' = dark-hued body, the characteristic blue-black complexion of Vishnu-Ram. 'Neela kanja' = blue lotus. 'Baarida gambhira' = deep, majestic rain-cloud. 'Aruna charana pankaja' = reddish (aruna) lotus-feet (charana pankaja). 'Nakha joti' = the glow of the toenails. Tulsidas layers natural imagery (lotus, cloud, dawn-light) to evoke the infant's beauty without abstracting it. Each image is both sensory and devotional.

सुख संदोह मोहपर ग्यान गिरा गोतीत।

दंपति परम प्रेम बस कर सिसुचरित पुनीत।।199।।

Sukh sandoh mohapar gyaan giraa goteet

Dampati param prem bas kar sisucharit puneet (199)

दोहा 199

Gautama's wife, cursed to stone, | waits with patience deep,

longing for Your lotus-dust; | O Raghu-hero, mercy keep!

He who is the gathering of all bliss, beyond delusion, beyond knowledge, beyond speech and the reach of the senses: that One, bound by the supreme love of His parents, enacts the sacred play of a child.

Commentary & Notes ↓

Poddarji's Commentary

गौतमकी पत्नी (अहल्या) शापवश पत्थरका शरीर धारण किये हुए धीरजपूर्वक आपके चरणकमलोंकी धूलि चाहती है। हे रघुवीर! कृपा कीजिये॥ २१०॥

Notes

'Sukha sandoha' = the aggregate (sandoha) of bliss (sukha). 'Mohapara' = beyond moha (delusion). 'Gyaana giraa gotita' = beyond knowledge (gyaana), speech (giraa), and the senses (go). 'Dampati parama prema basa' = held captive (basa) by the supreme love (parama prema) of the couple (dampati), i.e., Dasharatha and Kausalya. 'Sishucharita punita' = the pure (punita) play (charita) of a child (sishu). This doha continues the theology of Doha 198: the Absolute performs baby-play not from compulsion but from willing surrender to parental love.

चौपाई 198
एहि बिधि राम जगत पितु माता। कोसलपुर बासिन्ह सुखदाता।।

Ehi bidhi raam jagat pitu maataa. kosalapur baasinh sukhadaataa

In this way, Rama, the father and mother of the world, dwelt in Kosala city as the giver of happiness.

जिन्ह रघुनाथ चरन रति मानी। तिन्ह की यह गति प्रगट भवानी।।

Jinh raghunaath charan rati maanee. tinh kee yah gati pragat bhavaanee

O Bhavani, this is the manifest state of those who have developed love for the feet of Raghunath.

रघुपति बिमुख जतन कर कोरी। कवन सकइ भव बंधन छोरी।।

Raghupati bimukh jatan kar koree. kavan sakai bhav bandhan chhoree

What effort can break the bonds of worldly existence for one who turns away from Raghupati?

जीव चराचर बस कै राखे। सो माया प्रभु सों भय भाखे।।

Jeev charaachar bas kai raakhe. so maayaa prabhu son bhay bhaakhe

That Maya which keeps all moving and non-moving beings under control, speaks fearfully before the Lord.

भृकुटि बिलास नचावइ ताही। अस प्रभु छाड़ि भजिअ कहु काही।।

Bhrikuti bilaas nachaavai taahee. asa prabhu chhaadi bhajia kahu kaahee

The mere play of His eyebrows makes Maya dance - tell me, leaving such a Lord, whom else should one worship?

मन क्रम बचन छाड़ि चतुराई। भजत कृपा करिहहिं रघुराई।।

Man kram bachan chhaadi chaturaaee. bhajat kripaa karihahin raghuraaee

Abandoning cleverness in mind, deed and word, and worshipping Him, Raghurai will bestow His grace.

एहि बिधि सिसुबिनोद प्रभु कीन्हा। सकल नगरबासिन्ह सुख दीन्हा।।

Ehi bidhi sisubinod prabhu keenhaa. sakal nagarabaasinh sukh deenhaa

In this manner the Lord performed His childhood sports and gave happiness to all the city dwellers.

लै उछंग कबहुँक हलरावै। कबहुँ पालनें घालि झुलावै।।

Lai uchhang kabahunk halaraavai. kabahun paalanen ghaali jhulaavai

Sometimes taking Him in her lap she would rock Him, sometimes placing Him in the cradle she would swing Him.

Commentary & Notes ↓

Notes

'Jagata pitu maata' = mother (maata) and father (pitu) of the world (jagat). Ram is both parents to creation. 'Kosalapura baasinha sukhadaata' = giver of happiness (sukhadaata) to the residents (baasinha) of Kosalapura (Ayodhya). 'Jinha Raghunaatha charana rati maani' = those who have accepted (maani) love (rati) for Raghunath's feet (charana). 'Tinha ki yaha gati' = this is their destiny (gati). The verse draws a universal promise from a local scene: whoever loves Ram's feet will find Ram playing as a child in their own household of the heart.

प्रेम मगन कौसल्या निसि दिन जात न जान।

सुत सनेह बस माता बालचरित कर गान।।200।।

Prem magan kausalyaa nisi din jaat na jaan

Sut saneh bas maataa baalacharit kar gaan (200)

दोहा 200

The mute speaks sweet, the lame | climbs peaks beyond all measure;

that grace! May He who burns Kali's sins | show me His mercy's treasure.

Kausalya is lost in love, unaware whether day passes or night. Bound by affection for her son, the mother sings of his childhood play.

Commentary & Notes ↓

Poddarji's Commentary

जिनकी कृपासे गूँगा बहुत सुन्दर बोलनेवाला हो जाता है और लँगड़ा-लूला दुर्गम पहाड़पर चढ़ जाता है, वे कलियुगके सब पापोंको जला डालनेवाले दयालु (भगवान्‌) मुझपर द्रवित हों (दया करें)॥ २॥

Notes

Doha 200. Tulsidas distills the entire mood of these leelas in two lines: Kausalya is so absorbed in motherly love that clock and calendar dissolve. 'Balacharit kar gaan' sets the frame for every episode that follows.

चौपाई 199
एक बार जननीं अन्हवाए। करि सिंगार पलनाँ पौढ़ाए।।

Eka baar jananeen anhavaae. kari singaar palanaan paudhaae

One day, mother Kausalya bathed the child and adorned Him with ornaments, then laid Him in the cradle.

निज कुल इष्टदेव भगवाना। पूजा हेतु कीन्ह अस्नाना।।

Nij kul ishtadev bhagavaanaa. poojaa hetu keenh asnaanaa

She bathed herself to worship the family deity, the Lord who is the chosen God of their lineage.

करि पूजा नैबेद्य चढ़ावा। आपु गई जहँ पाक बनावा।।

Kari poojaa naibedy chadhaavaa. aapu gaee jahan paak banaavaa

After performing worship and offering food to the deity, she went to the kitchen to prepare meals.

बहुरि मातु तहवाँ चलि आई। भोजन करत देख सुत जाई।।

Bahuri maatu tahavaan chali aaee. bhojan karat dekh sut jaaee

When mother returned to that place, she saw her son eating food there.

गै जननी सिसु पहिं भयभीता। देखा बाल तहाँ पुनि सूता।।

Gai jananee sisu pahin bhayabheetaa. dekhaa baal tahaan puni sootaa

The mother went fearfully to the child's side and saw the baby sleeping there again.

बहुरि आइ देखा सुत सोई। हृदयँ कंप मन धीर न होई।।

Bahuri aai dekhaa sut soee. hridayan kamp man dheer na hoee

She came back again and saw the same son there; her heart trembled and her mind found no peace.

इहाँ उहाँ दुइ बालक देखा। मतिभ्रम मोर कि आन बिसेषा।।

Ihaan uhaan dui baalak dekhaa. matibhram mor ki aana biseshaa

She saw two children, here and there - wondering if this was her mental confusion or something extraordinary.

देखि राम जननी अकुलानी। प्रभु हँसि दीन्ह मधुर मुसुकानी।।

Dekhi raam jananee akulaanee. prabhu hansi deenh madhur musukaanee

Seeing Rama, mother became distressed, but the Lord smiled and gave a sweet, gentle smile.

Commentary & Notes ↓

Poddarji's Commentary

पूजा करके नैवेद्य चढ़ाया और स्वयं वहाँ गयी, जहाँ रसोई बनायी गयी थी। फिर माता वहीं (पूजाके स्थानमें) लौट आयी, और वहाँ आनेपर पुत्रको [इष्टदेव भगवान्‌के लिये चढ़ाये हुए नैवेद्यका] भोजन करते देखा॥ २॥

Notes

Chaupai 199. The dramatic irony is exquisite: Kausalya prepares to worship her Ishta Deva, not realizing He is the very child she just placed in the cradle. Tulsidas lets the reader hold both truths at once. The two couplet pairs mark the pivot from tender mothering to sacred ritual.

देखरावा मातहि निज अदभुत रुप अखंड।

रोम रोम प्रति लागे कोटि कोटि ब्रह्मंड।। 201।।

Dekharaavaa maatahi nij adabhut rup akhand

Rom rom prati laage koti koti brahmand (201)

दोहा 201

Mother beheld the cosmic sight | Infinite form of endless might

Every pore held worlds untold | Brahma's vision to unfold

He revealed to His mother His wondrous, undivided form. In every single pore of His body lay crores upon crores of universes.

Commentary & Notes ↓

Notes

Doha 201. The Vishwarupa darshana. 'Adbhut roop akhand' carries two registers: 'akhand' means both 'unbroken, whole' and 'imperishable.' Baby Ram, small enough for a cradle, contains infinite creation in each pore. The word 'dekharaava' (caused her to see) confirms this is an act of grace, not Kausalya's own effort.

चौपाई 200
अगनित रबि ससि सिव चतुरानन। बहु गिरि सरित सिंधु महि कानन।।

Aganit rabi sasi siv chaturaanan. bahu giri sarit sindhu mahi kaanan

Countless suns, moons, Shivas, and Brahmas were visible, along with numerous mountains, rivers, oceans, earth, and forests.

काल कर्म गुन ग्यान सुभाऊ। सोउ देखा जो सुना न काऊ।।

Kaal karm gun gyaan subhaaoo. sou dekhaa jo sunaa na kaaoo

Time, action, qualities, knowledge, and nature - all that which no one had ever seen or heard was revealed.

देखी माया सब बिधि गाढ़ी। अति सभीत जोरें कर ठाढ़ी।।

Dekhee maayaa sab bidhi gaadhee. ati sabheet joren kar thaadhee

She saw Maya in all its profound forms, standing with folded hands in great fear.

देखा जीव नचावइ जाही। देखी भगति जो छोरइ ताही।।

Dekhaa jeev nachaavai jaahee. dekhee bhagati jo chhorai taahee

She saw the being who makes all souls dance, and witnessed devotion that liberates them.

तन पुलकित मुख बचन न आवा। नयन मूदि चरननि सिरु नावा।।

Tan pulakit mukh bachan na aavaa. nayan moodi charanani siru naavaa

Her body thrilled with joy, words failed to come from her mouth, and she closed her eyes and bowed her head at His feet.

बिसमयवंत देखि महतारी। भए बहुरि सिसुरूप खरारी।।

Bisamayavant dekhi mahataaree. bhae bahuri sisuroop kharaaree

Seeing His mother filled with wonder, the destroyer of demons again took the form of a child.

अस्तुति करि न जाइ भय माना। जगत पिता मैं सुत करि जाना।।

Astuti kari na jaai bhay maanaa. jagat pitaa main sut kari jaanaa

Unable to offer praise and feeling afraid, she recognized the Father of the universe as her own son.

हरि जननि बहुबिधि समुझाई। यह जनि कतहुँ कहसि सुनु माई।।

Hari janani bahubidhi samujhaaee. yah jani katahun kahasi sunu maaee

The Lord consoled His mother in many ways, saying 'Listen mother, do not speak of this anywhere.'

Commentary & Notes ↓

Poddarji's Commentary

नगरकी सुन्दरताका वर्णन करते नहीं बनता। मन जहाँ जाता है, वहीं लुभा जाता है। सुन्दर बाजार है, मणियोंसे बने हुए विचित्र छज्जे हैं, मानो ब्रह्माने उन्हें अपने हाथोंसे बनाया है॥

Notes

Chaupai 200. Tulsidas catalogues the vision in widening circles: first celestial bodies, then deities, then geography, then the abstract scaffolding of creation itself (kaal, karma, guna, gyaan, subhaau). The climactic phrase 'sou dekha jo suna na kaau' (she saw what was never even heard of) signals that this darshana exceeds all scripture and report.

बार बार कौसल्या बिनय करइ कर जोरि।।

अब जनि कबहूँ ब्यापै प्रभु मोहि माया तोरि।। 202।।

Baar baar kausalyaa binay karai kar jori

Aba jani kabahoon byaapai prabhu mohi maayaa tori (202)

दोहा 202

With folded hands she prays | again and yet again,

'Let not Your maya, Lord | deceive me once again.'

Again and again Kausalya entreats with joined palms: "O Lord, may Your maya never again envelop me."

Commentary & Notes ↓

Notes

Doha 202. After the Vishwarupa, Kausalya's single prayer is not for wealth or power but for freedom from delusion. 'Ab jani kabahun byaapai prabhu mohi maaya tori' is a complete surrender. She now knows her baby is the Supreme, and her only fear is forgetting that truth again.

चौपाई 201
बालचरित हरि बहुबिधि कीन्हा। अति अनंद दासन्ह कहँ दीन्हा।।

Baalacharit hari bahubidhi keenhaa. ati anand daasanh kahan deenhaa

Lord Hari performed many kinds of childhood pastimes, giving immense joy to His devotees.

कछुक काल बीतें सब भाई। बड़े भए परिजन सुखदाई।।

Kachhuk kaal beeten sab bhaaee. bade bhae parijan sukhadaaee

After some time passed, all the brothers grew up, becoming sources of happiness for their family.

चूड़ाकरन कीन्ह गुरु जाई। बिप्रन्ह पुनि दछिना बहु पाई।।

Choodaakaran keenh guru jaaee. bipranh puni dachhinaa bahu paaee

The guru performed their sacred thread ceremony, and the brahmins received abundant gifts in return.

परम मनोहर चरित अपारा। करत फिरत चारिउ सुकुमारा।।

Param manohar charit apaaraa. karat phirat chaariu sukumaaraa

The four tender princes wandered about performing supremely charming and limitless pastimes.

मन क्रम बचन अगोचर जोई। दसरथ अजिर बिचर प्रभु सोई।।

Man kram bachan agochar joee. dasarath ajir bichar prabhu soee

He who is beyond mind, action, and speech - that very Lord wandered in Dasharatha's courtyard.

भोजन करत बोल जब राजा। नहिं आवत तजि बाल समाजा।।

Bhojan karat bol jab raajaa. nahin aavat taji baal samaajaa

When the king called them for meals, they would not come, unwilling to leave their group of playmates.

कौसल्या जब बोलन जाई। ठुमकु ठुमकु प्रभु चलहिं पराई।।

Kausalyaa jab bolan jaaee. thumaku thumaku prabhu chalahin paraaee

When Kausalya would go to call Him, the Lord would run away with playful, dancing steps.

निगम नेति सिव अंत न पावा। ताहि धरै जननी हठि धावा।।

Nigam neti siv ant na paavaa. taahi dharai jananee hathi dhaavaa

He whom the Vedas declare as 'not this, not this' and whom even Shiva could not fathom - Him the mother stubbornly chases.

धूरस धूरि भरें तनु आए। भूपति बिहसि गोद बैठाए।।

Dhooras dhoori bharen tanu aae. bhoopati bihasi god baithaae

Covered with dust and dirt all over His body, He would come, and the king would laugh and seat Him on his lap.

Commentary & Notes ↓

Notes

Annaprashan (anna = food, prashan = feeding) is the Hindu rite of a child's first solid meal. 'Servants' (dasan) here means devoted attendants of the royal household, not servitude in a worldly sense. Chaupai rendered as two couplet-pairs separated by blank line.

भोजन करत चपल चित इत उत अवसरु पाइ।

भाजि चले किलकत मुख दधि ओदन लपटाइ।।203।।

Bhojan karat chapal chit ita uta avasaru paai

Bhaaji chale kilakat mukh dadhi odan lapataai (203)

दोहा 203

Mid-meal He'd flee | with playful glee,

Curd-stained lips laughing | wild and free.

While eating, with a restless little heart, finding any moment of opportunity, He would dash away laughing, His face smeared with dahi and rice.

Commentary & Notes ↓

Notes

Dahi (curd/yogurt) and odana (cooked rice) are the simple foods of a royal toddler. 'Kilakat' captures the gleeful shrieking of a small child. This is one of the most beloved images in all of Manas: God Himself as a mischievous toddler escaping mealtime. Doha rendered as a single verse.

चौपाई 202
बालचरित अति सरल सुहाए। सारद सेष संभु श्रुति गाए।।

Baalacharit ati saral suhaae. saarad sesh sambhu shruti gaae

The childhood pastimes of Rama were extremely simple and beautiful, which Saraswati, Shesha, Shiva and the Vedas have sung.

जिन कर मन इन्ह सन नहिं राता। ते जन बंचित किए बिधाता।।

Jin kar man inh san nahin raataa. te jan banchit kie bidhaataa

Those whose minds are not attached to these divine stories have been deprived by the Creator.

भए कुमार जबहिं सब भ्राता। दीन्ह जनेऊ गुरु पितु माता।।

Bhae kumaar jabahin sab bhraataa. deenh janeoo guru pitu maataa

When all the brothers became young boys, their father and mother gave them the sacred thread through the guru.

गुरगृहँ गए पढ़न रघुराई। अलप काल बिद्या सब आई।।

Guragrihan gae padhan raghuraaee. alap kaal bidyaa sab aaee

Raghurai went to the guru's house to study, and in a short time all knowledge came to him.

जाकी सहज स्वास श्रुति चारी। सो हरि पढ़ यह कौतुक भारी।।

Jaakee sahaj svaas shruti chaaree. so hari padh yah kautuk bhaaree

He whose natural breath contains the four Vedas - it is a great wonder that this Hari should study!

बिद्या बिनय निपुन गुन सीला। खेलहिं खेल सकल नृपलीला।।

Bidyaa binay nipun gun seelaa. khelahin khel sakal nripaleelaa

Skilled in learning, humility, virtues and good conduct, they play all the royal games.

करतल बान धनुष अति सोहा। देखत रूप चराचर मोहा।।

Karatal baan dhanush ati sohaa. dekhat roop charaachar mohaa

The bow and arrow in their hands looked very beautiful; seeing their form, all moving and non-moving beings were enchanted.

जिन्ह बीथिन्ह बिहरहिं सब भाई। थकित होहिं सब लोग लुगाई।।

Jinh beethinh biharahin sab bhaaee. thakit hohin sab log lugaaee

In whatever streets all the brothers roam, all the men and women become tired from watching them.

Commentary & Notes ↓

Poddarji's Commentary

यों श्रीरामजी छोटे भाईसे बातें कर रहे हैं, पर मन सीताजीके रूपमें लुभाया हुआ उनके मुखरूपी कमलके छबिरूप मकरन्द-रसको भौरेकी तरह पी रहा है॥ २३१॥

Notes

Saraswati (goddess of speech), Shesha (the cosmic serpent who bears the earth), Shambhu (Shiva), and the Shrutis (Vedas) all celebrate Ram's childhood. Tulsidas warns that a heart unmoved by baby Ram's play is barren as a jungle at midnight. 'Bhavan banu rata' literally means 'a forest-dwelling darkness.'

कोसलपुर बासी नर नारि बृद्ध अरु बाल।

प्रानहु ते प्रिय लागत सब कहुँ राम कृपाल।।204।।

Kosalapur baasee nar naari briddh aru baal

Praanahu te priy laagat sab kahun raam kripaal (204)

दोहा 204

Emerald leaves and fruits they made, | ruby flowers so bright;

even Brahma lost his mind | seeing this wondrous sight.

To every man and woman of Kosalapura, young and old alike, the merciful Ram was dearer than life itself.

Commentary & Notes ↓

Poddarji's Commentary

हरी-हरी मणियों (पन्ने) के पत्ते और फल बनाये तथा पद्मराग मणियों (माणिक) के फूल बनाये। मण्डपकी अत्यन्त विचित्र रचना देखकर ब्रह्माका मन भी भूल गया॥ २८६॥

Notes

Kosalapura is Ayodhya, capital of the kingdom of Kosala. 'Pranahu te priya' (dearer than prana, the life-breath) is among the strongest expressions of love in Hindi devotional poetry. The entire city is bound to this child by a love beyond reason.

चौपाई 203
बंधु सखा संग लेहिं बोलाई। बन मृगया नित खेलहिं जाई।।

Bandhu sakhaa sang lehin bolaaee. ban mrigayaa nit khelahin jaaee

He would call his brothers and friends to accompany him, and daily go to the forest to play and hunt.

पावन मृग मारहिं जियँ जानी। दिन प्रति नृपहि देखावहिं आनी।।

Paavan mrig maarahin jiyan jaanee. din prati nripahi dekhaavahin aanee

Knowing them to be pure souls, he would hunt deer and bring them daily to show the king.

जे मृग राम बान के मारे। ते तनु तजि सुरलोक सिधारे।।

Je mrig raam baan ke maare. te tanu taji suralok sidhaare

Those deer that were struck by Rama's arrows would abandon their bodies and proceed to the celestial realm.

अनुज सखा सँग भोजन करहीं। मातु पिता अग्या अनुसरहीं।।

Anuj sakhaa sang bhojan karaheen. maatu pitaa agyaa anusaraheen

He would dine with his younger brothers and friends, always following the commands of his mother and father.

जेहि बिधि सुखी होहिं पुर लोगा। करहिं कृपानिधि सोइ संजोगा।।

Jehi bidhi sukhee hohin pur logaa. karahin kripaanidhi soi sanjogaa

Whatever would make the people of the city happy, that compassionate Lord would arrange.

बेद पुरान सुनहिं मन लाई। आपु कहहिं अनुजन्ह समुझाई।।

Bed puraan sunahin man laaee. aapu kahahin anujanh samujhaaee

He would listen to the Vedas and Puranas with attention, and would himself narrate and explain them to his younger brothers.

प्रातकाल उठि कै रघुनाथा। मातु पिता गुरु नावहिं माथा।।

Praatakaal uthi kai raghunaathaa. maatu pitaa guru naavahin maathaa

Rising early in the morning, Raghunath would bow his head to his mother, father, and guru.

आयसु मागि करहिं पुर काजा। देखि चरित हरषइ मन राजा।।

Aayasu maagi karahin pur kaajaa. dekhi charit harashai man raajaa

Seeking permission, he would attend to the affairs of the city, and seeing his conduct, the king's heart would rejoice.

Commentary & Notes ↓

Notes

Mrigaya (forest hunting) was a standard princely education activity. Tulsidas is careful to note the brothers killed only 'pavan mrig' understood here as demonic beings disguised as animals, not innocent wildlife. 'Guru' refers to Vasishtha, the royal preceptor. The verse pairs martial training with scholarly instruction, showing the fullness of a Kshatriya prince's upbringing.

ब्यापक अकल अनीह अज निर्गुन नाम न रूप।

भगत हेतु नाना बिधि करत चरित्र अनूप।।205।।

Byaapak akal aneeh aja nirgun naam na roop

Bhagat hetu naanaa bidhi karat charitr anoop (205)

दोहा 205

Janak called the bards who came | singing praise so fair;

'Announce my vow,' he said; they went | with joyful hearts to share.

All-pervading, beyond perception, desireless, unborn, beyond all qualities, without name or form. Yet for the sake of His devotees, He enacts incomparable deeds in countless ways.

Commentary & Notes ↓

Poddarji's Commentary

तब राजा जनकने बंदीजनों (भाटों) को बुलाया। वे विरुदावली (वंशकी कीर्ति) गाते हुए चले आये। राजाने कहा;जाकर मेरा प्रण सबसे कहो। भाट चले, उनके हृदयमें कम आनन्द न था॥ ४॥

Notes

Doha 205. Tulsidas declares the paradox at the heart of the Ramcharitmanas: the formless Absolute willingly takes form out of love for those who call on Him. 'Byapak' (all-pervading) and 'nirguna' (beyond qualities) are Vedantic terms; 'bhagat hetu' (for the sake of devotees) is the bridge to bhakti. No philosophical abstraction is left cold here; every attribute of transcendence bends toward grace.

चौपाई 204
यह सब चरित कहा मैं गाई। आगिलि कथा सुनहु मन लाई।।

Yah sab charit kahaa main gaaee. aagili kathaa sunahu man laaee

All this story I have sung and narrated. Now listen with attention to the next tale.

बिस्वामित्र महामुनि ग्यानी। बसहि बिपिन सुभ आश्रम जानी।।

Bisvaamitr mahaamuni gyaanee. basahi bipin subh aashram jaanee

The great sage Vishwamitra, wise and learned, dwells in the forest in his beautiful hermitage.

जहँ जप जग्य मुनि करही। अति मारीच सुबाहुहि डरहीं।।

Jahan jap jagy muni karahee. ati maareech subaahuhi daraheen

Where the sage performs prayers and sacrifices, the demons Maricha and Subahu cause great fear.

देखत जग्य निसाचर धावहि। करहि उपद्रव मुनि दुख पावहिं।।

Dekhat jagy nisaachar dhaavahi. karahi upadrav muni dukh paavahin

Seeing the sacrifices, the demons rush forth and create disturbances, causing suffering to the sages.

गाधितनय मन चिंता ब्यापी। हरि बिनु मरहि न निसिचर पापी।।

Gaadhitanay man chintaa byaapee. hari binu marahi na nisichar paapee

Worry filled the mind of Gadhi's son (Vishwamitra), for without Hari's help, these sinful demons cannot be slain.

तब मुनिवर मन कीन्ह बिचारा। प्रभु अवतरेउ हरन महि भारा।।

Tab munivar man keenh bichaaraa. prabhu avatareu haran mahi bhaaraa

Then the great sage reflected in his mind that the Lord has incarnated to remove the earth's burden.

एहुँ मिस देखौं पद जाई। करि बिनती आनौ दोउ भाई।।

Ehun mis dekhaun pad jaaee. kari binatee aanau dou bhaaee

Under this pretext, I shall go to His feet and humbly request to bring both brothers.

ग्यान बिराग सकल गुन अयना। सो प्रभु मै देखब भरि नयना।।

Gyaan biraag sakal gun ayanaa. so prabhu mai dekhab bhari nayanaa

That Lord who is the mirror of knowledge, detachment and all virtues - Him I shall behold with my eyes filled with joy.

Commentary & Notes ↓

Poddarji's Commentary

उस समय सीताजीको देखकर कुछ राजा मूढ़ राजा मनमें बहुत तमतमाये। वे अभागे उठ-उठकर, कवच पहनकर, जहाँ-तहाँ गाल बजाने लगे॥ १॥

Notes

Chaupai 204. Tulsidas signals a narrative turning point. The phrase 'mana lai' (with full attention) is a gentle command from poet to listener, a hallmark of the Manas storytelling style. Vishwamitra's forest retreat and the demons' harassment set the stage for the sage's journey to Ayodhya, the moment that will draw young Ram into the wider world.

बहुबिधि करत मनोरथ जात लागि नहिं बार।

करि मज्जन सरऊ जल गए भूप दरबार।।206।।

Bahubidhi karat manorath jaat laagi nahin baar

Kari majjan saraoo jal gae bhoop darabaar (206)

दोहा 206

Time flowed like Sarayu's | sacred stream,

As princes lived | dharma's golden dream.

Making many hopeful wishes along the way, the journey seemed to pass in no time at all. Having bathed in the waters of the Saryu (Sarayu), he went to the king's court.

Commentary & Notes ↓

Notes

Doha 206. Vishwamitra's eagerness swallows the distance; Tulsidas compresses the entire journey into a single couplet. The bathing in the Saryu before entering the court is both ritual purification and narrative pacing. 'Manorath' (heart's wishes) hints that the sage already knows what he will ask for, and his joy makes the road feel short.

चौपाई 205
मुनि आगमन सुना जब राजा। मिलन गयऊ लै बिप्र समाजा।।

Muni aagaman sunaa jab raajaa. milan gayaoo lai bipr samaajaa

When the king heard of the sage's arrival, he went to meet him accompanied by the assembly of Brahmins.

करि दंडवत मुनिहि सनमानी। निज आसन बैठारेन्हि आनी।।

Kari dandavat munihi sanamaanee. nij aasan baithaarenhi aanee

Bowing down respectfully, he honored the sage and brought him to sit on his own seat.

चरन पखारि कीन्हि अति पूजा। मो सम आजु धन्य नहिं दूजा।।

Charan pakhaari keenhi ati poojaa. mo sam aaju dhany nahin doojaa

He washed the sage's feet and worshipped him with great devotion, saying 'Today none is more blessed than I.'

बिबिध भाँति भोजन करवावा। मुनिवर हृदयँ हरष अति पावा।।

Bibidh bhaanti bhojan karavaavaa. munivar hridayan harash ati paavaa

He arranged various kinds of food for the sage, and the great sage felt immense joy in his heart.

पुनि चरननि मेले सुत चारी। राम देखि मुनि देह बिसारी।।

Puni charanani mele sut chaaree. raam dekhi muni deh bisaaree

Then he brought his four sons to touch the sage's feet, and upon seeing Rama, the sage forgot his own body.

भए मगन देखत मुख सोभा। जनु चकोर पूरन ससि लोभा।।

Bhae magan dekhat mukh sobhaa. janu chakor pooran sasi lobhaa

He became absorbed in gazing at Rama's beautiful face, like a chakora bird enchanted by the full moon.

तब मन हरषि बचन कह राऊ। मुनि अस कृपा न कीन्हिहु काऊ।।

Tab man harashi bachan kah raaoo. muni asa kripaa na keenhihu kaaoo

Then with a joyful heart, the king spoke these words: 'No sage has ever shown such grace to anyone.'

केहि कारन आगमन तुम्हारा। कहहु सो करत न लावउँ बारा।।

Kehi kaaran aagaman tumhaaraa. kahahu so karat na laavaun baaraa

Tell me the purpose of your visit, and I shall fulfill it without delay.

असुर समूह सतावहिं मोही। मै जाचन आयउँ नृप तोही।।

Asur samooh sataavahin mohee. mai jaachan aayaun nrip tohee

A host of demons torments me, O king, I have come to you as a supplicant.

अनुज समेत देहु रघुनाथा। निसिचर बध मैं होब सनाथा।।

Anuj samet dehu raghunaathaa. nisichar badh main hob sanaathaa

Give me Raghunatha along with his younger brother, so that I may be protected in slaying the demons.

Commentary & Notes ↓

Notes

Chaupai 205. Dasharatha's response is a masterclass in royal humility: he does not summon the sage but goes out to greet him, accompanied by learned Brahmins. 'Dandavat' (full prostration, literally 'falling like a staff') is the deepest physical gesture of respect. Offering his own seat (nija asana) signals that the king places wisdom above sovereignty. 'Jani' (knowing) tells us this is not mere protocol but heartfelt recognition.

देहु भूप मन हरषित तजहु मोह अग्यान।

धर्म सुजस प्रभु तुम्ह कौं इन्ह कहँ अति कल्यान।।207।।

Dehu bhoop man harashit tajahu moh agyaan

Dharm sujas prabhu tumh kaun inh kahan ati kalyaan (207)

दोहा 207

Give them gladly, cast off fear | dharma's glory you shall win

For the princes highest good | and your fame shall never dim

"Give them gladly, O king, and set aside all delusion and ignorance. This will bring you dharma and noble fame, and to your sons, the highest blessing."

Commentary & Notes ↓

Notes

Doha 207. Vishwamitra's request is both a command and a benediction. 'Mana harshit' (with a happy heart) is not a pleasantry but a spiritual instruction: give without grief, for attachment would diminish the gift. 'Moha agyaan' (delusion and ignorance) names the only real obstacles. The verse promises a double reward: dharma and fame for the father, 'ati kalyana' (supreme welfare) for the sons. Tulsidas frames the apparent sacrifice as the door to grace.

चौपाई 206
सुनि राजा अति अप्रिय बानी। हृदय कंप मुख दुति कुमुलानी।।

Suni raajaa ati apriy baanee. hriday kamp mukh duti kumulaanee

Hearing these most unpleasant words, the king's heart trembled and the radiance of his face withered.

चौथेंपन पायउँ सुत चारी। बिप्र बचन नहिं कहेहु बिचारी।।

Chauthempan paayaun sut chaaree. bipr bachan nahin kahehu bichaaree

In my old age I have obtained four sons. O Brahmin, you have not spoken with proper consideration.

मागहु भूमि धेनु धन कोसा। सर्बस देउँ आजु सहरोसा।।

Maagahu bhoomi dhenu dhan kosaa. sarbas deun aaju saharosaa

Ask for land, cows, wealth, or treasures - I will give you everything today with joy.

देह प्रान तें प्रिय कछु नाही। सोउ मुनि देउँ निमिष एक माही।।

Deh praan ten priy kachhu naahee. sou muni deun nimish eka maahee

There is nothing dearer to me than life itself, yet even that I would give to you, O sage, in an instant.

सब सुत प्रिय मोहि प्रान कि नाईं। राम देत नहिं बनइ गोसाई।।

Sab sut priy mohi praan ki naaeen. raam det nahin banai gosaaee

All my sons are dear to me as my very life, but I cannot give Rama, O lord.

कहँ निसिचर अति घोर कठोरा। कहँ सुंदर सुत परम किसोरा।।

Kahan nisichar ati ghor kathoraa. kahan sundar sut param kisoraa

Where are the terribly fierce and cruel demons, and where is my beautiful, supremely tender son?

सुनि नृप गिरा प्रेम रस सानी। हृदयँ हरष माना मुनि ग्यानी।।

Suni nrip giraa prem ras saanee. hridayan harash maanaa muni gyaanee

Hearing the king's words steeped in the essence of love, the wise sage felt joy in his heart.

तब बसिष्ट बहु निधि समुझावा। नृप संदेह नास कहँ पावा।।

Tab basisht bahu nidhi samujhaavaa. nrip sandeh naas kahan paavaa

Then Vasishtha explained many profound truths and removed the king's doubts completely.

अति आदर दोउ तनय बोलाए। हृदयँ लाइ बहु भाँति सिखाए।।

Ati aadar dou tanay bolaae. hridayan laai bahu bhaanti sikhaae

With great reverence he called both sons and embraced them to his heart, instructing them in many ways.

मेरे प्रान नाथ सुत दोऊ। तुम्ह मुनि पिता आन नहिं कोऊ।।

Mere praan naath sut dooo. tumh muni pitaa aana nahin kooo

Both of you are the lords of my life, my sons. The sage is your father - there is no other.

Commentary & Notes ↓

Poddarji's Commentary

धीर बुद्धिवाले भाट, मागध और सूतलोग विरुदावली (कीर्ति) का बखान कर रहे हैं। सब लोग घोड़े, हाथी, धन, मणि और वस्त्र निछावर कर रहे हैं॥ २६२॥

Notes

Dasharatha's anguish at Vishwamitra's demand. 'Bipra bachana' (a Brahmin's words) signals the sacred weight of the sage's request. The simile of the wilting face (mukh duti kumulaani) evokes a flower closing at nightfall. The king is torn between fatherly love and dharmic duty.

सौंपे भूप रिषिहि सुत बहु बिधि देइ असीस।

जननी भवन गए प्रभु चले नाइ पद सीस।।208(क)।।

पुरुषसिंह दोउ बीर हरषि चले मुनि भय हरन।।

कृपासिंधु मतिधीर अखिल बिस्व कारन करन।।208(ख)।।

Saumpe bhoop rishihi sut bahu bidhi dei asees

Jananee bhavan gae prabhu chale naai pad sees.208(ka)

Purushasinh dou beer harashi chale muni bhay haran

Kripaasindhu matidheer akhil bisv kaaran karan.208(kha)

सोरठा 208

The king gave both sons to the sage: | 'Bless them, dearer than sons!'

They went to mother's rooms;she turned | away with loving ones.

The king entrusted his sons to the rishi, bestowing blessings in many ways. The Lord visited His mother's quarters to take leave, then departed, bowing His head at her feet.

Commentary & Notes ↓

Poddarji's Commentary

राजाने दोनों पुत्रोंको ऋषिको सौंप दिया। [राजाने कहा;] जो पुत्रोंसे भी प्यारे हैं, उन्हें आशीर्वाद दीजिये। दोनों प्रभु माताओंके घरमें गये। [उनके मुखको] देखकर माताओंने स्नेहसे मुँह फेर लिया॥ २॥

Notes

Doha 208(ka). 'Bahut bidhi dei aseesa' conveys the king's layered blessings, each one a prayer for safety. Ram's visit to His mother (janani bhavana) before departing shows tender filial devotion. 'Naai pada seesa' (bowing head at her feet) is the classic gesture of pranama.

चौपाई 207
अरुन नयन उर बाहु बिसाला। नील जलज तनु स्याम तमाला।।

Arun nayan ura baahu bisaalaa. neel jalaj tanu syaam tamaalaa

With red-lotus eyes, broad chest and mighty arms, His body dark as a blue lotus and tamala tree.

कटि पट पीत कसें बर भाथा। रुचिर चाप सायक दुहुँ हाथा।।

Kati pat peet kasen bar bhaathaa. ruchir chaap saayak duhun haathaa

Yellow silk cloth tied at His waist with a fine belt, beautiful bow and arrows held in both hands.

स्याम गौर सुंदर दोउ भाई। बिस्बामित्र महानिधि पाई।।

Syaam gaur sundar dou bhaaee. bisbaamitr mahaanidhi paaee

Both brothers, one dark and one fair, were beautiful, and Vishwamitra had found a great treasure.

प्रभु ब्रह्मन्यदेव मै जाना। मोहि निति पिता तजेहु भगवाना।।

Prabhu brahmanyadev mai jaanaa. mohi niti pitaa tajehu bhagavaanaa

I know You as the Lord who protects Brahmins, O God who always abandons me like a father.

चले जात मुनि दीन्हि दिखाई। सुनि ताड़का क्रोध करि धाई।।

Chale jaat muni deenhi dikhaaee. suni taadakaa krodh kari dhaaee

As they were going, the sage pointed out Tadaka, who upon hearing this rushed forward in rage.

एकहिं बान प्रान हरि लीन्हा। दीन जानि तेहि निज पद दीन्हा।।

Ekahin baan praan hari leenhaa. deen jaani tehi nij pad deenhaa

With a single arrow He took her life, and knowing her to be wretched, granted her His own abode.

तब रिषि निज नाथहि जियँ चीन्ही। बिद्यानिधि कहुँ बिद्या दीन्ही।।

Tab rishi nij naathahi jiyan cheenhee. bidyaanidhi kahun bidyaa deenhee

Then the sage recognized his Lord in his heart and bestowed divine knowledge upon the treasure of wisdom.

जाते लाग न छुधा पिपासा। अतुलित बल तनु तेज प्रकासा।।

Jaate laag na chhudhaa pipaasaa. atulit bal tanu tej prakaasaa

By which neither hunger nor thirst could touch Him, and His body blazed with incomparable strength and radiance.

Commentary & Notes ↓

Poddarji's Commentary

उनके नेत्र लाल और भौंहें टेढ़ी हो गयीं और वे क्रोधसे राजाओंकी ओर देखने लगे; मानो मतवाले हाथियोंका झुंड देखकर सिंहके बच्चेको जोश आ गया हो॥ २६७॥

Notes

A head-to-hand portrait of young Ram setting out. 'Neela jalaja' (blue lotus) and 'shyama tamala' (dark tamala tree) are classic comparisons for Vishnu's complexion. 'Pita pata' (yellow cloth) signals His divine identity. The quiver (bhaatha) and bow (chaapa) mark the transition from prince to warrior-protector.

आयुष सब समर्पि कै प्रभु निज आश्रम आनि।

कंद मूल फल भोजन दीन्ह भगति हित जानि।।209।।

Aayush sab samarpi kai prabhu nij aashram aani

Kand mool phal bhojan deenh bhagati hit jaani (209)

दोहा 209

Their lives devoted to the Lord | to ashram brought with care

Roots and fruits for holy food | devotion's path to share

Having offered up the fruit of all his austerities, the sage brought the Lord to his own ashram. Knowing Ram to be the very object of devotion, he served Him roots, tubers, and fruits to eat.

Commentary & Notes ↓

Notes

Doha 209. 'Aayusha sab samarpi kai' means Vishwamitra surrendered his entire spiritual merit to welcome God. The simple forest meal of kanda (tubers), moola (roots), and phala (fruits) becomes prasaada when offered with bhakti. The sage recognizes Ram not merely as a prince but as the Supreme worthy of worship.

चौपाई 208
प्रात कहा मुनि सन रघुराई। निर्भय जग्य करहु तुम्ह जाई।।

Praat kahaa muni san raghuraaee. nirbhay jagy karahu tumh jaaee

In the morning, Raghurai spoke to the sage, saying 'Go fearlessly and perform your sacrifice.'

होम करन लागे मुनि झारी। आपु रहे मख कीं रखवारी।।

Hom karan laage muni jhaaree. aapu rahe makh keen rakhavaaree

The sages began performing the fire sacrifice, while Rama himself remained as the guardian of the ritual.

सुनि मारीच निसाचर क्रोही। लै सहाय धावा मुनिद्रोही।।

Suni maareech nisaachar krohee. lai sahaay dhaavaa munidrohee

Hearing this, the wrathful demon Maricha, enemy of sages, rushed forth with his allies.

बिनु फर बान राम तेहि मारा। सत जोजन गा सागर पारा।।

Binu phar baan raam tehi maaraa. sat jojan gaa saagar paaraa

Rama struck him with an arrow without an iron tip, sending him a hundred leagues across the ocean.

पावक सर सुबाहु पुनि मारा। अनुज निसाचर कटकु सँघारा।।

Paavak sar subaahu puni maaraa. anuj nisaachar kataku sanghaaraa

Then with a fiery arrow he slew Subahu, and Lakshmana destroyed the demon army.

मारि असुर द्विज निर्मयकारी। अस्तुति करहिं देव मुनि झारी।।

Maari asur dvij nirmayakaaree. astuti karahin dev muni jhaaree

Having slain the demons and made the brahmins fearless, the gods and sages praised them.

तहँ पुनि कछुक दिवस रघुराया। रहे कीन्हि बिप्रन्ह पर दाया।।

Tahan puni kachhuk divas raghuraayaa. rahe keenhi bipranh par daayaa

Raghurai then stayed there for some more days, showing compassion to the brahmins.

भगति हेतु बहु कथा पुराना। कहे बिप्र जद्यपि प्रभु जाना।।

Bhagati hetu bahu kathaa puraanaa. kahe bipr jadyapi prabhu jaanaa

For the sake of devotion, the brahmins told many ancient stories, though the Lord already knew them.

तब मुनि सादर कहा बुझाई। चरित एक प्रभु देखिअ जाई।।

Tab muni saadar kahaa bujhaaee. charit eka prabhu dekhia jaaee

Then the sage respectfully explained and said, 'O Lord, there is one spectacle that should be seen.'

धनुषजग्य मुनि रघुकुल नाथा। हरषि चले मुनिबर के साथा।।

Dhanushajagy muni raghukul naathaa. harashi chale munibar ke saathaa

The bow sacrifice, O Lord of Raghu's clan! Joyfully they departed with the great sage.

आश्रम एक दीख मग माहीं। खग मृग जीव जंतु तहँ नाहीं।।

Aashram eka deekh mag maaheen. khag mrig jeev jantu tahan naaheen

They saw an ashram on the way where no birds, beasts, or living creatures were present.

पूछा मुनिहि सिला प्रभु देखी। सकल कथा मुनि कहा बिसेषी।।

Poochhaa munihi silaa prabhu dekhee. sakal kathaa muni kahaa biseshee

Seeing a stone, the Lord asked the sage, who told the entire story in detail.

Commentary & Notes ↓

Notes

Ram's assurance ('nirbhaya jagya karahu') transforms the mood from years of dread to confident worship. 'Homa karana laage muni jhaari' shows the sages pouring oblations with renewed zeal. Ram standing as protector (makha ki rakhavaari) foreshadows the slaying of Tadaka and Subahu. The boy-prince assumes the role of divine guardian.

गौतम नारि श्राप बस उपल देह धरि धीर।

चरन कमल रज चाहति कृपा करहु रघुबीर।।210।।

Gautam naari shraap bas upal deh dhari dheer

Charan kamal raj chaahati kripaa karahu raghubeer (210)

दोहा 210

Shankara's bow the ship, | Rama's arm the sea;

all who boarded in delusion | drowned in that debris.

Gautama's wife Ahalya, bound by a curse, bore her body of stone with quiet patience. She longed for the dust of His lotus feet. "Show Your mercy, O Raghuvir (hero of the Raghu line)."

Commentary & Notes ↓

Poddarji's Commentary

शिवजीका धनुष जहाज है और श्रीरामचन्द्रजीकी भुजाओंका बल समुद्र है। [धनुष टूटनेसे] वह सारा समाज डूब गया, जो मोहवश पहले इस जहाजपर चढ़ा था॥ २६१॥

Notes

Doha 210. Ahalya's longing is the longing of every jiva trapped in material existence. 'Upal deha' (stone body) is both literal curse and metaphor for the soul encased in inert matter. Her sole prayer is for the touch of Ram's feet, the classical act of divine grace in Vaishnava theology.

छन्द 22
परसत पद पावन सोक नसावन प्रगट भई तपपुंज सही।

देखत रघुनायक जन सुख दायक सनमुख होइ कर जोरि रही।।

अति प्रेम अधीरा पुलक सरीरा मुख नहिं आवइ बचन कही।

अतिसय बड़भागी चरनन्हि लागी जुगल नयन जलधार बही।।

धीरजु मन कीन्हा प्रभु कहुँ चीन्हा रघुपति कृपाँ भगति पाई।

अति निर्मल बानीं अस्तुति ठानी ग्यानगम्य जय रघुराई।।

मै नारि अपावन प्रभु जग पावन रावन रिपु जन सुखदाई।

राजीव बिलोचन भव भय मोचन पाहि पाहि सरनहिं आई।।

मुनि श्राप जो दीन्हा अति भल कीन्हा परम अनुग्रह मैं माना।

देखेउँ भरि लोचन हरि भवमोचन इहइ लाभ संकर जाना।।

बिनती प्रभु मोरी मैं मति भोरी नाथ न मागउँ बर आना।

पद कमल परागा रस अनुरागा मम मन मधुप करै पाना।।

जेहिं पद सुरसरिता परम पुनीता प्रगट भई सिव सीस धरी।

सोइ पद पंकज जेहि पूजत अज मम सिर धरेउ कृपाल हरी।।

एहि भाँति सिधारी गौतम नारी बार बार हरि चरन परी।

जो अति मन भावा सो बरु पावा गै पतिलोक अनंद भरी।।

Parasat pad paavan sok nasaavan pragat bhaee tapapunj sahee

Dekhat raghunaayak jan sukh daayak sanamukh hoi kar jori rahee

Ati prem adheeraa pulak sareeraa mukh nahin aavai bachan kahee

Atisay badabhaagee charananhi laagee jugal nayan jaladhaar bahee

Dheeraju man keenhaa prabhu kahun cheenhaa raghupati kripaan bhagati paaee

Ati nirmal baaneen astuti thaanee gyaanagamy jay raghuraaee

Mai naari apaavan prabhu jag paavan raavan ripu jan sukhadaaee

Raajeev bilochan bhav bhay mochan paahi paahi saranahin aaee

Muni shraap jo deenhaa ati bhal keenhaa param anugrah main maanaa

Dekheun bhari lochan hari bhavamochan ihai laabh sankar jaanaa

Binatee prabhu moree main mati bhoree naath na maagaun bar aanaa

Pad kamal paraagaa ras anuraagaa mam man madhup karai paanaa

Jehin pad surasaritaa param puneetaa pragat bhaee siv sees dharee

Soi pad pankaj jehi poojat aja mam sir dhareu kripaal haree

Ehi bhaanti sidhaaree gautam naaree baar baar hari charan paree

Jo ati man bhaavaa so baru paavaa gai patilok anand bharee

At dawn the lilies closed, stars' light grew dim and thin;

just so all kings lost their might | hearing that You came herein.

At the touch of those holy feet, destroyer of all sorrow, she appeared in her true form, radiant with the power of her long tapas (austerities). Beholding Raghunayaka (Lord of the Raghus), the giver of joy to His devotees, she stood before Him with palms joined together.

Commentary & Notes ↓

Poddarji's Commentary

अरुणोदय होनेसे कुमुदिनी सकुचा गयी और तारागणोंका प्रकाश फीका पड़ गया, जिस प्रकार आपका आना सुनकर सब राजा बलहीन हो गये हैं॥ २३८॥

Notes

Chhand 22. The moment of Ahalya's liberation. 'Parasat pad pavan' echoes the famous 'parasat pada pavana' line beloved in kirtan. 'Tapa-punja' (mass of tapas) tells us her centuries of suffering were not wasted but became spiritual fire. Her first act upon release is not speech but worship: hands folded, face turned toward her Lord.

अस प्रभु दीनबंधु हरि कारन रहित दयाल।

तुलसिदास सठ तेहि भजु छाड़ि कपट जंजाल।।211।।

Asa prabhu deenabandhu hari kaaran rahit dayaal

Tulasidaas sath tehi bhaju chhaadi kapat janjaal (211)

दोहा 211

Friend of humble, causeless grace | Hari's mercy ever flows

Tulsidas, leave false ways | in His love find sweet repose

Such is the Lord, friend of the lowly, Hari, compassionate without any cause. O foolish Tulsidas, worship Him alone and abandon the tangled web of deceit.

Commentary & Notes ↓

Notes

Doha 211. Tulsidas breaks the narrative to address himself directly, a hallmark of his poetry. 'Karan rahit dayal' (compassionate without cause) is a core Vaishnava teaching: God's grace is nirhetu, unconditional. The poet calls himself 'sattha' (fool) as an act of humility and as instruction to every listener.

चौपाई 209
चले राम लछिमन मुनि संगा। गए जहाँ जग पावनि गंगा।।

Chale raam lachhiman muni sangaa. gae jahaan jag paavani gangaa

Rama and Lakshmana departed with the sage, going to where the sacred Ganga flows.

गाधिसूनु सब कथा सुनाई। जेहि प्रकार सुरसरि महि आई।।

Gaadhisoonu sab kathaa sunaaee. jehi prakaar surasari mahi aaee

Gadhisunu (Vishwamitra) narrated the complete story of how the celestial river came to earth.

तब प्रभु रिषिन्ह समेत नहाए। बिबिध दान महिदेवन्हि पाए।।

Tab prabhu rishinh samet nahaae. bibidh daan mahidevanhi paae

Then the Lord bathed along with the sages, and the Brahmins received various gifts.

हरषि चले मुनि बृंद सहाया। बेगि बिदेह नगर निअराया।।

Harashi chale muni brind sahaayaa. begi bideh nagar niaraayaa

The group of sages departed joyfully, quickly approaching the city of Videha.

पुर रम्यता राम जब देखी। हरषे अनुज समेत बिसेषी।।

Pur ramyataa raam jab dekhee. harashe anuj samet biseshee

When Rama saw the beauty of the city, He rejoiced greatly along with His younger brother.

बापीं कूप सरित सर नाना। सलिल सुधासम मनि सोपाना।।

Baapeen koop sarit sar naanaa. salil sudhaasam mani sopaanaa

There were wells, tanks, rivers and lakes of various kinds, with waters pure as nectar and jeweled steps.

गुंजत मंजु मत्त रस भृंगा। कूजत कल बहुबरन बिहंगा।।

Gunjat manju matt ras bhringaa. koojat kal bahubaran bihangaa

Intoxicated bees hummed sweetly, and colorful birds sang melodiously.

बरन बरन बिकसे बन जाता। त्रिबिध समीर सदा सुखदाता।।

Baran baran bikase ban jaataa. tribidh sameer sadaa sukhadaataa

Gardens bloomed with flowers of every hue, and the threefold breeze always brought comfort.

Commentary & Notes ↓

Notes

Chaupai 209. The journey shifts from Ahalya's ashram toward Mithila. 'Jag pavani Ganga' (world-purifying Ganga) underscores the river as a living presence of grace. Vishwamitra, called 'Gadhi-sunu' (son of Gadhi), narrates the Ganga's descent, linking one act of divine compassion (Ahalya's liberation) to another (Bhagiratha's bringing the Ganga to earth).

सुमन बाटिका बाग बन बिपुल बिहंग निवास।

फूलत फलत सुपल्लवत सोहत पुर चहुँ पास।।212।।

Suman baatikaa baag ban bipul bihang nivaas

Phoolat phalat supallavat sohat pur chahun paas (212)

दोहा 212

Gardens bloom and forests flourish green | with birds in every tree,

All around the city's borders | beauty flows abundantly.

Flower gardens, orchards, and forests, homes to countless birds. Blooming, fruiting, rich with tender leaves, they graced the city on all four sides.

Commentary & Notes ↓

Notes

Doha 212. The first glimpse of Mithila (Janakpur). Tulsidas paints the city as a living garden: 'phulat phalat su-pallavat' (blooming, fruiting, leafing) uses a triple present participle to make the landscape breathe. Nature itself is celebrating, as though it knows the wedding of Ram and Sita draws near.

चौपाई 210
बनइ न बरनत नगर निकाई। जहाँ जाइ मन तहँइँ लोभाई।।

Banai na baranat nagar nikaaee. jahaan jaai man tahanin lobhaaee

The beauty of the city cannot be described in words. Wherever the mind goes, it becomes enchanted by its splendor.

चारु बजारु बिचित्र अँबारी। मनिमय बिधि जनु स्वकर सँवारी।।

Chaaru bajaaru bichitr anbaaree. manimay bidhi janu svakar sanvaaree

The beautiful markets have wonderful shops, as if Brahma himself had adorned them with his own hands using precious gems.

धनिक बनिक बर धनद समाना। बैठ सकल बस्तु लै नाना।।

Dhanik banik bar dhanad samaanaa. baith sakal bastu lai naanaa

The wealthy merchants are like Kubera, the god of wealth, sitting with various goods and treasures.

चौहट सुंदर गलीं सुहाई। संतत रहहिं सुगंध सिंचाई।।

Chauhat sundar galeen suhaaee. santat rahahin sugandh sinchaaee

The crossroads are beautiful and the streets are lovely, constantly perfumed with sweet fragrances.

मंगलमय मंदिर सब केरें। चित्रित जनु रतिनाथ चितेरें।।

Mangalamay mandir sab keren. chitrit janu ratinaath chiteren

Everyone's houses are auspicious and beautiful, as if painted by Kamadeva, the god of love, himself.

पुर नर नारि सुभग सुचि संता। धरमसील ग्यानी गुनवंता।।

Pur nar naari subhag suchi santaa. dharamaseel gyaanee gunavantaa

The men and women of the city are beautiful, pure, and saintly - righteous, wise, and virtuous.

अति अनूप जहँ जनक निवासू। बिथकहिं बिबुध बिलोकि बिलासू।।

Ati anoop jahan janak nivaasoo. bithakahin bibudh biloki bilaasoo

Most wonderful is the place where King Janaka resides. Even the gods are amazed seeing its splendor.

होत चकित चित कोट बिलोकी। सकल भुवन सोभा जनु रोकी।।

Hot chakit chit kot bilokee. sakal bhuvan sobhaa janu rokee

Beholding the palace, the mind becomes astonished, as if all the beauty of the worlds has been gathered there.

Commentary & Notes ↓

Notes

Opening chaupai establishing Mithila's splendor. 'Bikrit ambaari' rendered as 'wondrous palanquins studded with gems' to convey both the ornament and the marvel. 'Bidhi' (Vidhi) is Brahma as cosmic artisan.

धवल धाम मनि पुरट पट सुघटित नाना भाँति।

सिय निवास सुंदर सदन सोभा किमि कहि जाति।।213।।

Dhaval dhaam mani purat pat sughatit naanaa bhaanti

Siy nivaas sundar sadan sobhaa kimi kahi jaati (213)

दोहा 213

White palaces with jeweled walls | and silken drapes so fine;

How can words describe the beauty | of Sita's home divine?

White mansions adorned with jewels and cloth of gold, shaped in countless exquisite designs. Sita's beautiful dwelling place: how could its splendor ever be told?

Commentary & Notes ↓

Notes

Doha 213 by verse numbering. 'Dhaval dhaam' = white mansions, signifying purity and royal grandeur. 'Mani purat pat' = jewels and gold cloth. The rhetorical close ('how could its splendor ever be told?') preserves Tulsidas's convention of declaring beauty beyond language.

चौपाई 211
सुभग द्वार सब कुलिस कपाटा। भूप भीर नट मागध भाटा।।

Subhag dvaar sab kulis kapaataa. bhoop bheer nat maagadh bhaataa

The beautiful gates had doors studded with diamonds. Kings gathered with their retinues of actors, bards, and genealogists.

बनी बिसाल बाजि गज साला। हय गय रथ संकुल सब काला।।

Banee bisaal baaji gaj saalaa. hay gay rath sankul sab kaalaa

Vast stables were built for horses and elephants. All quarters were filled with horses, elephants, and chariots.

सूर सचिव सेनप बहुतेरे। नृपगृह सरिस सदन सब केरे।।

Soor sachiv senap bahutere. nripagrih saris sadan sab kere

There were many brave warriors, ministers, and commanders. Each had residences resembling royal palaces.

पुर बाहेर सर सारित समीपा। उतरे जहँ तहँ बिपुल महीपा।।

Pur baaher sar saarit sameepaa. utare jahan tahan bipul maheepaa

Outside the city, near lakes and rivers, numerous kings encamped wherever they found space.

देखि अनूप एक अँवराई। सब सुपास सब भाँति सुहाई।।

Dekhi anoop eka anvaraaee. sab supaas sab bhaanti suhaaee

Seeing a beautiful grove that was well-situated and pleasant in every way.

कौसिक कहेउ मोर मनु माना। इहाँ रहिअ रघुबीर सुजाना।।

Kausik kaheu mor manu maanaa. ihaan rahia raghubeer sujaanaa

Kaushika said, 'If you agree with my suggestion, O wise Raghuvira, let us stay here.'

भलेहिं नाथ कहि कृपानिकेता। उतरे तहँ मुनिबृंद समेता।।

Bhalehin naath kahi kripaaniketaa. utare tahan munibrind sametaa

The compassionate Lord said, 'Very well, master,' and alighted there with the group of sages.

बिस्वामित्र महामुनि आए। समाचार मिथिलापति पाए।।

Bisvaamitr mahaamuni aae. samaachaar mithilaapati paae

When the great sage Vishwamitra arrived, the king of Mithila received the news.

Commentary & Notes ↓

Notes

Chaupai 211 catalogues the martial and courtly grandeur of Mithila. 'Kulis kapaat' = doors of vajra (thunderbolt/diamond) strength. 'Nat maagadh bhaat' = performers, panegyrists, and bards, the traditional retinue of a great king's court.

संग सचिव सुचि भूरि भट भूसुर बर गुर ग्याति।

चले मिलन मुनिनायकहि मुदित राउ एहि भाँति।।214।।

Sang sachiv suchi bhoori bhat bhoosur bar gur gyaati

Chale milan muninaayakahi mudit raau ehi bhaanti (214)

दोहा 214

With ministers pure and warriors bright | the king in joy did ride,

To meet the sage with blessed train | of brahmins by his side.

Accompanied by his ministers, many valiant warriors, noble Brahmins, his guru, and his kinsmen, the joyful king set forth in this manner to receive the lord of sages.

Commentary & Notes ↓

Notes

Doha 214 by verse numbering. 'Muninaayak' (lord of sages) = Vishvamitra. 'Bhoosuran' = Brahmins (literally 'gods of the earth'). The word 'mudit' (joyful) signals Janaka's reverent eagerness.

चौपाई 212
कीन्ह प्रनामु चरन धरि माथा। दीन्हि असीस मुदित मुनिनाथा।।

Keenh pranaamu charan dhari maathaa. deenhi asees mudit muninaathaa

He bowed down, placing his head at the sage's feet. The delighted sage-lord gave his blessings.

बिप्रबृंद सब सादर बंदे। जानि भाग्य बड़ राउ अनंदे।।

Biprabrind sab saadar bande. jaani bhaagy bad raau anande

All the brahmins respectfully saluted him. The king rejoiced, knowing his great fortune.

कुसल प्रस्न कहि बारहिं बारा। बिस्वामित्र नृपहि बैठारा।।

Kusal prasn kahi baarahin baaraa. bisvaamitr nripahi baithaaraa

After repeatedly inquiring about welfare, Vishwamitra seated the king.

तेहि अवसर आए दोउ भाई। गए रहे देखन फुलवाई।।

Tehi avasar aae dou bhaaee. gae rahe dekhan phulavaaee

At that moment the two brothers arrived, having gone to see the garden.

स्याम गौर मृदु बयस किसोरा। लोचन सुखद बिस्व चित चोरा।।

Syaam gaur mridu bayas kisoraa. lochan sukhad bisv chit choraa

One dark, one fair, of tender youthful age, their eyes brought joy and stole the hearts of the world.

उठे सकल जब रघुपति आए। बिस्वामित्र निकट बैठाए।।

Uthe sakal jab raghupati aae. bisvaamitr nikat baithaae

All rose when Raghupati arrived, and Vishwamitra seated him nearby.

भए सब सुखी देखि दोउ भ्राता। बारि बिलोचन पुलकित गाता।।

Bhae sab sukhee dekhi dou bhraataa. baari bilochan pulakit gaataa

All became happy seeing the two brothers, with tears of joy in their eyes and thrilled bodies.

मूरति मधुर मनोहर देखी। भयउ बिदेहु बिदेहु बिसेषी।।

Moorati madhur manohar dekhee. bhayau bidehu bidehu biseshee

Seeing their sweet and enchanting forms, Videha became especially bodiless with emotion.

Commentary & Notes ↓

Notes

Chaupai 212 captures the meeting's devotional climax. 'Charan dhari maathaa' = placed his forehead on the feet, the highest form of pranaam. 'Bibudh' = gods/celestial beings; Tulsidas says the Brahmins were treated as if they were devas themselves.

प्रेम मगन मनु जानि नृपु करि बिबेकु धरि धीर।

बोलेउ मुनि पद नाइ सिरु गदगद गिरा गभीर।।215।।

Prem magan manu jaani nripu kari bibeku dhari dheer

Boleu muni pad naai siru gadagad giraa gabheer (215)

दोहा 215

With love-struck mind but wisdom's grace | the king his feelings stayed,

And bowed before the sage's feet | with reverent words he prayed.

Knowing his heart was drowned in love, the king steadied himself through discernment and courage. Bowing his head at the sage's feet, he spoke in a deep voice, choked with emotion.

Commentary & Notes ↓

Notes

Doha 215. Janaka's composure breaks at the sight of Ram; he must summon viveka (discernment) before he can speak. 'Gadgad giraa' (gadgad giraa) conveys a voice trembling with devotion. Translated as 'choked with emotion' to preserve the bhakti register without overstatement.

चौपाई 213
कहहु नाथ सुंदर दोउ बालक। मुनिकुल तिलक कि नृपकुल पालक।।

Kahahu naath sundar dou baalak. munikul tilak ki nripakul paalak

Tell me, O Lord, about these two beautiful boys. Are they the ornaments of the sage's lineage or protectors of the royal dynasty?

ब्रह्म जो निगम नेति कहि गावा। उभय बेष धरि की सोइ आवा।।

Brahm jo nigam neti kahi gaavaa. ubhay besh dhari kee soi aavaa

Is this the same Brahman whom the Vedas describe as 'not this, not this' who has come here assuming both these forms?

सहज बिरागरुप मनु मोरा। थकित होत जिमि चंद चकोरा।।

Sahaj biraagarup manu moraa. thakit hot jimi chand chakoraa

My mind, naturally inclined toward detachment, becomes weary like a chakora bird longing for the moon.

ताते प्रभु पूछउँ सतिभाऊ। कहहु नाथ जनि करहु दुराऊ।।

Taate prabhu poochhaun satibhaaoo. kahahu naath jani karahu duraaoo

Therefore, O Lord, I ask you with sincere feeling. Tell me truly, do not conceal anything.

इन्हहि बिलोकत अति अनुरागा। बरबस ब्रह्मसुखहि मन त्यागा।।

Inhahi bilokat ati anuraagaa. barabas brahmasukhahi man tyaagaa

Looking at them, I feel such intense love that my mind involuntarily abandons even the bliss of Brahman.

कह मुनि बिहसि कहेहु नृप नीका। बचन तुम्हार न होइ अलीका।।

Kah muni bihasi kahehu nrip neekaa. bachan tumhaar na hoi aleekaa

The sage smiled and said, 'O King, you have spoken well. Your words cannot be false.'

ए प्रिय सबहि जहाँ लगि प्रानी। मन मुसुकाहिं रामु सुनि बानी।।

E priy sabahi jahaan lagi praanee. man musukaahin raamu suni baanee

These boys are dear to all living beings wherever they may be. Rama smiled hearing these words.

रघुकुल मनि दसरथ के जाए। मम हित लागि नरेस पठाए।।

Raghukul mani dasarath ke jaae. mam hit laagi nares pathaae

They are the jewels of Raghu's lineage, sons of Dasharatha, whom the king has sent for my welfare.

Commentary & Notes ↓

Notes

Chaupai 213. Janaka's question carries genuine bewilderment. 'Munikula tilaka' (munikula tilaka): ornament of the sage-clan; 'nripakula paalaka' (nripakula paalaka): guardian of the royal clan. Vishvamitra's counter-question is a gentle deflection hinting at Ram's divinity: even nirguna Brahman could not account for such beauty. Preserved the rhetorical question to keep the sage's teasing tone.

रामु लखनु दोउ बंधुबर रूप सील बल धाम।

मख राखेउ सबु साखि जगु जिते असुर संग्राम।।216।।

Raamu lakhanu dou bandhubar roop seel bal dhaam

Makh raakheu sabu saakhi jagu jite asur sangraam (216)

दोहा 216

Ram and Lakshman, brothers rare | abodes of grace and might;

the world bears witness: they saved my rite | by winning demons' fight.

"Ram and Lakshmana, the two excellent brothers, abodes of beauty, virtue, and strength. They guarded the yajna; all the world is witness. They destroyed the blazing fire of worldly fear."

Commentary & Notes ↓

Poddarji's Commentary

ये राम और लक्ष्मण दोनों श्रेष्ठ भाई रूप, शील और बलके धाम हैं। सारा जगत्‌ इस बातका साक्षी है कि इन्होंने युद्धमें असुरोंको जीतकर मेरे यज्ञकी रक्षा की है॥ २१६॥

Notes

Doha 216. Vishvamitra now names them plainly. 'Roopa, sheela, bala dhaama' (rupa sila bala dhaama): dwelling-places of beauty, good conduct, and power. 'Bhanjeu bhava bhaya bhaama' (bhanjeu bhava bhaya bhaama): shattered the fierce flame of samsaric dread. The alliterative 'bh' chain in the original is echoed lightly with 'blazing... fear' to retain some sonic energy.

चौपाई 214
मुनि तव चरन देखि कह राऊ। कहि न सकउँ निज पुन्य प्राभाऊ।।

Muni tav charan dekhi kah raaoo. kahi na sakaun nij puny praabhaaoo

The king said to the sage upon seeing his feet that he could not describe the glory of his own merit.

सुंदर स्याम गौर दोउ भ्राता। आनँदहू के आनँद दाता।।

Sundar syaam gaur dou bhraataa. aanandahoo ke aanand daataa

The two brothers, one dark and one fair, are beautiful and givers of joy even to joy itself.

इन्ह कै प्रीति परसपर पावनि। कहि न जाइ मन भाव सुहावनि।।

Inh kai preeti parasapar paavani. kahi na jaai man bhaav suhaavani

Their mutual love is so pure and their beautiful affection cannot be described.

सुनहु नाथ कह मुदित बिदेहू। ब्रह्म जीव इव सहज सनेहू।।

Sunahu naath kah mudit bidehoo. brahm jeev iva sahaj sanehoo

Listen, O lord, said the joyful king of Videha, they have natural affection like Brahman and the soul.

पुनि पुनि प्रभुहि चितव नरनाहू। पुलक गात उर अधिक उछाहू।।

Puni puni prabhuhi chitav naranaahoo. pulak gaat ura adhik uchhaahoo

The king gazed at the Lord again and again, his body thrilled with hair standing on end and great joy in his heart.

म्रुनिहि प्रसंसि नाइ पद सीसू। चलेउ लवाइ नगर अवनीसू।।

Mrunihi prasansi naai pad seesoo. chaleu lavaai nagar avaneesoo

Praising the sage and bowing his head at his feet, the lord of the earth departed taking leave.

सुंदर सदनु सुखद सब काला। तहाँ बासु लै दीन्ह भुआला।।

Sundar sadanu sukhad sab kaalaa. tahaan baasu lai deenh bhuaalaa

The lord of the earth gave them residence in a beautiful mansion that was pleasant at all times.

करि पूजा सब बिधि सेवकाई। गयउ राउ गृह बिदा कराई।।

Kari poojaa sab bidhi sevakaaee. gayau raau grih bidaa karaaee

After performing worship and all manner of service, the king departed having taken leave.

Commentary & Notes ↓

Notes

Chaupai 214. 'Punya prabhaau' (punya prabhaau): the fruit of accumulated merit; rendered as 'good fortune' for warmth and clarity. 'Sundara shyaama gaura dou bhaaee' (sundara shyaama gaura dou bhaaee): beautiful dark-and-fair pair. Shyaama (dark, cloud-hued) is Ram; Gaura (fair, golden) is Lakshmana. 'Samujhaaee' (samujhaaee) means 'made [Janaka] understand,' translated as 'explaining everything with care' to convey the sage's patient, loving narration.

रिषय संग रघुबंस मनि करि भोजनु बिश्रामु।

बैठे प्रभु भ्राता सहित दिवसु रहा भरि जामु।।217।।

Rishay sang raghubans mani kari bhojanu bishraamu

Baithe prabhu bhraataa sahit divasu rahaa bhari jaamu (217)

दोहा 217

When Lakshmana saw Raghu's jewel glance | at Shiva's bow so grand,

thrilled, he pressed the world with his feet | and spoke with voice so grand.

The jewel of the Raghu dynasty, together with the sages, took food and rest. Then the Lord sat with His brother, the ornament of the House of the Sun.

Commentary & Notes ↓

Poddarji's Commentary

इधर जब लक्ष्मणजीने देखा कि रघुकुलमणि श्रीरामचन्द्रजीने शिवजीके धनुषको ताका है, तो वे शरीरसे पुलकित हो ब्रह्माण्डको चरणोंसे दबाकर निम्नलिखित वचन बोले॥ ४॥

Notes

Doha 217. 'Raghuvamsha mani' (raghuvamsha mani): jewel of Raghu's line, i.e. Ram. 'Dinakara bhavanu lalaamu' (dinakara bhavanu lalaamu): the glory of Surya's house. The Solar dynasty (Suryavamsha) claim is restated here as a quiet closing note of lineage and majesty. A calm, domestic scene after the emotional encounter, grounding the reader before the next movement of the narrative.

चौपाई 215
लखन हृदयँ लालसा बिसेषी। जाइ जनकपुर आइअ देखी।।

Lakhan hridayan laalasaa biseshee. jaai janakapur aaia dekhee

Lakshmana's heart was filled with special longing to go and see the city of Janakpur.

प्रभु भय बहुरि मुनिहि सकुचाहीं। प्रगट न कहहिं मनहिं मुसुकाहीं।।

Prabhu bhay bahuri munihi sakuchaaheen. pragat na kahahin manahin musukaaheen

Out of reverence for the Lord, he felt shy before the sage and did not speak openly, but smiled inwardly.

राम अनुज मन की गति जानी। भगत बछलता हिंयँ हुलसानी।।

Raam anuj man kee gati jaanee. bhagat bachhalataa hinyan hulasaanee

Rama understood the feelings of his younger brother's mind and felt joy in his heart at this devotion of his devotee.

परम बिनीत सकुचि मुसुकाई। बोले गुर अनुसासन पाई।।

Param bineet sakuchi musukaaee. bole gur anusaasan paaee

Being extremely humble and feeling shy, Rama smiled and spoke after receiving the guru's permission.

नाथ लखनु पुरु देखन चहहीं। प्रभु सकोच डर प्रगट न कहहीं।।

Naath lakhanu puru dekhan chahaheen. prabhu sakoch dar pragat na kahaheen

O master, Lakshmana wishes to see the city, but out of modesty and fear he does not speak openly.

जौं राउर आयसु मैं पावौं। नगर देखाइ तुरत लै आवौ।।

Jaun raaur aayasu main paavaun. nagar dekhaai turat lai aavau

If I receive your command, I shall show him the city and bring him back immediately.

सुनि मुनीसु कह बचन सप्रीती। कस न राम तुम्ह राखहु नीती।।

Suni muneesu kah bachan sapreetee. kas na raam tumh raakhahu neetee

Hearing this, the sage spoke with affection: 'How can you not maintain righteousness, O Rama?'

धरम सेतु पालक तुम्ह ताता। प्रेम बिबस सेवक सुखदाता।।

Dharam setu paalak tumh taataa. prem bibas sevak sukhadaataa

You are the protector of the bridge of dharma, dear one, and the giver of happiness to devotees overwhelmed with love.

Commentary & Notes ↓

Notes

Lakshmana's eagerness is tempered by loving deference to Rama. 'Prabhu bhaya' (fear of the Lord) here is not dread but the natural reverence a younger brother feels. The verse captures how devotion and innocent desire coexist beautifully in the heart of a true sevaka.

जाइ देखी आवहु नगरु सुख निधान दोउ भाइ।

करहु सुफल सब के नयन सुंदर बदन देखाइ।।218।।

Jaai dekhee aavahu nagaru sukh nidhaan dou bhaai

Karahu suphal sab ke nayan sundar badan dekhaai (218)

दोहा 218

Knowing the time was ripe, Janak | sent word for Sita dear;

her clever, lovely friends with care | escorted her from there.

"Go, see the city and return, O you two brothers, you who are the treasure of all happiness. Make fruitful the eyes of everyone you meet, for your beauty (sundarata) bestows nothing but joy."

Commentary & Notes ↓

Poddarji's Commentary

तब सुअवसर जानकर जनकजीने सीताजीको बुला भेजा। सब चतुर और सुन्दर सखियाँ आदरपूर्वक उन्हें लिवा चलीं॥ २४६॥

Notes

Vishvamitra's blessing doubles as a prophecy. He knows that Rama and Lakshmana's darshana will awaken devotion in the people of Janakpur. 'Sukha nidhana' (treasure of happiness) signals that the brothers carry divine bliss wherever they walk. The sage's words also foreshadow the fulfillment of Sita's destiny.

चौपाई 216
मुनि पद कमल बंदि दोउ भ्राता। चले लोक लोचन सुख दाता।।

Muni pad kamal bandi dou bhraataa. chale lok lochan sukh daataa

Bowing to the lotus feet of the sage, both brothers departed, bringing joy to the eyes of all who beheld them.

बालक बृंदि देखि अति सोभा। लगे संग लोचन मनु लोभा।।

Baalak brindi dekhi ati sobhaa. lage sang lochan manu lobhaa

Seeing the group of beautiful boys, people's eyes and minds were captivated by their extraordinary splendor.

पीत बसन परिकर कटि भाथा। चारु चाप सर सोहत हाथा।।

Peet basan parikar kati bhaathaa. chaaru chaap sar sohat haathaa

They wore yellow garments with ornaments at their waists, and beautiful bows and arrows adorned their hands.

तन अनुहरत सुचंदन खोरी। स्यामल गौर मनोहर जोरी।।

Tan anuharat suchandan khoree. syaamal gaur manohar joree

Their bodies were anointed with fragrant sandalwood paste, forming a charming pair of dark and fair complexions.

केहरि कंधर बाहु बिसाला। उर अति रुचिर नागमनि माला।।

Kehari kandhar baahu bisaalaa. ura ati ruchir naagamani maalaa

They had lion-like necks and broad arms, with most beautiful serpent-jewel necklaces adorning their chests.

सुभग सोन सरसीरुह लोचन। बदन मयंक तापत्रय मोचन।।

Subhag son saraseeruh lochan. badan mayank taapatray mochan

Their beautiful golden lotus-like eyes and moon-like faces were destroyers of the three types of suffering.

कानन्हि कनक फूल छबि देहीं। चितवत चितहि चोरि जनु लेहीं।।

Kaananhi kanak phool chhabi deheen. chitavat chitahi chori janu leheen

Golden flower earrings enhanced the beauty of their ears, and their glances seemed to steal away people's hearts.

चितवनि चारु भृकुटि बर बाँकी। तिलक रेखा सोभा जनु चाँकी।।

Chitavani chaaru bhrikuti bar baankee. tilak rekhaa sobhaa janu chaankee

Their charming glances and beautifully arched eyebrows, along with the tilaka marks, appeared as if drawn with artistic perfection.

Commentary & Notes ↓

Notes

Tulasidasa's contrast of shyama (dark, Rama) and gaura (fair, Lakshmana) is a classic devotional device. It echoes the pairing of Krishna and Balarama, reminding the listener that divine beauty comes in complementary forms. 'Mana ati chore' (supreme stealers of hearts) is a tender phrase, suggesting the brothers do not demand attention but quietly, irresistibly win it.

रुचिर चौतनीं सुभग सिर मेचक कुंचित केस।

नख सिख सुंदर बंधु दोउ सोभा सकल सुदेस।।219।।

Ruchir chautaneen subhag sir mechak kunchit kes

Nakh sikh sundar bandhu dou sobhaa sakal sudes (219)

दोहा 219

From crown to toe in perfect grace | the brothers shine with beauty's light

Curling locks and sacred threads | complete their form of pure delight

A beautiful four-pointed tilak (ruchira chautani) graced each lovely brow; dark, curly hair (mechaka kunchita kesha) adorned each head. From toenail to crown, both brothers shone with beauty, their splendor radiant in every fold of their attire.

Commentary & Notes ↓

Notes

The chautani tilak is a four-dot Vaishnava mark, signaling Rama's identity to those with eyes to see. Tulasidasa's 'nakha sikha sundara' (beautiful from nail to crest) is a formulaic phrase in devotional poetry, inviting the listener to visualize the Lord's form slowly, limb by limb, as an act of meditation. Every detail of dress and body becomes an occasion for remembrance.

चौपाई 217
देखन नगरु भूपसुत आए। समाचार पुरबासिन्ह पाए।।

Dekhan nagaru bhoopasut aae. samaachaar purabaasinh paae

The prince has come to see the city, and the townspeople have received this news.

धाए धाम काम सब त्यागी। मनहु रंक निधि लूटन लागी।।

Dhaae dhaam kaam sab tyaagee. manahu rank nidhi lootan laagee

Abandoning all their work, they rushed to their homes, like poor people rushing to loot treasure.

निरखि सहज सुंदर दोउ भाई। होहिं सुखी लोचन फल पाई।।

Nirakhi sahaj sundar dou bhaaee. hohin sukhee lochan phal paaee

Beholding the two brothers, naturally beautiful, their eyes became blessed and joyful.

जुबतीं भवन झरोखन्हि लागीं। निरखहिं राम रूप अनुरागीं।।

Jubateen bhavan jharokhanhi laageen. nirakhahin raam roop anuraageen

Young women gathered at the windows of their homes, gazing lovingly at Rama's beauty.

कहहिं परसपर बचन सप्रीती। सखि इन्ह कोटि काम छबि जीती।।

Kahahin parasapar bachan sapreetee. sakhi inh koti kaam chhabi jeetee

They speak to each other with loving words: 'Friend, their beauty surpasses millions of Cupids.'

सुर नर असुर नाग मुनि माहीं। सोभा असि कहुँ सुनिअति नाहीं।।

Sur nar asur naag muni maaheen. sobhaa asi kahun suniati naaheen

Among gods, men, demons, serpents and sages, such splendor has never been heard of.

बिष्नु चारि भुज बिघि मुख चारी। बिकट बेष मुख पंच पुरारी।।

Bishnu chaari bhuj bighi mukh chaaree. bikat besh mukh panch puraaree

Vishnu has four arms, Brahma has four faces, and Shiva has a fierce form with five faces.

अपर देउ अस कोउ न आही। यह छबि सखि पटतरिअ जाही।।

Apar deu asa kou na aahee. yah chhabi sakhi patataria jaahee

No other god exists like this - friend, this beauty is incomparable.

Commentary & Notes ↓

Poddarji's Commentary

दोनों मूर्तियाँ स्वभावसे ही (बिना किसी बनाव-शृंगारके) मनको हरनेवाली हैं। करोड़ों कामदेवोंकी उपमा भी उनके लिये तुच्छ है। उनके सुन्दर मुख शरद्‌ [पूर्णिमा] के चन्द्रमाको भी निन्दा करनेवाले (उसे नीचा दिखानेवाले) हैं और कमलके समान नेत्र मनको बहुत ही भाते हैं॥ १॥

Notes

The simile of paupers finding the kalpavriksha (surataru, the celestial wish-fulfilling tree) is among Tulasidasa's most beloved. It says: the people of Janakpur, however prosperous in worldly terms, were truly impoverished until the Lord's darshana arrived. Now, in a single moment, all poverty of the spirit ends. The breathless pace of the verse mirrors the townspeople's haste.

बय किसोर सुषमा सदन स्याम गौर सुख घाम।

अंग अंग पर वारिअहिं कोटि कोटि सत काम।।220।।

Bay kisor sushamaa sadan syaam gaur sukh ghaam

Ang ang par vaariahin koti koti sat kaam (220)

दोहा 220

Youth's sweet bloom adorns their forms | dark and fair like joy's bright suns

Even Cupid's countless hosts | would offer all for beauty's glimpse

In the bloom of youth, abodes of beauty: one dark, one fair, each a dwelling place of joy. On every limb of theirs, crores upon crores of Kamadevas could be lovingly sacrificed.

Commentary & Notes ↓

Notes

Doha 220. The women of Janakpur behold Ram and Lakshman for the first time. 'Kisora' marks the fresh bloom of adolescence. The hyperbolic 'koti koti sat Kama' (hundreds of millions of Kamadevas) is classic Manas devotional excess, conveying that even the god of beauty pales before each limb of these two brothers. 'Shyama' (dark) refers to Ram; 'Gaura' (fair) to Lakshman.

चौपाई 218
कहहु सखी अस को तनुधारी। जो न मोह यह रूप निहारी।।

Kahahu sakhee asa ko tanudhaaree. jo na moh yah roop nihaaree

Tell me, friend, who could be so embodied that would not be enchanted upon beholding this divine beauty?

कोउ सप्रेम बोली मृदु बानी। जो मैं सुना सो सुनहु सयानी।।

Kou saprem bolee mridu baanee. jo main sunaa so sunahu sayaanee

One spoke lovingly in gentle words: 'What I have heard, O wise one, listen to that.'

ए दोऊ दसरथ के ढोटा। बाल मरालन्हि के कल जोटा।।

E dooo dasarath ke dhotaa. baal maraalanhi ke kal jotaa

These two are the sons of Dasharatha, beautiful as young swans in their graceful forms.

मुनि कौसिक मख के रखवारे। जिन्ह रन अजिर निसाचर मारे।।

Muni kausik makh ke rakhavaare. jinh ran ajir nisaachar maare

They are the protectors of sage Kaushika's sacrifice, who slayed the demons in battle.

स्याम गात कल कंज बिलोचन। जो मारीच सुभुज मदु मोचन।।

Syaam gaat kal kanj bilochan. jo maareech subhuj madu mochan

The dark-complexioned one with beautiful lotus eyes is He who destroyed Maricha's pride.

कौसल्या सुत सो सुख खानी। नामु रामु धनु सायक पानी।।

Kausalyaa sut so sukh khaanee. naamu raamu dhanu saayak paanee

He is Kausalya's son, the treasure of joy, named Rama, holding bow and arrows in His hands.

गौर किसोर बेषु बर काछें। कर सर चाप राम के पाछें।।

Gaur kisor beshu bar kaachhen. kar sar chaap raam ke paachhen

The fair youth in excellent attire, carrying arrows and bow, follows behind Rama.

लछिमनु नामु राम लघु भ्राता। सुनु सखि तासु सुमित्रा माता।।

Lachhimanu naamu raam laghu bhraataa. sunu sakhi taasu sumitraa maataa

His name is Lakshmana, Rama's younger brother; listen, friend, Sumitra is his mother.

Commentary & Notes ↓

Notes

Chaupai 218. Two women speak in turn. The first voice asks a rhetorical question: who could resist? The second voice is described as 'saprema mridu baani,' lovingly soft speech. Tulsidas layers enchantment upon enchantment: Ram's form enchants the eye, and the women's tender praise enchants the ear. 'Sakhi' (dear friend) left transliterated as a term of intimate feminine address.

बिप्रकाजु करि बंधु दोउ मग मुनिबधू उधारि।

आए देखन चापमख सुनि हरषीं सब नारि।।221।।

Biprakaaju kari bandhu dou mag munibadhoo udhaari

Aae dekhan chaapamakh suni harasheen sab naari (221)

दोहा 221

Sacred duty done, the sage's wife freed | Now to the bow-breaking they proceed

All the women's hearts with joy are stirred | At this blessed and welcome word

Having fulfilled the Brahmin's purpose, the two brothers, who along the way liberated the sage's wife Ahalya, have come to witness the Dhanush Yagna. Hearing this, all the women rejoiced.

Commentary & Notes ↓

Notes

Doha 221. The women learn who these youths are. 'Vipra-kaaju' (the Brahmin's task) refers to guarding Vishvamitra's yajna from demons. 'Muni-badhu udhaari' refers to the liberation of Ahalya, wife of Rishi Gautama, turned to stone by a curse and restored by Ram's touch. 'Chaapa-makha' (bow-sacrifice) is the Dhanush Yagna arranged by King Janaka. The women's joy (harasheen) signals that destiny is gathering momentum.

चौपाई 219
देखि राम छबि कोउ एक कहई। जोगु जानकिहि यह बरु अहई।।

Dekhi raam chhabi kou eka kahaee. jogu jaanakihi yah baru ahaee

Seeing Rama's beauty, someone says that this groom would indeed be suitable for Janaki.

जौ सखि इन्हहि देख नरनाहू। पन परिहरि हठि करइ बिबाहू।।

Jau sakhi inhahi dekh naranaahoo. pan parihari hathi karai bibaahoo

If, O friend, the king sees these princes, he will abandon his vow and insist on marriage.

कोउ कह ए भूपति पहिचाने। मुनि समेत सादर सनमाने।।

Kou kah e bhoopati pahichaane. muni samet saadar sanamaane

Someone says these kings have been recognized and honored respectfully along with the sage.

सखि परंतु पनु राउ न तजई। बिधि बस हठि अबिबेकहि भजई।।

Sakhi parantu panu raau na tajaee. bidhi bas hathi abibekahi bhajaee

But friend, the king will not abandon his vow; bound by fate, he stubbornly follows folly.

कोउ कह जौं भल अहइ बिधाता। सब कहँ सुनिअ उचित फलदाता।।

Kou kah jaun bhal ahai bidhaataa. sab kahan sunia uchit phaladaataa

Someone says if the Creator is benevolent and gives appropriate fruit to all who hear,

तौ जानकिहि मिलिहि बरु एहू। नाहिन आलि इहाँ संदेहू।।

Tau jaanakihi milihi baru ehoo. naahin aali ihaan sandehoo

Then Janaki will surely get this groom; there is no doubt in this matter, O friend.

जौ बिधि बस अस बनै सँजोगू। तौ कृतकृत्य होइ सब लोगू।।

Jau bidhi bas asa banai sanjogoo. tau kritakrity hoi sab logoo

If by divine will such a union comes to pass, then all people will be fulfilled.

सखि हमरें आरति अति तातें। कबहुँक ए आवहिं एहि नातें।।

Sakhi hamaren aarati ati taaten. kabahunk e aavahin ehi naaten

Friend, our anxiety is great in this matter; when will these princes come in this relationship?

Commentary & Notes ↓

Notes

Chaupai 219. The crowd voices what the reader already feels: Ram and Sita belong together. 'Jogu Janakihi yah baru ahai' declares Ram the only fit bridegroom for Janaki. The second couplet raises dramatic tension: they believe King Janaka, seeing Ram's radiance, would set aside even his solemn condition (that only the one who breaks Shiva's bow may wed Sita). 'Pana parihari' means to abandon one's vow. Formatted with line break between couplet pairs per chaupai convention.

नाहिं त हम कहुँ सुनहु सखि इन्ह कर दरसनु दूरि।

यह संघटु तब होइ जब पुन्य पुराकृत भूरि।।222।।

Naahin ta ham kahun sunahu sakhi inh kar darasanu doori

Yah sanghatu tab hoi jab puny puraakrit bhoori (222)

दोहा 222

Without great merit from lives before | We'll glimpse these princes nevermore

Only when past virtue's store is vast | Can such blessed sight come at last

"Otherwise, listen, sakhi. The sight of them would be far beyond our reach. Such a meeting comes to pass only when one has gathered vast merit from lives long past."

Commentary & Notes ↓

Notes

Doha 222. A theological pivot: the women recognize that darshan of the Lord is not accidental but the fruit of 'punya purakrita bhuri,' abundant merit accumulated over many lifetimes. This transforms a simple scene of admiration into a statement on grace and karma. The word 'sanghatu' (meeting, confluence) carries the weight of divine appointment, not mere chance.

चौपाई 220
बोली अपर कहेहु सखि नीका। एहिं बिआह अति हित सबहीं का।।

Bolee apar kahehu sakhi neekaa. ehin biaah ati hit sabaheen kaa

Another friend spoke and said, 'You have spoken well, dear friend. This marriage would be beneficial for everyone.'

कोउ कह संकर चाप कठोरा। ए स्यामल मृदुगात किसोरा।।

Kou kah sankar chaap kathoraa. e syaamal mridugaat kisoraa

Someone said, 'Shiva's bow is extremely hard and rigid, while this is a tender, dark-complexioned youth.'

सबु असमंजस अहइ सयानी। यह सुनि अपर कहइ मृदु बानी।।

Sabu asamanjas ahai sayaanee. yah suni apar kahai mridu baanee

Hearing this, all became confused and perplexed. Then another spoke with gentle words.

सखि इन्ह कहँ कोउ कोउ अस कहहीं। बड़ प्रभाउ देखत लघु अहहीं।।

Sakhi inh kahan kou kou asa kahaheen. bad prabhaau dekhat laghu ahaheen

Friend, some people speak thus about them - they appear small when their great power is witnessed.

परसि जासु पद पंकज धूरी। तरी अहल्या कृत अघ भूरी।।

Parasi jaasu pad pankaj dhooree. taree ahalyaa krit agha bhooree

By touching the dust of whose lotus feet, Ahalya was freed from her great burden of sin.

सो कि रहिहि बिनु सिवधनु तोरें। यह प्रतीति परिहरिअ न भोरें।।

So ki rahihi binu sivadhanu toren. yah prateeti pariharia na bhoren

Can he remain unsuccessful without breaking Shiva's bow? This faith should not be abandoned even mistakenly.

जेहिं बिरंचि रचि सीय सँवारी। तेहिं स्यामल बरु रचेउ बिचारी।।

Jehin biranchi rachi seey sanvaaree. tehin syaamal baru racheu bichaaree

The same Creator who fashioned and adorned Sita has thoughtfully created this dark-complexioned groom.

तासु बचन सुनि सब हरषानीं। ऐसेइ होउ कहहिं मुदु बानी।।

Taasu bachan suni sab harashaaneen. aisei hou kahahin mudu baanee

Hearing her words, all became joyful and said with gentle voices, 'May it be exactly so.'

Commentary & Notes ↓

Notes

Chaupai 220. The women's debate continues. One voice celebrates the prospective union; another raises the daunting reality of Shiva's bow (Shankara chaapa). 'Sukumaara' (delicate) and 'bhora' (innocent) convey maternal tenderness toward the princes. The tension between hope and doubt mirrors the devotee's own longing before grace arrives.

हियँ हरषहिं बरषहिं सुमन सुमुखि सुलोचनि बृंद।

जाहिं जहाँ जहँ बंधु दोउ तहँ तहँ परमानंद।।223।।

Hiyan harashahin barashahin suman sumukhi sulochani brind

Jaahin jahaan jahan bandhu dou tahan tahan paramaanand (223)

दोहा 223

Hearts rejoice and flowers fall | From fair faces blessing all

Where the royal brothers tread | Divine joy and bliss are spread

Hearts rejoiced, and crowds of beautiful-faced, lovely-eyed women showered flowers upon them. Wherever the two brothers walked, there supreme bliss (paramaananda) prevailed.

Commentary & Notes ↓

Notes

Doha 223. 'Sumukhi sulochanee' (beautiful-faced, lovely-eyed) is Tulasidasa's signature cascade of feminine praise. The flower-showering (sumana barashahi) echoes celestial blessing scenes throughout the Manasa. 'Paramaananda' signals that Rama's presence transforms ordinary streets into sacred ground.

चौपाई 221
पुर पूरब दिसि गे दोउ भाई। जहँ धनुमख हित भूमि बनाई।।

Pur poorab disi ge dou bhaaee. jahan dhanumakh hit bhoomi banaaee

Both brothers went to the eastern part of the city, where a ground had been prepared for the bow ceremony.

अति बिस्तार चारु गच ढारी। बिमल बेदिका रुचिर सँवारी।।

Ati bistaar chaaru gach dhaaree. bimal bedikaa ruchir sanvaaree

A very spacious and beautiful pavilion was erected, with a pure and lovely platform beautifully arranged.

चहुँ दिसि कंचन मंच बिसाला। रचे जहाँ बेठहिं महिपाला।।

Chahun disi kanchan manch bisaalaa. rache jahaan bethahin mahipaalaa

Golden platforms were constructed on all four sides, where the kings would sit.

तेहि पाछें समीप चहुँ पासा। अपर मंच मंडली बिलासा।।

Tehi paachhen sameep chahun paasaa. apar manch mandalee bilaasaa

Behind those, nearby on all four sides, other platforms and circular galleries were arranged.

कछुक ऊँचि सब भाँति सुहाई। बैठहिं नगर लोग जहँ जाई।।

Kachhuk oonchi sab bhaanti suhaaee. baithahin nagar log jahan jaaee

Somewhat elevated and beautiful in every way, where the city people would go and sit.

तिन्ह के निकट बिसाल सुहाए। धवल धाम बहुबरन बनाए।।

Tinh ke nikat bisaal suhaae. dhaval dhaam bahubaran banaae

Near those were spacious and beautiful white mansions made in various colors.

जहँ बैंठैं देखहिं सब नारी। जथा जोगु निज कुल अनुहारी।।

Jahan bainthain dekhahin sab naaree. jathaa jogu nij kul anuhaaree

Where all the women would sit and watch, each according to their family status.

पुर बालक कहि कहि मृदु बचना। सादर प्रभुहि देखावहिं रचना।।

Pur baalak kahi kahi mridu bachanaa. saadar prabhuhi dekhaavahin rachanaa

The city boys, speaking sweet words, respectfully showed the Lord this arrangement.

Commentary & Notes ↓

Notes

Chaupai 221. 'Dhanumakha' (bow-sacrifice) is Tulasidasa's term for the svayamvara ceremony centered on Shiva's bow. The eastern direction (poorva disi) carries auspicious significance. 'Gacha dhaaree' (plastered ground), 'kanaka kalasa' (golden vessels), and 'manijaaree' (gem-garlands) paint the ritual grandeur of Janaka's arena.

सब सिसु एहि मिस प्रेमबस परसि मनोहर गात।

तन पुलकहिं अति हरषु हियँ देखि देखि दोउ भ्रात।।224।।

Sab sisu ehi mis premabas parasi manohar gaat

Tan pulakahin ati harashu hiyan dekhi dekhi dou bhraat (224)

दोहा 224

The children touched His lovely form | with love beyond compare,

Their hearts o'erflowing with pure joy | to see the brothers there.

All the children, on the pretext of play and bound by love, touched His captivating form. Their bodies thrilled with delight and their hearts overflowed with joy, gazing again and again at the two brothers.

Commentary & Notes ↓

Notes

Doha 224. A jewel verse of Bala Kanda. 'Ehi misa' (on this pretext) reveals that even the children's play is governed by prema (love). 'Tana pulakahi' (bodies thrilling) is the classic sattvika bhaava of horripilation, proof that divine love is moving through them. Tulasidasa shows that the youngest hearts recognize the Lord most naturally.

चौपाई 222
सिसु सब राम प्रेमबस जाने। प्रीति समेत निकेत बखाने।।

Sisu sab raam premabas jaane. preeti samet niket bakhaane

All the children knew Rama was bound by love, and they described their homes with affection.

निज निज रुचि सब लेंहिं बोलाई। सहित सनेह जाहिं दोउ भाई।।

Nij nij ruchi sab lenhin bolaaee. sahit saneh jaahin dou bhaaee

According to their own preferences, they would call Him, and both brothers would go with love.

राम देखावहिं अनुजहि रचना। कहि मृदु मधुर मनोहर बचना।।

Raam dekhaavahin anujahi rachanaa. kahi mridu madhur manohar bachanaa

Rama would show His younger brother the creation, speaking sweet, gentle, and enchanting words.

लव निमेष महँ भुवन निकाया। रचइ जासु अनुसासन माया।।

Lav nimesh mahan bhuvan nikaayaa. rachai jaasu anusaasan maayaa

In a moment's fraction, Maya creates the multitude of worlds at His command.

भगति हेतु सोइ दीनदयाला। चितवत चकित धनुष मखसाला।।

Bhagati hetu soi deenadayaalaa. chitavat chakit dhanush makhasaalaa

That compassionate Lord of the poor, for the sake of devotion, gazed wonderingly at the bow in the sacrificial hall.

कौतुक देखि चले गुरु पाहीं। जानि बिलंबु त्रास मन माहीं।।

Kautuk dekhi chale guru paaheen. jaani bilambu traas man maaheen

Seeing this marvel, they went to their teacher, with fear in their hearts knowing there was delay.

जासु त्रास डर कहुँ डर होई। भजन प्रभाउ देखावत सोई।।

Jaasu traas dar kahun dar hoee. bhajan prabhaau dekhaavat soee

He whose fear makes even Fear itself afraid - such is the power of devotion He displays.

कहि बातें मृदु मधुर सुहाईं। किए बिदा बालक बरिआई।।

Kahi baaten mridu madhur suhaaeen. kie bidaa baalak bariaaee

Speaking sweet, gentle, and pleasing words, the teacher dismissed the children with blessings.

Commentary & Notes ↓

Notes

Chaupai 222. Rama's omniscience appears here as intimacy, not distance: He knows each child's home (niketa bakhaane) and names it with warmth. 'Sahaja sneha' (natural, effortless love) is a key Tulasidasa term. The Lord does not perform love; it flows from His very nature. Each child's 'ruchi' (fancy, inclination) is honored individually, showing that divine love is never generic.

सभय सप्रेम बिनीत अति सकुच सहित दोउ भाइ।

गुर पद पंकज नाइ सिर बैठे आयसु पाइ।।225।।

Sabhay saprem bineet ati sakuch sahit dou bhaai

Gur pad pankaj naai sir baithe aayasu paai (225)

दोहा 225

With reverent hearts and humble minds | they bowed at Guru's feet,

And sat as loving disciples | their teacher's word to meet.

Fearful, loving, supremely humble, and filled with gentle modesty, the two brothers bowed their heads at the lotus feet of their Guru and sat down upon receiving his command.

Commentary & Notes ↓

Notes

Doha 225. Rama and Lakshmana embody the ideal of discipleship: despite being divine, they approach their Guru Vishvamitra with reverence, love, and tender shyness. 'Sabhay saprem' (fearful yet loving) captures the exquisite balance of awe and intimacy in the Guru-disciple bond.

चौपाई 223
निसि प्रबेस मुनि आयसु दीन्हा। सबहीं संध्याबंदनु कीन्हा।।

Nisi prabes muni aayasu deenhaa. sabaheen sandhyaabandanu keenhaa

When night fell, the sage gave his command, and all performed their evening prayers.

कहत कथा इतिहास पुरानी। रुचिर रजनि जुग जाम सिरानी।।

Kahat kathaa itihaas puraanee. ruchir rajani jug jaam siraanee

Narrating stories and ancient legends, the beautiful night passed with two watches completed.

मुनिबर सयन कीन्हि तब जाई। लगे चरन चापन दोउ भाई।।

Munibar sayan keenhi tab jaaee. lage charan chaapan dou bhaaee

Then the great sage went to sleep, and both brothers began massaging his feet.

जिन्ह के चरन सरोरुह लागी। करत बिबिध जप जोग बिरागी।।

Jinh ke charan saroruh laagee. karat bibidh jap jog biraagee

Those very lotus feet at which ascetics perform various prayers, yoga and renunciation.

तेइ दोउ बंधु प्रेम जनु जीते। गुर पद कमल पलोटत प्रीते।।

Tei dou bandhu prem janu jeete. gur pad kamal palotat preete

Those same two brothers, as if conquered by love, lovingly massaged the guru's lotus feet.

बारबार मुनि अग्या दीन्ही। रघुबर जाइ सयन तब कीन्ही।।

Baarabaar muni agyaa deenhee. raghubar jaai sayan tab keenhee

Repeatedly the sage gave permission to stop, then Raghubara went to sleep.

चापत चरन लखनु उर लाएँ। सभय सप्रेम परम सचु पाएँ।।

Chaapat charan lakhanu ura laaen. sabhay saprem param sachu paaen

Lakshmana pressed his feet and held them to his heart, finding supreme truth with reverent love.

पुनि पुनि प्रभु कह सोवहु ताता। पौढ़े धरि उर पद जलजाता।।

Puni puni prabhu kah sovahu taataa. paudhe dhari ura pad jalajaataa

Again and again the Lord said 'Sleep now, dear brother,' while Lakshmana kept those lotus feet upon his heart.

Commentary & Notes ↓

Notes

Chaupai 223. One of the most tender scenes in all of Manas. The cosmic Lord whose lotus feet yogis and sages worship is here pressing His own Guru's feet with the devotion of a humble student. Lakshmana's refusal to sleep, cradling Rama's feet against his chest, reveals the depth of fraternal and devotional love. 'Prem janu jeete' (as if conquered by love) is the key phrase: love alone conquers the divine.

उठे लखन निसि बिगत सुनि अरुनसिखा धुनि कान।।

गुर तें पहिलेहिं जगतपति जागे रामु सुजान।।226।।

Uthe lakhan nisi bigat suni arunasikhaa dhuni kaan

Gur ten pahilehin jagatapati jaage raamu sujaan (226)

दोहा 226

At dawn's first light | Lakshmana stirred,

But Rama woke | before his word.

Lakshmana arose when the night had passed, hearing the rooster's call at dawn. But the wise Rama, Lord of the world, had awakened even before His Guru.

Commentary & Notes ↓

Notes

Doha 226. 'Arunasikhaa' (crimson-crested one) refers to the rooster whose crow marks dawn. Rama's waking before His teacher underscores both His divine discipline and His reverence for the Guru. Even as the Lord of creation, He models perfect conduct for all seekers.

चौपाई 224
सकल सौच करि जाइ नहाए। नित्य निबाहि मुनिहि सिर नाए।।

Sakal sauch kari jaai nahaae. nity nibaahi munihi sir naae

After performing all purifications, they went and bathed. Following their daily routine, they bowed their heads to the sage.

समय जानि गुर आयसु पाई। लेन प्रसून चले दोउ भाई।।

Samay jaani gur aayasu paaee. len prasoon chale dou bhaaee

Knowing the proper time and receiving the guru's permission, both brothers set out to gather flowers.

भूप बागु बर देखेउ जाई। जहँ बसंत रितु रही लोभाई।।

Bhoop baagu bar dekheu jaaee. jahan basant ritu rahee lobhaaee

Going there, they saw the king's excellent garden, where the spring season had taken residence in delight.

लागे बिटप मनोहर नाना। बरन बरन बर बेलि बिताना।।

Laage bitap manohar naanaa. baran baran bar beli bitaanaa

There were planted various beautiful trees, with creepers of different colors spreading beautifully.

नव पल्लव फल सुमान सुहाए। निज संपति सुर रूख लजाए।।

Nav pallav phal sumaan suhaae. nij sampati sur rookh lajaae

With new leaves, fruits and lovely flowers, the trees put even the celestial trees to shame with their beauty.

चातक कोकिल कीर चकोरा। कूजत बिहग नटत कल मोरा।।

Chaatak kokil keer chakoraa. koojat bihag natat kal moraa

Chataka birds, cuckoos, parrots and chakor birds were singing, and beautiful peacocks were dancing.

मध्य बाग सरु सोह सुहावा। मनि सोपान बिचित्र बनावा।।

Madhy baag saru soh suhaavaa. mani sopaan bichitr banaavaa

In the middle of the garden was a beautiful lake with wonderful steps made of precious stones.

बिमल सलिलु सरसिज बहुरंगा। जलखग कूजत गुंजत भृंगा।।

Bimal salilu sarasij bahurangaa. jalakhag koojat gunjat bhringaa

The water was crystal clear with lotuses of many colors, water birds were singing and bees were humming.

Commentary & Notes ↓

Notes

Chaupai 224. Tulsidas paints the royal garden of Mithila in full springtime glory, setting the stage for Rama and Sita's first meeting. Each detail carries symbolic weight: the flowers the brothers gather will be offered in worship, and the garden's beauty mirrors the divine harmony about to unfold. 'Sur rookh lajaae' (putting heaven's trees to shame) elevates the earthly setting to a sacred plane.

बागु तड़ागु बिलोकि प्रभु हरषे बंधु समेत।

परम रम्य आरामु यहु जो रामहि सुख देत।।227।।

Baagu tadaagu biloki prabhu harashe bandhu samet

Param ramy aaraamu yahu jo raamahi sukh det (227)

दोहा 227

'O Rama, Lakshmi's Lord, take this bow, | draw it, end my doubt!'

As he gave, the bow went on its own; | wonder filled him throughout.

Seeing the garden and the lake, the Lord was delighted along with His brother. "Supremely lovely is this garden, that it gives joy even to Rama Himself."

Commentary & Notes ↓

Poddarji's Commentary

[परशुरामजीने कहा;] हे राम! हे लक्ष्मीपति! धनुषको हाथमें लीजिये और इसे खींचिये, जिससे मेरा सन्देह मिट जाय। परशुरामजी धनुष देने लगे, तब वह आप ही चला गया। तब परशुरामजीके मनमें बड़ा आश्चर्य हुआ॥ ४॥

Notes

Doha 227. The phrase 'Ramahi sukha deta' carries a beautiful layered meaning: the garden is so enchanting that it delights even Rama, the very source of all bliss. Tulsidas signals that Pushpa Vatika is no ordinary place; it is the divinely appointed setting for Rama and Sita's first meeting. 'Tad.aagu' (tadaagu) refers to the lotus lake within the garden grounds.

चौपाई 225
चहुँ दिसि चितइ पूँछि मालिगन। लगे लेन दल फूल मुदित मन।।

Chahun disi chitai poonchhi maaligan. lage len dal phool mudit man

Looking in all four directions and asking the gardeners, they began gathering flower petals with joyful hearts.

तेहि अवसर सीता तहँ आई। गिरिजा पूजन जननि पठाई।।

Tehi avasar seetaa tahan aaee. girijaa poojan janani pathaaee

At that very moment, Sita arrived there, sent by her mother to worship Goddess Girija.

संग सखीं सब सुभग सयानी। गावहिं गीत मनोहर बानी।।

Sang sakheen sab subhag sayaanee. gaavahin geet manohar baanee

All her beautiful and wise companions were with her, singing songs with enchanting voices.

सर समीप गिरिजा गृह सोहा। बरनि न जाइ देखि मनु मोहा।।

Sar sameep girijaa grih sohaa. barani na jaai dekhi manu mohaa

Near the lake stood Girija's beautiful temple, whose indescribable beauty captivated the mind.

मज्जनु करि सर सखिन्ह समेता। गई मुदित मन गौरि निकेता।।

Majjanu kari sar sakhinh sametaa. gaee mudit man gauri niketaa

After bathing in the lake with her friends, she went with a joyful heart to Gauri's abode.

पूजा कीन्हि अधिक अनुरागा। निज अनुरूप सुभग बरु मागा।।

Poojaa keenhi adhik anuraagaa. nij anuroop subhag baru maagaa

She performed worship with great devotion and asked for a beautiful husband suited to her nature.

एक सखी सिय संगु बिहाई। गई रही देखन फुलवाई।।

Eka sakhee siy sangu bihaaee. gaee rahee dekhan phulavaaee

One friend left Sita's company and went to see the flower garden.

तेहि दोउ बंधु बिलोके जाई। प्रेम बिबस सीता पहिं आई।।

Tehi dou bandhu biloke jaaee. prem bibas seetaa pahin aaee

She saw the two brothers there and, overwhelmed with love, came to Sita.

Commentary & Notes ↓

Notes

Chaupai 225. 'Maaliganin' (maliganin) means the gardeners tending the royal grounds. Rama and Lakshmana, playing the part of two young princes on a morning walk, innocently gather flowers. Tulsidas times Sita's entrance with exquisite dramatic precision: she comes not by her own design but at her mother's bidding, to worship Parvati. The divine choreography is unmistakable. 'Girija' is another name for Parvati, daughter of the mountain king Himalaya.

तासु दसा देखि सखिन्ह पुलक गात जलु नैन।

कहु कारनु निज हरष कर पूछहि सब मृदु बैन।।228।।

Taasu dasaa dekhi sakhinh pulak gaat jalu nain

Kahu kaaranu nij harash kar poochhahi sab mridu bain (228)

दोहा 228

With trembling hearts | and eyes so bright,

They asked what brought | such sweet delight.

Seeing her condition, her friends, their bodies thrilling and tears welling in their eyes, asked gently: "Tell us the reason for your joy."

Commentary & Notes ↓

Notes

Doha 228. 'Pulaka gaata' (pulaka gata) means the body covered in goosebumps, the classic Vaishnava sign of ecstatic emotion (sattvika bhava). Sita's sakhi-s (companions) mirror her state before she has spoken a word. 'Mridu baina' (mridu baina) means soft, gentle speech. The friends ask tenderly, sensing something sacred has stirred in her heart.

चौपाई 226
देखन बागु कुअँर दुइ आए। बय किसोर सब भाँति सुहाए।।

Dekhan baagu kuanr dui aae. bay kisor sab bhaanti suhaae

Two princes came to see the garden, both in their youth and beautiful in every way.

स्याम गौर किमि कहौं बखानी। गिरा अनयन नयन बिनु बानी।।

Syaam gaur kimi kahaun bakhaanee. giraa anayan nayan binu baanee

How can I describe one dark and one fair? Speech lacks eyes and eyes lack words to tell.

सुनि हरषीं सब सखीं सयानी। सिय हियँ अति उतकंठा जानी।।

Suni harasheen sab sakheen sayaanee. siy hiyan ati utakanthaa jaanee

Hearing this, all the wise companions rejoiced, knowing the great eagerness in Sita's heart.

एक कहइ नृपसुत तेइ आली। सुने जे मुनि सँग आए काली।।

Eka kahai nripasut tei aalee. sune je muni sang aae kaalee

One friend said, 'Those are the princes, dear companion, who came yesterday with the sage.'

जिन्ह निज रूप मोहनी डारी। कीन्ह स्वबस नगर नर नारी।।

Jinh nij roop mohanee daaree. keenh svabas nagar nar naaree

Who have cast their enchanting beauty and made all the men and women of the city their own.

बरनत छबि जहँ तहँ सब लोगू। अवसि देखिअहिं देखन जोगू।।

Baranat chhabi jahan tahan sab logoo. avasi dekhiahin dekhan jogoo

Everyone everywhere is describing their beauty - they are surely worthy of being seen.

तासु वचन अति सियहि सुहाने। दरस लागि लोचन अकुलाने।।

Taasu vachan ati siyahi suhaane. daras laagi lochan akulaane

Those words were very pleasing to Sita, and her eyes grew restless with longing for their sight.

चली अग्र करि प्रिय सखि सोई। प्रीति पुरातन लखइ न कोई।।

Chalee agr kari priy sakhi soee. preeti puraatan lakhai na koee

She went forward with that dear friend leading, but no one could recognize the ancient love.

Commentary & Notes ↓

Notes

Chaupai 226. One of the most celebrated couplets in the entire Manas. 'Shyaama gaura' (shyama gaura): dark-complexioned Rama and fair Lakshmana. Sita's words 'Giraa anayan, nayan binu baani' are a masterpiece of devotional poetics: language is blind, it cannot see the beauty it tries to name; and the eyes that behold that beauty are mute, they cannot speak what they witness. The inadequacy of both faculties before divine loveliness is Tulsidas at his most luminous. 'Baya kishora' (baya kishora) means young in age, at the threshold of youth.

सुमिरि सीय नारद बचन उपजी प्रीति पुनीत।।

चकित बिलोकति सकल दिसि जनु सिसु मृगी सभीत।।229।।

Sumiri seey naarad bachan upajee preeti puneet

Chakit bilokati sakal disi janu sisu mrigee sabheet (229)

दोहा 229

Sweet memory stirred her heart to love | as Narada's words came true,

Like frightened fawn she gazed around | with eyes of wonder new.

Remembering Narada's words, pure love arose in Sita's heart. She looked about in every direction, startled, like a young doe, frightened.

Commentary & Notes ↓

Notes

Doha 229. 'Naarada bachana' (Narada bachana): the sage Narada had earlier told Sita she would wed the one who breaks Shiva's bow. Recognizing these two princes, that prophecy stirs to life as 'preeti puneeta' (priti punita), pure, sacred love. The simile 'janu sisu mrigi sabheeta' (janu sisu mrigi sabhita) compares Sita to a startled young doe. It captures her innocence, vulnerability, and the sudden trembling that comes when the soul recognizes its Lord for the first time. This is not ordinary shyness but the quaking of recognition: the Shakti encountering her Shaktimaan.

चौपाई 227
कंकन किंकिनि नूपुर धुनि सुनि। कहत लखन सन रामु हृदयँ गुनि।।

Kankan kinkini noopur dhuni suni. kahat lakhan san raamu hridayan guni

Hearing the melodious sound of bangles, anklets and ornaments, Rama spoke to Lakshmana, pondering in his heart.

मानहुँ मदन दुंदुभी दीन्ही।।मनसा बिस्व बिजय कहँ कीन्ही।।

Maanahun madan dundubhee deenhee.manasaa bisv bijay kahan keenhee

It seems as if Cupid has sounded his war drum, declaring his intention to conquer the world.

अस कहि फिरि चितए तेहि ओरा। सिय मुख ससि भए नयन चकोरा।।

Asa kahi phiri chitae tehi oraa. siy mukh sasi bhae nayan chakoraa

Saying this, he turned and looked in that direction, and his eyes became like chakora birds gazing at Sita's moon-like face.

भए बिलोचन चारु अचंचल। मनहुँ सकुचि निमि तजे दिगंचल।।

Bhae bilochan chaaru achanchal. manahun sakuchi nimi taje diganchal

His beautiful eyes became motionless, as if even the god of blinking had bashfully abandoned the corners of his eyes.

देखि सीय सोभा सुखु पावा। हृदयँ सराहत बचनु न आवा।।

Dekhi seey sobhaa sukhu paavaa. hridayan saraahat bachanu na aavaa

Seeing Sita's beauty, he experienced great joy, but his heart's appreciation could not find expression in words.

जनु बिरंचि सब निज निपुनाई। बिरचि बिस्व कहँ प्रगटि देखाई।।

Janu biranchi sab nij nipunaaee. birachi bisv kahan pragati dekhaaee

It was as if Brahma had displayed all his artistic skill in creating her and revealed it to the world.

सुंदरता कहुँ सुंदर करई। छबिगृहँ दीपसिखा जनु बरई।।

Sundarataa kahun sundar karaee. chhabigrihan deepasikhaa janu baraee

She made beauty itself more beautiful, like a flame that illuminates the very house of splendor.

सब उपमा कबि रहे जुठारी। केहिं पटतरौं बिदेहकुमारी।।

Sab upamaa kabi rahe juthaaree. kehin patataraun bidehakumaaree

All comparisons have been exhausted by poets - with what can I compare the princess of Videha?

Commentary & Notes ↓

Notes

Chaupai 227. Eight couplet-pairs forming the great 'first sight' passage. Rama hears Sita's ornaments, invokes the image of Kamadeva's dundubhi (war-drum), then turns and beholds her. The poet's confession that all similes are exhausted (sab upamaa kabi rahe juthaaree) is Tulasidas's signature gesture of devotional humility. 'Nimi' is the legendary king cursed to be the blink-reflex; his departure from Rama's eyes means they refuse to close. 'Chakora' is the Himalayan partridge fabled to drink only moonlight.

सिय सोभा हियँ बरनि प्रभु आपनि दसा बिचारि।

बोले सुचि मन अनुज सन बचन समय अनुहारि।।230।।

Siy sobhaa hiyan barani prabhu aapani dasaa bichaari

Bole suchi man anuj san bachan samay anuhaari (230)

दोहा 230

Her beauty filled his loving heart | as he his state did see,

Then spoke with pure and gentle words | to brother tenderly.

Having praised Sita's beauty within His heart and reflecting upon His own condition, the Lord spoke to His younger brother with a pure mind and words befitting the moment.

Commentary & Notes ↓

Notes

Doha 230 (id doha-231 in data). A transitional couplet: Rama has silently absorbed Sita's loveliness and now, with characteristic self-awareness, composes Himself before confiding in Lakshmana. The phrase 'suchi man' (pure mind) signals that what follows is sacred love, not worldly infatuation.

चौपाई 228
तात जनकतनया यह सोई। धनुषजग्य जेहि कारन होई।।

Taat janakatanayaa yah soee. dhanushajagy jehi kaaran hoee

Father, this is Janaka's daughter, for whose sake the bow-sacrifice ceremony is being held.

पूजन गौरि सखीं लै आई। करत प्रकासु फिरइ फुलवाई।।

Poojan gauri sakheen lai aaee. karat prakaasu phirai phulavaaee

She has come with her friends to worship Gauri, and her radiance illuminates the flower garden as she moves about.

जासु बिलोकि अलोकिक सोभा। सहज पुनीत मोर मनु छोभा।।

Jaasu biloki alokik sobhaa. sahaj puneet mor manu chhobhaa

Seeing her extraordinary beauty, my naturally pure mind has become agitated.

सो सबु कारन जान बिधाता। फरकहिं सुभद अंग सुनु भ्राता।।

So sabu kaaran jaan bidhaataa. pharakahin subhad ang sunu bhraataa

The Creator knows all the reasons, and my auspicious limbs are trembling, O brother.

रघुबंसिन्ह कर सहज सुभाऊ। मनु कुपंथ पगु धरइ न काऊ।।

Raghubansinh kar sahaj subhaaoo. manu kupanth pagu dharai na kaaoo

It is the natural disposition of the lion of Raghu's lineage that his mind never sets foot on the wrong path.

मोहि अतिसय प्रतीति मन केरी। जेहिं सपनेहुँ परनारि न हेरी।।

Mohi atisay prateeti man keree. jehin sapanehun paranaari na heree

I have complete faith in my heart that he who has never looked upon another's wife even in dreams.

जिन्ह कै लहहिं न रिपु रन पीठी। नहिं पावहिं परतिय मनु डीठी।।

Jinh kai lahahin na ripu ran peethee. nahin paavahin paratiy manu deethee

Those who never turn their backs to enemies in battle, nor does their mind waver toward another's wife.

मंगन लहहि न जिन्ह कै नाहीं। ते नरबर थोरे जग माहीं।।

Mangan lahahi na jinh kai naaheen. te narabar thore jag maaheen

Those who never refuse beggars - such noble men are rare in this world.

Commentary & Notes ↓

Notes

Chaupai 228. Rama's tender confession to Lakshmana. He identifies Sita, acknowledges the trembling of His limbs (a classical sign of destined love), then immediately grounds the feeling in dharma by invoking the unblemished character of the Raghu dynasty. The triple vow (courage in battle, fidelity, generosity to the needy) is the Raghu-kula code.

करत बतकहि अनुज सन मन सिय रूप लोभान।

मुख सरोज मकरंद छबि करइ मधुप इव पान।।231।।

Karat batakahi anuj san man siy roop lobhaan

Mukh saroj makarand chhabi karai madhup iva paan (231)

दोहा 231

Though words with brother he did share | his heart was held in thrall,

As honeybee drinks lotus-sweet | from beauty's nectar-call.

While speaking thus with His younger brother, His mind remained captivated by Sita's beauty, like a bee drinking deep of the nectar from her lotus-like face.

Commentary & Notes ↓

Notes

Doha 231 (id doha-232 in data). A single luminous image: Rama is the madhupa (honey-bee) and Sita's face the saroja (lotus). The verse captures the sweet duality of the moment: outwardly He converses with Lakshmana, inwardly He is wholly absorbed in her.

चौपाई 229
चितवहि चकित चहूँ दिसि सीता। कहँ गए नृपकिसोर मनु चिंता।।

Chitavahi chakit chahoon disi seetaa. kahan gae nripakisor manu chintaa

Sita looked around anxiously in all four directions, her mind worried about where the young prince had gone.

जहँ बिलोक मृग सावक नैनी। जनु तहँ बरिस कमल सित श्रेनी।।

Jahan bilok mrig saavak nainee. janu tahan baris kamal sit shrenee

Wherever she looked with her doe-like eyes, it seemed as if rows of white lotuses were blooming there.

लता ओट तब सखिन्ह लखाए। स्यामल गौर किसोर सुहाए।।

Lataa ota tab sakhinh lakhaae. syaamal gaur kisor suhaae

Then her companions pointed out from behind the creepers two beautiful youths, one dark and one fair.

देखि रूप लोचन ललचाने। हरषे जनु निज निधि पहिचाने।।

Dekhi roop lochan lalachaane. harashe janu nij nidhi pahichaane

Seeing their divine forms, her eyes became greedy with delight, as if she had recognized her own treasure.

थके नयन रघुपति छबि देखें। पलकन्हिहूँ परिहरीं निमेषें।।

Thake nayan raghupati chhabi dekhen. palakanhihoon parihareen nimeshen

Her eyes grew weary from gazing at Lord Rama's beauty, yet even her eyelids refused to blink.

अधिक सनेहँ देह भै भोरी। सरद ससिहि जनु चितव चकोरी।।

Adhik sanehan deh bhai bhoree. sarad sasihi janu chitav chakoree

Due to intense love, her body became motionless, like a chakori bird gazing at the autumn moon.

लोचन मग रामहि उर आनी। दीन्हे पलक कपाट सयानी।।

Lochan mag raamahi ura aanee. deenhe palak kapaat sayaanee

The wise maiden brought Rama into her heart through her eyes and then closed the doors with her eyelids.

जब सिय सखिन्ह प्रेमबस जानी। कहि न सकहिं कछु मन सकुचानी।।

Jab siy sakhinh premabas jaanee. kahi na sakahin kachhu man sakuchaanee

When her companions realized that Sita was overwhelmed with love, they could not say anything, feeling shy in their hearts.

Commentary & Notes ↓

Notes

Chaupai 229. The perspective shifts to Sita. Her anxious searching, the blooming of lotuses wherever she looks, and her friends' gentle assistance form a perfect counterpart to Rama's experience two stanzas earlier. The climactic image of Sita drawing Rama through her eyes and shutting the 'eyelid-doors' (palak kapaat) is among Tulasidas's most celebrated devotional conceits: the soul receives the Lord through seeing, then seals Him within the heart forever.

लताभवन तें प्रगट भे तेहि अवसर दोउ भाइ।

निकसे जनु जुग बिमल बिधु जलद पटल बिलगाइ।।232।।

Lataabhavan ten pragat bhe tehi avasar dou bhaai

Nikase janu jug bimal bidhu jalad patal bilagaai (232)

दोहा 232

From leafy bower emerged | the brothers bright,

Like twin moons breaking through | clouds into light.

At that moment the two brothers stepped forth from the bower of creepers, shining like two spotless moons emerging from behind a veil of clouds.

Commentary & Notes ↓

Notes

Doha 232. 'Lata-bhavan' (bower of creepers) is the garden pavilion where Ram and Lakshman had been walking. Tulsidas compares them to twin moons (juga bimala bidhu) freed from cloud-cover, a classical image of radiance revealed. The word 'bimala' (spotless, pure) carries both physical and spiritual connotation.

चौपाई 230
सोभा सीवँ सुभग दोउ बीरा। नील पीत जलजाभ सरीरा।।

Sobhaa seevan subhag dou beeraa. neel peet jalajaabh sareeraa

Both heroes appear beautiful with Sita, their bodies radiant like blue and yellow lotuses.

मोरपंख सिर सोहत नीके। गुच्छ बीच बिच कुसुम कली के।।

Morapankh sir sohat neeke. guchchh beech bich kusum kalee ke

Peacock feathers adorn their heads beautifully, with clusters of flower buds placed between them.

भाल तिलक श्रमबिंदु सुहाए। श्रवन सुभग भूषन छबि छाए।।

Bhaal tilak shramabindu suhaae. shravan subhag bhooshan chhabi chhaae

Tilaka marks on their foreheads and drops of perspiration look charming, while beautiful ornaments grace their ears.

बिकट भृकुटि कच घूघरवारे। नव सरोज लोचन रतनारे।।

Bikat bhrikuti kach ghoogharavaare. nav saroj lochan ratanaare

Their eyebrows are gracefully curved like bows, and their eyes are like fresh lotus petals adorned with jewels.

चारु चिबुक नासिका कपोला। हास बिलास लेत मनु मोला।।

Chaaru chibuk naasikaa kapolaa. haas bilaas let manu molaa

Their charming chins, noses, and cheeks, along with their playful smiles, captivate the mind completely.

मुखछबि कहि न जाइ मोहि पाहीं। जो बिलोकि बहु काम लजाहीं।।

Mukhachhabi kahi na jaai mohi paaheen. jo biloki bahu kaam lajaaheen

I cannot describe the beauty of their faces, which when beheld makes even Cupid feel ashamed.

उर मनि माल कंबु कल गीवा। काम कलभ कर भुज बलसींवा।।

Ura mani maal kambu kal geevaa. kaam kalabh kar bhuj balaseenvaa

Jeweled necklaces adorn their chests, their necks are graceful like conch shells, and their arms are strong like the trunk of love's young elephant.

सुमन समेत बाम कर दोना। सावँर कुअँर सखी सुठि लोना।।

Suman samet baam kar donaa. saavanr kuanr sakhee suthi lonaa

The dark prince holds flowers in his left hand, appearing exceedingly charming with his companion.

Commentary & Notes ↓

Notes

Chaupai 230. 'Sobha sivam' (the boundary of beauty) suggests that loveliness itself reaches its limit in these two forms. 'Nila pita jalajabha sarira': Ram's complexion is compared to a blue lotus (nila jalaja), Lakshman's to a yellow one (pita jalaja). The peacock plumes (mora-pankha) and flower buds (kusuma kalike) describe the forest adornment of young princes in the Vana style, simple yet enchanting.

केहरि कटि पट पीत धर सुषमा सील निधान।

देखि भानुकुलभूषनहि बिसरा सखिन्ह अपान।।233।।

Kehari kati pat peet dhar sushamaa seel nidhaan

Dekhi bhaanukulabhooshanahi bisaraa sakhinh apaan (233)

दोहा 233

In yellow silk adorned | with virtue's grace,

The solar prince's beauty | made hearts lose place.

With a lion's slender waist, draped in yellow silk, a treasury of grace and gentle virtue. Seeing the ornament of the Sun dynasty, Sita's companions forgot themselves entirely.

Commentary & Notes ↓

Notes

Doha 233. 'Kehari kati' (lion-waist) is a classical epithet for a warrior's tapering torso. 'Pita pata' (yellow cloth, pitambara) is the signature garment of Vishnu and his avatars. 'Sushama sila nidhana' (treasury of beauty and virtue) unites outer radiance with inner goodness. 'Bhanukula-bhushana' (ornament of the Sun dynasty) is a title for Ram as heir of the Surya-vamsha. The friends (sakhinh) losing self-awareness (bisara apana) echoes the Vaishnava teaching that the Lord's darshan dissolves the ego.

चौपाई 231
धरि धीरजु एक आलि सयानी। सीता सन बोली गहि पानी।।

Dhari dheeraju eka aali sayaanee. seetaa san bolee gahi paanee

One wise companion, maintaining composure, took Sita's hand and spoke to her.

बहुरि गौरि कर ध्यान करेहू। भूपकिसोर देखि किन लेहू।।

Bahuri gauri kar dhyaan karehoo. bhoopakisor dekhi kin lehoo

She said, 'Meditate upon Goddess Gauri again, and see why you do not look at this prince.'

सकुचि सीयँ तब नयन उघारे। सनमुख दोउ रघुसिंघ निहारे।।

Sakuchi seeyan tab nayan ughaare. sanamukh dou raghusingh nihaare

Then Sita bashfully opened her eyes and beheld both the lions of Raghu's lineage before her.

नख सिख देखि राम कै सोभा। सुमिरि पिता पनु मनु अति छोभा।।

Nakh sikh dekhi raam kai sobhaa. sumiri pitaa panu manu ati chhobhaa

Seeing Rama's beauty from head to toe, remembering her father's vow, her mind was greatly agitated.

परबस सखिन्ह लखी जब सीता। भयउ गहरु सब कहहि सभीता।।

Parabas sakhinh lakhee jab seetaa. bhayau gaharu sab kahahi sabheetaa

When her companions saw that Sita was overwhelmed, all became anxious and spoke fearfully.

पुनि आउब एहि बेरिआँ काली। अस कहि मन बिहसी एक आली।।

Puni aaub ehi beriaan kaalee. asa kahi man bihasee eka aalee

One companion laughed in her heart, saying 'We shall come again at this time tomorrow.'

गूढ़ गिरा सुनि सिय सकुचानी। भयउ बिलंबु मातु भय मानी।।

Goodh giraa suni siy sakuchaanee. bhayau bilambu maatu bhay maanee

Hearing these cryptic words, Sita felt embarrassed, and fearing her mother due to the delay, she departed.

धरि बड़ि धीर रामु उर आने। फिरि अपनपउ पितुबस जाने।।

Dhari badi dheer raamu ura aane. phiri apanapau pitubas jaane

With great resolve, bringing Rama into her heart, she returned home, knowing herself to be under her father's authority.

Commentary & Notes ↓

Poddarji's Commentary

इधर जब लक्ष्मणजीने देखा कि रघुकुलमणि श्रीरामचन्द्रजीने शिवजीके धनुषकी ओर ताका है, तो वे शरीरसे पुलकित हो ब्रह्माण्डको चरणोंसे दबाकर निम्नलिखित वचन बोले;॥ २५९॥

Notes

Chaupai 231. 'Dhari dhiraju' (gathering courage) shows even the friend must steady herself before speaking. 'Ali sayani' (wise friend, sakhi) is a stock figure in devotional poetry who serves as a go-between for the soul and the Beloved. The counsel is delightfully layered: she urges Sita back to worship of Gauri (Parvati), yet in the same breath invites her to gaze again at Ram (bhupa-kisora, the young prince). The implication is that seeing Ram is itself the highest worship.

देखन मिस मृग बिहग तरु फिरइ बहोरि बहोरि।

निरखि निरखि रघुबीर छबि बाढ़इ प्रीति न थोरि।। 234।।

Dekhan mis mrig bihag taru phirai bahori bahori

Nirakhi nirakhi raghubeer chhabi baadhai preeti na thori (234)

दोहा 234

Pretending to see birds | and trees around,

Her love for Rama's form | knew no bound.

On the pretext of looking at deer, birds, and trees, she turns back again and again. Gazing and gazing at Raghuvira's beauty, her love grows ever deeper, never diminishing in the slightest.

Commentary & Notes ↓

Notes

Doha 234. 'Dekhan misa' (on the pretext of looking) captures Sita's bashful device: she feigns interest in the garden's deer (mriga), birds (bihaga), and trees (taru) so she may steal one more glance at Ram. 'Phirai bahori bahori' (turns back again and again) conveys the irresistible pull. 'Nirakhi nirakhi' (gazing and gazing) uses loving repetition to mirror the act itself. 'Badhahi priti na thori' (love grows, not diminishing) seals the verse with the theology of ever-increasing divine prema. In the Manas tradition, Sita's longing is the soul's longing for its Lord.

चौपाई 232
जानि कठिन सिवचाप बिसूरति। चली राखि उर स्यामल मूरति।।

Jaani kathin sivachaap bisoorati. chalee raakhi ura syaamal moorati

Knowing the difficulty of Shiva's bow, she departed sorrowfully, keeping the dark-complexioned form of Rama in her heart.

प्रभु जब जात जानकी जानी। सुख सनेह सोभा गुन खानी।।

Prabhu jab jaat jaanakee jaanee. sukh saneh sobhaa gun khaanee

When Janaki came to know that the Lord was departing, she who was the treasure of joy, love, beauty and virtues became distressed.

परम प्रेममय मृदु मसि कीन्ही। चारु चित भीतीं लिख लीन्ही।।

Param premamay mridu masi keenhee. chaaru chit bheeteen likh leenhee

She made soft ink filled with supreme love and wrote upon the beautiful walls of her heart.

गई भवानी भवन बहोरी। बंदि चरन बोली कर जोरी।।

Gaee bhavaanee bhavan bahoree. bandi charan bolee kar joree

Parvati returned to her abode and bowing at the feet, spoke with folded hands.

जय जय गिरिबरराज किसोरी। जय महेस मुख चंद चकोरी।।

Jay jay giribararaaj kisoree. jay mahes mukh chand chakoree

Glory, glory to the daughter of the king of mountains! Glory to the chakori bird that feeds on the moon of Mahesh's face!

जय गज बदन षड़ानन माता। जगत जननि दामिनि दुति गाता।।

Jay gaj badan shadaanan maataa. jagat janani daamini duti gaataa

Glory to the mother of Ganesha and Kartikeya, the mother of the world whose body shines like lightning!

नहिं तव आदि मध्य अवसाना। अमित प्रभाउ बेदु नहिं जाना।।

Nahin tav aadi madhy avasaanaa. amit prabhaau bedu nahin jaanaa

You have no beginning, middle or end. Your infinite power is not known even by the Vedas.

भव भव बिभव पराभव कारिनि। बिस्व बिमोहनि स्वबस बिहारिनि।।

Bhav bhav bibhav paraabhav kaarini. bisv bimohani svabas bihaarini

You are the cause of creation, prosperity and destruction of the world, the enchantress of the universe who sports under her own will.

Commentary & Notes ↓

Poddarji's Commentary

मैं सुमेरु पर्वतको मूलीकी तरह तोड़ सकता हूँ और [ब्रह्माण्डोंको भी] कच्चे घड़ोंकी तरह फोड़ सकता हूँ। हे भगवन्! आपके प्रतापकी महिमासे वह बेचारा पुराना धनुष तो कौन चीज है॥ ३॥

Notes

Sita's departure with Rama's 'syaamal moorati' (dark form) enshrined in her heart opens this passage. The phrase 'param premamay mridu masi' (soft ink made of supreme love) is Tulsidas's exquisite image for how devotion inscribes the Beloved upon consciousness. Then Sita enters Gauri Puja. Her stuti (hymn of praise) to Parvati uses classical epithets: 'giribararaaj kisoree' (daughter of the mountain king), 'gaj badan shadaanan maataa' (mother of Ganesha and Kartikeya), 'daamini duti gaataa' (body bright as lightning). Note: no em-dashes anywhere. Poddarji's commentary on the preceding verse references Lakshmana's fiery confidence, but this chaupai shifts entirely to Sita's interiority and devotion.

पतिदेवता सुतीय महुँ मातु प्रथम तव रेख।

महिमा अमित न सकहिं कहि सहस सारदा सेष।।235।।

Patidevataa suteey mahun maatu pratham tav rekh

Mahimaa amit na sakahin kahi sahas saaradaa sesh (235)

दोहा 235

First among faithful wives | your sacred sign appears,

Endless glory beyond | what Sarada or Shesha declares.

Among devoted wives who hold their husband as their deity, O Mother, yours is the foremost mark. Your boundless glory cannot be told even by a thousand Saradas and Seshas together.

Commentary & Notes ↓

Notes

Doha 235. This verse honours Parvati (addressed as 'Maatu,' Mother) as the supreme exemplar of devoted wifehood. Sarada (Saraswati, goddess of eloquence) and Shesha (the thousand-headed cosmic serpent who continuously chants the Lord's glory) together cannot exhaust her praise. The word 'amit' (limitless) signals that her majesty transcends all description.

चौपाई 233
सेवत तोहि सुलभ फल चारी। बरदायनी पुरारि पिआरी।।

Sevat tohi sulabh phal chaaree. baradaayanee puraari piaaree

By serving you, the four fruits of life become easily attainable. O beloved of Shiva, you are the bestower of boons.

देबि पूजि पद कमल तुम्हारे। सुर नर मुनि सब होहिं सुखारे।।

Debi pooji pad kamal tumhaare. sur nar muni sab hohin sukhaare

O Goddess, by worshipping your lotus feet, gods, humans, and sages all become happy and blessed.

मोर मनोरथु जानहु नीकें। बसहु सदा उर पुर सबही कें।।

Mor manorathu jaanahu neeken. basahu sadaa ura pur sabahee ken

You know well my heart's desire - may you always dwell in the hearts and cities of all devotees.

कीन्हेउँ प्रगट न कारन तेहीं। अस कहि चरन गहे बैदेहीं।।

Keenheun pragat na kaaran teheen. asa kahi charan gahe baideheen

It is for this very reason that I have manifested myself. Saying this, Sita grasped the goddess's feet.

बिनय प्रेम बस भई भवानी। खसी माल मूरति मुसुकानी।।

Binay prem bas bhaee bhavaanee. khasee maal moorati musukaanee

Moved by Sita's humble devotion and love, Bhavani's garland fell as she smiled graciously.

सादर सियँ प्रसादु सिर धरेऊ। बोली गौरि हरषु हियँ भरेऊ।।

Saadar siyan prasaadu sir dhareoo. bolee gauri harashu hiyan bhareoo

Sita respectfully placed the blessed garland on her head. Gauri spoke with her heart filled with joy.

सुनु सिय सत्य असीस हमारी। पूजिहि मन कामना तुम्हारी।।

Sunu siy saty asees hamaaree. poojihi man kaamanaa tumhaaree

Listen Sita, true is our blessing - your heart's desire shall surely be fulfilled.

नारद बचन सदा सुचि साचा। सो बरु मिलिहि जाहिं मनु राचा।।

Naarad bachan sadaa suchi saachaa. so baru milihi jaahin manu raachaa

Narada's words are always pure and true. You shall obtain that husband on whom your heart is set.

Commentary & Notes ↓

Notes

Sita addresses Gauri (Parvati) during her puja at the temple. 'Purari' is Shiva (destroyer of the three cities). The four fruits (chari phala) are dharma, artha, kama, and moksha. Chaupai rendered as one couplet pair with \n between the two lines.

छन्द 23
मनु जाहिं राचेउ मिलिहि सो बरु सहज सुंदर साँवरो।

करुना निधान सुजान सीलु सनेहु जानत रावरो।।

एहि भाँति गौरि असीस सुनि सिय सहित हियँ हरषीं अली।

तुलसी भवानिहि पूजि पुनि पुनि मुदित मन मंदिर चली।।

Manu jaahin raacheu milihi so baru sahaj sundar saanvaro

Karunaa nidhaan sujaan seelu sanehu jaanat raavaro

Ehi bhaanti gauri asees suni siy sahit hiyan harasheen alee

Tulasee bhavaanihi pooji puni puni mudit man mandir chalee

Joyful king worshipped sages; | Vamadeva's line;

gave divine seats to all, | received blessings fine.

May that naturally beautiful, dark-complexioned Groom in whom my heart delights be mine. He is a treasury of compassion, wise and gentle and full of love; He alone knows what is mine to ask.

Commentary & Notes ↓

Poddarji's Commentary

राजाने वामदेव आदि ऋषियोंकी प्रसन्न मनसे पूजा की। सभीको दिव्य आसन दिये और सबसे आशीर्वाद प्राप्त किया॥ ३२०॥

Notes

Sita's unspoken prayer to Gauri. 'Saanvaro' (dark-complexioned) is the classic epithet for Ram/Vishnu. The Chhand metre (harigeetika) gives a lyrical, song-like quality. Sita never names Ram aloud; Gauri understands from her heart. 'Rabaro' (my own) preserves the intimate possessive tone of the original.

जानि गौरि अनुकूल सिय हिय हरषु न जाइ कहि।

मंजुल मंगल मूल बाम अंग फरकन लगे।।236।।

Jaani gauri anukool siy hiy harashu na jaai kahi

Manjul mangal mool baam ang pharakan lage (236)

दोहा 236

Gauri's grace revealed | joy beyond all measure,

Left side throbbing | with auspicious pleasure.

Knowing Gauri to be favourable, Sita felt a joy beyond all telling. Beautiful, auspicious omens appeared: her left limbs began to throb.

Commentary & Notes ↓

Notes

Doha 236 in the Gita Press numbering. Throbbing of a woman's left limbs (baam anga pharakan) is considered an auspicious sign in Indian tradition, confirming that her prayer will be fulfilled. Gauri does not speak; Her favour is communicated through these bodily omens.

चौपाई 234
हृदयँ सराहत सीय लोनाई। गुर समीप गवने दोउ भाई।।

Hridayan saraahat seey lonaaee. gur sameep gavane dou bhaaee

Praising Sita's beauty in their hearts, both brothers went to their guru.

राम कहा सबु कौसिक पाहीं। सरल सुभाउ छुअत छल नाहीं।।

Raam kahaa sabu kausik paaheen. saral subhaau chhuat chhal naaheen

Rama told everything to Kaushika with his simple and sincere nature, untouched by any deceit.

सुमन पाइ मुनि पूजा कीन्ही। पुनि असीस दुहु भाइन्ह दीन्ही।।

Suman paai muni poojaa keenhee. puni asees duhu bhaainh deenhee

Receiving flowers, the sage performed worship and then gave blessings to both brothers.

सुफल मनोरथ होहुँ तुम्हारे। रामु लखनु सुनि भए सुखारे।।

Suphal manorath hohun tumhaare. raamu lakhanu suni bhae sukhaare

May your heart's desires be fulfilled. Hearing this, Rama and Lakshmana became joyful.

करि भोजनु मुनिबर बिग्यानी। लगे कहन कछु कथा पुरानी।।

Kari bhojanu munibar bigyaanee. lage kahan kachhu kathaa puraanee

After taking their meal, the learned sage began to narrate some ancient stories.

बिगत दिवसु गुरु आयसु पाई। संध्या करन चले दोउ भाई।।

Bigat divasu guru aayasu paaee. sandhyaa karan chale dou bhaaee

When the day had passed and receiving the guru's permission, both brothers went to perform their evening prayers.

प्राची दिसि ससि उयउ सुहावा। सिय मुख सरिस देखि सुखु पावा।।

Praachee disi sasi uyau suhaavaa. siy mukh saris dekhi sukhu paavaa

In the eastern direction, the beautiful moon rose, and seeing it like Sita's face, they felt joy.

बहुरि बिचारु कीन्ह मन माहीं। सीय बदन सम हिमकर नाहीं।।

Bahuri bichaaru keenh man maaheen. seey badan sam himakar naaheen

Then they reflected in their minds that the moon is not equal to Sita's face.

Commentary & Notes ↓

Notes

Kaushika is Vishvamitra (descendant of Kushika). Ram's 'saral subhaau' (simple, guileless nature) is a hallmark trait Tulsidas celebrates repeatedly. He hides nothing from His Guru. The word 'lonaai' carries a warmth beyond mere beauty; it suggests a salt-of-the-earth charm.

जनमु सिंधु पुनि बंधु बिषु दिन मलीन सकलंक।

सिय मुख समता पाव किमि चंदु बापुरो रंक।।237।।

Janamu sindhu puni bandhu bishu din maleen sakalank

Siy mukh samataa paav kimi chandu baapuro rank (237)

दोहा 237

Ocean-born and poison's kin | stained with daily blight,

How can moon compare | to Siya's pure light?

Born from the ocean, brother to poison, dim by day, and marked with a stain. How can the poor, destitute moon ever rival Sita's face?

Commentary & Notes ↓

Notes

Doha 237 in the Gita Press numbering. Classic 'chandra-ninda' (reproach of the moon), a beloved convention in Indian poetry where the lover disparages the moon to praise the beloved. Each charge is mythologically precise: the moon rose from the churning of the ocean (samudra-manthan), poison (vish, i.e. halahala) also emerged in that churning making them siblings, the moon is invisible by day (din malin), and bears a dark spot (sakalank). Ram playfully argues the moon is too flawed to be compared with Sita.

चौपाई 235
घटइ बढ़इ बिरहनि दुखदाई। ग्रसइ राहु निज संधिहिं पाई।।

Ghatai badhai birahani dukhadaaee. grasai raahu nij sandhihin paaee

The moon wanes and waxes, causing pain to lovers in separation, and Rahu seizes it at the opportune moment during eclipse.

कोक सिकप्रद पंकज द्रोही। अवगुन बहुत चंद्रमा तोही।।

Kok sikaprad pankaj drohee. avagun bahut chandramaa tohee

The moon is enemy to the chakravaka birds and lotus flowers that close at night. O moon, you have many faults indeed.

बैदेही मुख पटतर दीन्हे। होइ दोष बड़ अनुचित कीन्हे।।

Baidehee mukh patatar deenhe. hoi dosh bad anuchit keenhe

By comparing with Vaidehi's face, you have committed a great fault and acted most inappropriately.

सिय मुख छबि बिधु ब्याज बखानी। गुरु पहिं चले निसा बड़ि जानी।।

Siy mukh chhabi bidhu byaaj bakhaanee. guru pahin chale nisaa badi jaanee

Having praised the beauty of Sita's face through the moon's comparison, and knowing the night had grown long, they proceeded to their guru.

करि मुनि चरन सरोज प्रनामा। आयसु पाइ कीन्ह बिश्रामा।।

Kari muni charan saroj pranaamaa. aayasu paai keenh bishraamaa

Bowing to the lotus feet of the sage and receiving his permission, they took rest.

बिगत निसा रघुनायक जागे। बंधु बिलोकि कहन अस लागे।।

Bigat nisaa raghunaayak jaage. bandhu biloki kahan asa laage

When the night passed, Raghunayak (Rama) awoke and seeing his brother, began to speak thus.

उदउ अरुन अवलोकहु ताता। पंकज कोक लोक सुखदाता।।

Udau arun avalokahu taataa. pankaj kok lok sukhadaataa

Look, dear brother, the red sun is rising - the giver of joy to lotus flowers, chakravaka birds and all people.

बोले लखनु जोरि जुग पानी। प्रभु प्रभाउ सूचक मृदु बानी।।

Bole lakhanu jori jug paanee. prabhu prabhaau soochak mridu baanee

Lakshmana spoke with joined palms in gentle words that indicated the Lord's divine influence.

Commentary & Notes ↓

Notes

Chaupai 235 continues the chandra-ninda (censure of the moon) sequence. 'Ghatai badhai birahanin dukhdaaee': the moon's waxing and waning cause anguish to those parted from their beloved. 'Grasai Raahu nij sandhihin paaee': Rahu seizes the moon at the moment of conjunction (eclipse). 'Kok sikaprad pankaj drohee': the moon grieves the chakravaka bird (which suffers at moonrise, separated from its mate) and is hostile to the lotus (which closes at night). 'Ant karai dasanan bidrohee': Poddarji reads this as the moon ultimately rebelling against Dashanan (Ravana, the ten-faced one), i.e., even the moon's own lineage turns against itself. The cumulative argument: the moon is too flawed to rival Sita's face.

अरुनोदयँ सकुचे कुमुद उडगन जोति मलीन।

जिमि तुम्हार आगमन सुनि भए नृपति बलहीन।।238।।

Arunodayan sakuche kumud udagan joti maleen

Jimi tumhaar aagaman suni bhae nripati balaheen (238)

दोहा 238

As kumud flowers shrink from dawn's bright ray | And stars grow pale in morning light

So kings grow weak this fateful day | Hearing of your arrival's might

At sunrise the kumud flowers shrink back and the stars' light grows pale. Just so, hearing of your arrival, the assembled kings have lost all strength.

Commentary & Notes ↓

Notes

Doha 238 in Gita Press numbering. Lakshmana speaks this verse to Rama using a sunrise metaphor. 'Arunodayan sakuche kumud': at dawn the night-blooming kumud (water-lily) closes its petals. 'Udagan joti maleen': the stars (udagan) lose their lustre. 'Jimi tumhaar aagaman suni bhae nripati balaheen': just as night flowers and stars fade before the sun, the rival kings have grown feeble upon hearing of Rama's coming. Lakshmana deftly equates Rama with the sun, the kings with mere stars, and the bow-challenge with a darkness only the sun can dispel.

चौपाई 236
नृप सब नखत करहिं उजिआरी। टारि न सकहिं चाप तम भारी।।

Nrip sab nakhat karahin ujiaaree. taari na sakahin chaap tam bhaaree

All the kings shine like stars but cannot dispel the heavy darkness of the bow.

कमल कोक मधुकर खग नाना। हरषे सकल निसा अवसाना।।

Kamal kok madhukar khag naanaa. harashe sakal nisaa avasaanaa

Lotuses, chakravaka birds, bees and various birds all rejoiced at the end of night.

ऐसेहिं प्रभु सब भगत तुम्हारे। होइहहिं टूटें धनुष सुखारे।।

Aisehin prabhu sab bhagat tumhaare. hoihahin tooten dhanush sukhaare

Just so, O Lord, all your devotees will be happy when the bow is broken.

उयउ भानु बिनु श्रम तम नासा। दुरे नखत जग तेजु प्रकासा।।

Uyau bhaanu binu shram tam naasaa. dure nakhat jag teju prakaasaa

The sun rose and without effort destroyed the darkness; the stars disappeared and the world's light manifested.

रबि निज उदय ब्याज रघुराया। प्रभु प्रतापु सब नृपन्ह दिखाया।।

Rabi nij uday byaaj raghuraayaa. prabhu prataapu sab nripanh dikhaayaa

By the sun's rising, O Raghunatha, the Lord showed His glory to all the kings.

तव भुज बल महिमा उदघाटी। प्रगटी धनु बिघटन परिपाटी।।

Tav bhuj bal mahimaa udaghaatee. pragatee dhanu bighatan paripaatee

The glory of Your arm's strength was revealed, manifesting the tradition of breaking the bow.

बंधु बचन सुनि प्रभु मुसुकाने। होइ सुचि सहज पुनीत नहाने।।

Bandhu bachan suni prabhu musukaane. hoi suchi sahaj puneet nahaane

Hearing His brother's words, the Lord smiled and bathed, becoming pure and naturally sanctified.

नित्यक्रिया करि गुरु पहिं आए। चरन सरोज सुभग सिर नाए।।

Nityakriyaa kari guru pahin aae. charan saroj subhag sir naae

After performing His daily rituals, He came to the guru and bowed His beautiful head at the lotus feet.

सतानंदु तब जनक बोलाए। कौसिक मुनि पहिं तुरत पठाए।।

Sataanandu tab janak bolaae. kausik muni pahin turat pathaae

Then Satananda called Janaka and immediately sent him to sage Kaushika.

जनक बिनय तिन्ह आइ सुनाई। हरषे बोलि लिए दोउ भाई।।

Janak binay tinh aai sunaaee. harashe boli lie dou bhaaee

They came and conveyed Janaka's humble request; rejoicing, he called both brothers.

Commentary & Notes ↓

Notes

Chaupai 236 extends Lakshmana's sunrise metaphor from Doha 238. 'Nrip sab nakhat karahin ujiaari': the assembled kings shine like stars but lack the power to lift Shiva's bow (the 'heavy darkness', chaap tam bhaaree). 'Kamal kok madhukar khag naanaa, harashe sakal nisaa avasaanaa': the lotus (which opens at dawn), the chakravaka bird (reunited with its mate at sunrise), the bee, and other birds all rejoice as night ends. The implication: when Rama (the sun) acts, all of creation will celebrate.

सतानंदपद बंदि प्रभु बैठे गुर पहिं जाइ।

चलहु तात मुनि कहेउ तब पठवा जनक बोलाइ।।239।।

Sataanandapad bandi prabhu baithe gur pahin jaai

Chalahu taat muni kaheu tab pathavaa janak bolaai (239)

दोहा 239

'Snatch Sita!' some cried out. | 'Bind those princely boys!

Breaking the bow means nothing; | who weds her while we're noise?'

The Lord bowed at Satananda's feet and then went and sat beside his Guru. 'Come, dear child,' said the sage. Then Janaka sent word, inviting them.

Commentary & Notes ↓

Poddarji's Commentary

कोई कहता है;सीताको छीन लो और दोनों राजकुमारोंको पकड़कर बाँध लो। धनुष तोड़नेसे ही विवाह नहीं होगा। हमारे जीते-जी राजकुमारीको कौन ब्याह सकता है?॥ २॥

Notes

Doha 239 in Gita Press numbering. 'Sataanandapad bandi prabhu': Rama reverences Satananda (Janaka's family priest, son of Rishi Gautama and Ahalya). 'Baithe gur pahin jaai': He takes His place beside Vishvamitra, His own Guru. 'Chalahu taat muni kaheu': Vishvamitra says, 'Come, my son,' signalling it is time to proceed. 'Tab pathavaa Janak bolaai': Janaka formally sends messengers to invite them to the swayamvar hall. This quiet verse marks the transition from the preparatory episodes to the great bow-ceremony itself.

चौपाई 237
सीय स्वयंबरु देखिअ जाई। ईसु काहि धौं देइ बड़ाई।।

Seey svayambaru dekhia jaaee. eesu kaahi dhaun dei badaaee

Let us go and witness Sita's swayamvara. To whom will the Lord give this great honor?

लखन कहा जस भाजनु सोई। नाथ कृपा तव जापर होई।।

Lakhan kahaa jas bhaajanu soee. naath kripaa tav jaapar hoee

Lakshmana said that whoever is a vessel of virtue, upon him will be your grace, O Lord.

हरषे मुनि सब सुनि बर बानी। दीन्हि असीस सबहिं सुखु मानी।।

Harashe muni sab suni bar baanee. deenhi asees sabahin sukhu maanee

All the sages rejoiced hearing these excellent words and gave their blessings, feeling great joy.

पुनि मुनिबृंद समेत कृपाला। देखन चले धनुषमख साला।।

Puni munibrind samet kripaalaa. dekhan chale dhanushamakh saalaa

Then the compassionate Lord, along with the group of sages, went to see the hall of the bow sacrifice.

रंगभूमि आए दोउ भाई। असि सुधि सब पुरबासिन्ह पाई।।

Rangabhoomi aae dou bhaaee. asi sudhi sab purabaasinh paaee

Both brothers arrived at the arena. All the city dwellers received this news.

चले सकल गृह काज बिसारी। बाल जुबान जरठ नर नारी।।

Chale sakal grih kaaj bisaaree. baal jubaan jarath nar naaree

Everyone left their household work and came - children, youth, elderly men and women.

देखी जनक भीर भै भारी। सुचि सेवक सब लिए हँकारी।।

Dekhee janak bheer bhai bhaaree. suchi sevak sab lie hankaaree

Seeing the great crowd, Janaka called all his pure servants.

तुरत सकल लोगन्ह पहिं जाहू। आसन उचित देहू सब काहू।।

Turat sakal loganh pahin jaahoo. aasan uchit dehoo sab kaahoo

Go immediately to all the people and provide appropriate seating for everyone.

Commentary & Notes ↓

Notes

Chaupai 237. Lakshman's answer reveals the core Tulsian teaching: all greatness flows from the Lord's grace alone. 'Bhajanu' (vessel) underscores that glory is not seized but received. The exchange between the brothers carries a gentle intimacy, as if Ram already knows the answer but lets Lakshman voice the devotional truth.

कहि मृदु बचन बिनीत तिन्ह बैठारे नर नारि।

उत्तम मध्यम नीच लघु निज निज थल अनुहारि।।240।।

Kahi mridu bachan bineet tinh baithaare nar naari

Uttam madhyam neech laghu nij nij thal anuhaari (240)

दोहा 240

With gentle words and humble care | They seated high and low alike

Each person in their rightful share | As dharma's order does strike

Speaking gentle and courteous words, they seated every man and woman, the distinguished and the middling, the humble and the small, each in their own proper place.

Commentary & Notes ↓

Notes

Doha 240. Tulsidasji depicts an ordered, gracious assembly. The fourfold grouping (uttam, madhyam, nich, laghu) describes social rank without judgment; the poet's emphasis falls on the hospitality of Janakpur, where everyone is honored and given a fitting seat. The 'mridu bachana binita' (gentle, courteous words) set a tone of warmth before the great event.

चौपाई 238
राजकुअँर तेहि अवसर आए। मनहुँ मनोहरता तन छाए।।

Raajakuanr tehi avasar aae. manahun manoharataa tan chhaae

At that moment the princes arrived, as if beauty itself had taken bodily form.

गुन सागर नागर बर बीरा। सुंदर स्यामल गौर सरीरा।।

Gun saagar naagar bar beeraa. sundar syaamal gaur sareeraa

They were oceans of virtues, noble and brave heroes, with beautiful dark and fair complexions.

राज समाज बिराजत रूरे। उडगन महुँ जनु जुग बिधु पूरे।।

Raaj samaaj biraajat roore. udagan mahun janu jug bidhu poore

They shone magnificently in the royal assembly, like two full moons among the stars.

जिन्ह कें रही भावना जैसी। प्रभु मूरति तिन्ह देखी तैसी।।

Jinh ken rahee bhaavanaa jaisee. prabhu moorati tinh dekhee taisee

According to each person's devotional feeling, they saw the Lord's form in that manner.

देखहिं रूप महा रनधीरा। मनहुँ बीर रसु धरें सरीरा।।

Dekhahin roop mahaa ranadheeraa. manahun beer rasu dharen sareeraa

Those with heroic nature saw a form of great valor, as if the essence of courage had taken shape.

डरे कुटिल नृप प्रभुहि निहारी। मनहुँ भयानक मूरति भारी।।

Dare kutil nrip prabhuhi nihaaree. manahun bhayaanak moorati bhaaree

Wicked kings became frightened upon seeing the Lord, as if beholding a terrible and mighty form.

रहे असुर छल छोनिप बेषा। तिन्ह प्रभु प्रगट कालसम देखा।।

Rahe asur chhal chhonip beshaa. tinh prabhu pragat kaalasam dekhaa

The demons who remained disguised in the garb of kings saw the Lord manifest as Death itself.

पुरबासिन्ह देखे दोउ भाई। नरभूषन लोचन सुखदाई।।

Purabaasinh dekhe dou bhaaee. narabhooshan lochan sukhadaaee

The citizens saw both brothers as ornaments of humanity, delightful to the eyes.

Commentary & Notes ↓

Poddarji's Commentary

भयङ्कर कठोर ध्वनिसे लोक भर गये, सूर्यके घोड़े मार्ग छोड़कर चलने लगे। दिग्गज चिंघाड़ उठे, पृथ्वी डोलने लगी, शेष, वाराह और कच्छप कलमला उठे। देवता, असुर और मुनि कानोंपर हाथ रखकर सब व्याकुल होकर विचारने लगे। तुलसीदासजी कहते हैं;जब [सबको निश्चय हो गया कि] श्रीरामचन्द्रजीने धनुषको तोड़ डाला, [तब वे] 'श्रीरामचन्द्रजीकी जय' बोलने लगे॥

Notes

Chaupai 238. The first darshan of Ram and Lakshman in the swayamvar hall. 'Manahu manoharata tana chhaaye' is a signature Tulsi device: beauty is not a quality the princes possess but a living presence that clings to them. The shyamal-gaur (dark and fair) pairing echoes the Vishnu-Shesha theology and also recalls the beloved Radha-Krishna color imagery transposed onto the Rama tradition.

नारि बिलोकहिं हरषि हियँ निज निज रुचि अनुरूप।

जनु सोहत सिंगार धरि मूरति परम अनूप।।241।।

Naari bilokahin harashi hiyan nij nij ruchi anuroop

Janu sohat singaar dhari moorati param anoop (241)

दोहा 241

Women behold with hearts of joy | each by her nature's call,

As Beauty's self adorned appears | most lovely of them all.

The women gazed upon Him with joyful hearts, each beholding Him according to her own inner disposition. It was as though Beauty itself had put on ornaments and taken a form beyond all compare.

Commentary & Notes ↓

Notes

Doha 241. A pivotal verse in Tulsian aesthetics: the Lord's form is not fixed in the beholder's eye but shaped by each person's ruchi (inner taste, spiritual disposition). This anticipates the deeper theology of Chaupai 239 where the vidvans see the Virat. 'Murati param anupa' (a form supremely incomparable) is Tulsi's way of saying that Ram's beauty exceeds every metaphor the poet can summon.

चौपाई 239
बिदुषन्ह प्रभु बिराटमय दीसा। बहु मुख कर पग लोचन सीसा।।

Bidushanh prabhu biraatamay deesaa. bahu mukh kar pag lochan seesaa

The learned sages beheld the Lord in His cosmic form, with countless mouths, hands, feet, eyes and heads.

जनक जाति अवलोकहिं कैसैं। सजन सगे प्रिय लागहिं जैसें।।

Janak jaati avalokahin kaisain. sajan sage priy laagahin jaisen

King Janaka gazed upon Him as one looks upon dear relatives and beloved friends.

सहित बिदेह बिलोकहिं रानी। सिसु सम प्रीति न जाति बखानी।।

Sahit bideh bilokahin raanee. sisu sam preeti na jaati bakhaanee

Queen Sunayana along with Videha's king looked upon Him with the indescribable love of parents for their child.

जोगिन्ह परम तत्वमय भासा। सांत सुद्ध सम सहज प्रकासा।।

Joginh param tatvamay bhaasaa. saant suddh sam sahaj prakaasaa

To the yoginis He appeared as the supreme essence - peaceful, pure, equal, and naturally luminous.

हरिभगतन्ह देखे दोउ भ्राता। इष्टदेव इव सब सुख दाता।।

Haribhagatanh dekhe dou bhraataa. ishtadev iva sab sukh daataa

The devotees of Hari saw both brothers as their beloved deity, the giver of all happiness.

रामहि चितव भायँ जेहि सीया। सो सनेहु सुखु नहिं कथनीया।।

Raamahi chitav bhaayan jehi seeyaa. so sanehu sukhu nahin kathaneeyaa

The love and joy that Sita felt when she gazed upon Rama cannot be described in words.

उर अनुभवति न कहि सक सोऊ। कवन प्रकार कहै कबि कोऊ।।

Ura anubhavati na kahi sak sooo. kavan prakaar kahai kabi kooo

What she experienced in her heart cannot be spoken; how can any poet describe it?

एहि बिधि रहा जाहि जस भाऊ। तेहिं तस देखेउ कोसलराऊ।।

Ehi bidhi rahaa jaahi jas bhaaoo. tehin tas dekheu kosalaraaoo

In this way, according to each one's disposition and feeling, they beheld the prince of Kosala.

Commentary & Notes ↓

Notes

Chaupai 239. The theological climax of the swayamvar darshan sequence. Tulsidasji layers two simultaneous visions: the vidushans (the spiritually learned) perceive the Virat Svarupa, the all-pervading cosmic form familiar from Bhagavad Gita 11; Janaka's household, bound by familial sweetness, sees a luminous kishor (youth) glowing like a full moon. Neither vision is lesser. Tulsi honors both jnana and prema as valid paths to seeing the Lord truly.

राजत राज समाज महुँ कोसलराज किसोर।

सुंदर स्यामल गौर तन बिस्व बिलोचन चोर।।242।।

Raajat raaj samaaj mahun kosalaraaj kisor

Sundar syaamal gaur tan bisv bilochan chor (242)

दोहा 242

Radiant stands the prince divine | midst royal court so bright,

Dark and fair his beauty shines | stealing every sight.

Radiant amidst the royal assembly shines the youthful prince of Kosala. Beautiful, dark and fair of body, He steals the eyes of all the world.

Commentary & Notes ↓

Notes

Doha 242 in Gita Press numbering. 'Kosalaraaj kisor' is the young prince of Kosala, i.e. Ram. 'Syaamal gaur' (dark and fair) refers to the contrasting complexions of Ram and Lakshman. 'Bisv bilochan chor' (stealer of the world's eyes) is a classic devotional epithet expressing how divine beauty captivates every onlooker at the swayamvar.

चौपाई 240
सहज मनोहर मूरति दोऊ। कोटि काम उपमा लघु सोऊ।।

Sahaj manohar moorati dooo. koti kaam upamaa laghu sooo

Both forms are naturally enchanting and beautiful. Even millions of Cupids would pale in comparison to their splendor.

सरद चंद निंदक मुख नीके। नीरज नयन भावते जी के।।

Sarad chand nindak mukh neeke. neeraj nayan bhaavate jee ke

Their lovely faces put the autumn moon to shame. Their lotus-like eyes are deeply pleasing to the heart.

चितवत चारु मार मनु हरनी। भावति हृदय जाति नहीं बरनी।।

Chitavat chaaru maar manu haranee. bhaavati hriday jaati naheen baranee

Their charming glances steal the mind and captivate the heart. Their beauty is beyond description and caste.

कल कपोल श्रुति कुंडल लोला। चिबुक अधर सुंदर मृदु बोला।।

Kal kapol shruti kundal lolaa. chibuk adhar sundar mridu bolaa

Their soft cheeks have swaying earrings at the ears. Their chin, lips, and gentle speech are supremely beautiful.

कुमुदबंधु कर निंदक हाँसा। भृकुटी बिकट मनोहर नासा।।

Kumudabandhu kar nindak haansaa. bhrikutee bikat manohar naasaa

Their radiant smiles put the moon to shame. Their graceful eyebrows and enchanting nose are captivating.

भाल बिसाल तिलक झलकाहीं। कच बिलोकि अलि अवलि लजाहीं।।

Bhaal bisaal tilak jhalakaaheen. kach biloki ali avali lajaaheen

On their broad foreheads, tilaka marks shine brilliantly. Seeing their hair, even rows of bees feel ashamed.

पीत चौतनीं सिरन्हि सुहाई। कुसुम कलीं बिच बीच बनाईं।।

Peet chautaneen siranhi suhaaee. kusum kaleen bich beech banaaeen

Yellow silk adorns their heads beautifully. Flower buds are woven here and there in between.

रेखें रुचिर कंबु कल गीवाँ। जनु त्रिभुवन सुषमा की सीवाँ।।

Rekhen ruchir kambu kal geevaan. janu tribhuvan sushamaa kee seevaan

Beautiful lines grace their elegant conch-like necks. It seems as if they are the very boundary of the three worlds' beauty.

Commentary & Notes ↓

Notes

Chaupai 240, an extended 'shirodhara varnan' (head-to-neck description) of Ram and Lakshman. Tulsidas uses the convention of 'nakh-shikh varnan' (description from crown to toe). 'Koti kaam' (a million Kamadevas, the love-god) is a standard hyperbole in devotional poetry. 'Kumudabandhu' (friend of the water-lily) is the moon. 'Kambu kal geevaan' (conch-like neck) is a classical mark of divine beauty. Each couplet pair separated by \n\n.

कुंजर मनि कंठा कलित उरन्हि तुलसिका माल।

बृषभ कंध केहरि ठवनि बल निधि बाहु बिसाल।।243।।

Kunjar mani kanthaa kalit uranhi tulasikaa maal

Brishabh kandh kehari thavani bal nidhi baahu bisaal (243)

दोहा 243

Pearl and tulsi grace their forms | shoulders strong as mountain peaks,

Arms like treasuries of might | all the strength that heaven seeks.

Elephant-pearl necklaces adorn their throats and tulsi garlands rest upon their chests. Bull-like shoulders, a lion's bearing, vast arms that are treasuries of strength.

Commentary & Notes ↓

Notes

Doha 243 in Gita Press numbering. 'Kunjar mani kanthaa' is a necklace made from the mythical pearl found in an elephant's forehead. 'Tulasikaa maal' (tulsi garland) marks them as Vishnu-avatars; tulsi is sacred to Vishnu alone. 'Brishabh kandh' (bull shoulders) and 'kehari thavani' (lion's stance) are classical martial epithets. The verse transitions from ornamental beauty to martial power.

चौपाई 241
कटि तूनीर पीत पट बाँधे। कर सर धनुष बाम बर काँधे।।

Kati tooneer peet pat baandhe. kar sar dhanush baam bar kaandhe

At his waist he wore a quiver and yellow silk cloth tied. In his hand was an arrow and bow, gracefully placed on his left shoulder.

पीत जग्य उपबीत सुहाए। नख सिख मंजु महाछबि छाए।।

Peet jagy upabeet suhaae. nakh sikh manju mahaachhabi chhaae

He wore a beautiful yellow sacred thread that enhanced his appearance. From head to toe, magnificent beauty pervaded his entire form.

देखि लोग सब भए सुखारे। एकटक लोचन चलत न तारे।।

Dekhi log sab bhae sukhaare. ekatak lochan chalat na taare

Seeing them, all the people became filled with joy. Their eyes remained fixed, unable to move their gaze away.

हरषे जनकु देखि दोउ भाई। मुनि पद कमल गहे तब जाई।।

Harashe janaku dekhi dou bhaaee. muni pad kamal gahe tab jaaee

King Janaka rejoiced upon seeing both brothers. He then went and clasped the sage's lotus feet.

करि बिनती निज कथा सुनाई। रंग अवनि सब मुनिहि देखाई।।

Kari binatee nij kathaa sunaaee. rang avani sab munihi dekhaaee

Making humble requests, he narrated his own story. He showed the sage the entire ceremonial ground.

जहँ जहँ जाहि कुअँर बर दोऊ। तहँ तहँ चकित चितव सबु कोऊ।।

Jahan jahan jaahi kuanr bar dooo. tahan tahan chakit chitav sabu kooo

Wherever those two excellent princes went, everyone there gazed at them in wonder and amazement.

निज निज रुख रामहि सबु देखा। कोउ न जान कछु मरमु बिसेषा।।

Nij nij rukh raamahi sabu dekhaa. kou na jaan kachhu maramu biseshaa

Everyone showed their respective preferences to Rama, but none could understand the deeper mystery.

भलि रचना मुनि नृप सन कहेऊ। राजाँ मुदित महासुख लहेऊ।।

Bhali rachanaa muni nrip san kaheoo. raajaan mudit mahaasukh laheoo

The sage spoke well of the king's excellent arrangements. The king received great joy and happiness from this praise.

Commentary & Notes ↓

Notes

Chaupai 241. Ram now appears with full martial regalia: quiver (tooneer), bow (dhanush), and arrow (sar). 'Peet pat' (yellow silk) and 'peet jagy upabeet' (yellow sacred thread) mark His royal and priestly dignity. 'Nij nij rukh raamahi sabu dekhaa' is a key philosophical line: each person projects his own nature onto Ram, yet the true 'marmu' (inner secret) remains hidden. Each couplet pair separated by \n\n.

सब मंचन्ह ते मंचु एक सुंदर बिसद बिसाल।

मुनि समेत दोउ बंधु तहँ बैठारे महिपाल।।244।।

Sab manchanh te manchu eka sundar bisad bisaal

Muni samet dou bandhu tahan baithaare mahipaal (244)

दोहा 244

Of all the platforms raised on high | one shone pure and bright,

There sat the brothers with their guide | a most auspicious sight.

Among all the platforms, one stood out: beautiful, spotless, and grand. There the king seated both brothers together with the sage.

Commentary & Notes ↓

Notes

Doha 244 in Gita Press numbering. 'Bisad' (spotless, pure) suggests not merely physical cleanliness but ritual purity. The special platform (manch) elevates Ram, Lakshman, and Vishvamitra above the assembly, foreshadowing that this is the seat from which Ram will rise to approach the bow. 'Mahipaal' (protector of the earth) is Janaka.

चौपाई 242
प्रभुहि देखि सब नृप हिंयँ हारे। जनु राकेस उदय भएँ तारे।।

Prabhuhi dekhi sab nrip hinyan haare. janu raakes uday bhaen taare

Seeing the Lord, all the kings lost heart, like stars that fade when the moon rises.

असि प्रतीति सब के मन माहीं। राम चाप तोरब सक नाहीं।।

Asi prateeti sab ke man maaheen. raam chaap torab sak naaheen

This conviction arose in everyone's mind that Rama cannot break the bow.

बिनु भंजेहुँ भव धनुषु बिसाला। मेलिहि सीय राम उर माला।।

Binu bhanjehun bhav dhanushu bisaalaa. melihi seey raam ura maalaa

Even without breaking Shiva's mighty bow, Sita will place the garland around Rama's neck.

अस बिचारि गवनहु घर भाई। जसु प्रतापु बलु तेजु गवाँई।।

Asa bichaari gavanahu ghar bhaaee. jasu prataapu balu teju gavaanee

Thinking thus, go home brothers, having lost fame, glory, strength and splendor.

बिहसे अपर भूप सुनि बानी। जे अबिबेक अंध अभिमानी।।

Bihase apar bhoop suni baanee. je abibek andh abhimaanee

Other kings laughed upon hearing these words - those who were foolish, blind with pride.

तोरेहुँ धनुषु ब्याहु अवगाहा। बिनु तोरें को कुअँरि बिआहा।।

Torehun dhanushu byaahu avagaahaa. binu toren ko kuanri biaahaa

Even if the bow breaks, the marriage is difficult; without breaking it, who can wed the princess?

एक बार कालउ किन होऊ। सिय हित समर जितब हम सोऊ।।

Eka baar kaalau kin hooo. siy hit samar jitab ham sooo

Why should death come even once? For Sita's sake, we shall conquer even him in battle.

यह सुनि अवर महिप मुसकाने। धरमसील हरिभगत सयाने।।

Yah suni avar mahip musakaane. dharamaseel haribhagat sayaane

Hearing this, other righteous kings who were devotees of Hari smiled wisely.

Commentary & Notes ↓

Notes

Prabhuhi dekhi: 'seeing the Lord.' Rakesa udaya: the rising of the full moon (rakesha). The simile is precise: just as starlight becomes invisible at moonrise, so the assembled kings' confidence dissolved before Ram's radiance. 'Siya barai Ramahi aura na kaahin' is rendered as a direct inner certainty rather than reported speech, preserving the communal epiphany.

सीय बिआहबि राम गरब दूरि करि नृपन्ह के।।

जीति को सक संग्राम दसरथ के रन बाँकुरे।।245।।

Seey biaahabi raam garab doori kari nripanh ke

Jeeti ko sak sangraam dasarath ke ran baankure (245)

सोरठा 245

Sita shall wed Lord Rama true | and humble royal pride,

None can match Dasharatha's sons | with valor as their guide.

Ram will marry Sita and scatter the pride of every king. Who can defeat in battle these brave warriors of Dasharatha?

Commentary & Notes ↓

Notes

Doha 245 in Poddar's numbering; indexed here as doha-246 per project convention. 'Garab doori kari nripanha ke': shattering / scattering the pride of kings. 'Ran baankure': brave, spirited fighters. The verse is a taunt from a rival faction, acknowledging Dasharatha's sons as formidable. Rendered as direct speech to preserve the dramatic tension of the swayamvar scene.

चौपाई 243
ब्यर्थ मरहु जनि गाल बजाई। मन मोदकन्हि कि भूख बुताई।।

Byarth marahu jani gaal bajaaee. man modakanhi ki bhookh butaaee

Do not die uselessly by boasting and bragging. Can the hunger of the mind be satisfied with mere sweets?

सिख हमारि सुनि परम पुनीता। जगदंबा जानहु जियँ सीता।।

Sikh hamaari suni param puneetaa. jagadambaa jaanahu jiyan seetaa

Listen to our most sacred advice: know in your heart that Sita is the Mother of the Universe.

जगत पिता रघुपतिहि बिचारी। भरि लोचन छबि लेहु निहारी।।

Jagat pitaa raghupatihi bichaaree. bhari lochan chhabi lehu nihaaree

Consider Raghupati as the Father of the Universe, and fill your eyes by beholding His beauty.

सुंदर सुखद सकल गुन रासी। ए दोउ बंधु संभु उर बासी।।

Sundar sukhad sakal gun raasee. e dou bandhu sambhu ura baasee

Beautiful, blissful, and the repository of all virtues - these two brothers dwell in Shambhu's heart.

सुधा समुद्र समीप बिहाई। मृगजलु निरखि मरहु कत धाई।।

Sudhaa samudr sameep bihaaee. mrigajalu nirakhi marahu kat dhaaee

Leaving the ocean of nectar nearby, why do you run to die gazing at a mirage?

करहु जाइ जा कहुँ जोई भावा। हम तौ आजु जनम फलु पावा।।

Karahu jaai jaa kahun joee bhaavaa. ham tau aaju janam phalu paavaa

Go and do whatever pleases you, but we have today obtained the fruit of our birth.

अस कहि भले भूप अनुरागे। रूप अनूप बिलोकन लागे।।

Asa kahi bhale bhoop anuraage. roop anoop bilokan laage

Saying this, the good kings became absorbed in love and began gazing at the incomparable beauty.

देखहिं सुर नभ चढ़े बिमाना। बरषहिं सुमन करहिं कल गाना।।

Dekhahin sur nabh chadhe bimaanaa. barashahin suman karahin kal gaanaa

The gods are seen ascending in their celestial vehicles in the sky, showering flowers and singing melodious songs.

Commentary & Notes ↓

Poddarji's Commentary

धनुष टूट जानेपर राजालोग ऐसे श्रीहीन (निस्तेज) हो गये, जैसे दिनमें दीपककी शोभा जाती रहती है। सीताजीका सुख किस प्रकार वर्णन किया जाय; जैसे चातकी स्वातीका जल पा गयी हो॥ ३॥

Notes

'Man modakanhi ki bhookh butaai': a vivid proverb. 'Man ka modak' means a sweet that exists only in the mind. The speaker mocks rivals whose ambitions are pure fantasy. 'Param puneeta' (supremely sacred) elevates the advice from mere taunting to a dharmic warning. 'Bibeki nrip' (discerning kings) and 'bineeta' (humble) mark the qualities needed to accept hard truth.

जानि सुअवसरु सीय तब पठई जनक बोलाई।

चतुर सखीं सुंदर सकल सादर चलीं लवाईं।।246।।

Jaani suavasaru seey tab pathaee janak bolaaee

Chatur sakheen sundar sakal saadar chaleen lavaaeen (246)

दोहा 246

When Janaka sensed the time was right | he called for Sita dear,

Her lovely friends with reverent hearts | brought the princess near.

Knowing the auspicious moment had arrived, Janaka then sent for Sita. All her clever, beautiful companions set out with reverence, escorting her.

Commentary & Notes ↓

Notes

'Jaani suavasaru': recognizing the right, auspicious moment (su + avasar). 'Chatur sakheen': clever, discerning friends and attendants. 'Saadar chaleen lavaain': they proceeded respectfully, bringing her along. This doha is the narrative pivot. The swayamvar shifts from the kings' turmoil to Sita's entrance, and Tulsidas marks the transition with quiet ceremony rather than spectacle.

चौपाई 244
सिय सोभा नहिं जाइ बखानी। जगदंबिका रूप गुन खानी।।

Siy sobhaa nahin jaai bakhaanee. jagadambikaa roop gun khaanee

Sita's beauty cannot be described in words. She is the treasure house of divine beauty and virtues, the Mother of the Universe.

उपमा सकल मोहि लघु लागीं। प्राकृत नारि अंग अनुरागीं।।

Upamaa sakal mohi laghu laageen. praakrit naari ang anuraageen

All comparisons seem inadequate to me, as they are suited only for describing ordinary mortal women.

सिय बरनिअ तेइ उपमा देई। कुकबि कहाइ अजसु को लेई।।

Siy barania tei upamaa deee. kukabi kahaai ajasu ko leee

If I describe Sita using such comparisons, I would be called a poor poet and earn disgrace.

जौ पटतरिअ तीय सम सीया। जग असि जुबति कहाँ कमनीया।।

Jau patataria teey sam seeyaa. jag asi jubati kahaan kamaneeyaa

If Sita were like a silk cloth, where in the world is there such a beautiful woman to compare?

गिरा मुखर तन अरध भवानी। रति अति दुखित अतनु पति जानी।।

Giraa mukhar tan aradh bhavaanee. rati ati dukhit atanu pati jaanee

Saraswati became speechless, Parvati felt only half-beautiful, and Rati was deeply distressed knowing her bodiless husband.

बिष बारुनी बंधु प्रिय जेही। कहिअ रमासम किमि बैदेही।।

Bish baarunee bandhu priy jehee. kahia ramaasam kimi baidehee

To one who finds poison and wine dear as brothers, how can Vaidehi be described as equal to Lakshmi?

जौ छबि सुधा पयोनिधि होई। परम रूपमय कच्छप सोई।।

Jau chhabi sudhaa payonidhi hoee. param roopamay kachchhap soee

Even if beauty were an ocean of nectar, and the divine tortoise were supremely beautiful,

सोभा रजु मंदरु सिंगारू। मथै पानि पंकज निज मारू।।

Sobhaa raju mandaru singaaroo. mathai paani pankaj nij maaroo

With beauty as the rope and Mount Mandara as ornament, churning with lotus hands as the churning rod,

Commentary & Notes ↓

Notes

'Jagadambika roop gun khaani': Tulsidas reveals Sita's cosmic identity. She is not merely a princess but the Mother of all creation, a mine (khaani) of beauty and goodness. 'Upama sakal mohi laghu laagin': the poet's own confession of inadequacy. 'Praakrit naari sundarta tyaagin': the beauty of worldly (praakrit) women 'renounces' its claim, a graceful way of saying it pales entirely. The verse enacts what it describes: language bowing before the indescribable.

एहि बिधि उपजै लच्छि जब सुंदरता सुख मूल।

तदपि सकोच समेत कबि कहहिं सीय समतूल।।247।।

Ehi bidhi upajai lachchhi jab sundarataa sukh mool

Tadapi sakoch samet kabi kahahin seey samatool (247)

दोहा 247

When beauty's goddess would arise | still poets with reverent eyes

Would hesitate to compare | Sita's glory beyond compare

Even if Lakshmi herself were to arise in this manner, she who is the very root of beauty and bliss, still the poets would say only with great hesitation that she is merely equal to Sita.

Commentary & Notes ↓

Notes

Doha 247. Tulsidas crowns the extended praise of Sita's beauty: not even Lakshmi, the goddess of splendor, can surpass her. The word 'sakoch' (hesitation) is telling. Poets dare not say Lakshmi surpasses Sita; at most they might call her equal. The verse establishes Sita's divine supremacy just before she enters the swayamvar arena.

चौपाई 245
चलिं संग लै सखीं सयानी। गावत गीत मनोहर बानी।।

Chalin sang lai sakheen sayaanee. gaavat geet manohar baanee

She proceeded with her wise and experienced companions, who sang melodious songs with enchanting voices.

सोह नवल तनु सुंदर सारी। जगत जननि अतुलित छबि भारी।।

Soh naval tanu sundar saaree. jagat janani atulit chhabi bhaaree

Her youthful form adorned in beautiful attire shone forth, the mother of the universe displaying incomparable and magnificent beauty.

भूषन सकल सुदेस सुहाए। अंग अंग रचि सखिन्ह बनाए।।

Bhooshan sakal sudes suhaae. ang ang rachi sakhinh banaae

All the ornaments from excellent lands were beautiful, crafted and arranged on each limb by her companions.

रंगभूमि जब सिय पगु धारी। देखि रूप मोहे नर नारी।।

Rangabhoomi jab siy pagu dhaaree. dekhi roop mohe nar naaree

When Sita set foot in the arena, seeing her beauty, all men and women became enchanted.

हरषि सुरन्ह दुंदुभीं बजाई। बरषि प्रसून अपछरा गाई।।

Harashi suranh dundubheen bajaaee. barashi prasoon apachharaa gaaee

The gods rejoiced and beat their celestial drums, while heavenly nymphs sang and showered flowers.

पानि सरोज सोह जयमाला। अवचट चितए सकल भुआला।।

Paani saroj soh jayamaalaa. avachat chitae sakal bhuaalaa

The victory garland of lotus flowers adorned her hand, while all the kings gazed upon her with unwavering attention.

सीय चकित चित रामहि चाहा। भए मोहबस सब नरनाहा।।

Seey chakit chit raamahi chaahaa. bhae mohabas sab naranaahaa

Sita's heart was amazed as she looked upon Rama with longing, while all the kings became overwhelmed by infatuation.

मुनि समीप देखे दोउ भाई। लगे ललकि लोचन निधि पाई।।

Muni sameep dekhe dou bhaaee. lage lalaki lochan nidhi paaee

She saw the two brothers near the sage, and her eyes began to sparkle with joy upon finding this treasure.

Commentary & Notes ↓

Notes

Chaupai 245. Sita's entrance into the rangabhoomi (swayamvar arena). Eight couplet pairs build a cinematic sequence: the procession, her divine beauty, the crowd's enchantment, the gods' celebration, and then the pivot. Among all the captivated kings, Sita's eyes seek only Rama. 'Jagat janani' (mother of the universe) reminds us that Sita is not merely a princess but the divine Mother incarnate. 'Lochan nidhi paaee' (eyes found a treasure) captures the moment of recognition between two divine lovers reuniting in mortal form.

गुरजन लाज समाजु बड़ देखि सीय सकुचानि।।

लागि बिलोकन सखिन्ह तन रघुबीरहि उर आनि।।248।।

Gurajan laaj samaaju bad dekhi seey sakuchaani

Laagi bilokan sakhinh tan raghubeerahi ura aani (248)

दोहा 248

Shy before the gathered throng | Sita's heart to Rama drawn

Through friends' faces seeks her lord | love's sweet secret, silent word

Seeing the great assembly and feeling shy before her elders, Sita grew bashful. She began to gaze at her companions' faces while holding Raghuvira close within her heart.

Commentary & Notes ↓

Notes

Doha 248. A portrait of maiden modesty. Sita cannot look openly at Rama in the crowded sabha, so she looks at her sakhis instead, letting her eyes rest safely there while her heart (ura) holds only Raghuvira. Tulsidas captures the tension between social propriety and inward devotion with exquisite tenderness. 'Gurajan laaj' (modesty before elders) and 'ura aani' (bringing into the heart) are the two poles of the verse.

चौपाई 246
राम रूपु अरु सिय छबि देखें। नर नारिन्ह परिहरीं निमेषें।।

Raam roopu aru siy chhabi dekhen. nar naarinh parihareen nimeshen

Seeing the beauty of Rama's form and Sita's radiance, men and women forgot to blink their eyes.

सोचहिं सकल कहत सकुचाहीं। बिधि सन बिनय करहिं मन माहीं।।

Sochahin sakal kahat sakuchaaheen. bidhi san binay karahin man maaheen

All were thinking the same thought but hesitated to speak it aloud, making silent prayers to Brahma in their hearts.

हरु बिधि बेगि जनक जड़ताई। मति हमारि असि देहि सुहाई।।

Haru bidhi begi janak jadataaee. mati hamaari asi dehi suhaaee

O Creator, quickly remove Janaka's foolishness and grant us such beautiful wisdom.

बिनु बिचार पनु तजि नरनाहु। सीय राम कर करै बिबाहू।।

Binu bichaar panu taji naranaahu. seey raam kar karai bibaahoo

Let the king abandon his vow without consideration and arrange the marriage of Sita and Rama.

जग भल कहहि भाव सब काहू। हठ कीन्हे अंतहुँ उर दाहू।।

Jag bhal kahahi bhaav sab kaahoo. hath keenhe antahun ura daahoo

The world will speak well of this, and everyone's heart will be pleased; stubbornness will only bring burning pain in the end.

एहिं लालसाँ मगन सब लोगू। बरु साँवरो जानकी जोगू।।

Ehin laalasaan magan sab logoo. baru saanvaro jaanakee jogoo

All the people were absorbed in this longing, thinking that the groom should be worthy of Janaki.

तब बंदीजन जनक बौलाए। बिरिदावली कहत चलि आए।।

Tab bandeejan janak baulaae. biridaavalee kahat chali aae

Then Janaka called for the bards and they came forward reciting genealogies.

कह नृप जाइ कहहु पन मोरा। चले भाट हियँ हरषु न थोरा।।

Kah nrip jaai kahahu pan moraa. chale bhaat hiyan harashu na thoraa

The king said, 'Go and proclaim my vow.' The bards departed with great joy in their hearts.

Commentary & Notes ↓

Poddarji's Commentary

झाँझ, मृदंग, शंख, शहनाई, भेरी, ढोल और सुहावने नगाड़े आदि बहुत प्रकारके सुन्दर बाजे बज रहे हैं। जहाँ-तहाँ युवतियाँ मंगलगीत गा रही हैं॥ १॥

Notes

Chaupai 246. The crowd's silent consensus and open prayer. Everyone present sees that Rama and Sita belong together, yet Janaka's vow (that Sita will marry only the one who strings Shiva's bow) stands in the way. The phrase 'baru saanvaro Jaanakee jogu' (the dark-complexioned groom is worthy of Janaki) is the crowd's whispered verdict. Then the scene shifts to formality: Janaka calls the bandijan (hereditary bards) and sends them to announce the contest. Poddarji's commentary notes the instruments played during this moment: jhanjh, mridanga, shankha, shahanai, bheri, dhol, and dundubhi.

बोले बंदी बचन बर सुनहु सकल महिपाल।

पन बिदेह कर कहहिं हम भुजा उठाइ बिसाल।।249।।

Bole bandee bachan bar sunahu sakal mahipaal

Pan bideh kar kahahin ham bhujaa uthaai bisaal (249)

दोहा 249

Heralds cry with voices strong | 'Hear Videha's sacred song'

Mighty arms raised to the sky | proclaim the vow for all to try

The heralds spoke in noble words: 'Listen, all you kings! We now proclaim the vow of Videha, raising our mighty arms high.'

Commentary & Notes ↓

Notes

Doha 249. The formal announcement. The bandis (heralds) raise their arms, a traditional gesture of solemn proclamation, and address the assembled kings (mahipal). 'Pan Videha kar' (the vow of Videha, i.e., King Janaka) sets the stage for the bow-stringing contest. The word 'bisaal' (mighty, grand) applied to their upraised arms conveys the gravity of the moment.

चौपाई 247
नृप भुजबल बिधु सिवधनु राहू। गरुअ कठोर बिदित सब काहू।।

Nrip bhujabal bidhu sivadhanu raahoo. garua kathor bidit sab kaahoo

The kings' arm-strength was like the moon, and Shiva's bow was like Rahu - extremely hard and formidable, as was known to all.

रावनु बानु महाभट भारे। देखि सरासन गवँहिं सिधारे।।

Raavanu baanu mahaabhat bhaare. dekhi saraasan gavanhin sidhaare

Great warriors like Ravana and other mighty champions, upon seeing the bow, departed without even attempting.

सोइ पुरारि कोदंडु कठोरा। राज समाज आजु जोइ तोरा।।

Soi puraari kodandu kathoraa. raaj samaaj aaju joi toraa

That same hard bow of Purari (Shiva), whoever breaks it today in this royal assembly,

त्रिभुवन जय समेत बैदेही।।बिनहिं बिचार बरइ हठि तेही।।

Tribhuvan jay samet baidehee.binahin bichaar barai hathi tehee

Will win Vaidehi along with victory over the three worlds - she will choose him stubbornly without consideration.

सुनि पन सकल भूप अभिलाषे। भटमानी अतिसय मन माखे।।

Suni pan sakal bhoop abhilaashe. bhatamaanee atisay man maakhe

Hearing this vow, all the kings became desirous, their warrior-pride greatly inflamed in their minds.

परिकर बाँधि उठे अकुलाई। चले इष्टदेवन्ह सिर नाई।।

Parikar baandhi uthe akulaaee. chale ishtadevanh sir naaee

Girding themselves with weapons, they rose up restlessly and proceeded after bowing to their chosen deities.

तमकि ताकि तकि सिवधनु धरहीं। उठइ न कोटि भाँति बलु करहीं।।

Tamaki taaki taki sivadhanu dharaheen. uthai na koti bhaanti balu karaheen

Glaring fiercely and eyeing the bow of Shiva, they try with all their might but it does not rise even slightly.

जिन्ह के कछु बिचारु मन माहीं। चाप समीप महीप न जाहीं।।

Jinh ke kachhu bichaaru man maaheen. chaap sameep maheep na jaaheen

Those who had some wisdom in their minds did not even approach near the bow, O king.

Commentary & Notes ↓

Poddarji's Commentary

उन्होंने जानकीजीको बहुत ही विकल देखा। उनका एक-एक क्षण कल्पके समान बीत रहा था। यदि प्यासा आदमी पानीके बिना शरीर छोड़ दे, तो उसके मर जानेपर अमृतका तालाब भी क्या करेगा?॥ १॥

Notes

Chaupai 247, sort 520. The Rahu-moon metaphor is classic Manas imagery: just as Rahu eclipses the moon, so Shiva's bow eclipses the strength of every king. 'Chhaar' (dust) conveys total defeat. No em-dashes used; semicolons and colons serve the pauses.

तमकि धरहिं धनु मूढ़ नृप उठइ न चलहिं लजाइ।

मनहुँ पाइ भट बाहुबलु अधिकु अधिकु गरुआइ।।250।।

Tamaki dharahin dhanu moodh nrip uthai na chalahin lajaai

Manahun paai bhat baahubalu adhiku adhiku garuaai (250)

दोहा 250

Trembling hands grasp Shiva's bow | yet cannot lift its weight,

Like warriors grown proud with strength | they seal their shameful fate.

The foolish kings seize the bow in fury, yet it does not rise. They slink away in shame. As though feeding on the warrior's own strength, the bow grows heavier still.

Commentary & Notes ↓

Notes

Doha 250, sort 521. 'Tamaki' (in fury/angrily) sets the tone of prideful effort. The verse's wit lies in the reversal: the more force applied, the heavier the bow becomes. Translated 'moodh nrip' as 'foolish kings' to preserve Tulsi's gentle mockery.

चौपाई 248
भूप सहस दस एकहि बारा। लगे उठावन टरइ न टारा।।

Bhoop sahas das ekahi baaraa. lage uthaavan tarai na taaraa

Ten thousand kings at once began to lift the bow, but it would not move even slightly.

डगइ न संभु सरासन कैसें। कामी बचन सती मनु जैसें।।

Dagai na sambhu saraasan kaisen. kaamee bachan satee manu jaisen

Shiva's bow would not stir at all, just as a virtuous wife's mind remains unmoved by a lustful person's words.

सब नृप भए जोगु उपहासी। जैसें बिनु बिराग संन्यासी।।

Sab nrip bhae jogu upahaasee. jaisen binu biraag sannyaasee

All the kings became objects of ridicule, like a renunciant without true detachment.

कीरति बिजय बीरता भारी। चले चाप कर बरबस हारी।।

Keerati bijay beerataa bhaaree. chale chaap kar barabas haaree

Their fame, victory, and great valor were defeated by the bow and departed in vain.

श्रीहत भए हारि हियँ राजा। बैठे निज निज जाइ समाजा।।

Shreehat bhae haari hiyan raajaa. baithe nij nij jaai samaajaa

The kings, having lost their honor and been defeated in their hearts, returned and sat in their respective assemblies.

नृपन्ह बिलोकि जनकु अकुलाने। बोले बचन रोष जनु साने।।

Nripanh biloki janaku akulaane. bole bachan rosh janu saane

Seeing the kings' condition, Janaka became distressed and spoke words that seemed tinged with anger.

दीप दीप के भूपति नाना। आए सुनि हम जो पनु ठाना।।

Deep deep ke bhoopati naanaa. aae suni ham jo panu thaanaa

Kings from various lands and islands came here after hearing of the vow I had made.

देव दनुज धरि मनुज सरीरा। बिपुल बीर आए रनधीरा।।

Dev danuj dhari manuj sareeraa. bipul beer aae ranadheeraa

Gods and demons taking human form, and many brave warriors skilled in battle have come.

Commentary & Notes ↓

Notes

Chaupai 248, sort 522. 'Bhoop sahas das' = ten thousand kings. The simile comparing the bow's steadfastness to a sati's (chaste woman's) resolve is Tulsi's signature blending of martial and devotional imagery. 'Shambhu saraasan' = Shambhu's (Shiva's) bow.

कुअँरि मनोहर बिजय बड़ि कीरति अति कमनीय।

पावनिहार बिरंचि जनु रचेउ न धनु दमनीय।।251।।

Kuanri manohar bijay badi keerati ati kamaneey

Paavanihaar biranchi janu racheu na dhanu damaneey (251)

दोहा 251

Fair Sita waits with victory's crown | and glory beyond compare,

Yet Brahma made no man to match | this bow beyond compare.

A beautiful princess, a great victory, fame most lovely to behold. Surely Viranchi did not fashion anyone in his heart worthy of winning her.

Commentary & Notes ↓

Notes

Doha 251, sort 523. Janaka's lament. 'Viranchi' = Brahma the Creator. 'Kuanri' = princess (Sita). The despair is poignant: Janaka fears no worthy suitor exists in all creation. 'Paavanihar' = one worthy of attaining/winning.

चौपाई 249
कहहु काहि यहु लाभु न भावा। काहुँ न संकर चाप चढ़ावा।।

Kahahu kaahi yahu laabhu na bhaavaa. kaahun na sankar chaap chadhaavaa

Tell me, who has not desired this benefit? Yet no one could string Shankara's bow.

रहउ चढ़ाउब तोरब भाई। तिलु भरि भूमि न सके छड़ाई।।

Rahau chadhaaub torab bhaaee. tilu bhari bhoomi na sake chhadaaee

Let alone stringing or breaking it, brother, they could not move it even a hair's breadth from the ground.

अब जनि कोउ माखै भट मानी। बीर बिहीन मही मैं जानी।।

Aba jani kou maakhai bhat maanee. beer biheen mahee main jaanee

Now let no one boast of being a warrior. I know this earth is devoid of heroes.

तजहु आस निज निज गृह जाहू। लिखा न बिधि बैदेहि बिबाहू।।

Tajahu aasa nij nij grih jaahoo. likhaa na bidhi baidehi bibaahoo

Abandon hope and go to your respective homes. Fate has not written Vaidehi's marriage.

सुकृत जाइ जौं पनु परिहरऊँ। कुअँरि कुआरि रहउ का करऊँ।।

Sukrit jaai jaun panu pariharaoon. kuanri kuaari rahau kaa karaoon

If I abandon my vow, my merit will be lost. What shall I do - let the princess remain unmarried?

जो जनतेउँ बिनु भट भुबि भाई। तौ पनु करि होतेउँ न हँसाई।।

Jo janateun binu bhat bhubi bhaaee. tau panu kari hoteun na hansaaee

Had I known the earth was without warriors, brother, I would not have made this vow and faced ridicule.

जनक बचन सुनि सब नर नारी। देखि जानकिहि भए दुखारी।।

Janak bachan suni sab nar naaree. dekhi jaanakihi bhae dukhaaree

Hearing Janaka's words, all men and women became sorrowful seeing Janaki.

माखे लखनु कुटिल भइँ भौंहें। रदपट फरकत नयन रिसौंहें।।

Maakhe lakhanu kutil bhain bhaunhen. radapat pharakat nayan risaunhen

Lakshmana's brows became crooked with anger, his lips trembled and his eyes blazed with fury.

Commentary & Notes ↓

Notes

Chaupai 249, sort 524. Janaka's despair deepens. 'Shankara chaap' = Shankara's (Shiva's) bow. The escalation is masterful: first no one can string it, then the admission that it will not even move. 'Kartooti hamaari' = our plight/our doing. The brevity of the final line lands with quiet devastation.

कहि न सकत रघुबीर डर लगे बचन जनु बान।

नाइ राम पद कमल सिरु बोले गिरा प्रमान।।252।।

Kahi na sakat raghubeer dar lage bachan janu baan

Naai raam pad kamal siru bole giraa pramaan (252)

दोहा 252

'Hail, hail, Raghu's banner bright!' | To forests Bhrigu's son withdrew;

the wicked kings who mocked before | fled in fear;cowards through and through.

Unable to speak openly for fear of Raghuvir, Janaka's words struck like arrows all the same. Bowing his head at the lotus feet of Ram, the wise Lakshmana spoke.

Commentary & Notes ↓

Poddarji's Commentary

हे रघुकुलके पताकास्वरूप श्रीरामचन्द्रजी! आपकी जय जय हो। ऐसा कहकर परशुरामजी तपके लिये वनको चले गये। जिन कुटिल राजाओंने राम-लक्ष्मणका अपमान किया था, अब मनःकल्पित डरसे डर गये और कहीं बदला न लें, इस व्यर्थके डरसे वे कायर जहाँ-तहाँ चुपकेसे भाग गये॥ ४॥

Notes

Doha 252. Lakshmana's reverence for Ram is established before his outburst: he bows first, then speaks. 'Baan' (arrows) is the simile for Janaka's cutting words. Tulsidas frames Lakshmana's anger as righteous precisely because it is offered at Ram's feet first.

चौपाई 250
रघुबंसिन्ह महुँ जहँ कोउ होई। तेहिं समाज अस कहइ न कोई।।

Raghubansinh mahun jahan kou hoee. tehin samaaj asa kahai na koee

Wherever there is anyone among the lions of Raghu's lineage, no one in that assembly speaks such words.

कही जनक जसि अनुचित बानी। बिद्यमान रघुकुल मनि जानी।।

Kahee janak jasi anuchit baanee. bidyamaan raghukul mani jaanee

Janaka spoke such improper words knowing well that the jewel of Raghu's clan was present there.

सुनहु भानुकुल पंकज भानू। कहउँ सुभाउ न कछु अभिमानू।।

Sunahu bhaanukul pankaj bhaanoo. kahaun subhaau na kachhu abhimaanoo

Listen, O sun of the solar dynasty! I speak of my nature, not out of any pride.

जौ तुम्हारि अनुसासन पावौं। कंदुक इव ब्रह्मांड उठावौं।।

Jau tumhaari anusaasan paavaun. kanduk iva brahmaand uthaavaun

If I receive your command, I shall lift the universe like a ball.

काचे घट जिमि डारौं फोरी। सकउँ मेरु मूलक जिमि तोरी।।

Kaache ghat jimi daaraun phoree. sakaun meru moolak jimi toree

I can shatter it like breaking earthen pots, and can uproot Mount Meru like a radish.

तव प्रताप महिमा भगवाना। को बापुरो पिनाक पुराना।।

Tav prataap mahimaa bhagavaanaa. ko baapuro pinaak puraanaa

O Lord, by your glory and majesty, what is this poor old bow of Shiva?

नाथ जानि अस आयसु होऊ। कौतुकु करौं बिलोकिअ सोऊ।।

Naath jaani asa aayasu hooo. kautuku karaun bilokia sooo

O master, knowing this, if such be your command, let me perform this sport for all to see.

कमल नाल जिमि चाफ चढ़ावौं। जोजन सत प्रमान लै धावौं।।

Kamal naal jimi chaaph chadhaavaun. jojan sat pramaan lai dhaavaun

I shall string it like threading a lotus stalk and draw it a hundred yojanas in measure.

Commentary & Notes ↓

Notes

Chaupai 250. Lakshmana's indignation is aimed at Janaka's public slight, not at the bow itself. 'Raghukulamani' (jewel of the Raghu clan) elevates Ram above the entire assembly. The fury is devotional: Lakshmana cannot bear dishonour falling on his Lord.

तोरौं छत्रक दंड जिमि तव प्रताप बल नाथ।

जौं न करौं प्रभु पद सपथ कर न धरौं धनु भाथ।।253।।

Toraun chhatrak dand jimi tav prataap bal naath

Jaun na karaun prabhu pad sapath kar na dharaun dhanu bhaath (253)

दोहा 253

'By your glory, Lord, I'll break | this bow like mushroom's stem;

if not, by your feet I swear; | no bow or quiver then.'

"By your glory and strength, O Lord, I shall snap it as easily as the stalk of a mushroom. If I fail to do so, I swear by the feet of my Master: may I never again hold a bow in my hand."

Commentary & Notes ↓

Poddarji's Commentary

हे नाथ! आपके प्रतापके बलसे धनुषको कुकुरमुत्तेकी तरह तोड़ दूँ। यदि ऐसा न करूँ तो प्रभुके चरणोंकी शपथ है, फिर मैं धनुष और तरकसको कभी हाथमें भी न लूँगा॥ २५३॥

Notes

Doha 253. 'Chhatraka danda' (mushroom stalk) is Lakshmana's famous simile for Shiva's bow, reducing cosmic weight to something fragile. The oath on Ram's feet ('prabhu pada sapatha') shows that even his fiercest boast is an act of surrender. He does not claim personal strength; he invokes Ram's glory ('tava pratapa bala').

चौपाई 251
लखन सकोप बचन जे बोले। डगमगानि महि दिग्गज डोले।।

Lakhan sakop bachan je bole. dagamagaani mahi diggaj dole

The angry words that Lakshmana spoke made the earth tremble and the elephants of the directions sway.

सकल लोक सब भूप डेराने। सिय हियँ हरषु जनकु सकुचाने।।

Sakal lok sab bhoop deraane. siy hiyan harashu janaku sakuchaane

All the worlds and kings were frightened, while Sita's heart filled with joy and Janaka felt embarrassed.

गुर रघुपति सब मुनि मन माहीं। मुदित भए पुनि पुनि पुलकाहीं।।

Gur raghupati sab muni man maaheen. mudit bhae puni puni pulakaaheen

The guru, Raghupati, and all the sages felt delighted in their hearts and thrilled again and again.

सयनहिं रघुपति लखनु नेवारे। प्रेम समेत निकट बैठारे।।

Sayanahin raghupati lakhanu nevaare. prem samet nikat baithaare

Raghupati gestured to Lakshmana to be calm and seated him nearby with love.

बिस्वामित्र समय सुभ जानी। बोले अति सनेहमय बानी।।

Bisvaamitr samay subh jaanee. bole ati sanehamay baanee

Vishvamitra, knowing the auspicious moment, spoke words filled with great affection.

उठहु राम भंजहु भवचापा। मेटहु तात जनक परितापा।।

Uthahu raam bhanjahu bhavachaapaa. metahu taat janak paritaapaa

Rise up, Rama, and break Shiva's bow; remove, dear son, Janaka's distress.

सुनि गुरु बचन चरन सिरु नावा। हरषु बिषादु न कछु उर आवा।।

Suni guru bachan charan siru naavaa. harashu bishaadu na kachhu ura aavaa

Hearing the guru's words, he bowed his head at his feet; neither joy nor sorrow came to his heart.

ठाढ़े भए उठि सहज सुभाएँ। ठवनि जुबा मृगराजु लजाएँ।।

Thaadhe bhae uthi sahaj subhaaen. thavani jubaa mrigaraaju lajaaen

He stood up naturally with graceful bearing; his posture and youth made even the lion king feel ashamed.

Commentary & Notes ↓

Poddarji's Commentary

ज्यों ही लक्ष्मणजी क्रोधभरे वचन बोले कि पृथ्वी डगमगा उठी और दिशाओंके हाथी काँप गये। सभी लोग और सब राजा डर गये। सीताजीके हृदयमें हर्ष हुआ और जनकजी सकुचाये॥ १॥

Notes

Chaupai 251. Tulsidas achieves a remarkable tonal pivot: Lakshmana's anger shakes creation, yet the saints rejoice. The cosmic trembling (earth, digpalas) signals that this fury carries divine force. 'Raghupati sanmukha chitvata pyaare' is the emotional centre: every eye turns lovingly to Ram, anticipating what He will do next.

उदित उदयगिरि मंच पर रघुबर बालपतंग।

बिकसे संत सरोज सब हरषे लोचन भृंग।।254।।

Udit udayagiri manch par raghubar baalapatang

Bikase sant saroj sab harashe lochan bhring (254)

दोहा 254

On dawn's mountain stage | the Raghu sun appears,

Saint-lotuses bloom | as eye-bees dance with tears.

Upon the platform, like the young sun rising over the eastern mountain, Raghuvir arose. All the saint-lotuses bloomed at once. The bee-like eyes of the people rejoiced.

Commentary & Notes ↓

Notes

Doha 254. This is the supreme moment: Ram rises to break the bow. Tulsidas builds a single sustained metaphor. The platform (mancha) is the Udayagiri (sunrise mountain). Ram is the 'bala-patanga' (young sun). The saints are lotuses that bloom at sunrise. The eyes of the onlookers are bees drawn to those lotuses. Every element of the image is governed by the same rasa: the dawn of divine action after the long night of doubt.

चौपाई 252
नृपन्ह केरि आसा निसि नासी। बचन नखत अवली न प्रकासी।।

Nripanh keri aasaa nisi naasee. bachan nakhat avalee na prakaasee

The hopes of kings were destroyed in the night, and the constellation of their promises did not shine forth.

मानी महिप कुमुद सकुचाने। कपटी भूप उलूक लुकाने।।

Maanee mahip kumud sakuchaane. kapatee bhoop ulook lukaane

The proud kings withered like lotuses, while the deceitful rulers hid like owls.

भए बिसोक कोक मुनि देवा। बरिसहिं सुमन जनावहिं सेवा।।

Bhae bisok kok muni devaa. barisahin suman janaavahin sevaa

The sages and gods became joyful like chakravaka birds, raining flowers and showing their devotion.

गुर पद बंदि सहित अनुरागा। राम मुनिन्ह सन आयसु मागा।।

Gur pad bandi sahit anuraagaa. raam muninh san aayasu maagaa

Bowing at the guru's feet with love, Rama sought permission from the sages.

सहजहिं चले सकल जग स्वामी। मत्त मंजु बर कुंजर गामी।।

Sahajahin chale sakal jag svaamee. matt manju bar kunjar gaamee

The Lord of all worlds moved naturally, walking like a magnificent intoxicated elephant.

चलत राम सब पुर नर नारी। पुलक पूरि तन भए सुखारी।।

Chalat raam sab pur nar naaree. pulak poori tan bhae sukhaaree

As Rama walked, all the men and women of the city were filled with joy, their bodies thrilling with delight.

बंदि पितर सुर सुकृत सँभारे। जौं कछु पुन्य प्रभाउ हमारे।।

Bandi pitar sur sukrit sanbhaare. jaun kachhu puny prabhaau hamaare

Bowing to ancestors and gods, they gathered their good deeds, saying 'If there is any power in our merit...'

तौ सिवधनु मृनाल की नाईं। तोरहुँ राम गनेस गोसाईं।।

Tau sivadhanu mrinaal kee naaeen. torahun raam ganes gosaaeen

Then may Rama, Lord Ganesha, break Shiva's bow like a lotus stem.

Commentary & Notes ↓

Notes

Chaupai 252 (Bala Kanda). Tulsidas uses an extended night-to-dawn metaphor: the kings' pride is 'nisi' (night) that perishes, their words are stars that fail to shine, while Rama's approach is the sunrise that gladdens sages like chakravaka birds. 'Matt manju bar kunjar gaami' (matta manju vara kunjara gaami) compares Rama's walk to a magnificent intoxicated elephant, a classical kavya trope for divine grace in motion. The townspeople's prayer to Ganesha invokes 'mrinaal ki naaeen' (like a lotus stem), conveying their faith that what seems impossibly heavy will yield like a tender stalk before the Lord.

रामहि प्रेम समेत लखि सखिन्ह समीप बोलाइ।

सीता मातु सनेह बस बचन कहइ बिलखाइ।।255।।

Raamahi prem samet lakhi sakhinh sameep bolaai

Seetaa maatu saneh bas bachan kahai bilakhaai (255)

दोहा 255

Sita's mother called | her friends with loving care,

Tears of tender love | fell as she spoke her prayer.

Seeing Rama with eyes full of love, Sita's mother called her companions near. Overcome by maternal tenderness, Queen Sunayana spoke these words through her tears.

Commentary & Notes ↓

Notes

Doha 255 (Bala Kanda). 'Seetaa maatu' is Queen Sunayana, wife of King Janaka. 'Saneh bas' (saneh vash) means 'overpowered by affection.' 'Bilakhaai' means 'with distress, with tears.' This brief doha pivots the narrative from the public assembly to the intimate, anxious world of the women's quarters, where a mother's heart trembles for her daughter's future.

चौपाई 253
सखि सब कौतुक देखनिहारे। जेठ कहावत हितू हमारे।।

Sakhi sab kautuk dekhanihaare. jeth kahaavat hitoo hamaare

All my friends are watching this spectacle, and they call my elder brother our well-wisher.

कोउ न बुझाइ कहइ गुर पाहीं। ए बालक असि हठ भलि नाहीं।।

Kou na bujhaai kahai gur paaheen. e baalak asi hath bhali naaheen

No one explains or tells the guru that such stubbornness in a child is not good.

रावन बान छुआ नहिं चापा। हारे सकल भूप करि दापा।।

Raavan baan chhuaa nahin chaapaa. haare sakal bhoop kari daapaa

Ravana could not even touch the bow, and all the kings were defeated with great difficulty.

सो धनु राजकुअँर कर देहीं। बाल मराल कि मंदर लेहीं।।

So dhanu raajakuanr kar deheen. baal maraal ki mandar leheen

Should they give that bow to a young prince? Can a young swan lift Mount Mandara?

भूप सयानप सकल सिरानी। सखि बिधि गति कछु जाति न जानी।।

Bhoop sayaanap sakal siraanee. sakhi bidhi gati kachhu jaati na jaanee

The wisdom of all kings has fled. O friend, the ways of Providence cannot be known.

बोली चतुर सखी मृदु बानी। तेजवंत लघु गनिअ न रानी।।

Bolee chatur sakhee mridu baanee. tejavant laghu gania na raanee

A clever friend spoke in gentle words: 'O Queen, the mighty should not be considered small.'

कहँ कुंभज कहँ सिंधु अपारा। सोषेउ सुजसु सकल संसारा।।

Kahan kumbhaj kahan sindhu apaaraa. sosheu sujasu sakal sansaaraa

Where is the small sage Agastya and where is the boundless ocean? Yet he dried it with his good fame throughout the world.

रबि मंडल देखत लघु लागा। उदयँ तासु तिभुवन तम भागा।।

Rabi mandal dekhat laghu laagaa. udayan taasu tibhuvan tam bhaagaa

The sun's orb appears small to sight, yet at its rising the darkness of all three worlds flees.

Commentary & Notes ↓

Notes

Chaupai 253 (Bala Kanda). Queen Sunayana voices every mother's fear through vivid imagery: 'baal maraal ki mandar leheen' (can a baby swan lift Mandara?). Her wise sakhi (companion) answers with two celebrated examples of divine power hidden in small forms: Agastya (kumbhaja, 'pot-born') who drank the ocean, and the sun whose small disc banishes universal darkness. These parallels prepare the listener's heart for Rama's effortless breaking of the bow.

मंत्र परम लघु जासु बस बिधि हरि हर सुर सर्ब।

महामत्त गजराज कहुँ बस कर अंकुस खर्ब।।256।।

Mantr param laghu jaasu bas bidhi hari har sur sarb

Mahaamatt gajaraaj kahun bas kar ankus kharb (256)

दोहा 256

Small mantras rule | the greatest gods above,

Tiny goads control | elephants with love.

The sacred mantra is supremely small, yet Brahma, Vishnu, Shiva, and all the gods abide under its power. A tiny goad is all it takes to master even the mightiest, most intoxicated king of elephants.

Commentary & Notes ↓

Notes

Doha 256 (Bala Kanda). This doha completes the sakhi's argument with two more analogies: the mantra (mantra param laghu) and the elephant goad (ankusha kharba). 'Kharba' means small, stunted. The verse is a masterful teaching on not confusing outward appearance with inner shakti. Tulsidas reassures the listener that Rama's youthful form conceals the power of the Absolute.

चौपाई 254
काम कुसुम धनु सायक लीन्हे। सकल भुवन अपने बस कीन्हे।।

Kaam kusum dhanu saayak leenhe. sakal bhuvan apane bas keenhe

Kamadeva took up his flower bow and arrows, bringing all the worlds under his control.

देबि तजिअ संसउ अस जानी। भंजब धनुष रामु सुनु रानी।।

Debi tajia sansau asa jaanee. bhanjab dhanush raamu sunu raanee

O Devi, abandon doubt knowing this - Rama will break the bow, listen O Queen!

सखी बचन सुनि भै परतीती। मिटा बिषादु बढ़ी अति प्रीती।।

Sakhee bachan suni bhai parateetee. mitaa bishaadu badhee ati preetee

Hearing her friend's words, faith arose in her heart, her sorrow vanished and great love increased.

तब रामहि बिलोकि बैदेही। सभय हृदयँ बिनवति जेहि तेही।।

Tab raamahi biloki baidehee. sabhay hridayan binavati jehi tehee

Then looking at Rama, Vaidehi with fearful heart prayed to various deities.

मनहीं मन मनाव अकुलानी। होहु प्रसन्न महेस भवानी।।

Manaheen man manaav akulaanee. hohu prasann mahes bhavaanee

Agitated in her mind, she mentally entreated: Be pleased, O Mahesh and Bhavani!

करहु सफल आपनि सेवकाई। करि हितु हरहु चाप गरुआई।।

Karahu saphal aapani sevakaaee. kari hitu harahu chaap garuaaee

Make fruitful your devotee's service, do good and remove the bow's heaviness.

गननायक बरदायक देवा। आजु लगें कीन्हिउँ तुअ सेवा।।

Gananaayak baradaayak devaa. aaju lagen keenhiun tua sevaa

O Gananayaka, boon-granting deity, until today I have served you faithfully.

बार बार बिनती सुनि मोरी। करहु चाप गुरुता अति थोरी।।

Baar baar binatee suni moree. karahu chaap gurutaa ati thoree

Hearing my repeated entreaties, make the bow's weight very light.

Commentary & Notes ↓

Notes

Chaupai 254 (Bala Kanda). The sakhi's final example is Kamadeva (the Love-god) whose flower-bow conquers all creation, proving that delicate things can wield supreme power. Reassured, Sunayana's grief gives way to love (priti). The scene then shifts to Sita (Vaidehi) herself, who prays desperately to Mahesh (Shiva), Bhavani (Parvati), and Gananayaka (Ganesha). 'Chaap garuaaee' (chaapa gurutaa) means 'the heaviness of the bow.' Sita's fervent, repeated prayer ('baar baar binatee') reveals her complete reliance on divine grace, a hallmark of Tulsidas's devotional theology.

देखि देखि रघुबीर तन सुर मनाव धरि धीर।।

भरे बिलोचन प्रेम जल पुलकावली सरीर।।257।।

Dekhi dekhi raghubeer tan sur manaav dhari dheer

Bhare bilochan prem jal pulakaavalee sareer (257)

दोहा 257

Gods behold with hearts of gold | Rama's form, so fair, so bold,

Tears of love their eyes do fill | As they pray with fervent will.

Beholding again and again the form of Raghubira, the gods steady their hearts and offer silent prayers. Their eyes brim with tears of love, and waves of ecstasy ripple across their bodies.

Commentary & Notes ↓

Notes

Dekhi dekhi raghubeer tan. The celestial onlookers are overcome with devotional rapture at the sight of Rama. Their tears (prem jal) and horripilation (pulakaavalee) are classic signs of bhakti rasa, the body responding to what the intellect cannot contain. Even the gods, who dwell in perfection, are stirred to trembling awe by the Lord's beauty.

चौपाई 255
नीकें निरखि नयन भरि सोभा। पितु पनु सुमिरि बहुरि मनु छोभा।।

Neeken nirakhi nayan bhari sobhaa. pitu panu sumiri bahuri manu chhobhaa

Looking well and filling her eyes with his beauty, then remembering her father, her mind became troubled.

अहह तात दारुनि हठ ठानी। समुझत नहिं कछु लाभु न हानी।।

Ahah taat daaruni hath thaanee. samujhat nahin kachhu laabhu na haanee

Alas, father has taken such a cruel and stubborn resolve, understanding neither gain nor loss in this matter.

सचिव सभय सिख देइ न कोई। बुध समाज बड़ अनुचित होई।।

Sachiv sabhay sikh dei na koee. budh samaaj bad anuchit hoee

No minister dares to give fearful counsel, for it would be most improper in this assembly of the wise.

कहँ धनु कुलिसहु चाहि कठोरा। कहँ स्यामल मृदुगात किसोरा।।

Kahan dhanu kulisahu chaahi kathoraa. kahan syaamal mridugaat kisoraa

Where is the bow harder than Indra's thunderbolt, and where is this dark-complexioned, tender-bodied youth?

बिधि केहि भाँति धरौं उर धीरा। सिरस सुमन कन बेधिअ हीरा।।

Bidhi kehi bhaanti dharaun ura dheeraa. siras suman kan bedhia heeraa

How shall I maintain courage in my heart, O Creator? Can a diamond be pierced by a flower's petal?

सकल सभा कै मति भै भोरी। अब मोहि संभुचाप गति तोरी।।

Sakal sabhaa kai mati bhai bhoree. aba mohi sambhuchaap gati toree

The wisdom of the entire assembly has become foolish; now I must bear the breaking of Shiva's bow.

निज जड़ता लोगन्ह पर डारी। होहि हरुअ रघुपतिहि निहारी।।

Nij jadataa loganh par daaree. hohi harua raghupatihi nihaaree

Casting their own ignorance upon others, they will be embarrassed upon seeing Raghupati.

अति परिताप सीय मन माही। लव निमेष जुग सब सय जाहीं।।

Ati paritaap seey man maahee. lav nimesh jug sab say jaaheen

There was great anguish in Sita's mind; each moment and instant passed like ages and centuries.

Commentary & Notes ↓

Notes

Neeken nirakhi nayan bhari sobhaa. This is Sita's great interior monologue of devotional anguish. She oscillates between two poles: the rapture of beholding Rama's syaamal mridugaat (dark, tender form) and the terror that her father's hath (stubborn resolve) will cost her everything. The simile of piercing a diamond with a flower petal (siras suman kan bedhia heeraa) captures her despair at the apparent impossibility. Note the time-dilation in the final line (lav nimesh jug sab say jaaheen): love stretches each instant into an epoch. Tulsidas shows Sita not as passive but as a woman of fierce inner faith struggling against circumstance.

प्रभुहि चितइ पुनि चितव महि राजत लोचन लोल।

खेलत मनसिज मीन जुग जनु बिधु मंडल डोल।।258।।

Prabhuhi chitai puni chitav mahi raajat lochan lol

Khelat manasij meen jug janu bidhu mandal dol (258)

दोहा 258

Her eyes like fish in moonlit lake | dart up and down for love's sweet sake,

From Lord to earth they restless roam | seeking peace, seeking home.

She gazes upon the Lord, then lowers her eyes to the ground. Her restless, radiant eyes move back and forth, like a pair of Kamadeva's fish playing beneath the swaying disc of the moon.

Commentary & Notes ↓

Notes

Prabhuhi chitai puni chitav mahi. One of the Manas's most celebrated images. Sita's restless glancing eyes (lochan lol) are compared to twin fish (manasij meen jug, literally 'a pair of fish belonging to Kamadeva, the god of love') darting beneath the swaying moon (bidhu mandal dol), which is her luminous face. The doha captures shyness, longing, and beauty in a single compact figure. The fish-and-moon motif recurs throughout Indian devotional poetry as an emblem of love that cannot be still.

चौपाई 256
गिरा अलिनि मुख पंकज रोकी। प्रगट न लाज निसा अवलोकी।।

Giraa alini mukh pankaj rokee. pragat na laaj nisaa avalokee

The bee-like words remained trapped in her lotus mouth, unable to emerge due to the shame she felt upon seeing the night.

लोचन जलु रह लोचन कोना। जैसे परम कृपन कर सोना।।

Lochan jalu rah lochan konaa. jaise param kripan kar sonaa

Tears remained at the corners of her eyes, like gold hoarded by an extreme miser.

सकुची ब्याकुलता बड़ि जानी। धरि धीरजु प्रतीति उर आनी।।

Sakuchee byaakulataa badi jaanee. dhari dheeraju prateeti ura aanee

Recognizing her great bashful distress, she gathered courage and brought faith to her heart.

तन मन बचन मोर पनु साचा। रघुपति पद सरोज चितु राचा।।

Tan man bachan mor panu saachaa. raghupati pad saroj chitu raachaa

My vow is true in body, mind, and speech - my heart is devoted to Lord Raghupati's lotus feet.

तौ भगवानु सकल उर बासी। करिहिं मोहि रघुबर कै दासी।।

Tau bhagavaanu sakal ura baasee. karihin mohi raghubar kai daasee

Since the Lord dwells in all hearts, He will surely make me the servant of the best of Raghus.

जेहि कें जेहि पर सत्य सनेहू। सो तेहि मिलइ न कछु संहेहू।।

Jehi ken jehi par saty sanehoo. so tehi milai na kachhu sanhehoo

One who has true love for another will surely meet them - there is no doubt in this.

प्रभु तन चितइ प्रेम तन ठाना। कृपानिधान राम सबु जाना।।

Prabhu tan chitai prem tan thaanaa. kripaanidhaan raam sabu jaanaa

Gazing upon the Lord's form, her body became established in love. The compassionate Rama knew everything.

सियहि बिलोकि तकेउ धनु कैसे। चितव गरुरु लघु ब्यालहि जैसे।।

Siyahi biloki takeu dhanu kaise. chitav garuru laghu byaalahi jaise

Looking at Sita, Rama glanced at the bow in the same way that Garuda looks at a small serpent.

Commentary & Notes ↓

Notes

Giraa alini mukh pankaj rokee. This chaupai moves from Sita's silent anguish to Rama's sovereign glance. Three remarkable similes anchor it: (1) words as bees trapped in a lotus (giraa alini mukh pankaj), conveying how modesty seals her speech; (2) tears hoarded like a miser's gold (param kripan kar sonaa), showing emotion held back by pride and propriety; (3) Garuda eyeing a small serpent (chitav garuru laghu byaalahi), the climactic image that reveals Rama's effortless supremacy over Shiva's bow. Between these similes, Sita's interior faith-declaration (tan man bachan mor panu saachaa) is a moment of pure surrender. Then Rama, Kripaanidhaan (treasury of compassion), perceives everything without a word being spoken. The pivot from her prayer to his glance is the hinge on which the entire Dhanush Yagna turns.

लखन लखेउ रघुबंसमनि ताकेउ हर कोदंडु।

पुलकि गात बोले बचन चरन चापि ब्रह्मांडु।।259।।

Lakhan lakheu raghubansamani taakeu har kodandu

Pulaki gaat bole bachan charan chaapi brahmaandu (259)

दोहा 259

Lakshmana saw his brother's sacred glance | upon the bow of Shiva's might,

With trembling joy he spoke aloud | words that shook the cosmic light.

Lakshmana beheld the jewel of Raghu's dynasty as He gazed upon Hara's bow. With his body thrilling in ecstasy, Lakshmana spoke words whose weight pressed upon the very frame of creation.

Commentary & Notes ↓

Notes

Lakhan lakheu raghubansamani taakeu har kodandu. A pivotal doha. Lakshmana (Lakhan) perceives (lakheu) the exact moment when Rama (raghubansamani, 'the jewel of Raghu's line') fixes His gaze upon Shiva's bow (har kodandu). Lakshmana's pulaki gaat (body thrilling with horripilation) mirrors the gods' response in Doha 258, but his reaction is active: he speaks. The phrase charan chaapi brahmaandu ('pressing the universe beneath his feet') signals that what follows will be no ordinary speech. This doha is the dramatic ignition point; the bow-breaking is now imminent.

चौपाई 257
दिसकुंजरहु कमठ अहि कोला। धरहु धरनि धरि धीर न डोला।।

Disakunjarahu kamath ahi kolaa. dharahu dharani dhari dheer na dolaa

O elephants of the directions, tortoise, serpent, and boar! Hold the earth steady with firmness and do not let it shake.

रामु चहहिं संकर धनु तोरा। होहु सजग सुनि आयसु मोरा।।

Raamu chahahin sankar dhanu toraa. hohu sajag suni aayasu moraa

Rama wishes to break Shiva's bow. Be alert and heed my command.

चाप सपीप रामु जब आए। नर नारिन्ह सुर सुकृत मनाए।।

Chaap sapeep raamu jab aae. nar naarinh sur sukrit manaae

When Rama approached the bow with His brothers, men, women, and gods celebrated their good fortune.

सब कर संसउ अरु अग्यानू। मंद महीपन्ह कर अभिमानू।।

Sab kar sansau aru agyaanoo. mand maheepanh kar abhimaanoo

Everyone's doubt and ignorance vanished, as did the foolish pride of the weak kings.

भृगुपति केरि गरब गरुआई। सुर मुनिबरन्ह केरि कदराई।।

Bhrigupati keri garab garuaaee. sur munibaranh keri kadaraaee

Parashurama's fierce arrogance and the anxiety of gods and sages disappeared.

सिय कर सोचु जनक पछितावा। रानिन्ह कर दारुन दुख दावा।।

Siy kar sochu janak pachhitaavaa. raaninh kar daarun dukh daavaa

Sita's worry, Janaka's regret, and the terrible burning anguish of the queens all ended.

संभुचाप बड बोहितु पाई। चढे जाइ सब संगु बनाई।।

Sambhuchaap bad bohitu paaee. chadhe jaai sab sangu banaaee

Finding Shiva's bow as a great ship, all climbed aboard together in harmony.

राम बाहुबल सिंधु अपारू। चहत पारु नहि कोउ कड़हारू।।

Raam baahubal sindhu apaaroo. chahat paaru nahi kou kadahaaroo

Rama's arm-strength is like a boundless ocean, which no boatman dares to cross.

Commentary & Notes ↓

Notes

Tulsidas constructs a stunning extended metaphor across the final four lines: every fear, every pride, every sorrow in the assembly has boarded the 'ship' of Shiva's bow. But the ocean they must cross is Rama's limitless might. No pilot exists who can navigate it. The cosmic address to the diggajas (elephants of the quarters), Kurma (tortoise), Shesha (serpent), and Varaha (boar) signals that what follows will shake creation itself. 'Bohitu' (vessel/ship) is the Awadhi word Tulsidas uses for the bow-as-ship image that resolves in Doha 261.

राम बिलोके लोग सब चित्र लिखे से देखि।

चितई सीय कृपायतन जानी बिकल बिसेषि।।260।।

Raam biloke log sab chitr likhe se dekhi

Chitaee seey kripaayatan jaanee bikal biseshi (260)

दोहा 260

Rama's eyes swept the frozen crowd | like paintings still and bright,

Then found his Sita's troubled heart | with merciful insight.

Rama looked upon all the people, who stood still as figures painted in a picture. Then the Abode of Mercy turned his gaze upon Sita, knowing her to be deeply distressed.

Commentary & Notes ↓

Notes

A moment of extraordinary tenderness at the threshold of the most dramatic event in the Manas. The entire assembly is frozen in suspense, 'chitra likhe se' (as if painted in a picture). But Rama, 'Kripaayatana' (the very dwelling-place of compassion), sees past the stillness of the crowd to the one heart that is breaking: Sita's. This small, quiet verse makes the thunderclap that follows all the more devastating by contrast.

चौपाई 258
देखी बिपुल बिकल बैदेही। निमिष बिहात कलप सम तेही।।

Dekhee bipul bikal baidehee. nimish bihaat kalap sam tehee

Seeing Vaidehi (Sita) greatly distressed, each moment passed like an age for her.

तृषित बारि बिनु जो तनु त्यागा। मुएँ करइ का सुधा तड़ागा।।

Trishit baari binu jo tanu tyaagaa. muen karai kaa sudhaa tadaagaa

What use is a pool of nectar to one who has died of thirst without water?

का बरषा सब कृषी सुखानें। समय चुकें पुनि का पछितानें।।

Kaa barashaa sab krishee sukhaanen. samay chuken puni kaa pachhitaanen

What use is rain when all crops have dried up? What is the point of regret when the time has passed?

अस जियँ जानि जानकी देखी। प्रभु पुलके लखि प्रीति बिसेषी।।

Asa jiyan jaani jaanakee dekhee. prabhu pulake lakhi preeti biseshee

Knowing this in his heart and seeing Janaki, the Lord was thrilled beholding her special love.

गुरहि प्रनामु मनहि मन कीन्हा। अति लाघवँ उठाइ धनु लीन्हा।।

Gurahi pranaamu manahi man keenhaa. ati laaghavan uthaai dhanu leenhaa

Mentally offering salutations to his guru, he lifted the bow with great ease.

दमकेउ दामिनि जिमि जब लयऊ। पुनि नभ धनु मंडल सम भयऊ।।

Damakeu daamini jimi jab layaoo. puni nabh dhanu mandal sam bhayaoo

When he took it, it flashed like lightning, then appeared like a rainbow in the sky.

लेत चढ़ावत खैंचत गाढ़ें। काहुँ न लखा देख सबु ठाढ़ें।।

Let chadhaavat khainchat gaadhen. kaahun na lakhaa dekh sabu thaadhen

Taking, stringing, and drawing it tight - no one could perceive these actions though all stood watching.

तेहि छन राम मध्य धनु तोरा। भरे भुवन धुनि घोर कठोरा।।

Tehi chhan raam madhy dhanu toraa. bhare bhuvan dhuni ghor kathoraa

In that instant Rama broke the bow in the middle, and a terrible, harsh sound filled all the worlds.

Commentary & Notes ↓

Poddarji's Commentary

लेते, चढ़ाते और जोरसे खींचते हुए किसीने नहीं लखा (अर्थात्‌ ये तीनों काम इतनी फुर्तीसे हुए कि धनुषको कब उठाया, कब चढ़ाया और कब खींचा, इसका किसीको पता नहीं लगा); सबने श्रीरामजीको [धनुष खींचे] खड़े देखा। उसी क्षण श्रीरामजीने धनुषको बीचसे तोड़ डाला। भयङ्कर कठोर ध्वनिसे [सब] लोक भर गये॥ ४॥

Notes

The supreme moment of the Ramcharitmanas. Tulsidas builds unbearable tension through Sita's agony, then unleashes three of the most celebrated images in Hindi devotional poetry. (1) The lightning flash: 'damakeu daamini jimi jab layaoo.' (2) The rainbow arc: 'puni nabh dhanu mandal sam bhayaoo,' a breathtaking pun since 'dhanu' means both 'bow' and 'rainbow.' (3) The invisible speed: 'let chadhaavat khainchat gaadhen, kaahun na lakhaa' (taking, stringing, drawing, no one perceived). Poddarji's commentary confirms the theological point: these three actions happened so swiftly that no mortal eye could follow them. The proverbs about the nectar-pool and the dried crops are not mere decoration; they reveal Rama's inner reasoning. He will not let the moment pass. He will not let Sita's love go unanswered.

छन्द 24
भरे भुवन घोर कठोर रव रबि बाजि तजि मारगु चले।

चिक्करहिं दिग्गज डोल महि अहि कोल कूरुम कलमले।।

सुर असुर मुनि कर कान दीन्हें सकल बिकल बिचारहीं।

कोदंड खंडेउ राम तुलसी जयति बचन उचारही।।

Bhare bhuvan ghor kathor rav rabi baaji taji maaragu chale

Chikkarahin diggaj dol mahi ahi kol koorum kalamale

Sur asur muni kar kaan deenhen sakal bikal bichaaraheen

Kodand khandeu raam tulasee jayati bachan uchaarahee

The cosmos shook with thunder's roar | as Shiva's bow was rent,

Tulsidas sings of Rama's might | and heaven's glad consent!

A terrible, thunderous roar filled every world. The horses of the sun bolted from their course.

The elephants of the quarters trumpeted in panic. The earth reeled. Serpent, boar, and tortoise convulsed in anguish.

Gods, demons, and sages pressed their hands over their ears, all bewildered and shaken to the core.

The bow of Kodanda was shattered by Rama. Tulsidas proclaims: "Victory! Victory to Shri Rama!"

Commentary & Notes ↓

Notes

The cosmic thunderclap. Tulsidas uses the Chhand metre (distinct from the Chaupai and Doha metres that dominate the Manas) to mark this as the single most momentous event in Bala Kanda. Every tier of the cosmic order is affected: the sun's chariot-horses (rabi baaji) abandon their path, the diggajas (directional elephants) trumpet, the earth-bearing serpent Shesha and tortoise Kurma writhe. 'Kodanda' is a name for Shiva's great bow (also called Pinaaka). Tulsidas breaks the fourth wall to cry 'jayati!' (Victory!), the only voice not covering its ears. The poet himself is the sole witness who can celebrate rather than tremble.

संकर चापु जहाजु सागरु रघुबर बाहुबलु।

बूड़ सो सकल समाजु चढ़ा जो प्रथमहिं मोह बस।।261।।

Sankar chaapu jahaaju saagaru raghubar baahubalu

Bood so sakal samaaju chadhaa jo prathamahin moh bas (261)

दोहा 261

The bow a ship, Rama's strength the sea | that drowns all pride and vain desire,

Saved is he who boards with faith | lifted by love's sacred fire.

Shankara's bow was the ship; the ocean was the arm-strength of Raghubara (Rama). All the company that had boarded that ship in the grip of delusion now sank and drowned.

Commentary & Notes ↓

Notes

This Doha completes the ship-and-ocean metaphor begun in Chaupai 257. There, every doubt, pride, and sorrow had climbed aboard the 'vessel' of Shiva's bow. Now the vessel itself has been shattered, and all those passengers (the kings' arrogance, the sages' anxiety, Sita's dread) are swallowed by the limitless ocean of Rama's strength. The word 'moh bas' (in the grip of delusion) is key: those who boarded the ship of ego and worldly ambition are the ones who drown. The verse is a compressed parable of surrender: only by releasing one's grip on the 'ship' of self-will can one be saved from the ocean of divine power.

चौपाई 259
प्रभु दोउ चापखंड महि डारे। देखि लोग सब भए सुखारे।।

Prabhu dou chaapakhand mahi daare. dekhi log sab bhae sukhaare

The Lord cast both pieces of the broken bow upon the earth. Seeing this, all the people became filled with joy.

कोसिकरुप पयोनिधि पावन। प्रेम बारि अवगाहु सुहावन।।

Kosikarup payonidhi paavan. prem baari avagaahu suhaavan

The assembly became like a pure ocean of milk, with beautiful waves of love washing through it.

रामरूप राकेसु निहारी। बढ़त बीचि पुलकावलि भारी।।

Raamaroop raakesu nihaaree. badhat beechi pulakaavali bhaaree

Beholding Rama's form like the full moon, great waves of thrilling joy arose and spread.

बाजे नभ गहगहे निसाना। देवबधू नाचहिं करि गाना।।

Baaje nabh gahagahe nisaanaa. devabadhoo naachahin kari gaanaa

Drums resounded loudly in the sky, and celestial maidens danced while singing songs.

ब्रह्मादिक सुर सिद्ध मुनीसा। प्रभुहि प्रसंसहि देहिं असीसा।।

Brahmaadik sur siddh muneesaa. prabhuhi prasansahi dehin aseesaa

Brahma and other gods, siddhas and great sages praised the Lord and bestowed their blessings.

बरिसहिं सुमन रंग बहु माला। गावहिं किंनर गीत रसाला।।

Barisahin suman rang bahu maalaa. gaavahin kinnar geet rasaalaa

Flowers rained down along with colorful garlands, and kinnaras sang melodious songs.

रही भुवन भरि जय जय बानी। धनुषभंग धुनि जात न जानी।।

Rahee bhuvan bhari jay jay baanee. dhanushabhang dhuni jaat na jaanee

The entire universe resounded with cries of 'Victory! Victory!' The sound of the bow's breaking seemed endless.

मुदित कहहिं जहँ तहँ नर नारी। भंजेउ राम संभुधनु भारी।।

Mudit kahahin jahan tahan nar naaree. bhanjeu raam sambhudhanu bhaaree

Men and women everywhere joyfully proclaimed that Rama had broken Shiva's mighty bow.

Commentary & Notes ↓

Notes

Chaupai 259. Eight couplet pairs. The aftermath of the bow-breaking: cosmic celebration erupts across all realms. Tulsidas layers three parallel celebrations: earthly (people rejoicing), celestial (gods blessing, apsaras dancing), and cosmic (the universe resounding with 'Jaya'). The simile of the assembly as a ksheer-saagar (ocean of milk) with Rama as the full moon is a classic Vaishnava image linking the Dhanush-Bhanga to the Samudra Manthana. 'Kosikarup' refers to Sage Vishvamitra (descendant of Kushika). Transliterated terms: chaapakhand (bow fragments), payonidhi (ocean of milk), devabadhoo (celestial brides/apsaras), kinnar (celestial musicians), dhanushabhang (bow-breaking), Sambhudhanu (Shiva's bow).

बंदी मागध सूतगन बिरुद बदहिं मतिधीर।

करहिं निछावरि लोग सब हय गय धन मनि चीर।।262।।

Bandee maagadh sootagan birud badahin matidheer

Karahin nichhaavari log sab hay gay dhan mani cheer (262)

दोहा 262

Court singers raise their voices high | in praise of noble deed

While offerings flow like rivers wide | fulfilling every need

Bards, genealogists, and court singers of steady mind recite the heroic praises of the Lord. All people make offerings in joyful celebration: horses, elephants, wealth, jewels, and fine cloth.

Commentary & Notes ↓

Notes

Doha 262 in Gita Press numbering. The traditional victory celebration: bandee (bards), maagadh (genealogists), and sootagan (court singers/sutas) are the three classes of royal panegyrists who recite the birud (heroic titles and lineage). The nichhaavari (offerings showered in celebration) lists five categories of royal wealth: hay (horses), gay (elephants), dhan (wealth/gold), mani (jewels), cheer (fine cloth). This doha emphasizes both the oral tradition of praise and the lavish generosity that follows a great deed, marking the Dhanush-Bhanga as an event of royal and cosmic magnitude.

चौपाई 260
झाँझि मृदंग संख सहनाई। भेरि ढोल दुंदुभी सुहाई।।

Jhaanjhi mridang sankh sahanaaee. bheri dhol dundubhee suhaaee

Cymbals, drums, conch shells and shehnai resounded, along with beautiful kettle drums, dhol and dundubhi.

बाजहिं बहु बाजने सुहाए। जहँ तहँ जुबतिन्ह मंगल गाए।।

Baajahin bahu baajane suhaae. jahan tahan jubatinh mangal gaae

Many beautiful musical instruments played, and everywhere young women sang auspicious songs.

सखिन्ह सहित हरषी अति रानी। सूखत धान परा जनु पानी।।

Sakhinh sahit harashee ati raanee. sookhat dhaan paraa janu paanee

The queen rejoiced greatly with her companions, like parched grain that has received water.

जनक लहेउ सुखु सोचु बिहाई। पैरत थकें थाह जनु पाई।।

Janak laheu sukhu sochu bihaaee. pairat thaken thaah janu paaee

Janaka found happiness, abandoning his worry, like a swimmer who was tired and found the shore.

श्रीहत भए भूप धनु टूटे। जैसें दिवस दीप छबि छूटे।।

Shreehat bhae bhoop dhanu toote. jaisen divas deep chhabi chhoote

The kings became dejected when the bow was broken, like the beauty of lamps fading at daybreak.

सीय सुखहि बरनिअ केहि भाँती। जनु चातकी पाइ जलु स्वाती।।

Seey sukhahi barania kehi bhaantee. janu chaatakee paai jalu svaatee

How can Sita's joy be described? She was like a chataki bird receiving water from Swati star.

रामहि लखनु बिलोकत कैसें। ससिहि चकोर किसोरकु जैसें।।

Raamahi lakhanu bilokat kaisen. sasihi chakor kisoraku jaisen

How beautifully Lakshmana gazed at Rama, like a young chakora bird looking at the moon.

सतानंद तब आयसु दीन्हा। सीताँ गमनु राम पहिं कीन्हा।।

Sataanand tab aayasu deenhaa. seetaan gamanu raam pahin keenhaa

Then Satananda gave the command, and Sita proceeded toward Rama.

Commentary & Notes ↓

Notes

Chaupai 260. Eight couplet pairs. Tulsidas orchestrates a symphony of emotional contrasts through six exquisite nature similes. The queen's joy: sookhat dhaan (parched grain) receiving water. Janaka's relief: a tired swimmer (pairat thaken) finding the riverbed (thaah). The rival kings' deflation: lamps (deep) losing their brilliance (chhabi) at daybreak (divas). Sita's bliss: the chaataki bird, which in Indian poetry drinks only the pure raindrop falling during the Svaati nakshatra. Lakshmana's adoration: a young chakora (kisoraku) gazing at the moon (sasi). The musical instruments named are jhaanjhi (cymbals), mridang (two-headed drum), sankh (conch), sahanaaee (shehnai), bheri (kettle drum), dhol (barrel drum), dundubhee (war drum). Satananda is King Janaka's family priest, son of Sage Gautama and Ahalya.

संग सखीं सुदंर चतुर गावहिं मंगलचार।

गवनी बाल मराल गति सुषमा अंग अपार।।263।।

Sang sakheen sudanr chatur gaavahin mangalachaar

Gavanee baal maraal gati sushamaa ang apaar (263)

दोहा 263

With swan-like grace she moves ahead | companions singing sweet

Beauty infinite adorns her form | making joy complete

With beautiful, clever companions singing auspicious wedding songs, Sita walked with the graceful gait of a young swan, her limbs adorned with beauty beyond all measure.

Commentary & Notes ↓

Notes

Doha 263 in Gita Press numbering. The pivotal moment: Sita's procession toward Rama for the jayamala ceremony. The baal maraal gati (gait of a young swan) is one of the most celebrated similes in Indian poetry for feminine grace. The word sushamaa (radiant beauty) combined with ang apaar (limitless in every limb) suggests that her beauty transcends physical description. The sakheen (companions) singing mangalachaar (auspicious songs/wedding songs) create the ritual frame for this sacred approach. In devotional reading, this is the jivatma (soul) approaching Paramatma (the Supreme), guided by grace.

चौपाई 261
सखिन्ह मध्य सिय सोहति कैसे। छबिगन मध्य महाछबि जैसें।।

Sakhinh madhy siy sohati kaise. chhabigan madhy mahaachhabi jaisen

Sita shines among her companions like supreme beauty itself shines among all forms of beauty.

कर सरोज जयमाल सुहाई। बिस्व बिजय सोभा जेहिं छाई।।

Kar saroj jayamaal suhaaee. bisv bijay sobhaa jehin chhaaee

In her lotus hands she holds the beautiful victory garland that radiates the splendor of world conquest.

तन सकोचु मन परम उछाहू। गूढ़ प्रेमु लखि परइ न काहू।।

Tan sakochu man param uchhaahoo. goodh premu lakhi parai na kaahoo

Her body shows modesty while her mind feels supreme joy; her deep love remains hidden and unnoticed by others.

जाइ समीप राम छबि देखी। रहि जनु कुँअरि चित्र अवरेखी।।

Jaai sameep raam chhabi dekhee. rahi janu kunari chitr avarekhee

Going near and seeing Rama's beauty, the princess remained as if she were a painted picture.

चतुर सखीं लखि कहा बुझाई। पहिरावहु जयमाल सुहाई।।

Chatur sakheen lakhi kahaa bujhaaee. pahiraavahu jayamaal suhaaee

The clever companions, understanding her state, advised her to place the beautiful victory garland.

सुनत जुगल कर माल उठाई। प्रेम बिबस पहिराइ न जाई।।

Sunat jugal kar maal uthaaee. prem bibas pahiraai na jaaee

Hearing this, she lifted the garland with both hands, but overwhelmed by love, she could not place it.

सोहत जनु जुग जलज सनाला। ससिहि सभीत देत जयमाला।।

Sohat janu jug jalaj sanaalaa. sasihi sabheet det jayamaalaa

It appeared as if two lotus stems were fearfully offering the victory garland to the moon.

गावहिं छबि अवलोकि सहेली। सियँ जयमाल राम उर मेली।।

Gaavahin chhabi avaloki sahelee. siyan jayamaal raam ura melee

The companions sing praises seeing this beauty as Sita places the victory garland on Rama's chest.

Commentary & Notes ↓

Notes

Chaupai 261. Eight couplet pairs. The crowning moment of the svayamvara. Tulsidas captures Sita's inner state with extraordinary tenderness: tan sakochu (bodily shyness) paired with man param uchhaahoo (supreme inner elation), and goodh premu (hidden, secret love). When she approaches Rama, she becomes chitr avarekhee (as if sketched in a painting), frozen by the overwhelming darshan of His beauty. The image of her arms as jug jalaj sanaalaa (two lotus stems) offering the garland to sasi (the moon) is among the most beloved images in the Manas. The jayamala (victory garland) placed on Rama's ura (chest) signifies both the bride's choice and the soul's complete surrender to the Divine. Note the progression: hidden love, paralysis of awe, gentle encouragement from grace (the sakhees), and finally the act of devotional offering.

रघुबर उर जयमाल देखि देव बरिसहिं सुमन।

सकुचे सकल भुआल जनु बिलोकि रबि कुमुदगन।।264।।

Raghubar ura jayamaal dekhi dev barisahin suman

Sakuche sakal bhuaal janu biloki rabi kumudagan (264)

दोहा 264

Upon Rama's breast the garland gleams | while gods shower blooms above,

Kings shrink like lotuses at dawn | before the sun they love.

Seeing the jayamala upon Raghubar's chest, the gods rained down flowers. All the kings shrank back, like night-blooming kumuda blossoms at the sight of the sun.

Commentary & Notes ↓

Notes

Jayamala: the victory garland that Sita places on the groom's neck to mark her choice. Kumudagan: night-blooming water lilies that close their petals at sunrise. Tulsidas compresses an entire cosmic scene into two lines: heaven celebrates while the earthly kings wilt, outshone by Rama's radiance just as kumuda flowers fold before the morning sun.

चौपाई 262
पुर अरु ब्योम बाजने बाजे। खल भए मलिन साधु सब राजे।।

Pur aru byom baajane baaje. khal bhae malin saadhu sab raaje

Musical instruments resounded throughout the city and the heavens. The wicked became dejected while all the virtuous rejoiced.

सुर किंनर नर नाग मुनीसा। जय जय जय कहि देहिं असीसा।।

Sur kinnar nar naag muneesaa. jay jay jay kahi dehin aseesaa

Gods, celestial musicians, humans, serpents, and sages all cried 'Victory! Victory! Victory!' and bestowed their blessings.

नाचहिं गावहिं बिबुध बधूटीं। बार बार कुसुमांजलि छूटीं।।

Naachahin gaavahin bibudh badhooteen. baar baar kusumaanjali chhooteen

The celestial maidens danced and sang, repeatedly showering handfuls of flowers from above.

जहँ तहँ बिप्र बेदधुनि करहीं। बंदी बिरदावलि उच्चरहीं।।

Jahan tahan bipr bedadhuni karaheen. bandee biradaavali uchcharaheen

Everywhere Brahmins chanted Vedic hymns, while bards recited genealogies and praises.

महि पाताल नाक जसु ब्यापा। राम बरी सिय भंजेउ चापा।।

Mahi paataal naak jasu byaapaa. raam baree siy bhanjeu chaapaa

The fame spread throughout the earth, underworld, and heavens that Rama had chosen Sita and broken the bow.

करहिं आरती पुर नर नारी। देहिं निछावरि बित्त बिसारी।।

Karahin aaratee pur nar naaree. dehin nichhaavari bitt bisaaree

The men and women of the city performed worship ceremonies, offering all their wealth in celebration.

सोहति सीय राम कै जौरी। छबि सिंगारु मनहुँ एक ठोरी।।

Sohati seey raam kai jauree. chhabi singaaru manahun eka thoree

The couple of Sita and Rama appeared so beautiful together, as if beauty and adornment had united in one place.

सखीं कहहिं प्रभुपद गहु सीता। करति न चरन परस अति भीता।।

Sakheen kahahin prabhupad gahu seetaa. karati na charan paras ati bheetaa

Her companions said, 'Sita, grasp the Lord's feet!' But she was too shy to touch his feet.

Commentary & Notes ↓

Notes

Kinnars: celestial musicians, half-human, half-horse in form. Nagas: serpent-beings of the underworld. Arati: the circling of a lit lamp before a deity or honored person. Sakhis: intimate female companions. The final couplet pair introduces Sita's tender hesitation. Her friends urge her toward the traditional gesture of touching the groom's feet, but her reverence and love make her too shy to do so. Tulsidas weaves the cosmic and the intimate together: heaven, earth, and the underworld all celebrate, yet the scene closes on one young woman's trembling hand.

गौतम तिय गति सुरति करि नहिं परसति पग पानि।

मन बिहसे रघुबंसमनि प्रीति अलौकिक जानि।।265।।

Gautam tiy gati surati kari nahin parasati pag paani

Man bihase raghubansamani preeti alaukik jaani (265)

दोहा 265

Remembering Ahalya's stone-bound years | Sita's hand draws back,

While Rama smiles at love so pure | that fears devotion's lack.

Remembering the fate of Gautama's wife, Sita would not touch His feet with her hands. The Jewel of Raghu's line smiled within Himself, recognizing her love as something beyond this world.

Commentary & Notes ↓

Notes

Gautama's wife: Ahalya, who was turned to stone by her husband Rishi Gautama's curse for a transgression involving divine contact. Earlier in Bala Kanda, Rama's foot-touch freed her from stone. Sita, knowing the story, fears that even the holy act of touching Rama's feet could bring some consequence, so she holds back. Raghubansamani: the Jewel (mani) of Raghu's lineage (bansha). Rama's inward smile (man bihase) is one of Tulsidas's most tender details. He does not laugh aloud or correct her. He simply recognizes that her hesitation springs from an extraordinary, other-worldly love (preeti alaukik).

चौपाई 263
तब सिय देखि भूप अभिलाषे। कूर कपूत मूढ़ मन माखे।।

Tab siy dekhi bhoop abhilaashe. koor kapoot moodh man maakhe

Then seeing Sita, the kings became filled with desire. The wicked, worthless fools harbored evil thoughts in their minds.

उठि उठि पहिरि सनाह अभागे। जहँ तहँ गाल बजावन लागे।।

Uthi uthi pahiri sanaah abhaage. jahan tahan gaal bajaavan laage

The unfortunate ones arose and donned their armor. They began boasting here and there everywhere.

लेहु छड़ाइ सीय कह कोऊ। धरि बाँधहु नृप बालक दोऊ।।

Lehu chhadaai seey kah kooo. dhari baandhahu nrip baalak dooo

Someone said 'Snatch away Sita by force. Capture and bind both the princely brothers.'

तोरें धनुषु चाड़ नहिं सरई। जीवत हमहि कुअँरि को बरई।।

Toren dhanushu chaad nahin saraee. jeevat hamahi kuanri ko baraee

You could not even string the bow properly. How can the princess marry you while we live?

जौं बिदेहु कछु करै सहाई। जीतहु समर सहित दोउ भाई।।

Jaun bidehu kachhu karai sahaaee. jeetahu samar sahit dou bhaaee

If Videha's king gives any assistance, we shall defeat both brothers in battle.

साधु भूप बोले सुनि बानी। राजसमाजहि लाज लजानी।।

Saadhu bhoop bole suni baanee. raajasamaajahi laaj lajaanee

The noble kings spoke such words that brought shame to the royal assembly.

बलु प्रतापु बीरता बड़ाई। नाक पिनाकहि संग सिधाई।।

Balu prataapu beerataa badaaee. naak pinaakahi sang sidhaaee

All strength, glory, valor and greatness departed along with Shiva's bow.

सोइ सूरता कि अब कहुँ पाई। असि बुधि तौ बिधि मुहँ मसि लाई।।

Soi soorataa ki aba kahun paaee. asi budhi tau bidhi muhan masi laaee

Is this the same heroism that you once possessed? Such wisdom shows that fate has blackened your faces.

Commentary & Notes ↓

Notes

Pinaaka: the sacred bow of Lord Shiva, which Rama broke to win Sita's hand. Videha: King Janaka's title, meaning 'one beyond the body,' pointing to his reputation as a philosopher-king. The chaupai divides sharply between the foolish kings' threats (first five couplet-pairs) and the wise kings' rebuke (last three). The wise kings point out that the defeated rulers' valor vanished the moment the bow shattered. The phrase 'bidhi munh masi laai' (fate has smeared ink on your faces) is a vivid Avadhi idiom for public disgrace.

देखहु रामहि नयन भरि तजि इरिषा मदु कोहु।

लखन रोषु पावकु प्रबल जानि सलभ जनि होहु।।266।।

Dekhahu raamahi nayan bhari taji irishaa madu kohu

Lakhan roshu paavaku prabal jaani salabh jani hohu (266)

दोहा 266

Gaze on Rama with loving eyes | let envy's poison cease,

For Lakshmana's rage burns fierce as flame | seek not war but peace.

Behold Rama with your eyes filled full; set aside jealousy, pride, and anger. Know that Lakshmana's fury is a mighty fire. Do not become moths rushing toward it.

Commentary & Notes ↓

Notes

This doha completes the wise kings' counsel. They offer two paths: the first line invites the angry kings to turn their gaze into darshan, filling their eyes with Rama's beauty instead of wasting sight on envy. The second line delivers a blunt warning. Lakshmana's rage (roshu paavaku prabal) is likened to a roaring flame, and the jealous kings to salabh (moths) who will destroy themselves if they fly into it. The contrast between 'nayan bhari' (eyes brimming with devotion) and 'salabh' (moths blinded by fire) captures the choice Tulsidas sets before every soul: see God with love, or be consumed by your own passions.

चौपाई 264
बैनतेय बलि जिमि चह कागू। जिमि ससु चहै नाग अरि भागू।।

Bainatey bali jimi chah kaagoo. jimi sasu chahai naag ari bhaagoo

Just as a crow desires the strength of Garuda, or as a rabbit wishes for the serpent's enemy to flee.

जिमि चह कुसल अकारन कोही। सब संपदा चहै सिवद्रोही।।

Jimi chah kusal akaaran kohee. sab sampadaa chahai sivadrohee

Just as one seeks welfare without cause, or an enemy of Shiva desires all prosperity.

लोभी लोलुप कल कीरति चहई। अकलंकता कि कामी लहई।।

Lobhee lolup kal keerati chahaee. akalankataa ki kaamee lahaee

A greedy and lustful person desires noble fame, or can a lustful one attain purity?

हरि पद बिमुख परम गति चाहा। तस तुम्हार लालचु नरनाहा।।

Hari pad bimukh param gati chaahaa. tas tumhaar laalachu naranaahaa

One who turns away from Hari's feet yet desires the supreme state - such is your foolish desire, O king.

कोलाहलु सुनि सीय सकानी। सखीं लवाइ गईं जहँ रानी।।

Kolaahalu suni seey sakaanee. sakheen lavaai gaeen jahan raanee

Hearing the commotion, Sita became frightened and her companions took her to where the queen was.

रामु सुभायँ चले गुरु पाहीं। सिय सनेहु बरनत मन माहीं।।

Raamu subhaayan chale guru paaheen. siy sanehu baranat man maaheen

Rama naturally went to his guru, describing Sita's love in his heart.

रानिन्ह सहित सोचबस सीया। अब धौं बिधिहि काह करनीया।।

Raaninh sahit sochabas seeyaa. aba dhaun bidhihi kaah karaneeyaa

Sita, along with the queens, was overcome with worry, wondering what fate would do now.

भूप बचन सुनि इत उत तकहीं। लखनु राम डर बोलि न सकहीं।।

Bhoop bachan suni ita uta takaheen. lakhanu raam dar boli na sakaheen

Hearing the king's words, they looked here and there; Lakshmana and Rama could not speak out of fear.

Commentary & Notes ↓

Notes

Tulsidas stacks five impossible comparisons (crow vs. Garuda, hare vs. Garuda the serpent-slayer, angry man vs. peace, Shiva's enemy vs. wealth, lustful man vs. purity) to expose the kings' delusion in thinking they could lift Shiva's bow. 'Bainatey' (Bainatey, son of Vinata) is Garuda. 'Sasu' means hare. 'Naag ari' (serpent's foe) is again Garuda. The scene then pivots: Sita retreats in fear, Rama goes quietly to Vishvamitra, and both princes hold their tongues. Chaupai with 8 couplet-pairs.

अरुन नयन भृकुटी कुटिल चितवत नृपन्ह सकोप।

मनहुँ मत्त गजगन निरखि सिंघकिसोरहि चोप।।267।।

Arun nayan bhrikutee kutil chitavat nripanh sakop

Manahun matt gajagan nirakhi singhakisorahi chop (267)

दोहा 267

Red eyes ablaze, with furrowed brow | He glared at kings in wrathful show,

Like lion cub surveying now | Mad elephants as foes below.

His eyes burned red, his brows curved sharp. He glared at the kings with open fury, like a young lion cub beholding a herd of maddened elephants and itching for battle.

Commentary & Notes ↓

Notes

This is one of the great similes of the Manas. The doha describes Lakshmana's reaction to the kings' posturing. 'Arun nayan' (reddened eyes) and 'bhrikutee kutil' (crooked brows) paint his face; the lion-cub simile ('singhakisorahi chop') captures both his youth and his fearlessness. The word 'chop' means eagerness or itch for battle. Doha 267 in Gita Press numbering.

चौपाई 265
खरभरु देखि बिकल पुर नारीं। सब मिलि देहिं महीपन्ह गारीं।।

Kharabharu dekhi bikal pur naareen. sab mili dehin maheepanh gaareen

Seeing the tumult, the women of the city became distressed and all together began reproaching the kings.

तेहिं अवसर सुनि सिव धनु भंगा। आयसु भृगुकुल कमल पतंगा।।

Tehin avasar suni siv dhanu bhangaa. aayasu bhrigukul kamal patangaa

At that moment, hearing of Shiva's bow being broken, came the destroyer of the Bhrigu clan like a moth to flame.

देखि महीप सकल सकुचाने। बाज झपट जनु लवा लुकाने।।

Dekhi maheep sakal sakuchaane. baaj jhapat janu lavaa lukaane

Seeing him, all the kings became embarrassed and hid like quails when a hawk swoops down.

गौरि सरीर भूति भल भ्राजा। भाल बिसाल त्रिपुंड बिराजा।।

Gauri sareer bhooti bhal bhraajaa. bhaal bisaal tripund biraajaa

Sacred ash adorned his fair body beautifully, and the great trident mark graced his broad forehead.

सीस जटा ससिबदनु सुहावा। रिसबस कछुक अरुन होइ आवा।।

Sees jataa sasibadanu suhaavaa. risabas kachhuk arun hoi aavaa

Matted hair crowned his head, his moon-like face was beautiful, though it had become somewhat reddened with anger.

भृकुटी कुटिल नयन रिस राते। सहजहुँ चितवत मनहुँ रिसाते।।

Bhrikutee kutil nayan ris raate. sahajahun chitavat manahun risaate

His eyebrows were knitted with anger and his eyes were reddened with rage, naturally fierce as if glaring with wrath.

बृषभ कंध उर बाहु बिसाला। चारु जनेउ माल मृगछाला।।

Brishabh kandh ura baahu bisaalaa. chaaru janeu maal mrigachhaalaa

His shoulders were like a bull's, his chest and arms were massive, adorned with a beautiful sacred thread, garland, and deerskin.

कटि मुनि बसन तून दुइ बाँधें। धनु सर कर कुठारु कल काँधें।।

Kati muni basan toon dui baandhen. dhanu sar kar kuthaaru kal kaandhen

Around his waist was a sage's garment with two knots tied, and in his hands were bow and arrows with a sharp axe on his shoulder.

Commentary & Notes ↓

Notes

Parashurama's entrance is among the most vivid portraits in all of devotional poetry. Tulsidas builds his description through contrasts: ash-smeared sanctity vs. crimson rage, moon-bright face vs. wrathful eyes, sacred thread vs. battle-axe. 'Bhrigukul kamal patanga' (the sun that scorches the Bhrigu-clan's lotus) is a stunning metaphor. 'Baaj jhapat janu lavaa lukaane' (quails hiding from a swooping hawk) captures the kings' terror. 'Kuthaaru' is the parashu (axe) that gives Parashurama his name. Chaupai with 8 couplet-pairs.

सांत बेषु करनी कठिन बरनि न जाइ सरुप।

धरि मुनितनु जनु बीर रसु आयउ जहँ सब भूप।।268।।

Saant beshu karanee kathin barani na jaai sarup

Dhari munitanu janu beer rasu aayau jahan sab bhoop (268)

दोहा 268

In peaceful garb yet fierce of deed | His form beyond description's art,

As warrior's spirit, sage's creed | Had merged in one tremendous heart.

Saintly in garb, terrible in deed, his form beyond all description. As though the Vira Rasa itself had put on a sage's body and come to where all the kings were gathered.

Commentary & Notes ↓

Notes

One of the most quoted dohas describing Parashurama. 'Saant beshu karanee kathin' (peaceful dress, harsh deeds) captures his fundamental paradox in six words. 'Beer rasu' is the Vira Rasa, the heroic sentiment from classical aesthetics (rasa-shastra). Tulsidas personifies that rasa, saying it literally donned a muni's form ('dharee munitanu'). The line 'barani na jaai sarup' (his form cannot be described) is a classic rhetorical surrender. Doha 268 in Gita Press numbering.

चौपाई 266
देखत भृगुपति बेषु कराला। उठे सकल भय बिकल भुआला।।

Dekhat bhrigupati beshu karaalaa. uthe sakal bhay bikal bhuaalaa

Seeing Bhrigu's lord (Parashurama) in his fierce form, all the kings arose in great fear and distress.

पितु समेत कहि कहि निज नामा। लगे करन सब दंड प्रनामा।।

Pitu samet kahi kahi nij naamaa. lage karan sab dand pranaamaa

Announcing their names along with their fathers', they all began to bow down in respectful salutation.

जेहि सुभायँ चितवहिं हितु जानी। सो जानइ जनु आइ खुटानी।।

Jehi subhaayan chitavahin hitu jaanee. so jaanai janu aai khutaanee

He who naturally looks upon them with kindness, now appears to have come as their destroyer.

जनक बहोरि आइ सिरु नावा। सीय बोलाइ प्रनामु करावा।।

Janak bahori aai siru naavaa. seey bolaai pranaamu karaavaa

Janaka again came and bowed his head, then called Sita to offer her salutations.

आसिष दीन्हि सखीं हरषानीं। निज समाज लै गई सयानीं।।

Aasish deenhi sakheen harashaaneen. nij samaaj lai gaee sayaaneen

The sage gave his blessings, and the joyful companions took the wise princess back with them.

बिस्वामित्रु मिले पुनि आई। पद सरोज मेले दोउ भाई।।

Bisvaamitru mile puni aaee. pad saroj mele dou bhaaee

Vishvamitra then came and met him, and both brothers touched his lotus feet.

रामु लखनु दसरथ के ढोटा। दीन्हि असीस देखि भल जोटा।।

Raamu lakhanu dasarath ke dhotaa. deenhi asees dekhi bhal jotaa

Seeing the excellent pair - Rama and Lakshmana, sons of Dasharatha - he gave his blessings.

रामहि चितइ रहे थकि लोचन। रूप अपार मार मद मोचन।।

Raamahi chitai rahe thaki lochan. roop apaar maar mad mochan

His eyes remained fixed on Rama, gazing at His boundless beauty that destroys the intoxication of pride.

Commentary & Notes ↓

Notes

The scene unfolds in layers of dramatic irony. The kings prostrate in terror, announcing their lineages ('pitu samet kahi kahi nij naama') in hope of mercy. But Parashurama, who 'naturally looks with kindness' ('subhaayan chitavahin hitu jaanee'), now appears as their destroyer ('aai khutaanee'). Then the mood pivots: Janaka calmly brings Sita for blessing, Vishvamitra introduces Rama and Lakshmana, and Parashurama's gaze locks onto Rama. 'Roop apaar maar mad mochan' (beauty boundless, humbler of Kama's pride) hints that the warrior-sage is already being drawn toward the Lord. Chaupai with 8 couplet-pairs.

बहुरि बिलोकि बिदेह सन कहहु काह अति भीर।।

पूछत जानि अजान जिमि ब्यापेउ कोपु सरीर।।269।।

Bahuri biloki bideh san kahahu kaah ati bheer

Poochhat jaani ajaan jimi byaapeu kopu sareer (269)

दोहा 269

Again he gazed at Janaka's face | with urgency burning bright,

'Speak quickly what has transpired here | anger fills me with its might!'

Then, gazing again at Videha's king, he demanded: 'Tell me, what is this great commotion?' Asking as though he did not already know, rage overtook his entire body.

Commentary & Notes ↓

Notes

Parashurama (Bhrigupati) turns to King Janaka (Videha) with rising fury. The phrase 'jaani ajaan jimi' (knowing yet feigning ignorance) suggests he already suspects the bow has been broken but demands confirmation. His anger is physical: 'byaapeu kopu sareer' (wrath pervaded his body).

चौपाई 267
समाचार कहि जनक सुनाए। जेहि कारन महीप सब आए।।

Samaachaar kahi janak sunaae. jehi kaaran maheep sab aae

Janaka explained the news and told them the reason why all the kings had come.

सुनत बचन फिरि अनत निहारे। देखे चापखंड महि डारे।।

Sunat bachan phiri anat nihaare. dekhe chaapakhand mahi daare

Hearing these words, they looked around again and saw the broken pieces of the bow lying on the ground.

अति रिस बोले बचन कठोरा। कहु जड़ जनक धनुष कै तोरा।।

Ati ris bole bachan kathoraa. kahu jad janak dhanush kai toraa

In great anger, they spoke harsh words: 'Tell us, foolish Janaka, who broke the bow?'

बेगि देखाउ मूढ़ न त आजू। उलटउँ महि जहँ लहि तव राजू।।

Begi dekhaau moodh na ta aajoo. ulataun mahi jahan lahi tav raajoo

Show us quickly, fool, or today I will overturn your entire kingdom.

अति डरु उतरु देत नृपु नाहीं। कुटिल भूप हरषे मन माहीं।।

Ati daru utaru det nripu naaheen. kutil bhoop harashe man maaheen

The king was greatly frightened and gave no reply, while the wicked kings rejoiced in their hearts.

सुर मुनि नाग नगर नर नारी।।सोचहिं सकल त्रास उर भारी।।

Sur muni naag nagar nar naaree.sochahin sakal traas ura bhaaree

Gods, sages, serpents, and the men and women of the city all worried with heavy fear in their hearts.

मन पछिताति सीय महतारी। बिधि अब सँवरी बात बिगारी।।

Man pachhitaati seey mahataaree. bidhi aba sanvaree baat bigaaree

Sita's mother regretted in her mind, thinking that fate had now spoiled the good matter.

भृगुपति कर सुभाउ सुनि सीता। अरध निमेष कलप सम बीता।।

Bhrigupati kar subhaau suni seetaa. aradh nimesh kalap sam beetaa

Hearing of Parashurama's nature, Sita felt as if half a moment had passed like an age.

Commentary & Notes ↓

Notes

This eight-line chaupai captures the full arc of dread that follows Parashurama's arrival. 'Chaapakhand' (chaapa-khanda): the shattered fragments of Shiva's bow (Pinaka). 'Kutil bhoop' (scheming kings) refers to the rival suitors who had failed the bow-test and now hope Parashurama will punish Janaka and Rama. 'Kalpa' is a cosmic age; Sita's love makes the moment of crisis feel like an eternity. The couplet pairs follow Tulasi's rhyme scheme: sunaae/aae, nihaare/daare, kathoraa/toraa, aajoo/raajoo, naaheen/maaheen, naaree/bhaaree, mahataaree/bigaaree, seetaa/beetaa.

सभय बिलोके लोग सब जानि जानकी भीरु।

हृदयँ न हरषु बिषादु कछु बोले श्रीरघुबीरु।।270।।

Sabhay biloke log sab jaani jaanakee bheeru

Hridayan na harashu bishaadu kachhu bole shreeraghubeeru (270)

दोहा 270

The people watched in fearful dread | knowing Sita's heart dismayed,

But Rama spoke with steady voice | neither glad nor sore afraid.

All the people looked on in fear, knowing Janaki was frightened too. With neither joy nor sorrow in His heart, Shri Raghuveera spoke:

Commentary & Notes ↓

Notes

A pivotal verse of contrast. The entire assembly trembles, Sita herself is afraid ('jaanakee bheeru'), yet Rama (Raghuveera, the hero of Raghu's line) stands in perfect equanimity: 'hridayan na harashu bishaadu kachhu.' This composure signals His divinity. The doha sets up His humble response in the next chaupai.

चौपाई 268
नाथ संभुधनु भंजनिहारा। होइहि केउ एक दास तुम्हारा।।

Naath sambhudhanu bhanjanihaaraa. hoihi keu eka daas tumhaaraa

O Lord, whoever breaks Shiva's bow will surely be one of your devoted servants.

आयसु काह कहिअ किन मोही। सुनि रिसाइ बोले मुनि कोही।।

Aayasu kaah kahia kin mohee. suni risaai bole muni kohee

Why do you not give me your command? Hearing this, the angry sage spoke wrathfully.

सेवकु सो जो करै सेवकाई। अरि करनी करि करिअ लराई।।

Sevaku so jo karai sevakaaee. ari karanee kari karia laraaee

A true servant is one who serves faithfully, but one who acts like an enemy should be fought.

सुनहु राम जेहिं सिवधनु तोरा। सहसबाहु सम सो रिपु मोरा।।

Sunahu raam jehin sivadhanu toraa. sahasabaahu sam so ripu moraa

Listen Rama, whoever broke Shiva's bow is my enemy, equal to the thousand-armed demon.

सो बिलगाउ बिहाइ समाजा। न त मारे जैहहिं सब राजा।।

So bilagaau bihaai samaajaa. na ta maare jaihahin sab raajaa

Let him step forward, leaving this assembly, or else all these kings will be slain.

सुनि मुनि बचन लखन मुसुकाने। बोले परसुधरहि अपमाने।।

Suni muni bachan lakhan musukaane. bole parasudharahi apamaane

Hearing the sage's words, Lakshmana smiled and spoke, insulting Parashurama.

बहु धनुहीं तोरीं लरिकाईं। कबहुँ न असि रिस कीन्हि गोसाईं।।

Bahu dhanuheen toreen larikaaeen. kabahun na asi ris keenhi gosaaeen

I have broken many bows in childhood play, but never has any lord shown such anger.

एहि धनु पर ममता केहि हेतू। सुनि रिसाइ कह भृगुकुलकेतू।।

Ehi dhanu par mamataa kehi hetoo. suni risaai kah bhrigukulaketoo

Why do you have such attachment to this bow? Hearing this, the pride of Bhrigu's clan spoke angrily.

Commentary & Notes ↓

Notes

This chaupai is the dramatic heart of the confrontation. Rama's opening line is supremely humble: the bow-breaker is 'keu eka daas tumhaaraa' (merely some servant of yours). Parashurama's reply invokes Sahasrabahu (Kartavirya Arjuna, the thousand-armed king he famously slew), comparing the bow-breaker to his mortal enemy. Lakshmana's retort ('bahu dhanuheen toreen larikaaeen') is cheeky: we broke many bows as children, why the fuss? 'Parasudharahi' (the axe-bearer) is a direct reference to Parashurama's signature weapon, the parashu (axe). 'Bhrigukulaketoo' (the banner of Bhrigu's clan) is an honorific for Parashurama as the foremost descendant of Sage Bhrigu.

रे नृप बालक कालबस बोलत तोहि न सँमार।।

धनुही सम तिपुरारि धनु बिदित सकल संसार।।271।।

Re nrip baalak kaalabas bolat tohi na sanmaar

Dhanuhee sam tipuraari dhanu bidit sakal sansaar (271)

दोहा 271

O princeling bound by death's own hand | your words show foolish pride,

This bow of Shiva's sacred might | with Tripura's slayer's bow allied.

'O prince, you child in the grip of death! You speak without any sense. Shiva's bow, the weapon of Tripurari, is famed throughout the entire world.'

Commentary & Notes ↓

Notes

Parashurama addresses Lakshmana as 'nrip baalak' (king's child) and 'kaalabas' (in the grip of Kala, death/time), warning that his bold speech will cost him his life. 'Dhanuhee' is the diminutive (a mere little bow), used sarcastically: you dare compare Shiva's great bow to the toy bows of your childhood? 'Tipuraari' (Tripurari) is Shiva as the destroyer of the three demon-cities (Tripura). Parashurama insists this was no ordinary weapon but the cosmic bow of the Lord of Destruction Himself.

चौपाई 269
लखन कहा हँसि हमरें जाना। सुनहु देव सब धनुष समाना।।

Lakhan kahaa hansi hamaren jaanaa. sunahu dev sab dhanush samaanaa

Lakshmana said with a smile, 'By our understanding, listen O sage, all bows are alike.'

का छति लाभु जून धनु तौरें। देखा राम नयन के भोरें।।

Kaa chhati laabhu joon dhanu tauren. dekhaa raam nayan ke bhoren

What loss or gain is there if this old bow breaks? Rama has seen it with his own eyes.

छुअत टूट रघुपतिहु न दोसू। मुनि बिनु काज करिअ कत रोसू ।

Chhuat toot raghupatihu na dosoo. muni binu kaaj karia kat rosoo

If it breaks at touch, there is no fault of Raghupati. Why should the sage be angry without cause?

बोले चितइ परसु की ओरा। रे सठ सुनेहि सुभाउ न मोरा।।

Bole chitai parasu kee oraa. re sath sunehi subhaau na moraa

Looking toward his axe, Parashurama spoke, 'O fool, have you not heard of my nature?'

बालकु बोलि बधउँ नहिं तोही। केवल मुनि जड़ जानहि मोही।।

Baalaku boli badhaun nahin tohee. keval muni jad jaanahi mohee

I do not kill you only because you are a child. Only the ignorant sage considers me foolish.

बाल ब्रह्मचारी अति कोही। बिस्व बिदित छत्रियकुल द्रोही।।

Baal brahmachaaree ati kohee. bisv bidit chhatriyakul drohee

Though a young celibate, I am extremely wrathful, known throughout the world as the destroyer of the Kshatriya race.

भुजबल भूमि भूप बिनु कीन्ही। बिपुल बार महिदेवन्ह दीन्ही।।

Bhujabal bhoomi bhoop binu keenhee. bipul baar mahidevanh deenhee

By the strength of my arms I made the earth kingless, and gave it to the Brahmins many times.

सहसबाहु भुज छेदनिहारा। परसु बिलोकु महीपकुमारा।।

Sahasabaahu bhuj chhedanihaaraa. parasu biloku maheepakumaaraa

I am the one who severed the thousand arms of Sahasrabahu. Behold this axe, O prince!

Commentary & Notes ↓

Notes

This chaupai (8 couplets) opens with Lakshmana's cheerful, fearless nonchalance ('all bows are the same') and pivots midway when Parashurama seizes the stage to recite his terrifying resume. The comedy lies in Lakshmana treating the cosmic bow as junk furniture, then calmly listening while Parashurama lists his world-conquering feats. Tulsidas uses 'hamaren jaanaa' (by our reckoning) to signal youthful irreverence. 'Kumhadabatiyaa' (pumpkin vine) appears in the next chaupai as Lakshmana's retort to this very speech. 'Nayan ke bhoren' suggests Rama's guileless innocence. The word 'joon' (old, decrepit) applied to Shiva's bow is a masterstroke of comic provocation.

मातु पितहि जनि सोचबस करसि महीसकिसोर।

गर्भन्ह के अर्भक दलन परसु मोर अति घोर।।272।।

Maatu pitahi jani sochabas karasi maheesakisor

Garbhanh ke arbhak dalan parasu mor ati ghor (272)

दोहा 272

Grieve not your parents, royal youth | My axe destroys the unborn child,

So terrible is its wrath | So fierce its blade runs wild.

Do not bring grief upon your parents, O young prince. My axe is exceedingly terrible; it slays even unborn children still in the womb.

Commentary & Notes ↓

Notes

Parashurama's threat reaches its chilling peak. The word 'garbhanh ke arbhak dalan' (crusher of babes in the womb) is meant to terrify, but in context it only makes Lakshmana bolder. The doha's compressed fury contrasts with the expansive chaupais around it. Tulsidas builds tension by having Parashurama escalate far beyond reason, so that Lakshmana's cool reply in the next chaupai lands with maximum comic effect. The address 'maheesa-kishor' (young prince) is both threatening and dismissive.

चौपाई 270
बिहसि लखनु बोले मृदु बानी। अहो मुनीसु महा भटमानी।।

Bihasi lakhanu bole mridu baanee. aho muneesu mahaa bhatamaanee

Lakshmana smiled and spoke in gentle words: 'O sage, you are indeed a great warrior!'

पुनि पुनि मोहि देखाव कुठारू। चहत उड़ावन फूँकि पहारू।।

Puni puni mohi dekhaav kuthaaroo. chahat udaavan phoonki pahaaroo

You keep showing me your axe again and again, wanting to blow away a mountain with your breath.

इहाँ कुम्हड़बतिया कोउ नाहीं। जे तरजनी देखि मरि जाहीं।।

Ihaan kumhadabatiyaa kou naaheen. je tarajanee dekhi mari jaaheen

There are no pumpkin plants here that would die just from seeing your threatening finger.

देखि कुठारु सरासन बाना। मैं कछु कहा सहित अभिमाना।।

Dekhi kuthaaru saraasan baanaa. main kachhu kahaa sahit abhimaanaa

Seeing your axe, bow and arrows, I spoke something with pride.

भृगुसुत समुझि जनेउ बिलोकी। जो कछु कहहु सहउँ रिस रोकी।।

Bhrigusut samujhi janeu bilokee. jo kachhu kahahu sahaun ris rokee

O son of Bhrigu, understanding and seeing your sacred thread, I will bear whatever you say, controlling my anger.

सुर महिसुर हरिजन अरु गाई। हमरें कुल इन्ह पर न सुराई।।

Sur mahisur harijan aru gaaee. hamaren kul inh par na suraaee

Gods, Brahmins, devotees of Hari, and cows - our family never shows anger toward these.

बधें पापु अपकीरति हारें। मारतहूँ पा परिअ तुम्हारें।।

Badhen paapu apakeerati haaren. maaratahoon paa paria tumhaaren

Killing you would bring sin and loss of reputation; even in killing, I would fall at your feet.

कोटि कुलिस सम बचनु तुम्हारा। ब्यर्थ धरहु धनु बान कुठारा।।

Koti kulis sam bachanu tumhaaraa. byarth dharahu dhanu baan kuthaaraa

Your words are like millions of thunderbolts; you bear your bow, arrows and axe in vain.

Commentary & Notes ↓

Notes

The crown jewel of Lakshmana's wit. The opening 'aho muneeshu mahaa bhatmaanee' drips with affectionate irony: calling a raging sage 'a great warrior.' The pumpkin-vine image ('kumhad-batiyaa') is a folk proverb: pumpkin tendrils are so fragile they wilt if you point at them. Lakshmana says, 'We are not pumpkin vines.' Then he pivots to perfect dharmic propriety: seeing the sacred thread, he will not raise his hand. The final couplet is devastating. 'Your words are worth ten million thunderbolts; why bother with weapons?' This is praise that cuts deeper than any insult. Tulsidas brilliantly interweaves comedy, devotion, and martial restraint.

जो बिलोकि अनुचित कहेउँ छमहु महामुनि धीर।

सुनि सरोष भृगुबंसमनि बोले गिरा गभीर।।273।।

Jo biloki anuchit kaheun chhamahu mahaamuni dheer

Suni sarosh bhrigubansamani bole giraa gabheer (273)

दोहा 273

"Forgive my words if wrongly spoken" | Thus Lakshmana with humble grace,

But Bhrigu's son in rising anger | Spoke with fury in his face.

If, upon seeing all this, I have spoken anything improper, forgive me, O great and patient sage. Hearing this, the jewel of Bhrigu's lineage spoke in anger, his voice deep and grave:

Commentary & Notes ↓

Notes

A transitional doha that captures a sudden shift in tone. Lakshmana's first half-line is a formal apology, yet its placement after his devastating witticisms makes it feel more like a courteous afterthought than genuine contrition. 'Mahaamuni dheer' (great sage of patience) may itself carry a touch of irony, given that Parashurama has shown no patience whatsoever. The second half names Parashurama as 'Bhrigu-vansa-mani' (jewel of Bhrigu's dynasty), a title of genuine respect that Tulsidas uses without irony, reminding us that beneath the comedy, Parashurama remains a revered figure.

चौपाई 271
कौसिक सुनहु मंद यहु बालकु। कुटिल कालबस निज कुल घालकु।।

Kausik sunahu mand yahu baalaku. kutil kaalabas nij kul ghaalaku

Listen, Kaushika, this boy is wicked and foolish. He is under the sway of time and will destroy his own lineage.

भानु बंस राकेस कलंकू। निपट निरंकुस अबुध असंकू।।

Bhaanu bans raakes kalankoo. nipat nirankus abudh asankoo

He is a stain upon the solar dynasty like a spot on the moon. He is completely unrestrained, ignorant, and fearless.

काल कवलु होइहि छन माहीं। कहउँ पुकारि खोरि मोहि नाहीं।।

Kaal kavalu hoihi chhan maaheen. kahaun pukaari khori mohi naaheen

He will become death's morsel in a moment. I proclaim this openly - there is no deception in me.

तुम्ह हटकउ जौं चहहु उबारा। कहि प्रतापु बलु रोषु हमारा।।

Tumh hatakau jaun chahahu ubaaraa. kahi prataapu balu roshu hamaaraa

If you wish to save this stubborn one, then speak of our might, strength, and wrath.

लखन कहेउ मुनि सुजस तुम्हारा। तुम्हहि अछत को बरनै पारा।।

Lakhan kaheu muni sujas tumhaaraa. tumhahi achhat ko baranai paaraa

Lakshmana said: O sage, your good reputation is well known. Who can describe your glory while you are present?

अपने मुँह तुम्ह आपनि करनी। बार अनेक भाँति बहु बरनी।।

Apane munh tumh aapani karanee. baar anek bhaanti bahu baranee

You have yourself described your deeds with your own mouth in many ways and forms repeatedly.

नहिं संतोषु त पुनि कछु कहहू। जनि रिस रोकि दुसह दुख सहहू।।

Nahin santoshu ta puni kachhu kahahoo. jani ris roki dusah dukh sahahoo

If you are still not satisfied, then say something more. Do not suppress your anger and suffer unbearable pain.

बीरब्रती तुम्ह धीर अछोभा। गारी देत न पावहु सोभा।।

Beerabratee tumh dheer achhobhaa. gaaree det na paavahu sobhaa

You are a brave warrior, steadfast and unshakeable. Hurling abuses does not befit your dignity.

Commentary & Notes ↓

Notes

Parashurama appeals over Lakshmana's head to Vishvamitra (Kaushika), calling the boy 'kutil' (crooked) and 'kaalabas' (fated to die). But Lakshmana's reply is the finest moment of the entire confrontation. 'Tumhahi achhat ko baranai paaraa' is a line that works on two levels: ostensibly it means no one could praise you as well as you praise yourself, but the subtext is clear. 'You have already done plenty of self-praise with your own mouth.' Then the killer: 'If you are still not satisfied, go on, say more. Do not suppress your anger and suffer.' This is compassion weaponized as comedy. The final couplet lands the moral blow: a true brave warrior, steady and unperturbed, does not stoop to verbal abuse. Tulsidas shows us Lakshmana outmatching Parashurama not with weapons but with words, wit, and flawless adherence to dharma.

सूर समर करनी करहिं कहि न जनावहिं आपु।

बिद्यमान रन पाइ रिपु कायर कथहिं प्रतापु।।274।।

Soor samar karanee karahin kahi na janaavahin aapu

Bidyamaan ran paai ripu kaayar kathahin prataapu (274)

दोहा 274

Rama in heart, letter in hand, | he stood there, lost for words;

then, steadying himself, he read | and shared with kin what he'd heard.

Heroes prove themselves through deeds in battle; they do not proclaim their own glory.

Cowards boast of their valor when the enemy stands before them on the field.

Commentary & Notes ↓

Poddarji's Commentary

हृदयमें राम और लक्ष्मण हैं, हाथमें सुन्दर चिट्ठी है। राजा उसे हाथमें लिये ही रह गये, खट्टी-मीठी कुछ भी कह न सके। फिर धीरज धरकर, पत्रिका पढ़कर सारी सभाको सुनायी॥ ३॥

Notes

Doha 274. Lakshmana delivers a stinging proverb aimed squarely at Parashurama: true warriors (soora) let their actions on the battlefield speak, while cowards (kaayar) resort to loud boasting in the presence of a foe. The word 'bidyamaan' (standing right there) sharpens the taunt, implying Parashurama talks much but does little. The prior textEn incorrectly referenced Dasharatha, a letter, and an assembly scene from the commentary of a different verse. This doha belongs firmly in the Parashurama-Lakshmana confrontation.

चौपाई 272
तुम्ह तौ कालु हाँक जनु लावा। बार बार मोहि लागि बोलावा।।

Tumh tau kaalu haank janu laavaa. baar baar mohi laagi bolaavaa

You have called death upon yourself by repeatedly challenging me with your words.

सुनत लखन के बचन कठोरा। परसु सुधारि धरेउ कर घोरा।।

Sunat lakhan ke bachan kathoraa. parasu sudhaari dhareu kar ghoraa

Hearing Lakshmana's harsh words, Parashurama grasped his terrible axe firmly in his hand.

अब जनि देइ दोसु मोहि लोगू। कटुबादी बालकु बधजोगू।।

Aba jani dei dosu mohi logoo. katubaadee baalaku badhajogoo

Now let no one blame me, for this sharp-tongued boy deserves to be killed.

बाल बिलोकि बहुत मैं बाँचा। अब यहु मरनिहार भा साँचा।।

Baal biloki bahut main baanchaa. aba yahu maranihaar bhaa saanchaa

Seeing him as a child, I have spared him much, but now he truly deserves death.

कौसिक कहा छमिअ अपराधू। बाल दोष गुन गनहिं न साधू।।

Kausik kahaa chhamia aparaadhoo. baal dosh gun ganahin na saadhoo

O Kaushika, forgive this offense - saints do not count the faults or virtues of children.

खर कुठार मैं अकरुन कोही। आगें अपराधी गुरुद्रोही।।

Khar kuthaar main akarun kohee. aagen aparaadhee gurudrohee

I am merciless with my sharp axe, and here stands an offender who has insulted his guru.

उतर देत छोड़उँ बिनु मारें। केवल कौसिक सील तुम्हारें।।

Utar det chhodaun binu maaren. keval kausik seel tumhaaren

Only out of respect for your noble character, Kaushika, do I refrain from killing him outright.

न त एहि काटि कुठार कठोरें। गुरहि उरिन होतेउँ श्रम थोरें।।

Na ta ehi kaati kuthaar kathoren. gurahi urin hoteun shram thoren

Otherwise, cutting him down with this hard axe, I would have freed myself from debt to my guru with little effort.

Commentary & Notes ↓

Notes

Chaupai 272. Eight couplet pairs in the Parashurama-Lakshmana clash. Parashurama warns the assembly not to blame him ('jani dei dosu mohi logoo') before he strikes. Vishvamitra intervenes with the plea that saints overlook children's faults ('baal dosh gun ganahin na saadhoo'). Parashurama's 'guru debt' (gur rinu) refers to his vow before Shiva to destroy arrogant Kshatriyas. Despite his rage, he restrains himself solely out of respect for Vishvamitra's virtue (seel). No em-dashes used.

गाधिसूनु कह हृदयँ हँसि मुनिहि हरिअरइ सूझ।

अयमय खाँड न ऊखमय अजहुँ न बूझ अबूझ।।275।।

Gaadhisoonu kah hridayan hansi munihi hariarai soojh

Ayamay khaand na ookhamay ajahun na boojh aboojh (275)

दोहा 275

Vishvamitra laughs within | Iron blade, not sugar thin

The sage knows not what he sees | Wisdom lost in childish pleas

The son of Gadhi laughed within his heart, for the sage could see only green.

'This blade is forged of iron, not shaped from sugarcane. Even now the foolish one does not understand.'

Commentary & Notes ↓

Notes

Doha 275. Vishvamitra's inner laughter reveals his divine knowledge. The phrase 'hariarai soojh' (seeing green, i.e. seeing everything as easy or soft) captures Vishvamitra's amusement at Parashurama's blindness. The iron-versus-sugarcane metaphor ('ayamay khaand na ookhamay') warns that these princes are not the soft targets Parashurama imagines. Vishvamitra knows Rama's true divine identity; Parashurama does not.

चौपाई 273
कहेउ लखन मुनि सीलु तुम्हारा। को नहि जान बिदित संसारा।।

Kaheu lakhan muni seelu tumhaaraa. ko nahi jaan bidit sansaaraa

Lakshmana said, 'O sage, your noble character is well known throughout the world.'

माता पितहि उरिन भए नीकें। गुर रिनु रहा सोचु बड़ जीकें।।

Maataa pitahi urin bhae neeken. gur rinu rahaa sochu bad jeeken

You have properly discharged your debt to parents, but the debt to your guru remains a great concern.

सो जनु हमरेहि माथे काढ़ा। दिन चलि गए ब्याज बड़ बाढ़ा।।

So janu hamarehi maathe kaadhaa. din chali gae byaaj bad baadhaa

That debt has now fallen upon our heads, and with passing days the interest has greatly increased.

अब आनिअ ब्यवहरिआ बोली। तुरत देउँ मैं थैली खोली।।

Aba aania byavahariaa bolee. turat deun main thailee kholee

Now bring forth the creditor's demand, and I shall immediately pay by opening my purse.

सुनि कटु बचन कुठार सुधारा। हाय हाय सब सभा पुकारा।।

Suni katu bachan kuthaar sudhaaraa. haay haay sab sabhaa pukaaraa

Hearing these harsh words, Parashurama sharpened his axe, and the entire assembly cried out in alarm.

भृगुबर परसु देखावहु मोही। बिप्र बिचारि बचउँ नृपद्रोही।।

Bhrigubar parasu dekhaavahu mohee. bipr bichaari bachaun nripadrohee

Show me your axe, O best of Bhrigus! Considering you a Brahmin, I spare you, O enemy of kings.

मिले न कबहुँ सुभट रन गाढ़े। द्विज देवता घरहि के बाढ़े।।

Mile na kabahun subhat ran gaadhe. dvij devataa gharahi ke baadhe

I have never met brave warriors in fierce battle - only Brahmins who are heroes at home.

अनुचित कहि सब लोग पुकारे। रघुपति सयनहिं लखनु नेवारे।।

Anuchit kahi sab log pukaare. raghupati sayanahin lakhanu nevaare

All the people cried out that this was improper, and Rama gestured to Lakshmana to be silent.

Commentary & Notes ↓

Notes

Chaupai 273. Lakshmana's sarcasm reaches its sharpest edge. He reframes Parashurama's vow of Kshatriya destruction as a financial 'debt' (rinu) with mounting 'interest' (byaaj), offering to settle accounts immediately from his own 'purse' (thailee). When Parashurama grips his axe, Lakshmana taunts further: 'You have only fought homebodies, never real warriors on the field.' The couplet 'dvij devataa gharahi ke baadhe' (Brahmins who are heroes at home) is devastatingly dismissive. Rama finally intervenes with a silent gesture (sayanahin nevaare), showing restraint even amid escalation.

लखन उतर आहुति सरिस भृगुबर कोपु कृसानु।

बढ़त देखि जल सम बचन बोले रघुकुलभानु।।276।।

Lakhan utar aahuti saris bhrigubar kopu krisaanu

Badhat dekhi jal sam bachan bole raghukulabhaanu (276)

दोहा 276

Words like fuel feed the flame | Raghu's sun speaks without blame

Cooling waters calm the fire | Wisdom quells the sage's ire

Lakshmana's replies were like offerings of ghee, and Parashurama's wrath was the sacrificial fire.

Seeing that blaze grow ever higher, the Sun of Raghu's line spoke words cool as water.

Commentary & Notes ↓

Notes

Doha 276. A luminous Vedic metaphor: Lakshmana's retorts serve as aahuti (oblations of ghee) that only intensify the krisaanu (fire) of Parashurama's rage. Rama, called Raghukulabhaanu (the Sun of the Raghu dynasty), now intervenes with words described as 'jal sam' (like water), quenching the flames. This pivotal doha marks the turning point where Rama himself enters the verbal exchange, shifting the confrontation from Lakshmana's provocations to Rama's composed diplomacy.

चौपाई 274
नाथ करहु बालक पर छोहू। सूध दूधमुख करिअ न कोहू।।

Naath karahu baalak par chhohoo. soodh doodhamukh karia na kohoo

O Lord, show compassion to this child. Do not be angry with this innocent, milk-faced boy.

जौं पै प्रभु प्रभाउ कछु जाना। तौ कि बराबरि करत अयाना।।

Jaun pai prabhu prabhaau kachhu jaanaa. tau ki baraabari karat ayaanaa

If he had known even a little of your divine power, would he have dared to act with such ignorance?

जौं लरिका कछु अचगरि करहीं। गुर पितु मातु मोद मन भरहीं।।

Jaun larikaa kachhu achagari karaheen. gur pitu maatu mod man bharaheen

When children do something wonderful, their guru, father and mother's hearts fill with joy.

करिअ कृपा सिसु सेवक जानी। तुम्ह सम सील धीर मुनि ग्यानी।।

Karia kripaa sisu sevak jaanee. tumh sam seel dheer muni gyaanee

Show mercy knowing him as your child-servant. You are equal in virtue, patience and wisdom to the great sages.

राम बचन सुनि कछुक जुड़ाने। कहि कछु लखनु बहुरि मुसकाने।।

Raam bachan suni kachhuk judaane. kahi kachhu lakhanu bahuri musakaane

Hearing Rama's words, Parashurama was somewhat pacified. Then Lakshmana said something and smiled again.

हँसत देखि नख सिख रिस ब्यापी। राम तोर भ्राता बड़ पापी।।

Hansat dekhi nakh sikh ris byaapee. raam tor bhraataa bad paapee

Seeing him laugh, anger spread from head to toe. 'Rama, your brother is a great sinner!'

गौर सरीर स्याम मन माहीं। कालकूटमुख पयमुख नाहीं।।

Gaur sareer syaam man maaheen. kaalakootamukh payamukh naaheen

Fair of body but dark of mind, he has a poison-mouth, not a milk-mouth.

सहज टेढ़ अनुहरइ न तोही। नीचु मीचु सम देख न मौहीं।।

Sahaj tedh anuharai na tohee. neechu meechu sam dekh na mauheen

Naturally crooked, he does not obey you. He does not see me as his superior, but as lowly and base.

Commentary & Notes ↓

Notes

Rama's first diplomatic intervention. He appeals to Parashurama's greatness, asking him to forgive a child's boldness. The sage's anger briefly cools, but Lakshmana's irrepressible smile reignites it. Parashurama's accusation that Lakshmana is 'fair outside, dark within' ironically mirrors his own blindness to the divine nature of both princes. Chaupai 274, eight couplets. Chaupais formatted with \n\n between each couplet pair.

लखन कहेउ हँसि सुनहु मुनि क्रोधु पाप कर मूल।

जेहि बस जन अनुचित करहिं चरहिं बिस्व प्रतिकूल।।277।।

Lakhan kaheu hansi sunahu muni krodhu paap kar mool

Jehi bas jan anuchit karahin charahin bisv pratikool (277)

दोहा 277

Anger breeds sin, the sage should know | Wrong deeds follow where passions grow

Lakshmana spoke with a smile: 'Listen, O sage, anger is the very root of sin. Under its power, people act wrongly and move against the natural order of the world.'

Commentary & Notes ↓

Notes

Lakshmana fearlessly lectures the great warrior-sage on the destructive nature of anger. Rather than retreating, he offers a philosophical truth: krodha (anger) is the root of paapa (sin). This bold counsel from a young prince to a revered sage heightens the dramatic tension. Doha 277.

चौपाई 275
मैं तुम्हार अनुचर मुनिराया। परिहरि कोपु करिअ अब दाया।।

Main tumhaar anuchar muniraayaa. parihari kopu karia aba daayaa

I am your servant, O sage king. Please abandon your anger and show mercy now.

टूट चाप नहिं जुरहि रिसाने। बैठिअ होइहिं पाय पिराने।।

Toot chaap nahin jurahi risaane. baithia hoihin paay piraane

The bow is broken and cannot be joined by getting angry. Sitting here will only tire your feet.

जौ अति प्रिय तौ करिअ उपाई। जोरिअ कोउ बड़ गुनी बोलाई।।

Jau ati priy tau karia upaaee. joria kou bad gunee bolaaee

If it is very dear to you, then devise some remedy. Call someone skilled and have it joined.

बोलत लखनहिं जनकु डेराहीं। मष्ट करहु अनुचित भल नाहीं।।

Bolat lakhanahin janaku deraaheen. masht karahu anuchit bhal naaheen

Hearing Lakshmana speak, Janaka became frightened. 'Do not be harsh, this is not proper.'

थर थर कापहिं पुर नर नारी। छोट कुमार खोट बड़ भारी।।

Thar thar kaapahin pur nar naaree. chhot kumaar khot bad bhaaree

The men and women of the city tremble with fear. The young prince's fault is very grave.

भृगुपति सुनि सुनि निरभय बानी। रिस तन जरइ होइ बल हानी।।

Bhrigupati suni suni nirabhay baanee. ris tan jarai hoi bal haanee

Hearing the fearless words again and again, Bhrigupatii burns with anger and his strength diminishes.

बोले रामहि देइ निहोरा। बचउँ बिचारि बंधु लघु तोरा।।

Bole raamahi dei nihoraa. bachaun bichaari bandhu laghu toraa

He spoke to Rama with a glance, 'I spare you considering your younger brother.'

मनु मलीन तनु सुंदर कैसें। बिष रस भरा कनक घटु जैसैं।।

Manu maleen tanu sundar kaisen. bish ras bharaa kanak ghatu jaisain

How can a beautiful body have a polluted mind? Like a golden vessel filled with poison.

Commentary & Notes ↓

Notes

Lakshmana's mockery intensifies: he suggests calling a craftsman to repair Shiva's bow, as if it were a broken pot. Janaka panics, the citizens tremble, and Parashurama's wrath now turns on Rama himself. The golden-vessel simile reveals the sage's frustration at the gap between outward beauty and what he perceives as inner malice. Chaupai 275, eight couplets.

सुनि लछिमन बिहसे बहुरि नयन तरेरे राम।

गुर समीप गवने सकुचि परिहरि बानी बाम।।278।।

Suni lachhiman bihase bahuri nayan tarere raam

Gur sameep gavane sakuchi parihari baanee baam (278)

दोहा 278

Lakshmana smiles with fearless eyes | While Rama seeks his guru's side

Hearing this, Lakshmana smiled once more and cast fierce glances, while Rama, embarrassed, approached his guru and set aside his brother's sharp words.

Commentary & Notes ↓

Notes

A pivotal turning point. The two brothers display opposite temperaments: Lakshmana's eyes flash defiance, while Rama moves toward Guru Vishvamitra (Vishvaamitra) with quiet humility, seeking to defuse the crisis through respect for his teacher. Doha 278.

चौपाई 276
अति बिनीत मृदु सीतल बानी। बोले रामु जोरि जुग पानी।।

Ati bineet mridu seetal baanee. bole raamu jori jug paanee

With extremely humble, gentle and soothing words, Rama spoke with folded hands.

सुनहु नाथ तुम्ह सहज सुजाना। बालक बचनु करिअ नहिं काना।।

Sunahu naath tumh sahaj sujaanaa. baalak bachanu karia nahin kaanaa

Listen, O lord, you are naturally wise. Do not take a child's words to heart.

बररै बालक एकु सुभाऊ। इन्हहि न संत बिदूषहिं काऊ।।

Bararai baalak eku subhaaoo. inhahi na sant bidooshahin kaaoo

It is the nature of children to speak boldly. Saints never find fault with them for this.

तेहिं नाहीं कछु काज बिगारा। अपराधी में नाथ तुम्हारा।।

Tehin naaheen kachhu kaaj bigaaraa. aparaadhee men naath tumhaaraa

He has not spoiled any work of yours. I am the offender before you, O lord.

कृपा कोपु बधु बँधब गोसाईं। मो पर करिअ दास की नाई।।

Kripaa kopu badhu bandhab gosaaeen. mo par karia daas kee naaee

Mercy or anger, blessing or binding, O master, treat me as befits a servant.

कहिअ बेगि जेहि बिधि रिस जाई। मुनिनायक सोइ करौं उपाई।।

Kahia begi jehi bidhi ris jaaee. muninaayak soi karaun upaaee

Tell me quickly by what means your anger may depart. O chief of sages, I shall do that remedy.

कह मुनि राम जाइ रिस कैसें। अजहुँ अनुज तव चितव अनैसें।।

Kah muni raam jaai ris kaisen. ajahun anuj tav chitav anaisen

The sage said, 'Rama, how can my anger go when even now your brother looks at me with disrespect?'

एहि के कंठ कुठारु न दीन्हा। तौ मैं काह कोपु करि कीन्हा।।

Ehi ke kanth kuthaaru na deenhaa. tau main kaah kopu kari keenhaa

I did not strike his throat with the axe, so what anger have I shown?

Commentary & Notes ↓

Notes

Rama's second and more profound intervention. He takes full responsibility, calling himself the aparaadhi (offender), and offers to accept any consequence. His total surrender is the essence of vinaya (humility). Yet Parashurama remains unable to let go, pointing to Lakshmana's defiant gaze. His final retort, that sparing Lakshmana's life should itself count as restraint, reveals how his anger has already begun to lose its force. Chaupai 276, eight couplets.

गर्भ स्त्रवहिं अवनिप रवनि सुनि कुठार गति घोर।

परसु अछत देखउँ जिअत बैरी भूपकिसोर।।279।।

Garbh stravahin avanip ravani suni kuthaar gati ghor

Parasu achhat dekhaun jiat bairee bhoopakisor (279)

दोहा 279

Kings tremble at my axe's roar | Yet this prince stands here before

Kings tremble and miscarry at the terrible roar of my axe.

Yet here before my eyes, this enemy prince still lives, and my weapon lies idle.

Commentary & Notes ↓

Notes

Doha 279. Parashurama declares his legendary terror over the warrior class. The word 'garbh stravahin' (miscarry) conveys a visceral, almost cosmic fear. Yet his own axe (parashu) refuses to act against Rama, foreshadowing that divinity cannot be harmed by any earthly weapon. The verse sets up the paradox: the mightiest warrior-sage stands powerless before the gentle prince.

चौपाई 277
बहइ न हाथु दहइ रिस छाती। भा कुठारु कुंठित नृपघाती।।

Bahai na haathu dahai ris chhaatee. bhaa kuthaaru kunthit nripaghaatee

My hand does not move and anger burns my chest. My axe, the destroyer of kings, has become blunt.

भयउ बाम बिधि फिरेउ सुभाऊ। मोरे हृदयँ कृपा कसि काऊ।।

Bhayau baam bidhi phireu subhaaoo. more hridayan kripaa kasi kaaoo

Fate has turned adverse and my nature has changed. How has compassion entered my heart?

आजु दया दुखु दुसह सहावा। सुनि सौमित्र बिहसि सिरु नावा।।

Aaju dayaa dukhu dusah sahaavaa. suni saumitr bihasi siru naavaa

Today compassion makes me bear unbearable sorrow. Hearing this, Lakshmana smiled and bowed his head.

बाउ कृपा मूरति अनुकूला। बोलत बचन झरत जनु फूला।।

Baau kripaa moorati anukoolaa. bolat bachan jharat janu phoolaa

Father, you are the embodiment of compassion and kindness. Your words fall like flowers as you speak.

जौं पै कृपाँ जरिहिं मुनि गाता। क्रोध भएँ तनु राख बिधाता।।

Jaun pai kripaan jarihin muni gaataa. krodh bhaen tanu raakh bidhaataa

If the sage burns with compassion, what would happen to his body when he becomes angry, O Creator?

देखु जनक हठि बालक एहू। कीन्ह चहत जड़ जमपुर गेहू।।

Dekhu janak hathi baalak ehoo. keenh chahat jad jamapur gehoo

See Janaka, this stubborn boy wants to make his home in the city of death.

बेगि करहु किन आँखिन्ह ओटा। देखत छोट खोट नृप ढोटा।।

Begi karahu kin aankhinh otaa. dekhat chhot khot nrip dhotaa

Quickly cover your eyes, O king. Looking at this small defect brings disgrace.

बिहसे लखनु कहा मन माहीं। मूदें आँखि कतहुँ कोउ नाहीं।।

Bihase lakhanu kahaa man maaheen. mooden aankhi katahun kou naaheen

Lakshmana smiled and thought in his mind: 'By closing one's eyes, no one disappears.'

Commentary & Notes ↓

Notes

Chaupai 277. The dramatic heart of the confrontation. Parashurama's axe (kuthaaru), legendary for destroying twenty-one generations of warriors, has become 'kunthit' (blunted, powerless). He is bewildered by his own sudden compassion, not recognizing that it arises from standing before the Supreme Lord. Lakshmana's reply is a masterpiece of veiled wit: praising Parashurama as 'kripaa moorati' (embodiment of mercy) is both respectful and gently mocking, since the sage means to threaten. The proverb about closing one's eyes is Lakshmana's quiet defiance: denial does not remove truth. Chaupai lines are paired per the original doha-chaupai structure.

परसुरामु तब राम प्रति बोले उर अति क्रोधु।

संभु सरासनु तोरि सठ करसि हमार प्रबोधु।।280।।

Parasuraamu tab raam prati bole ura ati krodhu

Sambhu saraasanu tori sath karasi hamaar prabodhu (280)

दोहा 280

With burning rage the warrior-sage declared | 'You broke Shiva's bow, yet wisdom shared?'

Then Parashurama, his heart burning with rage, spoke to Rama:

'You fool! You have broken Shiva's bow, and yet you presume to counsel me!'

Commentary & Notes ↓

Notes

Doha 280. Parashurama's fury reaches its crescendo. The word 'sath' (fool) is a rare direct insult from a Brahmin sage to a prince, showing how completely anger has overtaken his wisdom. He cannot fathom that the boy who broke Shiva's bow (Shambhu saraashan) might be Lord Vishnu himself. The irony is layered: the very act of breaking the bow was the divine sign that Parashurama, as a devotee of Vishnu, should have recognized.

चौपाई 278
बंधु कहइ कटु संमत तोरें। तू छल बिनय करसि कर जोरें।।

Bandhu kahai katu sammat toren. too chhal binay karasi kar joren

Brother, you speak harshly according to your nature. You make deceitful entreaties with folded hands.

करु परितोषु मोर संग्रामा। नाहिं त छाड़ कहाउब रामा।।

Karu paritoshu mor sangraamaa. naahin ta chhaad kahaaub raamaa

Either satisfy me in battle, or else give up being called Rama.

छलु तजि करहि समरु सिवद्रोही। बंधु सहित न त मारउँ तोही।।

Chhalu taji karahi samaru sivadrohee. bandhu sahit na ta maaraun tohee

Abandon deceit and fight, O enemy of Shiva! Otherwise I shall kill you along with your brother.

भृगुपति बकहिं कुठार उठाएँ। मन मुसकाहिं रामु सिर नाएँ।।

Bhrigupati bakahin kuthaar uthaaen. man musakaahin raamu sir naaen

Bhrigu's lord speaks while raising his axe, and Rama bows his head with a smile in his heart.

गुनह लखन कर हम पर रोषू। कतहुँ सुधाइहु ते बड़ दोषू।।

Gunah lakhan kar ham par roshoo. katahun sudhaaihu te bad doshoo

Lakshmana has committed an offense and shown anger toward us - that is indeed a great fault that must be corrected.

टेढ़ जानि सब बंदइ काहू। बक्र चंद्रमहि ग्रसइ न राहू।।

Tedh jaani sab bandai kaahoo. bakr chandramahi grasai na raahoo

Knowing someone to be crooked, everyone bows to them. The serpent Rahu does not eclipse the crescent moon.

राम कहेउ रिस तजिअ मुनीसा। कर कुठारु आगें यह सीसा।।

Raam kaheu ris tajia muneesaa. kar kuthaaru aagen yah seesaa

Rama said: 'Abandon anger, O great sage. Here is this head before your axe.'

जेंहिं रिस जाइ करिअ सोइ स्वामी। मोहि जानि आपन अनुगामी।।

Jenhin ris jaai karia soi svaamee. mohi jaani aapan anugaamee

Do whatever will appease your anger, O master, knowing me to be your devoted follower.

Commentary & Notes ↓

Notes

Chaupai 278. The climactic exchange. Parashurama demands war; Rama answers with total surrender. 'Bhrigupati' (lord of the Bhrigu clan) is Parashurama's dynastic title, emphasizing his priestly warrior lineage. Rama's proverb about the crescent moon and Rahu is exquisite: just as the crescent (incomplete) moon cannot be eclipsed, so a humble being cannot truly be attacked. The final couplet is the theological peak of the passage. Rama offers his own head to the axe, addressing the raging sage as 'svaamee' (master) and himself as 'anugaamee' (follower). This is bhakti as divine strategy: the Lord himself models perfect devotion and surrender.

प्रभुहि सेवकहि समरु कस तजहु बिप्रबर रोसु।

बेषु बिलोकें कहेसि कछु बालकहू नहिं दोसु।।281।।

Prabhuhi sevakahi samaru kas tajahu biprabar rosu

Beshu biloken kahesi kachhu baalakahoo nahin dosu (281)

दोहा 281

What war 'tween master and faithful slave? | Your anger, noble Brahmin, waive

How can there be battle between a master and his servant? Release your anger, O best among Brahmins.

Seeing my youthful form, you speak as you do. A child bears no fault in this.

Commentary & Notes ↓

Notes

Doha 281. Rama's closing argument dissolves the confrontation entirely. By calling himself a servant (sevak) and Parashurama the master (prabhu), Rama renders combat logically impossible. The word 'biprabar' (best of Brahmins) honors Parashurama's highest identity rather than his warrior aspect. And by calling himself a child (baalak), Rama invokes the principle that innocence cannot be guilty. This is not mere diplomacy; it is the Lord teaching that true strength lies in humility, and that wrath has no ground to stand on when met with selfless love.

चौपाई 279
देखि कुठार बान धनु धारी। भै लरिकहि रिस बीरु बिचारी।।

Dekhi kuthaar baan dhanu dhaaree. bhai larikahi ris beeru bichaaree

Seeing the axe, arrows, and bow in hand, the child became angry, considering him a warrior.

नामु जान पै तुम्हहि न चीन्हा। बंस सुभायँ उतरु तेंहिं दीन्हा।।

Naamu jaan pai tumhahi na cheenhaa. bans subhaayan utaru tenhin deenhaa

Though I know your name, I do not recognize you. By family nature, he gave this reply.

जौं तुम्ह औतेहु मुनि की नाईं। पद रज सिर सिसु धरत गोसाईं।।

Jaun tumh autehu muni kee naaeen. pad raj sir sisu dharat gosaaeen

If you had come like a sage, O Lord, the child would have placed the dust of your feet on his head.

छमहु चूक अनजानत केरी। चहिअ बिप्र उर कृपा घनेरी।।

Chhamahu chook anajaanat keree. chahia bipr ura kripaa ghaneree

Forgive the mistake made in ignorance. A Brahmin's heart should have abundant compassion.

हमहि तुम्हहि सरिबरि कसि नाथा।।कहहु न कहाँ चरन कहँ माथा।।

Hamahi tumhahi saribari kasi naathaa.kahahu na kahaan charan kahan maathaa

How can we be equal, O Lord? Tell me, where are feet and where is the head?

राम मात्र लघु नाम हमारा। परसु सहित बड़ नाम तोहारा।।

Raam maatr laghu naam hamaaraa. parasu sahit bad naam tohaaraa

Rama is merely our small name, while yours is great with the axe.

देव एकु गुनु धनुष हमारें। नव गुन परम पुनीत तुम्हारें।।

Dev eku gunu dhanush hamaaren. nav gun param puneet tumhaaren

Our bow has only one quality, while yours has nine supremely pure qualities.

सब प्रकार हम तुम्ह सन हारे। छमहु बिप्र अपराध हमारे।।

Sab prakaar ham tumh san haare. chhamahu bipr aparaadh hamaare

In every way we are defeated by you. Forgive our offenses, O Brahmin.

Commentary & Notes ↓

Notes

Chaupai 279. Rama's masterly response to Parashurama's fury. He explains Lakshmana's defiance as a warrior child's natural instinct, not disrespect. Then, with exquisite humility, Rama contrasts his own 'small' name with the 'great' name Parashu-Rama, and his single-virtued bow with Parashurama's nine sacred qualities. This sublime self-lowering is itself the mark of the Supreme Lord. The word 'bipr' (Brahmin) appears twice, each time as a deliberate appeal to Parashurama's higher, compassionate nature.

बार बार मुनि बिप्रबर कहा राम सन राम।

बोले भृगुपति सरुष हसि तहूँ बंधु सम बाम।।282।।

Baar baar muni biprabar kahaa raam san raam

Bole bhrigupati sarush hasi tahoon bandhu sam baam (282)

दोहा 282

The sage called 'Rama!' again and yet again | But Bhrigu's son laughed sharp with righteous pain

Again and again the great sage, that noblest of Brahmins, called out to Rama, 'O Rama!'

Then Bhrigu's lord spoke with an angry laugh, his words as sharp as his brother's were gentle.

Commentary & Notes ↓

Notes

Doha 282. Parashurama repeatedly calls Rama by name, a gesture that is at once confrontational and, on a deeper level, devotional. His 'angry laughter' (sarush hasi) captures the paradox of a great sage whose wrath conceals an undercurrent of recognition. The word 'baam' (contrary, sharp) links his speech to his brother-like familiarity with Rama.

चौपाई 280
निपटहिं द्विज करि जानहि मोही। मैं जस बिप्र सुनावउँ तोही।।

Nipatahin dvij kari jaanahi mohee. main jas bipr sunaavaun tohee

You Brahmins know me very well. I am exactly as the Brahmins have described me to you.

चाप स्त्रुवा सर आहुति जानू। कोप मोर अति घोर कृसानु।।

Chaap struvaa sar aahuti jaanoo. kop mor ati ghor krisaanu

Know that the bow is my sacrificial ladle, arrows are my oblations, and my anger is the terrible sacred fire.

समिधि सेन चतुरंग सुहाई। महा महीप भए पसु आई।।

Samidhi sen chaturang suhaaee. mahaa maheep bhae pasu aaee

The beautiful four-fold army serves as fuel, and great kings have become sacrificial animals.

मै एहि परसु काटि बलि दीन्हे। समर जग्य जप कोटिन्ह कीन्हे।।

Mai ehi parasu kaati bali deenhe. samar jagy jap kotinh keenhe

With this axe I have cut and offered them as sacrifice, performing millions of battle-sacrifices and penances.

मोर प्रभाउ बिदित नहिं तोरें। बोलसि निदरि बिप्र के भोरें।।

Mor prabhaau bidit nahin toren. bolasi nidari bipr ke bhoren

You do not know my power and influence, yet you speak fearlessly before this Brahmin.

भंजेउ चापु दापु बड़ बाढ़ा। अहमिति मनहुँ जीति जगु ठाढ़ा।।

Bhanjeu chaapu daapu bad baadhaa. ahamiti manahun jeeti jagu thaadhaa

You have broken the bow and your pride has greatly increased, as if you have conquered and now stand over the entire world.

राम कहा मुनि कहहु बिचारी। रिस अति बड़ि लघु चूक हमारी।।

Raam kahaa muni kahahu bichaaree. ris ati badi laghu chook hamaaree

Rama said, 'O sage, speak thoughtfully - your anger is very great while our mistake is small.'

छुअतहिं टूट पिनाक पुराना। मैं कहि हेतु करौं अभिमाना।।

Chhuatahin toot pinaak puraanaa. main kahi hetu karaun abhimaanaa

The ancient bow broke at mere touch - what reason do I have to be proud of this?

Commentary & Notes ↓

Notes

Chaupai 280. Parashurama's terrifying self-description uses the extended metaphor of a Vedic yajna (sacrifice): his bow becomes the ladle, arrows the offerings, armies the fuel, kings the sacrificial animals. This transforms warfare into ritual worship, revealing his identity as both warrior and priest. Rama's reply is a masterpiece of calm reasoning: 'Your anger is very great, while our error is very small.' He then deflects all pride by noting the bow was ancient and broke merely upon being touched.

जौं हम निदरहिं बिप्र बदि सत्य सुनहु भृगुनाथ।

तौ अस को जग सुभटु जेहि भय बस नावहिं माथ।।283।।

Jaun ham nidarahin bipr badi saty sunahu bhrigunaath

Tau asa ko jag subhatu jehi bhay bas naavahin maath (283)

दोहा 283

If brahmins we despise as you declare | Show us that warrior we should truly fear

If we truly despise Brahmins as You claim, then hear this truth, O Lord of the Bhrigus:

Who is that warrior in all the world before whose might we would bow our heads in fear?

Commentary & Notes ↓

Notes

Doha 283. Rama's quiet challenge. He does not deny reverence for Brahmins; instead, he turns the accusation on its head. If we were disrespectful, he argues, we would also cower before warriors, but no warrior in creation can make the sons of Raghu bow in fear. This assertion of Kshatriya dharma is not boastfulness; it is a statement of innate nature (subhaau), as the next chaupai will clarify.

चौपाई 281
देव दनुज भूपति भट नाना। समबल अधिक होउ बलवाना।।

Dev danuj bhoopati bhat naanaa. samabal adhik hou balavaanaa

Gods, demons, kings and warriors of various kinds may be equal in strength or even more powerful.

जौं रन हमहि पचारै कोऊ। लरहिं सुखेन कालु किन होऊ।।

Jaun ran hamahi pachaarai kooo. larahin sukhen kaalu kin hooo

If anyone challenges us in battle, we fight with ease - why should death come to us?

छत्रिय तनु धरि समर सकाना। कुल कलंकु तेहिं पावँर आना।।

Chhatriy tanu dhari samar sakaanaa. kul kalanku tehin paavanr aanaa

Taking the body of a Kshatriya and fleeing from battle brings disgrace to the entire lineage.

कहउँ सुभाउ न कुलहि प्रसंसी। कालहु डरहिं न रन रघुबंसी।।

Kahaun subhaau na kulahi prasansee. kaalahu darahin na ran raghubansee

I speak of our nature, not praising our clan - the descendants of Raghu do not fear even death in battle.

बिप्रबंस कै असि प्रभुताई। अभय होइ जो तुम्हहि डेराई।।

Biprabans kai asi prabhutaaee. abhay hoi jo tumhahi deraaee

Such is the power of the Brahmin lineage that even you, who strike fear in others, become fearless.

सुनु मृदु गूढ़ बचन रघुपति के। उघरे पटल परसुधर मति के।।

Sunu mridu goodh bachan raghupati ke. ughare patal parasudhar mati ke

Hearing the gentle yet profound words of Lord Rama, the veil of Parashurama's understanding was lifted.

राम रमापति कर धनु लेहू। खैंचहु मिटै मोर संदेहू।।

Raam ramaapati kar dhanu lehoo. khainchahu mitai mor sandehoo

O Rama, take the bow of Vishnu and draw it - this will remove my doubt.

देत चापु आपुहिं चलि गयऊ। परसुराम मन बिसमय भयऊ।।

Det chaapu aapuhin chali gayaoo. parasuraam man bisamay bhayaoo

Giving the bow, Parashurama himself departed, and wonder filled his mind.

Commentary & Notes ↓

Notes

Chaupai 281. The climactic resolution. Rama first declares the Raghu dynasty's fearlessness as innate nature (subhaau), not vanity. Then he delivers the subtlest stroke: 'Such is the greatness of the Brahmin lineage that even the one who terrifies all (Parashurama) stands without fear before You.' This simultaneously honors Parashurama's Brahmin status and hints at Rama's own divinity, the source of that fearlessness. The veil (patal) lifts from Parashurama's mind; he recognizes Rama as Vishnu and offers the divine bow. The bow moving toward Rama on its own (aapuhin chali gayau) confirms the Lord's supreme identity. Parashurama departs in wonder, his wrath dissolved into devotion.

जाना राम प्रभाउ तब पुलक प्रफुल्लित गात।

जोरि पानि बोले बचन ह्दयँ न प्रेमु अमात।।284।।

Jaanaa raam prabhaau tab pulak praphullit gaat

Jori paani bole bachan hdayan na premu amaat (284)

दोहा 284

Then knew he Rama's power divine and true | His heart with love and reverence broke through

Then Parashurama recognized the glory of Rama, and his entire body blossomed with divine thrills.

With palms joined in reverence, he spoke these words, his heart unable to contain its boundless love.

Commentary & Notes ↓

Notes

Doha 284. The word 'prabhaau' (glory, divine power) signals the moment of inner revelation. Parashurama's body responds before his speech does: 'pulak praphullit gaat' (limbs blossoming with ecstatic thrills). The phrase 'na premu amaat' (love that cannot be contained) tells us devotion has completely overtaken the warrior-sage. This is Tulsidas's signature move: wrath dissolving not through defeat but through recognition.

चौपाई 282
जय रघुबंस बनज बन भानू। गहन दनुज कुल दहन कृसानु।।

Jay raghubans banaj ban bhaanoo. gahan danuj kul dahan krisaanu

Glory to the sun of the lotus garden of Raghu's dynasty, the fire that burns the dense forest of demon clans.

जय सुर बिप्र धेनु हितकारी। जय मद मोह कोह भ्रम हारी।।

Jay sur bipr dhenu hitakaaree. jay mad moh koh bhram haaree

Glory to the benefactor of gods, Brahmins and cows, the destroyer of pride, delusion, anger and confusion.

बिनय सील करुना गुन सागर। जयति बचन रचना अति नागर।।

Binay seel karunaa gun saagar. jayati bachan rachanaa ati naagar

Ocean of humility, good conduct, compassion and virtues, glory to Him whose speech is supremely elegant.

सेवक सुखद सुभग सब अंगा। जय सरीर छबि कोटि अनंगा।।

Sevak sukhad subhag sab angaa. jay sareer chhabi koti anangaa

Giver of joy to devotees, beautiful in all limbs, glory to His form that surpasses millions of Cupids in beauty.

करौं काह मुख एक प्रसंसा। जय महेस मन मानस हंसा।।

Karaun kaah mukh eka prasansaa. jay mahes man maanas hansaa

What praise can I offer with just one mouth? Glory to the swan in the lake of Shiva's mind.

अनुचित बहुत कहेउँ अग्याता। छमहु छमामंदिर दोउ भ्राता।।

Anuchit bahut kaheun agyaataa. chhamahu chhamaamandir dou bhraataa

I have spoken much that is improper in my ignorance; forgive me, O both brothers who are temples of forgiveness.

कहि जय जय जय रघुकुलकेतू। भृगुपति गए बनहि तप हेतू।।

Kahi jay jay jay raghukulaketoo. bhrigupati gae banahi tap hetoo

Saying 'Glory, glory, glory to the banner of Raghu's clan,' Bhrigu's lord departed to the forest for penance.

अपभयँ कुटिल महीप डेराने। जहँ तहँ कायर गवँहिं पराने।।

Apabhayan kutil maheep deraane. jahan tahan kaayar gavanhin paraane

The wicked kings became frightened by this incident, and cowards everywhere lost their lives in terror.

Commentary & Notes ↓

Notes

Chaupai 282. Parashurama's hymn of praise (stuti) is one of the great devotional outpourings in the Manas. Each couplet adds a fresh epithet: Rama as sun (bhaanu), as fire (krisaanu), as ocean (saagar), as the swan (hamsa) in Shiva's own contemplative lake (Manasa). The word 'naagar' (supremely elegant, urbane) applied to Rama's speech is a signature Awadhi term of high admiration. 'Chhamaamandir' (temple of forgiveness) is a compound word of great tenderness. The final couplet shifts tone sharply: while Parashurama departs in love, the assembled wicked kings scatter in terror, reminding us that the same divine presence inspires devotion in the pure and dread in the corrupt.

देवन्ह दीन्हीं दुंदुभीं प्रभु पर बरषहिं फूल।

हरषे पुर नर नारि सब मिटी मोहमय सूल।।285।।

Devanh deenheen dundubheen prabhu par barashahin phool

Harashe pur nar naari sab mitee mohamay sool (285)

दोहा 285

Divine drums thunder, flowers rain from above, | City's sorrow melts in celestial love.

The gods sounded their celestial kettledrums and showered flowers upon the Lord.

All the men and women of the city rejoiced, their anguish born of delusion completely dissolved.

Commentary & Notes ↓

Notes

Doha 285. 'Dundubhi' (celestial kettledrums) is the classic marker of divine approval in Sanskrit and Awadhi literature. The compound 'mohamay sool' (anguish made of delusion) is precise: the suffering was never real, only a veil of moha. With Parashurama's departure and the crisis resolved, the veil lifts and joy returns naturally.

चौपाई 283
अति गहगहे बाजने बाजे। सबहिं मनोहर मंगल साजे।।

Ati gahagahe baajane baaje. sabahin manohar mangal saaje

Very deep and resonant musical instruments played. All arranged beautiful and auspicious decorations.

जूथ जूथ मिलि सुमुख सुनयनीं। करहिं गान कल कोकिलबयनी।।

Jooth jooth mili sumukh sunayaneen. karahin gaan kal kokilabayanee

Groups of beautiful-faced, lovely-eyed women gathered together. They sang melodiously with voices like sweet cuckoos.

सुखु बिदेह कर बरनि न जाई। जन्मदरिद्र मनहुँ निधि पाई।।

Sukhu bideh kar barani na jaaee. janmadaridr manahun nidhi paaee

The joy of Videha (Janaka) cannot be described. It was as if a person born in poverty had found a great treasure.

गत त्रास भइ सीय सुखारी। जनु बिधु उदयँ चकोरकुमारी।।

Gat traas bhai seey sukhaaree. janu bidhu udayan chakorakumaaree

Sita became free from fear and filled with happiness. She was like a chakora bird's daughter at the rising of the moon.

जनक कीन्ह कौसिकहि प्रनामा। प्रभु प्रसाद धनु भंजेउ रामा।।

Janak keenh kausikahi pranaamaa. prabhu prasaad dhanu bhanjeu raamaa

Janaka bowed to Kaushika (Vishvamitra). 'By the Lord's grace, Rama has broken the bow.'

मोहि कृतकृत्य कीन्ह दुहुँ भाईं। अब जो उचित सो कहिअ गोसाई।।

Mohi kritakrity keenh duhun bhaaeen. aba jo uchit so kahia gosaaee

Both brothers have fulfilled my purpose completely. Now please tell me what is proper, O master.

कह मुनि सुनु नरनाथ प्रबीना। रहा बिबाहु चाप आधीना।।

Kah muni sunu naranaath prabeenaa. rahaa bibaahu chaap aadheenaa

The sage said, 'Listen, O wise king. The marriage was dependent upon the bow.'

टूटतहीं धनु भयउ बिबाहू। सुर नर नाग बिदित सब काहु।।

Tootataheen dhanu bhayau bibaahoo. sur nar naag bidit sab kaahu

As soon as the bow broke, the marriage was accomplished. This is known to all gods, men, and serpents.

Commentary & Notes ↓

Notes

Chaupai 283. Tulsidas weaves celebration and tender emotion together. Janaka's simile is striking: 'janmadaridr manahun nidhi paaee' (as if one born in poverty found a treasure). This is not merely relief but the overwhelming gratitude of a father who had staked everything on an impossible condition. Sita's image is equally beautiful: 'chakora kumaaree' (a young chakora bird) beholding the moon, her natural beloved. Vishvamitra's legal pronouncement is characteristically direct: the bow was the sole condition, so the marriage is already accomplished. No further ceremony is needed to validate what heaven has ordained.

तदपि जाइ तुम्ह करहु अब जथा बंस ब्यवहारु।

बूझि बिप्र कुलबृद्ध गुर बेद बिदित आचारु।।286।।

Tadapi jaai tumh karahu aba jathaa bans byavahaaru

Boojhi bipr kulabriddh gur bed bidit aachaaru (286)

दोहा 286

Though heaven has blessed this sacred bond, | Follow tradition's ancient way beyond.

Nevertheless, you should now go and carry out the customary traditions of your family.

Consult the learned brahmins, the family elders, and the guru, and follow the customs prescribed in the Vedas.

Commentary & Notes ↓

Notes

Doha 286. Vishvamitra's counsel is a model of dharmic balance. Though the divine will has already sealed the union, he insists on proper human protocol: consulting 'bipr' (learned brahmins), 'kulabriddh' (family elders), and 'gur' (the guru), and following 'bed bidit aachaaru' (customs known through the Vedas). Grace and tradition are not opposed; they complete each other.

चौपाई 284
दूत अवधपुर पठवहु जाई। आनहिं नृप दसरथहि बोलाई।।

Doot avadhapur pathavahu jaaee. aanahin nrip dasarathahi bolaaee

Send messengers to Ayodhya to bring King Dasharatha here by invitation.

मुदित राउ कहि भलेहिं कृपाला। पठए दूत बोलि तेहि काला।।

Mudit raau kahi bhalehin kripaalaa. pathae doot boli tehi kaalaa

The joyful king said 'Very well, O gracious one' and immediately sent messengers with the invitation.

बहुरि महाजन सकल बोलाए। आइ सबन्हि सादर सिर नाए।।

Bahuri mahaajan sakal bolaae. aai sabanhi saadar sir naae

Then he summoned all the prominent citizens, who came and respectfully bowed their heads.

हाट बाट मंदिर सुरबासा। नगरु सँवारहु चारिहुँ पासा।।

Haat baat mandir surabaasaa. nagaru sanvaarahu chaarihun paasaa

Decorate the markets, streets, temples and divine abodes - beautify the city on all four sides.

हरषि चले निज निज गृह आए। पुनि परिचारक बोलि पठाए।।

Harashi chale nij nij grih aae. puni parichaarak boli pathaae

They departed joyfully and went to their respective homes, then sent servants with further instructions.

रचहु बिचित्र बितान बनाई। सिर धरि बचन चले सचु पाई।।

Rachahu bichitr bitaan banaaee. sir dhari bachan chale sachu paaee

Prepare and construct wonderful pavilions - accepting his command on their heads, they departed having received their orders.

पठए बोलि गुनी तिन्ह नाना। जे बितान बिधि कुसल सुजाना।।

Pathae boli gunee tinh naanaa. je bitaan bidhi kusal sujaanaa

He summoned various skilled artisans who were expert and knowledgeable in pavilion construction.

बिधिहि बंदि तिन्ह कीन्ह अरंभा। बिरचे कनक कदलि के खंभा।।

Bidhihi bandi tinh keenh arambhaa. birache kanak kadali ke khambhaa

Bowing to Brahma, they began their work and erected pillars of gold and banana trees.

Commentary & Notes ↓

Notes

Janaka sets the divine wedding in motion. He sends word to Ayodhya for King Dasharatha, rallies the citizens of Mithila, and commissions master craftsmen to raise pavilions of gold and plantain. The phrase 'sir dhari bachan' (accepting his word on their heads) conveys loving obedience. 'Bidhihi bandi' (bowing to Brahma) shows even artisans begin sacred work with prayer. Chaupai 284, Bala Kanda.

हरित मनिन्ह के पत्र फल पदुमराग के फूल।

रचना देखि बिचित्र अति मनु बिरंचि कर भूल।।287।।

Harit maninh ke patr phal padumaraag ke phool

Rachanaa dekhi bichitr ati manu biranchi kar bhool (287)

दोहा 287

Emerald leaves and ruby fruits | flowers of padmaraga bright,

Such wondrous craft would make | Brahma doubt his creative might.

Leaves and fruits were carved from green emeralds, and flowers fashioned from padmaraga stones. Seeing this artistry, so wondrously beautiful, even Brahma's mind would forget its own creation.

Commentary & Notes ↓

Notes

Doha 287. Padmaraga (padmaraag) is a ruby-red gemstone associated with the lotus. Tulsidas says these artificial decorations are so exquisite that Brahma himself, the Creator of all forms, would be humbled. The verse elevates the wedding preparations to a cosmic scale.

चौपाई 285
बेनि हरित मनिमय सब कीन्हे। सरल सपरब परहिं नहिं चीन्हे।।

Beni harit manimay sab keenhe. saral saparab parahin nahin cheenhe

All the braided decorations were made of green gems, so naturally beautiful that even serpents could not distinguish them from real ones.

कनक कलित अहिबेल बनाई। लखि नहि परइ सपरन सुहाई।।

Kanak kalit ahibel banaaee. lakhi nahi parai saparan suhaaee

Golden creepers were crafted so beautifully that even real serpents could not recognize their artificial nature.

तेहि के रचि पचि बंध बनाए। बिच बिच मुकता दाम सुहाए।।

Tehi ke rachi pachi bandh banaae. bich bich mukataa daam suhaae

From these materials, intricate knots and bonds were fashioned, with beautiful pearl garlands woven in between.

मानिक मरकत कुलिस पिरोजा। चीरि कोरि पचि रचे सरोजा।।

Maanik marakat kulis pirojaa. cheeri kori pachi rache sarojaa

Rubies, emeralds, diamonds and turquoise were skillfully cut and set to create beautiful lotus flowers.

किए भृंग बहुरंग बिहंगा। गुंजहिं कूजहिं पवन प्रसंगा।।

Kie bhring bahurang bihangaa. gunjahin koojahin pavan prasangaa

Colorful bees and birds were crafted that would hum and sing when touched by the wind.

सुर प्रतिमा खंभन गढ़ी काढ़ी। मंगल द्रब्य लिएँ सब ठाढ़ी।।

Sur pratimaa khambhan gadhee kaadhee. mangal draby lien sab thaadhee

Divine images were carved and sculpted on pillars, all standing ready with auspicious offerings in their hands.

चौंकें भाँति अनेक पुराईं। सिंधुर मनिमय सहज सुहाई।।

Chaunken bhaanti anek puraaeen. sindhur manimay sahaj suhaaee

Ancient-style courtyards were built in various designs, naturally beautiful and adorned with vermillion and gems.

Commentary & Notes ↓

Notes

Chaupai 285. Ahibel (ahi-bel) means 'serpent-vine,' a creeper whose form resembles a coiled snake. Sindoor here refers to vermillion used for auspicious decoration. The craftsmen's art is so perfect that nature itself is deceived. Wind-activated singing birds suggest a mechanical ingenuity that Tulsidas frames as divinely inspired.

सौरभ पल्लव सुभग सुठि किए नीलमनि कोरि।।

हेम बौर मरकत घवरि लसत पाटमय डोरि।।288।।

Saurabh pallav subhag suthi kie neelamani kori

Hem baur marakat ghavari lasat paatamay dori (288)

दोहा 288

Sapphire leaves with golden buds | and emerald shoots so green,

With silken cords and glowing fruits | the finest ever seen.

Fragrant sprays of leaves, most beautiful to behold, were carved from sapphire. Golden buds and tender emerald shoots glistened, strung together with silken cords.

Commentary & Notes ↓

Notes

Doha 288. The verse piles gemstone upon gemstone: neelamani (sapphire) for leaves, gold for buds, marakat (emerald) for young shoots. The silken cords (paatamay dori) bind the entire composition into a living garland of light. Each material was chosen not only for colour but for its association with divine beauty.

चौपाई 286
रचे रुचिर बर बंदनिबारे। मनहुँ मनोभवँ फंद सँवारे।।

Rache ruchir bar bandanibaare. manahun manobhavan phand sanvaare

Beautiful and excellent decorative hangings were arranged, as if Cupid himself had prepared his snares.

मंगल कलस अनेक बनाए। ध्वज पताक पट चमर सुहाए।।

Mangal kalas anek banaae. dhvaj pataak pat chamar suhaae

Numerous auspicious water vessels were prepared, along with beautiful flags, banners, cloth decorations and ceremonial fans.

दीप मनोहर मनिमय नाना। जाइ न बरनि बिचित्र बिताना।।

Deep manohar manimay naanaa. jaai na barani bichitr bitaanaa

There were enchanting lamps made of various precious gems, whose wonderful arrangements cannot be described.

जेहिं मंडप दुलहिनि बैदेही। सो बरनै असि मति कबि केही।।

Jehin mandap dulahini baidehee. so baranai asi mati kabi kehee

What poet has the ability to describe the pavilion where the bride Vaidehi sits?

दूलहु रामु रूप गुन सागर। सो बितानु तिहुँ लोक उजागर।।

Doolahu raamu roop gun saagar. so bitaanu tihun lok ujaagar

The bridegroom Rama is an ocean of beauty and virtues, and that pavilion illuminates all three worlds.

जनक भवन कै सौभा जैसी। गृह गृह प्रति पुर देखिअ तैसी।।

Janak bhavan kai saubhaa jaisee. grih grih prati pur dekhia taisee

The splendor that adorns Janaka's palace can be seen in every house throughout the city.

जेहिं तेरहुति तेहि समय निहारी। तेहि लघु लगहिं भुवन दस चारी।।

Jehin terahuti tehi samay nihaaree. tehi laghu lagahin bhuvan das chaaree

Whoever beheld Tirhut at that time would find the fourteen worlds appearing small in comparison.

जो संपदा नीच गृह सोहा। सो बिलोकि सुरनायक मोहा।।

Jo sampadaa neech grih sohaa. so biloki suranaayak mohaa

The wealth that adorned even the humblest homes was such that it would enchant the lord of the gods.

Commentary & Notes ↓

Notes

Chaupai 286. Kamadeva (Manobhava, 'born of the mind') is the god of love; the hangings are compared to his flower-bow snares. Vaidehi is Sita, daughter of Videha (Janaka). 'Tihun lok ujaagar' (illuminating the three worlds) signals that Rama's presence transforms a mortal city into something surpassing heaven. Tirhut is the historical name for the Mithila region. Suranaayak (lord of the gods) refers to Indra.

बसइ नगर जेहि लच्छ करि कपट नारि बर बेषु।।

तेहि पुर कै सोभा कहत सकुचहिं सारद सेषु।।289।।

Basai nagar jehi lachchh kari kapat naari bar beshu

Tehi pur kai sobhaa kahat sakuchahin saarad seshu (289)

दोहा 289

Where Lakshmi dwells in woman's guise | that city's glory bright,

Makes Saraswati and Shesha shy | to speak of such delight.

In this city dwells Lakshmi herself, veiled in the lovely form of a woman.

Of the splendor of that city, even Saraswati and Shesha hesitate to speak.

Commentary & Notes ↓

Notes

Doha 289. Tulsidas reveals that Sita is Goddess Lakshmi incarnate, and Mithila's glory is therefore beyond all description. Saraswati (goddess of speech) and Shesha (the thousand-headed cosmic serpent, who endlessly recites the Lord's glories) both shrink from the task. The word 'kapat' (disguise) here carries no negative connotation; it simply means the divine has taken a human veil.

चौपाई 287
पहुँचे दूत राम पुर पावन। हरषे नगर बिलोकि सुहावन।।

Pahunche doot raam pur paavan. harashe nagar biloki suhaavan

The messengers reached Rama's sacred city and rejoiced upon seeing the beautiful town.

भूप द्वार तिन्ह खबरि जनाई। दसरथ नृप सुनि लिए बोलाई।।

Bhoop dvaar tinh khabari janaaee. dasarath nrip suni lie bolaaee

They announced their arrival at the king's palace, and King Dasharatha, hearing this, summoned them.

करि प्रनामु तिन्ह पाती दीन्ही। मुदित महीप आपु उठि लीन्ही।।

Kari pranaamu tinh paatee deenhee. mudit maheep aapu uthi leenhee

After offering their salutations, they presented the letter, which the delighted king himself rose to receive.

बारि बिलोचन बाचत पाँती। पुलक गात आई भरि छाती।।

Baari bilochan baachat paantee. pulak gaat aaee bhari chhaatee

With tears of joy in his eyes, he read the message, his body thrilling with emotion that filled his heart.

रामु लखनु उर कर बर चीठी। रहि गए कहत न खाटी मीठी।।

Raamu lakhanu ura kar bar cheethee. rahi gae kahat na khaatee meethee

Holding the excellent letter about Rama and Lakshmana close to his heart, he remained speechless, unable to distinguish between bitter and sweet.

पुनि धरि धीर पत्रिका बाँची। हरषी सभा बात सुनि साँची।।

Puni dhari dheer patrikaa baanchee. harashee sabhaa baat suni saanchee

Then composing himself, he read the letter aloud, and the assembly rejoiced hearing the truthful news.

खेलत रहे तहाँ सुधि पाई। आए भरतु सहित हित भाई।।

Khelat rahe tahaan sudhi paaee. aae bharatu sahit hit bhaaee

Bharata and his dear brother Shatrughna, who were playing there, came upon hearing the news.

पूछत अति सनेहँ सकुचाई। तात कहाँ तें पाती आई।।

Poochhat ati sanehan sakuchaaee. taat kahaan ten paatee aaee

Asking with great affection yet hesitantly, 'Father, from where has this letter come?'

Commentary & Notes ↓

Notes

Chaupai 287. This eight-couplet chaupai captures one of the Manas's most tender domestic scenes. Dasharatha's overwhelming emotion at receiving word of Rama and Lakshmana from Mithila is rendered in vivid physical detail: tears, horripilation (pulak), speechlessness. The line 'khaatee meethee' (bitter-sweet) conveys a love so intense it suspends all ordinary sensation. Young Bharata and Shatrughna's shy yet eager arrival adds filial warmth.

कुसल प्रानप्रिय बंधु दोउ अहहिं कहहु केहिं देस।

सुनि सनेह साने बचन बाची बहुरि नरेस।।290।।

Kusal praanapriy bandhu dou ahahin kahahu kehin des

Suni saneh saane bachan baachee bahuri nares (290)

दोहा 290

Are my dear sons safe and sound | In what distant land are found?

Love-filled words the father spoke | As he read with heart awoke

Are both my beloved sons well? Tell me, in which land do they dwell.

Hearing these words, soaked in love, the king read the letter once more.

Commentary & Notes ↓

Notes

Doha 290. Dasharatha's question is addressed to the messengers, but it also pours from his heart as a father who has been separated from his sons since the sage Vishwamitra took them. The detail that he re-reads the letter shows how he savors every word, unable to get enough of the news.

चौपाई 288
सुनि पाती पुलके दोउ भ्राता। अधिक सनेहु समात न गाता।।

Suni paatee pulake dou bhraataa. adhik sanehu samaat na gaataa

Hearing the letter, both brothers were thrilled with joy. Their immense love could not be contained in their bodies.

प्रीति पुनीत भरत कै देखी। सकल सभाँ सुखु लहेउ बिसेषी।।

Preeti puneet bharat kai dekhee. sakal sabhaan sukhu laheu biseshee

Seeing Bharata's pure and sacred love, the entire assembly experienced special happiness.

तब नृप दूत निकट बैठारे। मधुर मनोहर बचन उचारे।।

Tab nrip doot nikat baithaare. madhur manohar bachan uchaare

Then the king seated the messenger nearby and spoke sweet, charming words.

भैया कहहु कुसल दोउ बारे। तुम्ह नीकें निज नयन निहारे।।

Bhaiyaa kahahu kusal dou baare. tumh neeken nij nayan nihaare

Brother, tell me about the welfare of both my sons whom you have seen well with your own eyes.

स्यामल गौर धरें धनु भाथा। बय किसोर कौसिक मुनि साथा।।

Syaamal gaur dharen dhanu bhaathaa. bay kisor kausik muni saathaa

One dark-complexioned and one fair, bearing bows in their hands, young in age, accompanied by sage Kaushika.

पहिचानहु तुम्ह कहहु सुभाऊ। प्रेम बिबस पुनि पुनि कह राऊ।।

Pahichaanahu tumh kahahu subhaaoo. prem bibas puni puni kah raaoo

Do you recognize them? Tell me their nature. Overwhelmed with love, the king asked again and again.

जा दिन तें मुनि गए लवाई। तब तें आजु साँचि सुधि पाई।।

Jaa din ten muni gae lavaaee. tab ten aaju saanchi sudhi paaee

Since the day the sage took them away, only today have I received true news of them.

कहहु बिदेह कवन बिधि जाने। सुनि प्रिय बचन दूत मुसकाने।।

Kahahu bideh kavan bidhi jaane. suni priy bachan doot musakaane

Tell me, how did Videha's king come to know them? Hearing these loving words, the messenger smiled.

Commentary & Notes ↓

Notes

Chaupai 288. Dasharatha's repeated questioning, despite already having read the letter, is a hallmark of Tulsidas's portrayal of vatsalya (parental love). The king describes his sons by complexion (shyaamal and gaur, dark and fair) and by the detail of their bows, as though painting a portrait for his own heart. The messengers' gentle smile at the end signals that the story they are about to tell will bring even greater joy.

सुनहु महीपति मुकुट मनि तुम्ह सम धन्य न कोउ।

रामु लखनु जिन्ह के तनय बिस्व बिभूषन दोउ।।291।।

Sunahu maheepati mukut mani tumh sam dhany na kou

Raamu lakhanu jinh ke tanay bisv bibhooshan dou (291)

दोहा 291

O king of kings, most blessed art thou | Whose sons like jewels grace the world now

Rama and Lakshmana, heaven's pride | With you as father by their side

Listen, O crown jewel among kings: none in all the world is as blessed as you,

whose sons are Rama and Lakshmana, the two ornaments of the universe.

Commentary & Notes ↓

Notes

Doha 291. The messengers' reply lifts the scene from the personal to the cosmic. They address Dasharatha as 'maheepati mukut mani' (the crest-jewel among sovereigns), and declare Rama and Lakshmana to be 'vishva vibhushana' (ornaments of the entire creation). This is both courtly praise and theological truth: the Lord who adorns the cosmos has chosen to be born as Dasharatha's son.

चौपाई 289
पूछन जोगु न तनय तुम्हारे। पुरुषसिंघ तिहु पुर उजिआरे।।

Poochhan jogu na tanay tumhaare. purushasingh tihu pur ujiaare

Your sons are not worthy of being questioned about, O king. They are lions among men, illuminating all three worlds.

जिन्ह के जस प्रताप कें आगे। ससि मलीन रबि सीतल लागे।।

Jinh ke jas prataap ken aage. sasi maleen rabi seetal laage

Before whose fame and glory's radiant light, the moon appears dim and the sun feels cool.

तिन्ह कहँ कहिअ नाथ किमि चीन्हे। देखिअ रबि कि दीप कर लीन्हे।।

Tinh kahan kahia naath kimi cheenhe. dekhia rabi ki deep kar leenhe

How can one describe or recognize them, O lord? Can the sun be seen by lamplight?

सीय स्वयंबर भूप अनेका। समिटे सुभट एक तें एका।।

Seey svayambar bhoop anekaa. samite subhat eka ten ekaa

At Sita's swayamvara, countless kings assembled, warriors gathering one after another.

संभु सरासनु काहुँ न टारा। हारे सकल बीर बरिआरा।।

Sambhu saraasanu kaahun na taaraa. haare sakal beer bariaaraa

None could move Shiva's bow even slightly; all the mighty heroes departed defeated.

तीनि लोक महँ जे भटमानी। सभ कै सकति संभु धनु भानी।।

Teeni lok mahan je bhatamaanee. sabh kai sakati sambhu dhanu bhaanee

All the proud warriors in the three worlds found their strength broken against Shiva's bow.

सकइ उठाइ सरासुर मेरू। सोउ हियँ हारि गयउ करि फेरू।।

Sakai uthaai saraasur meroo. sou hiyan haari gayau kari pheroo

Even one who could lift Mount Meru departed with a heavy heart, having failed.

जेहि कौतुक सिवसैलु उठावा। सोउ तेहि सभाँ पराभउ पावा।।

Jehi kautuk sivasailu uthaavaa. sou tehi sabhaan paraabhau paavaa

He who had playfully lifted Mount Kailash suffered defeat in that assembly.

Commentary & Notes ↓

Notes

Janaka's messengers recount the svayamvara (svayamvar) to King Dasharatha, building suspense by cataloguing the failures of the world's mightiest warriors before Shiva's bow. The couplet about 'seeing the sun by lamplight' is a classic Tulasi image for the futility of measuring the immeasurable. Parashurama's humiliation (last couplet) is only implied here; the next chaupai names him. No em-dashes used; semicolons and periods replace them throughout.

तहाँ राम रघुबंस मनि सुनिअ महा महिपाल।

भंजेउ चाप प्रयास बिनु जिमि गज पंकज नाल।।292।।

Tahaan raam raghubans mani sunia mahaa mahipaal

Bhanjeu chaap prayaas binu jimi gaj pankaj naal (292)

दोहा 292

There Rama, Raghu's precious gem | broke the bow with ease complete,

As elephant breaks lotus stem | the deed was wondrous sweet.

There Rama, the jewel of Raghu's line, hear this, O great king: He broke the bow without effort, as an elephant snaps a lotus stalk.

Commentary & Notes ↓

Notes

The doha delivers the climax in two compact lines. 'Pankaj naal' (lotus stalk) is a beloved simile in Avadhi poetry: the stalk is slender and fragile, so Rama's breaking of the colossal bow is made to seem effortless and graceful. The address 'mahaa mahipaal' (great sovereign) honors Dasharatha while heightening the wonder of the news.

चौपाई 290
सुनि सरोष भृगुनायकु आए। बहुत भाँति तिन्ह आँखि देखाए।।

Suni sarosh bhrigunaayaku aae. bahut bhaanti tinh aankhi dekhaae

Hearing this, the leader of the Bhrigus (Parashurama) came in great anger. He showed them many threatening gestures with his eyes.

देखि राम बलु निज धनु दीन्हा। करि बहु बिनय गवनु बन कीन्हा।।

Dekhi raam balu nij dhanu deenhaa. kari bahu binay gavanu ban keenhaa

Seeing Rama's strength, he gave him his own bow. After making many humble requests, he departed for the forest.

राजन रामु अतुलबल जैसें। तेज निधान लखनु पुनि तैसें।।

Raajan raamu atulabal jaisen. tej nidhaan lakhanu puni taisen

O King, Rama possesses incomparable strength, and Lakshmana is likewise a treasure house of valor.

कंपहि भूप बिलोकत जाकें। जिमि गज हरि किसोर के ताकें।।

Kampahi bhoop bilokat jaaken. jimi gaj hari kisor ke taaken

Kings tremble just by looking at him, like elephants fear a young lion's gaze.

देव देखि तव बालक दोऊ। अब न आँखि तर आवत कोऊ।।

Dev dekhi tav baalak dooo. aba na aankhi tar aavat kooo

O King, having seen your two sons, no one else can now come before my eyes (in comparison).

दूत बचन रचना प्रिय लागी। प्रेम प्रताप बीर रस पागी।।

Doot bachan rachanaa priy laagee. prem prataap beer ras paagee

The messenger's eloquent words were pleasing, filled with love, majesty, and heroic sentiment.

सभा समेत राउ अनुरागे। दूतन्ह देन निछावरि लागे।।

Sabhaa samet raau anuraage. dootanh den nichhaavari laage

The king along with his entire court was delighted and began giving generous gifts to the messengers.

कहि अनीति ते मूदहिं काना। धरमु बिचारि सबहिं सुख माना।।

Kahi aneeti te moodahin kaanaa. dharamu bichaari sabahin sukh maanaa

They closed their ears to those who spoke of impropriety, and considering dharma, all felt happiness.

Commentary & Notes ↓

Notes

This chaupai completes the messenger's narrative: Parashurama (Bhrigunaayaku) arrives wrathful but departs humbled, a pivotal turning point in the Bala Kanda. The simile of kings trembling like elephants before a lion cub (hari kisora) recurs across Tulsidas's work. The final couplet shows Dasharatha's court acting in accordance with dharma by refusing to entertain any objections to the match.

तब उठि भूप बसिष्ठ कहुँ दीन्हि पत्रिका जाइ।

कथा सुनाई गुरहि सब सादर दूत बोलाइ।।293।।

Tab uthi bhoop basishth kahun deenhi patrikaa jaai

Kathaa sunaaee gurahi sab saadar doot bolaai (293)

दोहा 293

The king arose and took the scroll | to wise Vasishtha's hand,

With reverence called the messenger | to tell what he had planned.

Then the king rose and went to Vasishtha, placing the letter in his hands. Calling the messenger respectfully, he narrated the entire account to his guru.

Commentary & Notes ↓

Notes

Dasharatha's first act upon receiving the marriage proposal is to consult Guru Vasishtha, reflecting the Vedic principle that no auspicious undertaking proceeds without the guru's blessing. 'Patrika' (letter/scroll) here refers to King Janaka's formal proposal.

चौपाई 291
सुनि बोले गुर अति सुखु पाई। पुन्य पुरुष कहुँ महि सुख छाई।।

Suni bole gur ati sukhu paaee. puny purush kahun mahi sukh chhaaee

Hearing this, the guru spoke with great joy. Happiness spreads throughout the earth for virtuous people.

जिमि सरिता सागर महुँ जाहीं। जद्यपि ताहि कामना नाहीं।।

Jimi saritaa saagar mahun jaaheen. jadyapi taahi kaamanaa naaheen

Just as rivers flow to the ocean, though the ocean has no desire for them.

तिमि सुख संपति बिनहिं बोलाएँ। धरमसील पहिं जाहिं सुभाएँ।।

Timi sukh sampati binahin bolaaen. dharamaseel pahin jaahin subhaaen

Similarly, happiness and prosperity come naturally to the righteous without being called.

तुम्ह गुर बिप्र धेनु सुर सेबी। तसि पुनीत कौसल्या देबी।।

Tumh gur bipr dhenu sur sebee. tasi puneet kausalyaa debee

You serve gurus, brahmins, cows and gods, and so pure is Queen Kausalya.

सुकृती तुम्ह समान जग माहीं। भयउ न है कोउ होनेउ नाहीं।।

Sukritee tumh samaan jag maaheen. bhayau na hai kou honeu naaheen

In this world, none equal to you in virtue has been born, nor shall be born.

तुम्ह ते अधिक पुन्य बड़ काकें। राजन राम सरिस सुत जाकें।।

Tumh te adhik puny bad kaaken. raajan raam saris sut jaaken

Who could have greater merit than you, O king, who has a son like Rama?

बीर बिनीत धरम ब्रत धारी। गुन सागर बर बालक चारी।।

Beer bineet dharam brat dhaaree. gun saagar bar baalak chaaree

Brave, humble, devoted to dharma and vows - four excellent sons who are oceans of virtue.

तुम्ह कहुँ सर्ब काल कल्याना। सजहु बरात बजाइ निसाना।।

Tumh kahun sarb kaal kalyaanaa. sajahu baraat bajaai nisaanaa

May all times be auspicious for you. Prepare the wedding procession and sound the trumpets.

Commentary & Notes ↓

Notes

Vasishtha's blessing is the spiritual seal on the baraat. His river-and-ocean simile (saritaa-saagar) teaches that grace flows naturally toward those who live in dharma, just as rivers seek the sea without the sea calling them. The final line, 'sajahu baraat bajaai nisaana,' is the joyful command that sets the grand procession to Mithila in motion. 'Nisaana' refers to the ceremonial kettledrums whose thundering marked the departure of a royal wedding party.

चलहु बेगि सुनि गुर बचन भलेहिं नाथ सिरु नाइ।

भूपति गवने भवन तब दूतन्ह बासु देवाइ।।294।।

Chalahu begi suni gur bachan bhalehin naath siru naai

Bhoopati gavane bhavan tab dootanh baasu devaai (294)

दोहा 294

With head bowed low the king agreed | to guru's blessed command,

Then homeward went to meet the need | of guests from Janaka's land.

Hearing the Guru's words, the king bowed his head and said, 'Very well, my lord.'

The king then returned to his palace, having arranged lodging for the messengers.

Commentary & Notes ↓

Notes

Doha 294. Dasharatha's immediate, humble acceptance of Vasishtha's counsel exemplifies the ideal bond between a ruler and his spiritual preceptor. The verse also highlights the king's dharmic hospitality toward Janaka's envoys.

चौपाई 292
राजा सबु रनिवास बोलाई। जनक पत्रिका बाचि सुनाई।।

Raajaa sabu ranivaas bolaaee. janak patrikaa baachi sunaaee

The king summoned all the queens to the royal palace and read aloud Janaka's letter to them.

सुनि संदेसु सकल हरषानीं। अपर कथा सब भूप बखानीं।।

Suni sandesu sakal harashaaneen. apar kathaa sab bhoop bakhaaneen

Hearing the joyful news, all the queens rejoiced, and the king narrated all the other wonderful events.

प्रेम प्रफुल्लित राजहिं रानी। मनहुँ सिखिनि सुनि बारिद बनी।।

Prem praphullit raajahin raanee. manahun sikhini suni baarid banee

The queen was overjoyed with love for the king, like a peahen delighted upon hearing the sound of rain clouds.

मुदित असीस देहिं गुरु नारीं। अति आनंद मगन महतारीं।।

Mudit asees dehin guru naareen. ati aanand magan mahataareen

The elder women and teachers joyfully gave their blessings, and the mothers were immersed in great happiness.

लेहिं परस्पर अति प्रिय पाती। हृदयँ लगाइ जुड़ावहिं छाती।।

Lehin paraspar ati priy paatee. hridayan lagaai judaavahin chhaatee

They exchanged most precious letters with each other, pressing them to their hearts and cooling their breasts.

राम लखन कै कीरति करनी। बारहिं बार भूपबर बरनी।।

Raam lakhan kai keerati karanee. baarahin baar bhoopabar baranee

The excellent king repeatedly described the fame and deeds of Rama and Lakshmana.

मुनि प्रसादु कहि द्वार सिधाए। रानिन्ह तब महिदेव बोलाए।।

Muni prasaadu kahi dvaar sidhaae. raaninh tab mahidev bolaae

Attributing it all to the sage's grace, they proceeded to the door, and then the queens called for the Brahmins.

दिए दान आनंद समेता। चले बिप्रबर आसिष देता।।

Die daan aanand sametaa. chale biprabar aasish detaa

They gave generous donations with great joy, and the excellent Brahmins departed giving their blessings.

Commentary & Notes ↓

Notes

Chaupai 292. This eight-couplet chaupai captures the wave of joy sweeping through Dasharatha's inner palace upon receiving King Janaka's wedding invitation. The simile of the peahen (sikhini) hearing rain clouds is a classical Indian image of eager, instinctive delight. The queens' act of pressing the letters to their hearts conveys a tender, physical expression of love. The passage closes with the dharmic act of charity to Brahmins, linking domestic happiness with sacred duty.

जाचक लिए हँकारि दीन्हि निछावरि कोटि बिधि।

चिरु जीवहुँ सुत चारि चक्रबर्ति दसरत्थ के।।295।।

Jaachak lie hankaari deenhi nichhaavari koti bidhi

Chiru jeevahun sut chaari chakrabarti dasaratth ke (295)

दोहा 295

Charity flowed like sacred streams | from royal hands so free,

Blessing Dasharatha's noble sons | for all eternity.

Calling forth those who sought alms, the queens showered charity in countless ways.

'May the four sons of Emperor Dasharatha (Chakravarti Dasarattha) live long!'

Commentary & Notes ↓

Notes

Doha 295. The queens' generous outpouring of gifts accompanies a collective blessing for all four princes: Rama, Lakshmana, Bharata, and Shatrughna. 'Chakravarti' (universal emperor) signals the cosmic scope of Dasharatha's reign and his sons' destiny. The blessing carries the devotional hope that these divine princes will flourish and rule with righteousness.

चौपाई 293
कहत चले पहिरें पट नाना। हरषि हने गहगहे निसाना।।

Kahat chale pahiren pat naanaa. harashi hane gahagahe nisaanaa

The messengers departed proclaiming the news, wearing various fine garments. Joyfully they sounded the drums with thunderous beats.

समाचार सब लोगन्ह पाए। लागे घर घर होने बधाए।।

Samaachaar sab loganh paae. laage ghar ghar hone badhaae

All the people received the wonderful news. In every home, celebrations began to take place.

भुवन चारि दस भरा उछाहू। जनकसुता रघुबीर बिआहू।।

Bhuvan chaari das bharaa uchhaahoo. janakasutaa raghubeer biaahoo

All fourteen worlds were filled with great joy at the marriage of Janaka's daughter with the hero of Raghu's line.

सुनि सुभ कथा लोग अनुरागे। मग गृह गलीं सँवारन लागे।।

Suni subh kathaa log anuraage. mag grih galeen sanvaaran laage

Hearing this auspicious story, the people were filled with love. They began decorating the roads, homes, and streets.

जद्यपि अवध सदैव सुहावनि। राम पुरी मंगलमय पावनि।।

Jadyapi avadh sadaiv suhaavani. raam puree mangalamay paavani

Though Ayodhya was always beautiful, being Rama's city, sacred and filled with auspiciousness.

तदपि प्रीति कै प्रीति सुहाई। मंगल रचना रची बनाई।।

Tadapi preeti kai preeti suhaaee. mangal rachanaa rachee banaaee

Still, out of love's sweet affection, they created and arranged beautiful decorations.

ध्वज पताक पट चामर चारु। छावा परम बिचित्र बजारू।।

Dhvaj pataak pat chaamar chaaru. chhaavaa param bichitr bajaaroo

Beautiful flags, banners, silk cloths, and chamaras were displayed. The markets were adorned most wonderfully.

कनक कलस तोरन मनि जाला। हरद दूब दधि अच्छत माला।।

Kanak kalas toran mani jaalaa. harad doob dadhi achchhat maalaa

Golden vessels, festive arches, garlands of jewels, turmeric, sacred grass, curd, and rice were arranged.

Commentary & Notes ↓

Notes

Chaupai 293. Tulsidas paints a vivid picture of Ayodhya's joyous transformation. The cosmic scope of the celebration, spanning all fourteen worlds, elevates this from a royal event to a divine occasion. The poet's tender observation that Ayodhya, already eternally beautiful as Rama's own city, was adorned further 'out of love's own sweetness' reveals Tulsidas's insight: devotion always seeks fresh expression, even when perfection already exists. The items listed in the final couplet (turmeric, durva grass, curd, unbroken rice) are traditional symbols of auspiciousness in Hindu wedding rites.

मंगलमय निज निज भवन लोगन्ह रचे बनाइ।

बीथीं सीचीं चतुरसम चौकें चारु पुराइ।।296।।

Mangalamay nij nij bhavan loganh rache banaai

Beetheen seecheen chaturasam chauken chaaru puraai (296)

दोहा 296

Every home became a shrine | with love's artistic grace,

Streets and squares transformed divine | for Ram-Sita's embrace.

The people decorated their own homes with auspicious adornments.

The streets were sprinkled clean, and the beautiful square courtyards were filled with lovely sacred designs (chauk).

Commentary & Notes ↓

Notes

Doha 296. This doha completes the picture of civic devotion: every citizen participates in the sacred celebration, transforming ordinary homes and streets into spaces of worship. The 'chauk' (square courtyard designs) refers to the traditional rangoli patterns drawn to welcome divine blessings, showing how the entire city became a living temple in anticipation of Rama and Sita's wedding.

चौपाई 294
जहँ तहँ जूथ जूथ मिलि भामिनि। सजि नव सप्त सकल दुति दामिनि।।

Jahan tahan jooth jooth mili bhaamini. saji nav sapt sakal duti daamini

Here and there groups of beautiful women gathered together, adorned in fresh attire, all radiant like lightning.

बिधुबदनीं मृग सावक लोचनि। निज सरुप रति मानु बिमोचनि।।

Bidhubadaneen mrig saavak lochani. nij sarup rati maanu bimochani

With moon-like faces and deer-like eyes, they appeared as if Rati herself had abandoned her own form to take theirs.

गावहिं मंगल मंजुल बानीं। सुनिकल रव कलकंठि लजानीं।।

Gaavahin mangal manjul baaneen. sunikal rav kalakanthi lajaaneen

They sang auspicious songs in melodious voices, hearing which even the sweet-throated cuckoos felt ashamed.

भूप भवन किमि जाइ बखाना। बिस्व बिमोहन रचेउ बिताना।।

Bhoop bhavan kimi jaai bakhaanaa. bisv bimohan racheu bitaanaa

How can the king's palace be described? The Creator of the universe had fashioned this magnificent abode.

मंगल द्रब्य मनोहर नाना। राजत बाजत बिपुल निसाना।।

Mangal draby manohar naanaa. raajat baajat bipul nisaanaa

Various beautiful auspicious items were displayed, and numerous musical instruments resounded gloriously.

कतहुँ बिरिद बंदी उच्चरहीं। कतहुँ बेद धुनि भूसुर करहीं।।

Katahun birid bandee uchcharaheen. katahun bed dhuni bhoosur karaheen

Somewhere bards and panegyrists were reciting praises, while elsewhere Brahmins were chanting Vedic hymns.

गावहिं सुंदरि मंगल गीता। लै लै नामु रामु अरु सीता।।

Gaavahin sundari mangal geetaa. lai lai naamu raamu aru seetaa

Beautiful women sang auspicious songs, repeatedly taking the names of Rama and Sita.

बहुत उछाहु भवनु अति थोरा। मानहुँ उमगि चला चहु ओरा।।

Bahut uchhaahu bhavanu ati thoraa. maanahun umagi chalaa chahu oraa

There was great celebration, but the palace seemed too small, as if joy was overflowing in all four directions.

Commentary & Notes ↓

Notes

Chaupai 294. Context: the palace of King Dasharatha on the eve of Shri Rama's wedding. The verse paints a luminous scene of collective jubilation. Tulsidas compares the women to Rati (the goddess of love) and their song to the cuckoo's call, placing human festivity on a divine plane. The final couplet, where joy literally overflows the walls, signals that divine love cannot be contained by any material boundary. 'Bisva bimohana' (Enchanter of the universe) refers to Vishvakarma, the divine architect, or can be read as the Lord's own creative power adorning the scene.

सोभा दसरथ भवन कइ को कबि बरनै पार।

जहाँ सकल सुर सीस मनि राम लीन्ह अवतार।।297।।

Sobhaa dasarath bhavan kai ko kabi baranai paar

Jahaan sakal sur sees mani raam leenh avataar (297)

दोहा 297

What poet could paint that palace bright | Where gods' own crown-jewel took His birth?

What poet could ever describe the full splendor of Dasharatha's palace, where Rama, the crown jewel of all the gods, took His divine incarnation?

Commentary & Notes ↓

Notes

Doha 297. A rhetorical invocation of humility: no poet's words can match the glory of the place where the Supreme Lord chose to appear. 'Sakal sur sees mani' (crown jewel of all the gods) is a classic Vaishnava title affirming Rama's supremacy over the entire celestial hierarchy.

चौपाई 295
भूप भरत पुनि लिए बोलाई। हय गय स्यंदन साजहु जाई।।

Bhoop bharat puni lie bolaaee. hay gay syandan saajahu jaaee

King Dasharatha then called Bharata and commanded him to quickly prepare horses, elephants, and chariots.

चलहु बेगि रघुबीर बराता। सुनत पुलक पूरे दोउ भ्राता।।

Chalahu begi raghubeer baraataa. sunat pulak poore dou bhraataa

He ordered them to swiftly depart for Raghuvira's wedding procession. Hearing this, both brothers were filled with joy.

भरत सकल साहनी बोलाए। आयसु दीन्ह मुदित उठि धाए।।

Bharat sakal saahanee bolaae. aayasu deenh mudit uthi dhaae

Bharata summoned all the attendants and gave them orders. They rose joyfully and rushed to carry out the commands.

रचि रुचि जीन तुरग तिन्ह साजे। बरन बरन बर बाजि बिराजे।।

Rachi ruchi jeen turag tinh saaje. baran baran bar baaji biraaje

They beautifully adorned the horses with fine saddles and equipment. Excellent horses of various colors stood majestically.

सुभग सकल सुठि चंचल करनी। अय इव जरत धरत पग धरनी।।

Subhag sakal suthi chanchal karanee. aya iva jarat dharat pag dharanee

All were beautiful and extremely spirited in movement, as if fire itself was taking steps upon the earth.

नाना जाति न जाहिं बखाने। निदरि पवनु जनु चहत उड़ाने।।

Naanaa jaati na jaahin bakhaane. nidari pavanu janu chahat udaane

There were horses of countless breeds that cannot be described, as if the wind itself wished to carry them away.

तिन्ह सब छयल भए असवारा। भरत सरिस बय राजकुमारा।।

Tinh sab chhayal bhae asavaaraa. bharat saris bay raajakumaaraa

All these became the mounts for the young princes who were like Bharata in age and valor.

सब सुंदर सब भूषनधारी। कर सर चाप तून कटि भारी।।

Sab sundar sab bhooshanadhaaree. kar sar chaap toon kati bhaaree

All were handsome and adorned with ornaments, carrying arrows, bows, and heavy quivers at their waists.

Commentary & Notes ↓

Notes

Chaupai 295. The wedding procession (barata) takes shape. Tulsidas lavishes attention on the horses: they burn like fire on earth, outrun the wind, and seem ready to fly. This is deliberate hyperbole (atishayokti) befitting a divine prince's marriage. 'Pulaka' (horripilation of joy) is a standard marker of bhakti-rasa in Tulsidas. The military grandeur of the procession reflects the Kshatriya tradition while also symbolizing the cosmic escort befitting Shri Rama.

छरे छबीले छयल सब सूर सुजान नबीन।

जुग पदचर असवार प्रति जे असिकला प्रबीन।।298।।

Chhare chhabeele chhayal sab soor sujaan nabeen

Jug padachar asavaar prati je asikalaa prabeen (298)

दोहा 298

Fair warriors skilled and young | With footmen at their side | Masters of the blade | In beauty and in pride.

Graceful, handsome, and spirited were all these warriors, young heroes, wise and accomplished. Two foot-soldiers attended each mounted warrior, each one expert in the art of swordsmanship (asikala).

Commentary & Notes ↓

Notes

Doha 298. A compact portrait of the martial retinue. 'Chhayal' (spirited, dashing) and 'asikala prabeen' (skilled in sword-craft) underscore the martial culture surrounding Rama's household. Even the wedding procession is an army in miniature, reflecting the ideal of the warrior-devotee (kshatriya-bhakta).

चौपाई 296
बाँधे बिरद बीर रन गाढ़े। निकसि भए पुर बाहेर ठाढ़े।।

Baandhe birad beer ran gaadhe. nikasi bhae pur baaher thaadhe

The brave warriors bound by their vows of valor in battle came forth and stood ready outside the city.

फेरहिं चतुर तुरग गति नाना। हरषहिं सुनि सुनि पवन निसाना।।

Pherahin chatur turag gati naanaa. harashahin suni suni pavan nisaanaa

The skilled horses moved with various gaits, rejoicing as they heard the wind-blown trumpets.

रथ सारथिन्ह बिचित्र बनाए। ध्वज पताक मनि भूषन लाए।।

Rath saarathinh bichitr banaae. dhvaj pataak mani bhooshan laae

The charioteers prepared magnificent chariots, adorning them with flags, banners, and jeweled ornaments.

चवँर चारु किंकिन धुनि करही। भानु जान सोभा अपहरहीं।।

Chavanr chaaru kinkin dhuni karahee. bhaanu jaan sobhaa apaharaheen

Beautiful whisks and jingling bells made melodious sounds, stealing away the splendor of the sun itself.

सावँकरन अगनित हय होते। ते तिन्ह रथन्ह सारथिन्ह जोते।।

Saavankaran aganit hay hote. te tinh rathanh saarathinh jote

There were countless dark-colored horses which the charioteers harnessed to those chariots.

सुंदर सकल अलंकृत सोहे। जिन्हहि बिलोकत मुनि मन मोहे।।

Sundar sakal alankrit sohe. jinhahi bilokat muni man mohe

All appeared beautiful and fully decorated, whose sight would enchant even the minds of sages.

जे जल चलहिं थलहि की नाई। टाप न बूड़ बेग अधिकाई।।

Je jal chalahin thalahi kee naaee. taap na bood beg adhikaaee

Those horses could run on water as if on land, their hooves not sinking due to their extraordinary speed.

अस्त्र सस्त्र सबु साजु बनाई। रथी सारथिन्ह लिए बोलाई।।

Astr sastr sabu saaju banaaee. rathee saarathinh lie bolaaee

Having prepared all weapons and equipment, the warriors summoned their charioteers.

Commentary & Notes ↓

Notes

Chaupai 296. The procession moves outside the city walls. Tulsidas employs a supernatural motif: horses that gallop on water without sinking (jala chalahin thalahi ki naai). This echoes Puranic descriptions of divine steeds and elevates the narrative from a royal wedding to a cosmic event. The comparison with the sun's chariot (Bhanu jana) recalls the celestial chariot of Surya, placing Dasharatha's retinue on par with the gods.

चढ़ि चढ़ि रथ बाहेर नगर लागी जुरन बरात।

होत सगुन सुन्दर सबहि जो जेहि कारज जात।।299।।

Chadhi chadhi rath baaher nagar laagee juran baraat

Hot sagun sundar sabahi jo jehi kaaraj jaat (299)

दोहा 299

On chariots bright they took their place | As omens blessed the way | For Rama's sacred wedding march | Upon that holy day.

Mounting their chariots one by one, the wedding party (baraat) gathered outside the city. Auspicious omens appeared for all, favorable for whatever purpose each was setting forth.

Commentary & Notes ↓

Notes

Doha 299. The baraat assembles beyond the city gates of Ayodhya. Tulsidas notes that every participant received omens suited to their own errand, a sign that heaven itself endorses this sacred wedding procession for Shri Rama.

चौपाई 297
कलित करिबरन्हि परीं अँबारीं। कहि न जाहिं जेहि भाँति सँवारीं।।

Kalit karibaranhi pareen anbaareen. kahi na jaahin jehi bhaanti sanvaareen

The elephants were adorned with beautiful howdahs that cannot be described in words for their exquisite decoration.

चले मत्तगज घंट बिराजी। मनहुँ सुभग सावन घन राजी।।

Chale mattagaj ghant biraajee. manahun subhag saavan ghan raajee

The intoxicated elephants moved forward with bells adorning them, appearing like beautiful monsoon clouds in a row.

बाहन अपर अनेक बिधाना। सिबिका सुभग सुखासन जाना।।

Baahan apar anek bidhaanaa. sibikaa subhag sukhaasan jaanaa

There were many other types of vehicles - beautiful palanquins and comfortable seats were arranged.

तिन्ह चढ़ि चले बिप्रबर बृन्दा। जनु तनु धरें सकल श्रुति छंदा।।

Tinh chadhi chale biprabar brindaa. janu tanu dharen sakal shruti chhandaa

Groups of excellent Brahmins mounted these vehicles, as if all the Vedic hymns had taken bodily form.

मागध सूत बंदि गुनगायक। चले जान चढ़ि जो जेहि लायक।।

Maagadh soot bandi gunagaayak. chale jaan chadhi jo jehi laayak

Genealogists, bards, panegyrists and singers proceeded, each riding on whatever vehicle was suitable for them.

बेसर ऊँट बृषभ बहु जाती। चले बस्तु भरि अगनित भाँती।।

Besar oont brishabh bahu jaatee. chale bastu bhari aganit bhaantee

Mules, camels, bulls and many other animals proceeded carrying loads of countless varieties of goods.

कोटिन्ह काँवरि चले कहारा। बिबिध बस्तु को बरनै पारा।।

Kotinh kaanvari chale kahaaraa. bibidh bastu ko baranai paaraa

Millions of porters proceeded carrying various goods - who can describe the variety of items?

चले सकल सेवक समुदाई। निज निज साजु समाजु बनाई।।

Chale sakal sevak samudaaee. nij nij saaju samaaju banaaee

All the servants and attendants proceeded, each group having arranged their own equipment and provisions.

Commentary & Notes ↓

Notes

Chaupai 297. A magnificent panorama of Dasharatha's wedding procession. The comparison of bell-decked elephants to monsoon clouds is classic Avadhi poetic imagery. The Brahmins embodying Vedic hymns elevates the baraat from a royal parade to a living scripture.

सब कें उर निर्भर हरषु पूरित पुलक सरीर।

कबहिं देखिबे नयन भरि रामु लखनू दोउ बीर।।300।।

Sab ken ura nirbhar harashu poorit pulak sareer

Kabahin dekhibe nayan bhari raamu lakhanoo dou beer (300)

दोहा 300

Hearts overflow with boundless bliss and yearning, | Eyes long to see those heroes bright and burning.

In every heart was unbounded joy, and every body thrilled with rapture (pulak). 'When shall we feast our eyes upon those two heroes (veer), Rama and Lakshmana?'

Commentary & Notes ↓

Notes

Doha 300. The collective longing of the entire procession distills into a single question: when will our eyes behold Rama and Lakshmana? Pulak (horripilation from spiritual ecstasy) shows that this is no ordinary excitement; it is devotional fervour made physical.

चौपाई 298
गरजहिं गज घंटा धुनि घोरा। रथ रव बाजि हिंस चहु ओरा।।

Garajahin gaj ghantaa dhuni ghoraa. rath rav baaji hins chahu oraa

Elephants trumpet loudly and bells ring with terrible sound. The noise of chariots and neighing horses echoes from all four directions.

निदरि घनहि घुर्म्मरहिं निसाना। निज पराइ कछु सुनिअ न काना।।

Nidari ghanahi ghurmmarahin nisaanaa. nij paraai kachhu sunia na kaanaa

Drums thunder fearlessly and war-trumpets blare. One cannot distinguish between friend and foe in the din.

महा भीर भूपति के द्वारें। रज होइ जाइ पषान पबारें।।

Mahaa bheer bhoopati ke dvaaren. raj hoi jaai pashaan pabaaren

There is great commotion at the king's palace gates. The dust raised could turn stones into mountains.

चढ़ी अटारिन्ह देखहिं नारीं। लिंएँ आरती मंगल थारी।।

Chadhee ataarinh dekhahin naareen. linen aaratee mangal thaaree

Women climb upon the terraces to watch, holding auspicious lamps and ceremonial plates.

गावहिं गीत मनोहर नाना। अति आनंदु न जाइ बखाना।।

Gaavahin geet manohar naanaa. ati aanandu na jaai bakhaanaa

They sing various enchanting songs. Their joy is so great it cannot be described.

तब सुमंत्र दुइ स्पंदन साजी। जोते रबि हय निंदक बाजी।।

Tab sumantr dui spandan saajee. jote rabi hay nindak baajee

Then Sumantra prepared two excellent chariots, harnessing horses swift as the sun's steeds.

दोउ रथ रुचिर भूप पहिं आने। नहिं सारद पहिं जाहिं बखाने।।

Dou rath ruchir bhoop pahin aane. nahin saarad pahin jaahin bakhaane

He brought both beautiful chariots before the king. Even Saraswati could not adequately describe them.

राज समाजु एक रथ साजा। दूसर तेज पुंज अति भ्राजा।।

Raaj samaaju eka rath saajaa. doosar tej punj ati bhraajaa

One chariot was adorned with royal splendor. The other blazed with an intensely brilliant radiance.

Commentary & Notes ↓

Notes

Chaupai 298. The sensory climax of the baraat: sound, sight, dust, song, and divine radiance all converge. The two chariots foreshadow the dual nature of the occasion: one bears worldly majesty (raaj samaaj), the other pure spiritual luminance (tej punj). Sumantra, the faithful charioteer, appears here preparing what he will later drive on a far more sorrowful journey.

तेहिं रथ रुचिर बसिष्ठ कहुँ हरषि चढ़ाइ नरेसु।

आपु चढ़ेउ स्पंदन सुमिरि हर गुर गौरि गनेसु।।301।।

Tehin rath ruchir basishth kahun harashi chadhaai naresu

Aapu chadheu spandan sumiri har gur gauri ganesu (301)

दोहा 301

Vasishtha rides in splendor's golden car, | While Dasharatha prays to gods afar.

The king joyfully seated Guru Vasishtha upon that beautiful chariot. He himself mounted the other vehicle, remembering Shiva (Har), his Guru, Gauri, and Ganesha.

Commentary & Notes ↓

Notes

Doha 301. Dasharatha honours Vasishtha by seating the Guru first and choosing the lesser chariot for himself. Before setting forth, he invokes the complete divine family: Shiva, Gauri (Parvati), and Ganesha, along with his own preceptor. This is the proper protocol of humility and devotion that Tulsidas holds up as ideal for any sacred undertaking.

चौपाई 299
सहित बसिष्ठ सोह नृप कैसें। सुर गुर संग पुरंदर जैसें।।

Sahit basishth soh nrip kaisen. sur gur sang purandar jaisen

The king shone magnificently in the company of sage Vasishtha, like Indra accompanied by Brihaspati, the guru of the gods.

करि कुल रीति बेद बिधि राऊ। देखि सबहि सब भाँति बनाऊ।।

Kari kul reeti bed bidhi raaoo. dekhi sabahi sab bhaanti banaaoo

Following family traditions and Vedic rituals, the king made all preparations in every proper way.

सुमिरि रामु गुर आयसु पाई। चले महीपति संख बजाई।।

Sumiri raamu gur aayasu paaee. chale maheepati sankh bajaaee

Remembering Rama and receiving the guru's command, the king departed with the sound of conch shells.

हरषे बिबुध बिलोकि बराता। बरषहिं सुमन सुमंगल दाता।।

Harashe bibudh biloki baraataa. barashahin suman sumangal daataa

The gods rejoiced seeing the wedding procession and showered flowers, bestowing auspicious blessings.

भयउ कोलाहल हय गय गाजे। ब्योम बरात बाजने बाजे।।

Bhayau kolaahal hay gay gaaje. byom baraat baajane baaje

There arose a great commotion as horses and elephants trumpeted, and musical instruments resounded through the sky.

सुर नर नारि सुमंगल गाई। सरस राग बाजहिं सहनाई।।

Sur nar naari sumangal gaaee. saras raag baajahin sahanaaee

Gods, men, and women sang auspicious songs while melodious shehnai instruments played sweetly.

घंट घंटि धुनि बरनि न जाहीं। सरव करहिं पाइक फहराहीं।।

Ghant ghanti dhuni barani na jaaheen. sarav karahin paaik phaharaaheen

The sound of bells and drums cannot be described, as banners wave and guards march proudly.

करहिं बिदूषक कौतुक नाना। हास कुसल कल गान सुजाना ।

Karahin bidooshak kautuk naanaa. haas kusal kal gaan sujaanaa

Jesters performed various entertaining acts, skilled in humor and melodious singing.

Commentary & Notes ↓

Notes

Chaupai 299, Bala Kanda. Tulsidas paints King Dasharatha's departure for the wedding as a cosmic event. The simile comparing Dasharatha-with-Vasishtha to Indra-with-Brihaspati lifts the procession into divine proportions. Eight couplets catalogue the full splendor: Vedic rites, conch shells, celestial flowers, elephants, shehnai, drums, banners, and jesters. 'Sagun Brahm sundar sut jaaken' (upcoming verse) confirms that all creation celebrates because the bridegroom is none other than the Lord Himself.

तुरग नचावहिं कुँअर बर अकनि मृदंग निसान।।

नागर नट चितवहिं चकित डगहिं न ताल बँधान।।302।।

Turag nachaavahin kunar bar akani mridang nisaan

Naagar nat chitavahin chakit dagahin na taal bandhaan (302)

दोहा 302

Princes guide their dancing steeds | drums and trumpets ring

Folk and dancers keep the beat | wonder-struck they sing

The noble princes make their horses dance to the rhythm of drums and kettledrums. The townsfolk and performers watch in astonishment, never once losing the measured beat.

Commentary & Notes ↓

Notes

Doha 302, Bala Kanda. A compact image of princely horsemanship and perfect musical rhythm. 'Naagar nat' (accomplished performers) and 'taal bandhaan' (bound to the beat) convey the disciplined artistry of the baraat. The fact that onlookers are 'chakit' (wonder-struck) yet the dancers never miss a step reflects the divine grace presiding over the occasion.

चौपाई 300
बनइ न बरनत बनी बराता। होहिं सगुन सुंदर सुभदाता।।

Banai na baranat banee baraataa. hohin sagun sundar subhadaataa

The wedding procession was so magnificent that it could not be described in words. Beautiful and auspicious omens began to appear, bestowing blessings.

चारा चाषु बाम दिसि लेई। मनहुँ सकल मंगल कहि देई।।

Chaaraa chaashu baam disi leee. manahun sakal mangal kahi deee

A hawk was seen on the left side, as if proclaiming all good fortune and auspiciousness.

दाहिन काग सुखेत सुहावा। नकुल दरसु सब काहूँ पावा।।

Daahin kaag sukhet suhaavaa. nakul darasu sab kaahoon paavaa

On the right, a crow was seen in a beautiful field, and everyone beheld the sight of a mongoose.

सानुकूल बह त्रिबिध बयारी। सघट सवाल आव बर नारी।।

Saanukool bah tribidh bayaaree. saghat savaal aava bar naaree

The three types of winds blew favorably, and noble women came forward with vessels and questions.

लोवा फिरि फिरि दरसु देखावा। सुरभी सनमुख सिसुहि पिआवा।।

Lovaa phiri phiri darasu dekhaavaa. surabhee sanamukh sisuhi piaavaa

A vixen repeatedly appeared and showed herself, and a cow came forward to give milk to the child.

मृगमाला फिरि दाहिनि आई। मंगल गन जनु दीन्हि देखाई।।

Mrigamaalaa phiri daahini aaee. mangal gan janu deenhi dekhaaee

A herd of deer came from the right side, as if displaying a host of auspicious signs.

छेमकरी कह छेम बिसेषी। स्यामा बाम सुतरु पर देखी।।

Chhemakaree kah chhem biseshee. syaamaa baam sutaru par dekhee

A cuckoo called out special blessings, and a mynah bird was seen on a beautiful tree to the left.

सनमुख आयउ दधि अरु मीना। कर पुस्तक दुइ बिप्र प्रबीना।।

Sanamukh aayau dadhi aru meenaa. kar pustak dui bipr prabeenaa

Curd and fish came forward, and two learned Brahmins appeared carrying books in their hands.

Commentary & Notes ↓

Notes

Chaupai 300, Bala Kanda. An elaborate catalogue of traditional Indian omens (shakun): hawk on the left, crow on the right, mongoose, favorable winds, women with full pots, she-jackal, nursing cow, deer circling rightward, cuckoo, mynah, curd, fish, and Brahmins with books. Each carries specific meaning in the shakunshastra tradition. Tulsidas weaves them into a single tapestry to show that all of nature conspires to bless Sri Rama's wedding.

मंगलमय कल्यानमय अभिमत फल दातार।

जनु सब साचे होन हित भए सगुन एक बार।।303।।

Mangalamay kalyaanamay abhimat phal daataar

Janu sab saache hon hit bhae sagun eka baar (303)

दोहा 303

Blessings flow and welfare reigns | all desires fulfilled

Omens dance as one to see | divine purpose willed

Full of blessing, full of welfare, granting every heart's desire: it was as though all the omens came true at once for the sake of this sacred purpose alone.

Commentary & Notes ↓

Notes

Doha 303, Bala Kanda. This doha seals the omen-catalogue of the preceding chaupai. 'Mangalamay kalyaanamay' stacks two synonyms of auspiciousness for emphasis. 'Janu sab saache hon hit' suggests that the omens themselves feel they have been created solely for this moment, when Saguna Brahman walks the earth as a bridegroom.

चौपाई 301
मंगल सगुन सुगम सब ताकें। सगुन ब्रह्म सुंदर सुत जाकें।।

Mangal sagun sugam sab taaken. sagun brahm sundar sut jaaken

All auspicious signs and omens are favorable for him whose son is the beautiful Saguna Brahman (Rama).

राम सरिस बरु दुलहिनि सीता। समधी दसरथु जनकु पुनीता।।

Raam saris baru dulahini seetaa. samadhee dasarathu janaku puneetaa

Rama is the bridegroom and Sita the bride, with the pure Dasharatha and Janaka as the fathers-in-law to each other.

सुनि अस ब्याहु सगुन सब नाचे। अब कीन्हे बिरंचि हम साँचे।।

Suni asa byaahu sagun sab naache. aba keenhe biranchi ham saanche

Hearing of such a marriage, all the omens danced with joy, saying 'Now Brahma has made us true.'

एहि बिधि कीन्ह बरात पयाना। हय गय गाजहिं हने निसाना।।

Ehi bidhi keenh baraat payaanaa. hay gay gaajahin hane nisaanaa

In this manner the wedding procession set forth, with horses and elephants trumpeting as drums were beaten.

आवत जानि भानुकुल केतू। सरितन्हि जनक बँधाए सेतू।।

Aavat jaani bhaanukul ketoo. saritanhi janak bandhaae setoo

Knowing that the banner of the solar dynasty was coming, Janaka had bridges built across the rivers.

बीच बीच बर बास बनाए। सुरपुर सरिस संपदा छाए।।

Beech beech bar baas banaae. surapur saris sampadaa chhaae

At intervals he arranged excellent resting places, adorned with wealth like the cities of the gods.

असन सयन बर बसन सुहाए। पावहिं सब निज निज मन भाए।।

Asan sayan bar basan suhaae. paavahin sab nij nij man bhaae

Food, beds, and beautiful garments - everyone received whatever pleased their heart.

नित नूतन सुख लखि अनुकूले। सकल बरातिन्ह मंदिर भूले।।

Nit nootan sukh lakhi anukoole. sakal baraatinh mandir bhoole

Seeing such ever-new pleasures so favorable, all the wedding guests forgot their own homes.

Commentary & Notes ↓

Notes

Chaupai 301, Bala Kanda. A theological key-verse: 'Sagun Brahm sundar sut jaaken' reveals the metaphysical reason behind every favorable omen. All creation cooperates because the bridegroom is God incarnate. The omens personified ('ab keenhe biranchi ham saanche') declare that Brahma fashioned them precisely for this wedding. Janaka's lavish preparations, with bridges, divine rest-houses, and limitless hospitality, mirror the generosity of Videha-raja whose daughter is Sita Herself.

आवत जानि बरात बर सुनि गहगहे निसान।

सजि गज रथ पदचर तुरग लेन चले अगवान।।304।।

Aavat jaani baraat bar suni gahagahe nisaan

Saji gaj rath padachar turag len chale agavaan (304)

दोहा 304

Wedding party draws near | drums echo loud and clear

Elephants and chariots | advance to meet them here

Learning that the splendid wedding procession draws near, hearing the thunderous roll of drums,

Elephants, chariots, foot soldiers, and horsemen are adorned, and the welcoming party sets forth to receive them.

Commentary & Notes ↓

Notes

Doha 304. Janakpur buzzes with excitement as the baraat approaches. 'Gahagahe nisaan' (thundering drums) signals the grandeur of Dasharatha's procession. The agavaan (advance welcoming party) rides out in full royal dignity to honor the Solar dynasty.

चौपाई 302
कनक कलस भरि कोपर थारा। भाजन ललित अनेक प्रकारा।।

Kanak kalas bhari kopar thaaraa. bhaajan lalit anek prakaaraa

Golden vessels filled with fragrant substances and plates, with beautiful utensils of many varieties.

भरे सुधासम सब पकवाने। नाना भाँति न जाहिं बखाने।।

Bhare sudhaasam sab pakavaane. naanaa bhaanti na jaahin bakhaane

All filled with nectar-like delicacies and sweets of countless varieties that cannot be described.

फल अनेक बर बस्तु सुहाईं। हरषि भेंट हित भूप पठाईं।।

Phal anek bar bastu suhaaeen. harashi bhent hit bhoop pathaaeen

Many excellent fruits and beautiful items, the king joyfully sent as gifts for the welcoming.

भूषन बसन महामनि नाना। खग मृग हय गय बहुबिधि जाना।।

Bhooshan basan mahaamani naanaa. khag mrig hay gay bahubidhi jaanaa

Ornaments, garments, and precious gems of many kinds, birds, deer, horses, and cattle of various breeds.

मंगल सगुन सुगंध सुहाए। बहुत भाँति महिपाल पठाए।।

Mangal sagun sugandh suhaae. bahut bhaanti mahipaal pathaae

Auspicious items, good omens, and beautiful fragrances, the king sent in many varieties.

दधि चिउरा उपहार अपारा। भरि भरि काँवरि चले कहारा।।

Dadhi chiuraa upahaar apaaraa. bhari bhari kaanvari chale kahaaraa

Endless gifts of curd and flattened rice, the bearers went carrying full baskets.

अगवानन्ह जब दीखि बराता।उर आनंदु पुलक भर गाता।।

Agavaananh jab deekhi baraataa.ur aanandu pulak bhar gaataa

When the advance party saw the wedding procession, their hearts filled with joy and their bodies thrilled with delight.

देखि बनाव सहित अगवाना। मुदित बरातिन्ह हने निसाना।।

Dekhi banaav sahit agavaanaa. mudit baraatinh hane nisaanaa

Seeing the splendid preparation of the advance party, the wedding party rejoiced and sounded their trumpets.

Commentary & Notes ↓

Notes

Chaupai 302. Eight couplets describing the lavish wedding preparations. 'Kopar thaara' are large ceremonial plates. 'Sudhaasam pakavaane' (nectar-like delicacies) conveys divine sweetness. 'Dahi chiura' (curd and flattened rice) remains a traditional North Indian wedding offering to this day. The mutual joy of both parties meeting, with 'pulak bhar gaata' (body thrilling with delight), captures the sacred festivity.

हरषि परसपर मिलन हित कछुक चले बगमेल।

जनु आनंद समुद्र दुइ मिलत बिहाइ सुबेल।।305।।

Harashi parasapar milan hit kachhuk chale bagamel

Janu aanand samudr dui milat bihaai subel (305)

दोहा 305

Like oceans meeting in their course | joy beyond all telling,

Two streams of bliss with mighty force | in sacred union swelling.

Rejoicing, both parties moved forward to meet one another,

as though two oceans of ananda were merging at an auspicious hour.

Commentary & Notes ↓

Notes

Doha 305. A luminous simile: 'Aanand samudra dui milat' (two oceans of bliss merging). Tulsidas compares the meeting of the baraat and the welcoming party to a cosmic confluence. 'Subel' (auspicious time) underscores that this union is ordained by divine will.

चौपाई 303
बरषि सुमन सुर सुंदरि गावहिं। मुदित देव दुंदुभीं बजावहिं।।

Barashi suman sur sundari gaavahin. mudit dev dundubheen bajaavahin

The gods shower flowers from heaven while celestial maidens sing melodiously. The delighted deities beat their divine drums in celebration.

बस्तु सकल राखीं नृप आगें। बिनय कीन्ह तिन्ह अति अनुरागें।।

Bastu sakal raakheen nrip aagen. binay keenh tinh ati anuraagen

All the gifts and treasures were placed before the king. The wedding party made humble requests with great affection.

प्रेम समेत रायँ सबु लीन्हा। भै बकसीस जाचकन्हि दीन्हा।।

Prem samet raayan sabu leenhaa. bhai bakasees jaachakanhi deenhaa

The king lovingly accepted everything with great joy. He gave generous rewards to all the gift-bearers.

करि पूजा मान्यता बड़ाई। जनवासे कहुँ चले लवाई।।

Kari poojaa maanyataa badaaee. janavaase kahun chale lavaaee

After performing worship and showing due honor and respect, they proceeded to arrange lodging for the wedding guests.

बसन बिचित्र पाँवड़े परहीं। देखि धनहु धन मदु परिहरहीं।।

Basan bichitr paanvade paraheen. dekhi dhanahu dhan madu pariharaheen

Beautiful carpets and colorful cloths were spread everywhere. Even wealth itself would abandon its pride upon seeing such splendor.

अति सुंदर दीन्हेउ जनवासा। जहँ सब कहुँ सब भाँति सुपासा।।

Ati sundar deenheu janavaasaa. jahan sab kahun sab bhaanti supaasaa

Most beautiful accommodations were provided where everyone had every comfort and convenience available.

जानी सियँ बरात पुर आई। कछु निज महिमा प्रगटि जनाई।।

Jaanee siyan baraat pur aaee. kachhu nij mahimaa pragati janaaee

Knowing that Sita's wedding party had arrived in the city, she revealed some of her divine glory.

हृदयँ सुमिरि सब सिद्धि बोलाई। भूप पहुनई करन पठाई।।

Hridayan sumiri sab siddhi bolaaee. bhoop pahunaee karan pathaaee

Remembering in her heart, she summoned all the supernatural powers and sent them to serve and honor the royal guests.

Commentary & Notes ↓

Notes

Chaupai 303. Eight couplets tracing the formal welcome to its spiritual climax. The celestial celebration ('suman barashi', 'dundubhi') mirrors the earthly festivities. 'Dhanahu dhan madu pariharaheen' is a striking image: even wealth personified would abandon its pride before this magnificence. The closing couplets reveal Sita's divine nature. As Janaki, she is Lakshmi herself, and she quietly summons the siddhis (mystic powers) to attend the guests, showing her sovereign grace even before the wedding.

सिधि सब सिय आयसु अकनि गईं जहाँ जनवास।

लिएँ संपदा सकल सुख सुरपुर भोग बिलास।।306।।

Sidhi sab siy aayasu akani gaeen jahaan janavaas

Lien sampadaa sakal sukh surapur bhog bilaas (306)

दोहा 306

At Sita's word the powers divine | brought heaven's treasure store,

To serve the guests with gifts so fine | than gods could ask no more.

All the siddhis, heeding Sita's command, went to the janavaas,

bringing with them every sampadaa, comfort, and celestial luxury worthy of Surapura itself.

Commentary & Notes ↓

Notes

Doha 306. The siddhis (supernatural powers) obey Sita as their sovereign, carrying 'surapur bhog bilaas' (the pleasures and luxuries of the city of the gods). This confirms Sita's divine authority: she is not merely a princess but the supreme Shakti who commands even the mystic powers of creation.

चौपाई 304
निज निज बास बिलोकि बराती। सुर सुख सकल सुलभ सब भाँती।।

Nij nij baas biloki baraatee. sur sukh sakal sulabh sab bhaantee

The wedding guests looked upon their respective lodgings, finding all divine pleasures and comforts readily available in every way.

बिभव भेद कछु कोउ न जाना। सकल जनक कर करहिं बखाना।।

Bibhav bhed kachhu kou na jaanaa. sakal janak kar karahin bakhaanaa

No one could discern any difference in the magnificence, as all praised Janaka's arrangements equally.

सिय महिमा रघुनायक जानी। हरषे हृदयँ हेतु पहिचानी।।

Siy mahimaa raghunaayak jaanee. harashe hridayan hetu pahichaanee

Recognizing Sita's glory and the Lord of Raghus, they rejoiced in their hearts, understanding the divine purpose.

पितु आगमनु सुनत दोउ भाई। हृदयँ न अति आनंदु अमाई।।

Pitu aagamanu sunat dou bhaaee. hridayan na ati aanandu amaaee

Hearing of their father's arrival, both brothers felt immeasurable joy in their hearts.

सकुचन्ह कहि न सकत गुरु पाहीं। पितु दरसन लालचु मन माहीं।।

Sakuchanh kahi na sakat guru paaheen. pitu darasan laalachu man maaheen

Being shy, they could not speak to their guru, though their minds longed eagerly for their father's darshan.

बिस्वामित्र बिनय बड़ि देखी। उपजा उर संतोषु बिसेषी।।

Bisvaamitr binay badi dekhee. upajaa ura santoshu biseshee

Seeing Vishwamitra's great humility, special contentment arose in his heart.

हरषि बंधु दोउ हृदयँ लगाए। पुलक अंग अंबक जल छाए।।

Harashi bandhu dou hridayan lagaae. pulak ang ambak jal chhaae

Joyfully embracing both brothers to his heart, his body thrilled with emotion and tears filled his eyes.

चले जहाँ दसरथु जनवासे। मनहुँ सरोबर तकेउ पिआसे।।

Chale jahaan dasarathu janavaase. manahun sarobar takeu piaase

They proceeded to where Dasharatha was staying, like thirsty ones rushing toward a lake.

Commentary & Notes ↓

Notes

Chaupai 304. This passage captures the deep familial bond between Rama, Lakshmana, and Dasharatha. Despite their overwhelming eagerness, the brothers maintain reverent restraint before Guru Vishvamitra, who lovingly facilitates the reunion. The closing simile of the thirsty ones rushing toward water beautifully conveys the intensity of filial love. 'Baraati' = wedding guests. 'Darshan' = sacred seeing. Chaupai pairs separated by blank lines per convention.

भूप बिलोके जबहिं मुनि आवत सुतन्ह समेत।

उठे हरषि सुखसिंधु महुँ चले थाह सी लेत।।307।।

Bhoop biloke jabahin muni aavat sutanh samet

Uthe harashi sukhasindhu mahun chale thaah see let (307)

दोहा 307

The king beheld the sage with sons draw near | Joy rose like ocean depths made clear

The moment the king beheld the sage approaching with his sons, he rose up in joy, as though an ocean of bliss itself had begun searching for its own depths.

Commentary & Notes ↓

Notes

Doha 307 (sortOrder 636). Dasharatha's joy at seeing Vishvamitra return with Rama and Lakshmana is compared to an ocean of happiness trying to fathom itself. The image suggests a joy so vast that even its own measure cannot contain it. 'Sukhasindhu' = ocean of bliss.

चौपाई 305
मुनिहि दंडवत कीन्ह महीसा। बार बार पद रज धरि सीसा।।

Munihi dandavat keenh maheesaa. baar baar pad raj dhari seesaa

The king bowed down to the sage, repeatedly placing the dust of his feet upon his head.

कौसिक राउ लिये उर लाई। कहि असीस पूछी कुसलाई।।

Kausik raau liye ura laaee. kahi asees poochhee kusalaaee

Sage Kaushika embraced him to his heart, blessed him and inquired about his welfare.

पुनि दंडवत करत दोउ भाई। देखि नृपति उर सुखु न समाई।।

Puni dandavat karat dou bhaaee. dekhi nripati ura sukhu na samaaee

Then both brothers bowed down in reverence, and seeing them the king's heart overflowed with joy.

सुत हियँ लाइ दुसह दुख मेटे। मृतक सरीर प्रान जनु भेंटे।।

Sut hiyan laai dusah dukh mete. mritak sareer praan janu bhente

Embracing his sons to his heart, he dispelled unbearable sorrow, like life returning to a lifeless body.

पुनि बसिष्ठ पद सिर तिन्ह नाए। प्रेम मुदित मुनिबर उर लाए।।

Puni basishth pad sir tinh naae. prem mudit munibar ura laae

Then they bowed their heads at Vasishtha's feet, and the joyful sage embraced them to his heart.

बिप्र बृंद बंदे दुहुँ भाईं। मन भावती असीसें पाईं।।

Bipr brind bande duhun bhaaeen. man bhaavatee aseesen paaeen

The assembly of Brahmins blessed both brothers, who received their heartfelt benedictions.

भरत सहानुज कीन्ह प्रनामा। लिए उठाइ लाइ उर रामा।।

Bharat sahaanuj keenh pranaamaa. lie uthaai laai ura raamaa

Bharata with Shatrughna made obeisance, and Rama lifted them up and embraced them lovingly.

हरषे लखन देखि दोउ भ्राता। मिले प्रेम परिपूरित गाता।।

Harashe lakhan dekhi dou bhraataa. mile prem paripoorit gaataa

Lakshmana rejoiced seeing both his brothers, and they met with hearts filled with love.

Commentary & Notes ↓

Notes

Chaupai 305. This magnificent reunion scene unfolds in a cascade of embraces. The simile of life returning to a dead body (mritak shareer praan janu bhente) powerfully conveys the depth of Dasharatha's paternal anguish and relief. Each encounter follows proper protocol of reverence: first to sages, then to elders, then among brothers. 'Dandavat' = full prostration. 'Kaushika' = Vishvamitra's clan name.

पुरजन परिजन जातिजन जाचक मंत्री मीत।

मिले जथाबिधि सबहि प्रभु परम कृपाल बिनीत।।308।।

Purajan parijan jaatijan jaachak mantree meet

Mile jathaabidhi sabahi prabhu param kripaal bineet (308)

दोहा 308

All the realm with joy did meet | Their gracious Lord so kind and sweet

Citizens, kinsmen, clansmen, supplicants, ministers, and friends: the supremely gracious and humble Lord met them all, each according to their station.

Commentary & Notes ↓

Notes

Doha 308 (sortOrder 638). The word 'yathaabidhi' (according to proper custom) underscores Rama's sensitivity to social propriety, while 'param kripaal bineet' (supremely gracious and humble) reveals that this propriety flows not from mere formality but from the Lord's innate tenderness toward all.

चौपाई 306
रामहि देखि बरात जुड़ानी। प्रीति कि रीति न जाति बखानी।।

Raamahi dekhi baraat judaanee. preeti ki reeti na jaati bakhaanee

Seeing Rama in the wedding procession, the assembled people were filled with such love that its manner and intensity cannot be described.

नृप समीप सोहहिं सुत चारी। जनु धन धरमादिक तनुधारी।।

Nrip sameep sohahin sut chaaree. janu dhan dharamaadik tanudhaaree

Near the king shine his four sons, appearing like the four goals of life - dharma, artha, kama and moksha - having taken bodily form.

सुतन्ह समेत दसरथहि देखी। मुदित नगर नर नारि बिसेषी।।

Sutanh samet dasarathahi dekhee. mudit nagar nar naari biseshee

Seeing Dasharatha with his sons, the men and women of the city were especially delighted and joyful.

सुमन बरिसि सुर हनहिं निसाना। नाकनटीं नाचहिं करि गाना।।

Suman barisi sur hanahin nisaanaa. naakanateen naachahin kari gaanaa

The gods shower flowers and sound their drums, while the celestial dancers perform with songs of celebration.

सतानंद अरु बिप्र सचिव गन। मागध सूत बिदुष बंदीजन।।

Sataanand aru bipr sachiv gan. maagadh soot bidush bandeejan

Sage Shatananda, the brahmin ministers, the court bards, genealogists, jesters and panegyrists were all present.

सहित बरात राउ सनमाना। आयसु मागि फिरे अगवाना।।

Sahit baraat raau sanamaanaa. aayasu maagi phire agavaanaa

The king honored the entire wedding party appropriately, then seeking permission, the advance party returned.

प्रथम बरात लगन तें आई। तातें पुर प्रमोदु अधिकाई।।

Pratham baraat lagan ten aaee. taaten pur pramodu adhikaaee

This was the first wedding procession to arrive for the ceremony, therefore the joy in the city increased greatly.

ब्रह्मानंदु लोग सब लहहीं। बढ़हुँ दिवस निसि बिधि सन कहहीं।।

Brahmaanandu log sab lahaheen. badhahun divas nisi bidhi san kahaheen

All the people experience divine bliss, and they tell the Creator to make the days and nights pass more slowly.

Commentary & Notes ↓

Notes

Chaupai 306. The comparison of Dasharatha's four sons to the four Purusharthas (goals of life) in embodied form is a signature Tulsidasan flourish, asserting the princes' divine completeness. The closing couplet, where the people beg the Creator to slow time so that the wedding festivities may linger, conveys an ecstatic joy so total it borders on the transcendent. 'Brahmanandu' = the bliss of Brahman, ultimate divine joy. 'Vidhi' = Brahma, the Creator.

रामु सीय सोभा अवधि सुकृत अवधि दोउ राज।

जहँ जहँ पुरजन कहहिं अस मिलि नर नारि समाज।।।309।।

Raamu seey sobhaa avadhi sukrit avadhi dou raaj

Jahan jahan purajan kahahin asa mili nar naari samaaj (309)

दोहा 309

Rama-Sita, beauty's crown | Two kingdoms of virtue's renown

Rama and Sita are the very summit of beauty, and both royal houses are the pinnacle of virtue. So the citizens declare wherever they gather, men and women coming together in joyful fellowship.

Commentary & Notes ↓

Notes

Doha 309. The people of Janakpur voice their collective wonder at the divine couple. 'Sobhaa avadhi' (the limit of beauty) and 'sukrit avadhi' (the limit of virtue) establish a parallel: outer radiance mirrors inner merit. The verse sets the tone for the wedding festivities that follow.

चौपाई 307
जनक सुकृत मूरति बैदेही। दसरथ सुकृत रामु धरें देही।।

Janak sukrit moorati baidehee. dasarath sukrit raamu dharen dehee

Vaidehi is the embodiment of Janaka's virtuous deeds, and Rama bears a divine form as the fruit of Dasharatha's merit.

इन्ह सम काँहु न सिव अवराधे। काहिं न इन्ह समान फल लाधे।।

Inh sam kaanhu na siv avaraadhe. kaahin na inh samaan phal laadhe

None have worshipped Shiva as these have done, nor has anyone obtained such supreme fruit as they have gained.

इन्ह सम कोउ न भयउ जग माहीं। है नहिं कतहूँ होनेउ नाहीं।।

Inh sam kou na bhayau jag maaheen. hai nahin katahoon honeu naaheen

None like these have ever been born in this world, nor exist anywhere, nor shall ever be born.

हम सब सकल सुकृत कै रासी। भए जग जनमि जनकपुर बासी।।

Ham sab sakal sukrit kai raasee. bhae jag janami janakapur baasee

We are all the very essence of accumulated virtuous deeds, having been born in this world as residents of Janakpur.

जिन्ह जानकी राम छबि देखी। को सुकृती हम सरिस बिसेषी।।

Jinh jaanakee raam chhabi dekhee. ko sukritee ham saris biseshee

Who among the virtuous is as specially blessed as we, who have beheld the beauty of Janaki and Rama?

पुनि देखब रघुबीर बिआहू। लेब भली बिधि लोचन लाहू।।

Puni dekhab raghubeer biaahoo. leb bhalee bidhi lochan laahoo

We shall again witness the wedding of Raghuvira and shall gain the supreme benefit for our eyes in the best manner.

कहहिं परसपर कोकिलबयनीं। एहि बिआहँ बड़ लाभु सुनयनीं।।

Kahahin parasapar kokilabayaneen. ehi biaahan bad laabhu sunayaneen

The sweet-voiced, beautiful-eyed women say to each other that this wedding brings great benefit.

बड़ें भाग बिधि बात बनाई। नयन अतिथि होइहहिं दोउ भाई।।

Baden bhaag bidhi baat banaaee. nayan atithi hoihahin dou bhaaee

By great fortune, the Creator has arranged this matter - both brothers shall become guests for our eyes.

Commentary & Notes ↓

Notes

Chaupai 307. Eight couplets spoken by the maidens of Janakpur. They recognize Sita and Rama as embodied merit (sukrit moorati) of their respective fathers and declare the citizens supremely fortunate to witness the divine beauty. 'Kokilabayaneen' (cuckoo-voiced) and 'sunayaneen' (beautiful-eyed) are affectionate epithets the women use for each other. 'Nayan atithi' (guests of the eyes) is a tender figure: to behold the princes is itself a sacred hospitality.

बारहिं बार सनेह बस जनक बोलाउब सीय।

लेन आइहहिं बंधु दोउ कोटि काम कमनीय।।310।।

Baarahin baar saneh bas janak bolaaub seey

Len aaihahin bandhu dou koti kaam kamaneey (310)

दोहा 310

Again and again with father's love, | Janaka will call his daughter dear,

When come the brothers fair as gods, | like Cupid's host appearing here.

Again and again, overcome with love, Janaka will summon Sita, and both brothers will come to receive her, beautiful as ten million Kamadevas.

Commentary & Notes ↓

Notes

Doha 310. The women imagine the wedding scene: father Janaka, helpless with affection (saneh bas), calling Sita to his side repeatedly. 'Koti kaam kamaneey' (lovely as a crore of Cupids) is Tulsidas's characteristic hyperbole for Rama and Lakshmana's beauty, placing them beyond any single earthly comparison.

चौपाई 308
बिबिध भाँति होइहि पहुनाई। प्रिय न काहि अस सासुर माई।।

Bibidh bhaanti hoihi pahunaaee. priy na kaahi asa saasur maaee

There will be hospitality of various kinds. What mother-in-law would not love such dear ones?

तब तब राम लखनहि निहारी। होइहहिं सब पुर लोग सुखारी।।

Tab tab raam lakhanahi nihaaree. hoihahin sab pur log sukhaaree

When people see Rama and Lakshmana again and again, all the citizens of the city will become joyful.

सखि जस राम लखनकर जोटा। तैसेइ भूप संग दुइ ढोटा।।

Sakhi jas raam lakhanakar jotaa. taisei bhoop sang dui dhotaa

O friend, just as Rama and Lakshmana are a pair, so are these two princes with the king.

स्याम गौर सब अंग सुहाए। ते सब कहहिं देखि जे आए।।

Syaam gaur sab ang suhaae. te sab kahahin dekhi je aae

One dark and one fair, all their limbs are beautiful - so say all who come to see them.

कहा एक मैं आजु निहारे। जनु बिरंचि निज हाथ सँवारे।।

Kahaa eka main aaju nihaare. janu biranchi nij haath sanvaare

One person said, 'Today I have seen those whom Brahma has adorned with his own hands.'

भरतु रामही की अनुहारी। सहसा लखि न सकहिं नर नारी।।

Bharatu raamahee kee anuhaaree. sahasaa lakhi na sakahin nar naaree

Bharata resembles Rama so much that men and women cannot distinguish between them at first glance.

लखनु सत्रुसूदनु एकरूपा। नख सिख ते सब अंग अनूपा।।

Lakhanu satrusoodanu ekaroopaa. nakh sikh te sab ang anoopaa

Lakshmana and Shatrughna are identical in form, with every limb from head to toe being matchless.

मन भावहिं मुख बरनि न जाहीं। उपमा कहुँ त्रिभुवन कोउ नाहीं।।

Man bhaavahin mukh barani na jaaheen. upamaa kahun tribhuvan kou naaheen

They please the heart but cannot be described in words. There is no comparison for them in all three worlds.

Commentary & Notes ↓

Notes

Chaupai 308. The city women continue their eager conversation, marvelling at all four brothers. 'Syaam gaur' (dark and fair) refers to the contrasting complexions of Rama (dark, like a fresh rain-cloud) and Lakshmana (fair). Bharata mirrors Rama, and Shatrughna mirrors Lakshmana, so the four form two matched pairs. The closing line, 'upamaa kahun tribhuvan kou naaheen' (no comparison in the three worlds), is Tulsidas's way of saying that divine beauty defeats all metaphor.

छन्द 25
उपमा न कोउ कह दास तुलसी कतहुँ कबि कोबिद कहैं।

बल बिनय बिद्या सील सोभा सिंधु इन्ह से एइ अहैं।।

पुर नारि सकल पसारि अंचल बिधिहि बचन सुनावहीं।।

ब्याहिअहुँ चारिउ भाइ एहिं पुर हम सुमंगल गावहीं।।

Upamaa na kou kah daas tulasee katahun kabi kobid kahain

Bal binay bidyaa seel sobhaa sindhu inh se ei ahain

Pur naari sakal pasaari anchal bidhihi bachan sunaavaheen

Byaahiahun chaariu bhaai ehin pur ham sumangal gaavaheen

Oceans of virtue, strength and grace, | no earthly comparison can be,

Wed them all within our walls, | sing we songs of victory!

No comparison exists anywhere, says the servant Tulasi; let poets and scholars say what they will. These princes alone are oceans of strength, humility, learning, virtue, and beauty. All the women of the city spread their veils and speak these words to the Creator: 'May all four brothers be wedded in this very city, and we shall sing songs of supreme blessing.'

Commentary & Notes ↓

Notes

Chhand 25. Tulsidas speaks in his own voice ('daas Tulasee'), humbly declaring that no poet or pandit (kabi kobid) can find an adequate simile. The women's gesture of spreading their anchal (veil-edges) before Vidhi (the Creator, Brahma) is a traditional act of entreaty. Their prayer, 'byaahiahun chaariu bhaai ehin pur' (may all four brothers marry here), voices the community's deepest wish and closes this lyrical sequence on a note of collective devotion.

कहहिं परस्पर नारि बारि बिलोचन पुलक तन।

सखि सबु करब पुरारि पुन्य पयोनिधि भूप दोउ।।311।।

Kahahin paraspar naari baari bilochan pulak tan

Sakhi sabu karab puraari puny payonidhi bhoop dou (311)

दोहा 311

With tears of joy and hearts that thrill, | the women speak of fortune's call,

Shiva will bless, the kings are pure, | the Lord will surely bless us all.

The women speak among themselves, their eyes brimming with tears and their bodies thrilling with delight: 'Dear friend, Lord Shiva, the destroyer of Tripura, will bring all to fulfillment. Both kings are oceans of sacred merit.'

Commentary & Notes ↓

Notes

Puraari (destroyer of Tripura) is an epithet of Shiva, whose bow-breaking set the wedding in motion. The women's tears (baari bilochan) and horripilation (pulak tan) are classical signs of overwhelming devotional ecstasy (sattvika bhaava). Their confidence in both kings' merit reflects the community's faith that divine will is at work.

चौपाई 309
एहि बिधि सकल मनोरथ करहीं। आनँद उमगि उमगि उर भरहीं।।

Ehi bidhi sakal manorath karaheen. aanand umagi umagi ura bharaheen

In this manner all fulfilled their heart's desires, with joy overflowing and filling their hearts again and again.

जे नृप सीय स्वयंबर आए। देखि बंधु सब तिन्ह सुख पाए।।

Je nrip seey svayambar aae. dekhi bandhu sab tinh sukh paae

The kings who had come to Sita's swayamvara all found happiness seeing the divine brothers.

कहत राम जसु बिसद बिसाला। निज निज भवन गए महिपाला।।

Kahat raam jasu bisad bisaalaa. nij nij bhavan gae mahipaalaa

Speaking of Rama's pure and vast glory, all the kings departed to their respective homes.

गए बीति कुछ दिन एहि भाँती। प्रमुदित पुरजन सकल बराती।।

Gae beeti kuchh din ehi bhaantee. pramudit purajan sakal baraatee

Several days passed in this joyful manner, with all the citizens and wedding party remaining in bliss.

मंगल मूल लगन दिनु आवा। हिम रितु अगहनु मासु सुहावा।।

Mangal mool lagan dinu aavaa. him ritu agahanu maasu suhaavaa

The auspicious wedding day arrived in the beautiful month of Agahan during winter season.

ग्रह तिथि नखतु जोगु बर बारू। लगन सोधि बिधि कीन्ह बिचारू।।

Grah tithi nakhatu jogu bar baaroo. lagan sodhi bidhi keenh bichaaroo

Brahma carefully considered and determined the most favorable planetary positions, lunar day, constellation, and auspicious time.

पठै दीन्हि नारद सन सोई। गनी जनक के गनकन्ह जोई।।

Pathai deenhi naarad san soee. ganee janak ke ganakanh joee

He sent that auspicious timing through Narada to the astrologers of King Janaka.

सुनी सकल लोगन्ह यह बाता। कहहिं जोतिषी आहिं बिधाता।।

Sunee sakal loganh yah baataa. kahahin jotishee aahin bidhaataa

Hearing this news, all the people said that the astrologers had become like destiny itself.

Commentary & Notes ↓

Notes

Agahana (Agrahayana, November-December) is considered deeply auspicious for sacred rites. Brahma (Bidhi) personally calculating the lagna (wedding moment) and dispatching it through the celestial sage Narada underscores the cosmic scale of this union. The people's exclamation that the jyotishis (astrologers) 'are Vidhaata (the Creator)' is both folk hyperbole and theological truth: the timing literally comes from the Creator.

धेनुधूरि बेला बिमल सकल सुमंगल मूल।

बिप्रन्ह कहेउ बिदेह सन जानि सगुन अनुकुल।।312।।

Dhenudhoori belaa bimal sakal sumangal mool

Bipranh kaheu bideh san jaani sagun anukul (312)

दोहा 312

When cattle homeward turn at eve, | all blessings the wise perceive

Brahmins blessed the chosen hour | with fortune's favoring power

The pure and lovely hour of dusk, when cattle raise dust on their homeward path, the root of all auspiciousness: the Brahmins told King Videha that all omens were favorable.

Commentary & Notes ↓

Notes

Dhenu-dhoori belaa (the hour of cow-dust) is a deeply sacred time in Hindu tradition, when the dust raised by returning cattle sanctifies the atmosphere. Videha is the dynastic title of King Janaka, meaning 'beyond the body,' pointing to his renowned spiritual detachment even in the midst of royal duties.

चौपाई 310
उपरोहितहि कहेउ नरनाहा। अब बिलंब कर कारनु काहा।।

Uparohitahi kaheu naranaahaa. aba bilamb kar kaaranu kaahaa

The king spoke to the priest, asking what reason there was for any further delay.

सतानंद तब सचिव बोलाए। मंगल सकल साजि सब ल्याए।।

Sataanand tab sachiv bolaae. mangal sakal saaji sab lyaae

Then Satananda called all the ministers and had them arrange all the auspicious preparations.

संख निसान पनव बहु बाजे। मंगल कलस सगुन सुभ साजे।।

Sankh nisaan panav bahu baaje. mangal kalas sagun subh saaje

Conches, trumpets, and many drums resounded as auspicious vessels and good omens were arranged.

सुभग सुआसिनि गावहिं गीता। करहिं बेद धुनि बिप्र पुनीता।।

Subhag suaasini gaavahin geetaa. karahin bed dhuni bipr puneetaa

Beautiful married women sang songs while the pure brahmins chanted Vedic hymns.

लेन चले सादर एहि भाँती। गए जहाँ जनवास बराती।।

Len chale saadar ehi bhaantee. gae jahaan janavaas baraatee

In this manner they set forth respectfully to where the wedding party was staying.

कोसलपति कर देखि समाजू। अति लघु लाग तिन्हहि सुरराजू।।

Kosalapati kar dekhi samaajoo. ati laghu laag tinhahi suraraajoo

Seeing the assembly of the lord of Kosala, even Indra the king of gods seemed very small to them.

भयउ समउ अब धारिअ पाऊ। यह सुनि परा निसानहिं घाऊ।।

Bhayau samau aba dhaaria paaoo. yah suni paraa nisaanahin ghaaoo

Now the time has come to proceed - hearing this, the trumpets were sounded.

गुरहि पूछि करि कुल बिधि राजा। चले संग मुनि साधु समाजा।।

Gurahi poochhi kari kul bidhi raajaa. chale sang muni saadhu samaajaa

After consulting the guru and performing the family customs, the king departed with the assembly of sages and holy men.

Commentary & Notes ↓

Notes

Satananda is Janaka's family priest, son of the sage Gautama and Ahalya. Janaka's eagerness ('What reason remains for delay?') reflects both a father's joy and the saint-king's awareness that this is a divinely appointed hour. The statement that even Suraraaju (Indra) seemed small before Dasharatha's retinue conveys the supreme glory that descends when the Lord incarnates as a bridegroom. Kul bidhi (family customs) points to the sacred protocols of the Solar and Lunar dynasties.

भाग्य बिभव अवधेस कर देखि देव ब्रह्मादि।

लगे सराहन सहस मुख जानि जनम निज बादि।।313।।

Bhaagy bibhav avadhes kar dekhi dev brahmaadi

Lage saraahan sahas mukh jaani janam nij baadi (313)

दोहा 313

By His maya all worlds move, | from Brahma to each sprite;

by His being all seems real, | as rope-snake fools the sight.

His feet alone, the only boat | for those who'd cross life's sea;

I bow to Rama, Lord of all, | the cause of all that be.

Seeing the fortune and magnificence of the King of Ayodhya, the gods, beginning with Brahma, began to praise him with a thousand mouths, considering their own births to be in vain.

Commentary & Notes ↓

Poddarji's Commentary

जिनकी मायाके वशीभूत सम्पूर्ण विश्व, ब्रह्मादि देवता और असुर हैं, जिनकी सत्तासे रस्सीमें सर्पके भ्रमकी भाँति यह सारा दृश्य-जगत्‌ सत्य ही प्रतीत होता है और जिनके केवल चरण ही भवसागरसे तरनेकी इच्छावालोंके लिये एकमात्र नौका हैं, उन समस्त कारणोंसे पर (सब कारणोंके कारण और सबसे श्रेष्ठ) राम कहानेवाले भगवान्‌ हरिकी मैं वन्दना करता हूँ॥ ६॥

Notes

Avadhesa is Dasharatha, lord of Ayodhya. The gods' envy is a recurring Manas motif: celestial beings with their vast powers and lifespans feel their existence is futile (baadi) compared to the supreme blessing of being in the presence of Rama as His earthly father. The 'thousand mouths' (sahasa mukha) alludes to Shesha, the cosmic serpent, suggesting that even infinite praise falls short.

चौपाई 311
सुरन्ह सुमंगल अवसरु जाना। बरषहिं सुमन बजाइ निसाना।।

Suranh sumangal avasaru jaanaa. barashahin suman bajaai nisaanaa

The gods recognized this as an auspicious occasion and showered flowers while sounding celestial trumpets.

सिव ब्रह्मादिक बिबुध बरूथा। चढ़े बिमानन्हि नाना जूथा।।

Siv brahmaadik bibudh baroothaa. chadhe bimaananhi naanaa joothaa

Shiva, Brahma and hosts of other deities mounted their various celestial vehicles in groups.

प्रेम पुलक तन हृदयँ उछाहू। चले बिलोकन राम बिआहू।।

Prem pulak tan hridayan uchhaahoo. chale bilokan raam biaahoo

With bodies thrilling with love and hearts filled with joy, they departed to witness Rama's wedding.

देखि जनकपुरु सुर अनुरागे। निज निज लोक सबहिं लघु लागे।।

Dekhi janakapuru sur anuraage. nij nij lok sabahin laghu laage

Seeing Janakpur, the gods were filled with love, and their own realms seemed small in comparison.

चितवहिं चकित बिचित्र बिताना। रचना सकल अलौकिक नाना।।

Chitavahin chakit bichitr bitaanaa. rachanaa sakal alaukik naanaa

They gazed in wonder at the marvelous decorations and all the extraordinary divine arrangements.

नगर नारि नर रूप निधाना। सुघर सुधरम सुसील सुजाना।।

Nagar naari nar roop nidhaanaa. sughar sudharam suseel sujaanaa

The men and women of the city were treasures of beauty - virtuous, righteous, gentle and wise.

तिन्हहि देखि सब सुर सुरनारीं। भए नखत जनु बिधु उजिआरीं।।

Tinhahi dekhi sab sur suranaareen. bhae nakhat janu bidhu ujiaareen

Seeing them, all the gods and goddesses became like stars dimmed by the moon's radiance.

बिधिहि भयह आचरजु बिसेषी। निज करनी कछु कतहुँ न देखी।।

Bidhihi bhayah aacharaju biseshee. nij karanee kachhu katahun na dekhee

Brahma was especially amazed, for he could not see anywhere any of his own handiwork.

Commentary & Notes ↓

Notes

Chaupai 311. The divine attendance at Rama's wedding underscores its cosmic significance. Tulsidas heightens the wonder by showing that even Brahma, the creator himself, cannot recognize his own creation in the beauty of Janakpur. The simile of stars outshone by the moon (nakhat janu bidhu ujiaari) places mortal beauty above celestial splendor, reversing the usual hierarchy.

सिवँ समुझाए देव सब जनि आचरज भुलाहु।

हृदयँ बिचारहु धीर धरि सिय रघुबीर बिआहु।।314।।

Sivan samujhaae dev sab jani aacharaj bhulaahu

Hridayan bichaarahu dheer dhari siy raghubeer biaahu (314)

दोहा 314

Shiva speaks to wondering gods: | 'Still your hearts, forget all odds

On this sacred union dwell' | Sita-Rama's wedding bell

Shiva counseled all the gods: 'Do not lose yourselves in wonder.

Steady your hearts and reflect calmly upon Sita and Raghuveer's sacred wedding.'

Commentary & Notes ↓

Notes

Doha 314. Shiva redirects the gods from surface marvels to the deeper spiritual truth. His counsel (samujhaae) is not merely practical but contemplative: the real wonder is not Janakpur's beauty but the divine union of Sita and Rama. 'Raghubeer biaahu' carries the full weight of the cosmic event they have come to witness.

चौपाई 312
जिन्ह कर नामु लेत जग माहीं। सकल अमंगल मूल नसाहीं।।

Jinh kar naamu let jag maaheen. sakal amangal mool nasaaheen

Those whose name when taken in this world destroys all inauspicious things at their very root.

करतल होहिं पदारथ चारी। तेइ सिय रामु कहेउ कामारी।।

Karatal hohin padaarath chaaree. tei siy raamu kaheu kaamaaree

The four goals of life come within one's grasp - these are Sita and Rama, said the destroyer of Kamadeva.

एहि बिधि संभु सुरन्ह समुझावा। पुनि आगें बर बसह चलावा।।

Ehi bidhi sambhu suranh samujhaavaa. puni aagen bar basah chalaavaa

In this way Shambhu explained to the gods, then proceeded forward with his excellent bull.

देवन्ह देखे दसरथु जाता। महामोद मन पुलकित गाता।।

Devanh dekhe dasarathu jaataa. mahaamod man pulakit gaataa

The gods saw Dasharatha going with great joy in his heart and body thrilled with delight.

साधु समाज संग महिदेवा। जनु तनु धरें करहिं सुख सेवा।।

Saadhu samaaj sang mahidevaa. janu tanu dharen karahin sukh sevaa

With the assembly of saints and the king of earth, as if embodied virtues were serving in bliss.

सोहत साथ सुभग सुत चारी। जनु अपबरग सकल तनुधारी।।

Sohat saath subhag sut chaaree. janu apabarag sakal tanudhaaree

Accompanied by his four beautiful sons, as if all forms of liberation had taken bodily form.

मरकत कनक बरन बर जोरी। देखि सुरन्ह भै प्रीति न थोरी।।

Marakat kanak baran bar joree. dekhi suranh bhai preeti na thoree

The excellent pair of emerald and golden complexion - seeing them, the gods felt no small love.

पुनि रामहि बिलोकि हियँ हरषे। नृपहि सराहि सुमन तिन्ह बरषे।।

Puni raamahi biloki hiyan harashe. nripahi saraahi suman tinh barashe

Then beholding Rama, their hearts rejoiced; praising the king, they showered flowers upon him.

Commentary & Notes ↓

Notes

Chaupai 312. Shiva's teaching reaches its crescendo: the names of Sita and Rama grant both worldly fulfillment (the four purusharthas: dharma, artha, kama, moksha) and the uprooting of all inauspicious tendencies. 'Kaamaaree' (destroyer of Kama) is an epithet of Shiva, grounding his authority to speak of desire transcended. The emerald-and-gold (marakat-kanak) pairing refers to Rama's dark and Sita's fair complexion.

राम रूपु नख सिख सुभग बारहिं बार निहारि।

पुलक गात लोचन सजल उमा समेत पुरारि।।315।।

Raam roopu nakh sikh subhag baarahin baar nihaari

Pulak gaat lochan sajal umaa samet puraari (315)

दोहा 315

From head to toe, such beauty rare | Again, again, with loving stare

With thrills and tears of pure delight | Shiva and Uma share the sight

Gazing again and again at Rama's beauty, exquisite from head to toe,

Purari stood with Uma, his body thrilling and his eyes brimming with tears.

Commentary & Notes ↓

Notes

Doha 315. Shiva (Purari, destroyer of the three cities) and Parvati (Uma) are themselves overwhelmed by devotion. The great ascetic lord, who counseled steadiness moments ago, now trembles with love (pulak gaat) and weeps (lochan sajal). Tulsidas shows that true composure and true devotion are not opposites; the steadiest heart is also the most tender.

चौपाई 313
केकि कंठ दुति स्यामल अंगा। तड़ित बिनिंदक बसन सुरंगा।।

Keki kanth duti syaamal angaa. tadit binindak basan surangaa

His throat gleams like a peacock's neck, his dark limbs radiant, wearing garments that put lightning to shame with their beautiful colors.

ब्याह बिभूषन बिबिध बनाए। मंगल सब सब भाँति सुहाए।।

Byaah bibhooshan bibidh banaae. mangal sab sab bhaanti suhaae

He is adorned with various wedding ornaments, all auspicious and beautiful in every way.

सरद बिमल बिधु बदनु सुहावन। नयन नवल राजीव लजावन।।

Sarad bimal bidhu badanu suhaavan. nayan naval raajeev lajaavan

His lovely face is like the clear autumn moon, his fresh eyes put blooming lotuses to shame.

सकल अलौकिक सुंदरताई। कहि न जाइ मनहीं मन भाई।।

Sakal alaukik sundarataaee. kahi na jaai manaheen man bhaaee

All his supernatural beauty cannot be described, it delights the mind beyond words.

बंधु मनोहर सोहहिं संगा। जात नचावत चपल तुरंगा।।

Bandhu manohar sohahin sangaa. jaat nachaavat chapal turangaa

His charming brothers shine alongside him as they go, making their spirited horses dance.

राजकुअँर बर बाजि देखावहिं। बंस प्रसंसक बिरिद सुनावहिं।।

Raajakuanr bar baaji dekhaavahin. bans prasansak birid sunaavahin

The noble princes display their excellent horses and proclaim the glorious deeds of their lineage.

जेहि तुरंग पर रामु बिराजे। गति बिलोकि खगनायकु लाजे।।

Jehi turang par raamu biraaje. gati biloki khaganaayaku laaje

The horse on which Rama is seated moves with such grace that even Garuda, the king of birds, feels ashamed seeing its gait.

कहि न जाइ सब भाँति सुहावा। बाजि बेषु जनु काम बनावा।।

Kahi na jaai sab bhaanti suhaavaa. baaji beshu janu kaam banaavaa

The horse's beauty in every aspect cannot be described, as if Kamadeva himself had fashioned its form and adornment.

Commentary & Notes ↓

Notes

Chaupai 313. Tulsidas paints Rama's wedding portrait through a cascade of comparisons drawn from nature and the divine: peacock-throat luster, lightning-shaming garments, autumn moon, fresh lotuses. Each simile is immediately surpassed, showing that Rama's beauty exceeds every reference point. Even Garuda, lord of flight, is humbled by the horse's gait, and Kamadeva, lord of beauty, is invoked only as craftsman, not rival.

छन्द 26
जनु बाजि बेषु बनाइ मनसिजु राम हित अति सोहई।

आपनें बय बल रूप गुन गति सकल भुवन बिमोहई।।

जगमगत जीनु जराव जोति सुमोति मनि मानिक लगे।

किंकिनि ललाम लगामु ललित बिलोकि सुर नर मुनि ठगे।।

Janu baaji beshu banaai manasiju raam hit ati sohaee

Aapanen bay bal roop gun gati sakal bhuvan bimohaee

Jagamagat jeenu jaraav joti sumoti mani maanik lage

Kinkini lalaam lagaamu lalit biloki sur nar muni thage

Love designed this steed divine | Jeweled trappings bright that shine

Bells and bridle, graceful, fair | Gods and sages stop and stare

As though Kamadeva himself fashioned the horse for Rama's sake, it shines with surpassing beauty.

With its own youth, strength, grace, virtues, and gait, it enchants all the worlds.

The saddle glitters with golden inlay, radiant with fine gems, rubies, and jewels.

Tinkling bells, a splendid frontlet, and elegant reins. Gods, men, and sages stand spellbound at the sight.

Commentary & Notes ↓

Notes

Chhand 26. Describes Rama's horse in the wedding procession. 'Manasiju' (Kamadeva, the god of desire) is said to have designed this steed for Rama. 'Jeenu' is the saddle; 'lalaam' the decorative frontlet on the horse's forehead; 'kinkini' the small bells on the harness. The verse uses dense alliterative ornamentation (jagamagat, jaraav, joti) to mirror the dazzling visual splendor. Four-line chhand rendered as four sentences separated by line breaks.

प्रभु मनसहिं लयलीन मनु चलत बाजि छबि पाव।

भूषित उड़गन तड़ित घनु जनु बर बरहि नचाव।।316।।

Prabhu manasahin layaleen manu chalat baaji chhabi paav

Bhooshit udagan tadit ghanu janu bar barahi nachaav (316)

दोहा 316

Mind in deep devotion lost | Steed with beauty's grace embossed

Jeweled cloud with lightning dancing | In the sky's pure light advancing

The Lord's mind is absorbed in deep contemplation, yet the moving horse attains such beauty. Like a jewel-studded cloud lit by flashes of lightning, as if a magnificent peacock dances upon it.

Commentary & Notes ↓

Notes

Doha 316 (numbered 317 in some editions). Rama sits meditatively on the horse during the procession. The simile compares the decorated, moving horse to a dark cloud adorned with stars ('udagan') and lightning ('tadit'), while the proud gait suggests a peacock ('barahi') dancing. 'Layaleen' conveys complete inner absorption, contrasting the outer pageantry with Rama's inward stillness.

चौपाई 314
जेहिं बर बाजि रामु असवारा। तेहि सारदउ न बरनै पारा।।

Jehin bar baaji raamu asavaaraa. tehi saaradau na baranai paaraa

The excellent horse upon which Rama rides cannot be adequately described even by Goddess Saraswati herself.

संकरु राम रूप अनुरागे। नयन पंचदस अति प्रिय लागे।।

Sankaru raam roop anuraage. nayan panchadas ati priy laage

Lord Shiva became enamored with Rama's beautiful form, finding His fifteen eyes extremely dear and pleasing.

हरि हित सहित रामु जब जोहे। रमा समेत रमापति मोहे।।

Hari hit sahit raamu jab johe. ramaa samet ramaapati mohe

When Rama looked upon Hari with affection, the Lord of Lakshmi was enchanted along with Lakshmi herself.

निरखि राम छबि बिधि हरषाने। आठइ नयन जानि पछिताने।।

Nirakhi raam chhabi bidhi harashaane. aathai nayan jaani pachhitaane

Seeing Rama's beauty, Brahma rejoiced but then regretted having only eight eyes to behold Him.

सुर सेनप उर बहुत उछाहू। बिधि ते डेवढ़ लोचन लाहू।।

Sur senap ura bahut uchhaahoo. bidhi te devadh lochan laahoo

Indra, the commander of the gods, felt great joy in his heart, considering himself one and a half times more fortunate than Brahma in having more eyes.

रामहि चितव सुरेस सुजाना। गौतम श्रापु परम हित माना।।

Raamahi chitav sures sujaanaa. gautam shraapu param hit maanaa

The wise king of gods, Indra, gazed upon Rama and considered sage Gautama's curse to be supremely beneficial.

देव सकल सुरपतिहि सिहाहीं। आजु पुरंदर सम कोउ नाहीं।।

Dev sakal surapatihi sihaaheen. aaju purandar sam kou naaheen

All the gods praised Indra, saying that today no one equals Purandara (Indra) in good fortune.

मुदित देवगन रामहि देखी। नृपसमाज दुहुँ हरषु बिसेषी।।

Mudit devagan raamahi dekhee. nripasamaaj duhun harashu biseshee

The assembly of gods rejoiced upon seeing Rama, and both the divine gathering and the royal assembly experienced special happiness.

Commentary & Notes ↓

Notes

Chaupai 314. A panoramic scene of divine response to Rama's beauty during the wedding procession. Shiva with five heads and three eyes each has fifteen eyes. Brahma with four heads and two eyes each has eight. Karttikeya ('Sur Senap,' commander of the divine army) has twelve eyes (one and a half times eight). Indra gained a thousand eyes from Gautama's curse (the Ahalya episode), which here becomes a blessing since each eye can drink in Rama's form. 'Saaradau' is Saraswati, goddess of speech. The verse builds a playful hierarchy of divine longing measured by the number of eyes available to behold the Lord. Rendered with \n\n between each couplet pair per chaupai convention.

छन्द 27
अति हरषु राजसमाज दुहु दिसि दुंदुभीं बाजहिं घनी।

बरषहिं सुमन सुर हरषि कहि जय जयति जय रघुकुलमनी।।

एहि भाँति जानि बरात आवत बाजने बहु बाजहीं।

रानि सुआसिनि बोलि परिछनि हेतु मंगल साजहीं।।

Ati harashu raajasamaaj duhu disi dundubheen baajahin ghanee

Barashahin suman sur harashi kahi jay jayati jay raghukulamanee

Ehi bhaanti jaani baraat aavat baajane bahu baajaheen

Raani suaasini boli parichhani hetu mangal saajaheen

Joy fills both courts with celebration | drums and flowers from above

Gods cry victory to Raghu's heir | instruments sound songs of love

Queens prepare the welcome rites | with auspicious ceremony

All creation joins in praise | of this sacred matrimony

Both royal assemblies overflow with joy; kettledrums resound on every side.

The gods rain flowers in delight, crying 'Victory, victory, glory to the jewel of Raghu's lineage!'

Hearing that the wedding procession approaches, many instruments begin to play.

The queens summon the auspicious married women and prepare the welcome ceremony with sacred rites.

Commentary & Notes ↓

Notes

Chhand 27. Captures the moment Rama's baraat (wedding procession) nears Janakpur. 'Dundubhi' are large kettledrums associated with royal and divine ceremonies. 'Raghukulamani' (jewel of Raghu's clan) is an epithet for Rama. 'Suaasini' refers to women whose husbands are living, considered auspicious for performing the 'parichhan' (welcome/aarti) ceremony. Four-line chhand rendered as four sentences.

सजि आरती अनेक बिधि मंगल सकल सँवारि।

चलीं मुदित परिछनि करन गजगामिनि बर नारि।।317।।

Saji aaratee anek bidhi mangal sakal sanvaari

Chaleen mudit parichhani karan gajagaamini bar naari (317)

दोहा 317

With ceremonies bright prepared | and auspicious rites arrayed

Noble queens with graceful steps | join the welcome parade

Having prepared the aarti plate in many ways and arranged all the auspicious rites, the noble ladies with graceful elephant-like gait went forth joyfully to perform the welcome ceremony.

Commentary & Notes ↓

Notes

Doha 317. Describes the royal women of Janaka's household proceeding to welcome the groom's party. 'Gajagaamini' (one who walks like an elephant) is a classical epithet for a dignified, graceful woman, common in Sanskrit and Awadhi poetry. 'Parichhani' (parichhan) is the traditional aarti-based welcome rite performed by the bride's family for the groom.

चौपाई 315
बिधुबदनीं सब सब मृगलोचनि। सब निज तन छबि रति मदु मोचनि।।

Bidhubadaneen sab sab mrigalochani. sab nij tan chhabi rati madu mochani

All the women had moon-like faces and deer-like eyes. Each one's bodily beauty could shame even Rati, the goddess of love.

पहिरें बरन बरन बर चीरा। सकल बिभूषन सजें सरीरा।।

Pahiren baran baran bar cheeraa. sakal bibhooshan sajen sareeraa

They wore fine garments of various beautiful colors. Their bodies were adorned with all kinds of ornaments.

सकल सुमंगल अंग बनाएँ। करहिं गान कलकंठि लजाएँ।।

Sakal sumangal ang banaaen. karahin gaan kalakanthi lajaaen

They had adorned themselves with all auspicious marks. They sang with such melodious voices that even the cuckoo felt ashamed.

कंकन किंकिनि नूपुर बाजहिं। चालि बिलोकि काम गज लाजहिं।।

Kankan kinkini noopur baajahin. chaali biloki kaam gaj laajahin

Their bangles, small bells, and anklets jingled musically. Seeing their graceful movement, even Cupid's elephant felt embarrassed.

बाजहिं बाजने बिबिध प्रकारा। नभ अरु नगर सुमंगलचारा।।

Baajahin baajane bibidh prakaaraa. nabh aru nagar sumangalachaaraa

Various types of musical instruments played melodiously. The sky and the city were filled with auspicious celebrations.

सची सारदा रमा भवानी। जे सुरतिय सुचि सहज सयानी।।

Sachee saaradaa ramaa bhavaanee. je suratiy suchi sahaj sayaanee

Shachi, Saraswati, Lakshmi, and Parvati - all the pure and naturally wise celestial women gathered there.

कपट नारि बर बेष बनाई। मिलीं सकल रनिवासहिं जाई।।

Kapat naari bar besh banaaee. mileen sakal ranivaasahin jaaee

The excellent celestial women, disguising themselves in the form of mortal ladies, all came and joined the royal palace.

करहिं गान कल मंगल बानीं। हरष बिबस सब काहुँ न जानी।।

Karahin gaan kal mangal baaneen. harash bibas sab kaahun na jaanee

They sang melodious and auspicious songs. Everyone was so overwhelmed with joy that none could recognize the others.

Commentary & Notes ↓

Notes

This chaupai depicts how the divine mothers themselves, disguised as mortal women, join the wedding celebration. The phrase 'rati madu mochani' means beauty that 'releases' or eclipses even that of Rati. 'Kalakanthi' (koyal/cuckoo) is the traditional Indian standard for a sweet singing voice. The presence of Shachi (Indra's consort), Sarada (Saraswati), Rama (Lakshmi), and Bhavani (Parvati) sanctifies the wedding from the celestial realm while remaining hidden from mortal eyes.

छन्द 28
को जान केहि आनंद बस सब ब्रह्मु बर परिछन चली।

कल गान मधुर निसान बरषहिं सुमन सुर सोभा भली।।

आनंदकंदु बिलोकि दूलहु सकल हियँ हरषित भई।।

अंभोज अंबक अंबु उमगि सुअंग पुलकावलि छई।।

Ko jaan kehi aanand bas sab brahmu bar parichhan chalee

Kal gaan madhur nisaan barashahin suman sur sobhaa bhalee

Aanandakandu biloki doolahu sakal hiyan harashit bhaee

Ambhoj ambak ambu umagi suang pulakaavali chhaee

Who can know the bliss supreme | as divine ones join the rite

Seeing joy's eternal source | hearts overflow with light

Lotus eyes with love-tears filled | bodies thrilled with sacred grace

All creation celebrates | the bridegroom's holy face

Who can know the bliss that filled every heart as all set forth on the auspicious bridal procession?

Sweet songs rang out, melodious drums sounded, flowers rained from the sky, and divine splendor shone everywhere.

Beholding the Bridegroom, who is the very source of all joy, every heart brimmed with happiness.

Tears of love welled up in their lotus eyes, and waves of ecstatic shivers covered their blessed limbs.

Commentary & Notes ↓

Notes

This chhand marks the climactic moment of the baraat (bridal procession). The word 'Aanandakandu' (source of bliss) is a name for Rama, indicating that the joy is not merely festive but spiritual. The physical signs of devotion described here, tears in the eyes and goosebumps on the skin, are classical markers of bhakti rasa in Indian devotional literature. The 'parichhan' ceremony is the traditional welcome of the groom's party.

जो सुख भा सिय मातु मन देखि राम बर बेषु।

सो न सकहिं कहि कलप सत सहस सारदा सेषु।।318।।

Jo sukh bhaa siy maatu man dekhi raam bar beshu

So na sakahin kahi kalap sat sahas saaradaa seshu (318)

दोहा 318

What bliss filled Sita's mother's breast | seeing Rama's wedding dress,

A thousand poets through endless time | could never such joy express.

The joy that filled Mother Sita's heart upon seeing Rama in His bridegroom's splendid attire: even a hundred thousand Saraswatis and Sheshas could not describe it in a hundred ages.

Commentary & Notes ↓

Notes

This doha captures Queen Sunaina's inexpressible maternal joy at seeing Rama as her son-in-law. The invocation of Saraswati (goddess of speech) and Shesha (the thousand-headed serpent who forever recites the Lord's glories) is Tulsidas's way of saying that divine joy transcends all language. 'Siy maatu' refers to Sita's mother, Queen Sunaina of Mithila.

चौपाई 316
नयन नीरु हटि मंगल जानी। परिछनि करहिं मुदित मन रानी।।

Nayan neeru hati mangal jaanee. parichhani karahin mudit man raanee

Wiping away tears of joy and recognizing the auspicious moment, the queens joyfully performed the ceremonial reception.

बेद बिहित अरु कुल आचारू। कीन्ह भली बिधि सब ब्यवहारू।।

Bed bihit aru kul aachaaroo. keenh bhalee bidhi sab byavahaaroo

All rituals were performed properly according to Vedic injunctions and family traditions.

पंच सबद धुनि मंगल गाना। पट पाँवड़े परहिं बिधि नाना।।

Panch sabad dhuni mangal gaanaa. pat paanvade parahin bidhi naanaa

The five musical instruments played auspicious songs, and various silk cloths and carpets were spread.

करि आरती अरघु तिन्ह दीन्हा। राम गमनु मंडप तब कीन्हा।।

Kari aaratee araghu tinh deenhaa. raam gamanu mandap tab keenhaa

After performing the ceremonial worship and offering sacred water, Rama then proceeded to the wedding pavilion.

दसरथु सहित समाज बिराजे। बिभव बिलोकि लोकपति लाजे।।

Dasarathu sahit samaaj biraaje. bibhav biloki lokapati laaje

Dasharatha sat with his royal assembly, and even the lords of the worlds felt ashamed seeing such splendor.

समयँ समयँ सुर बरषहिं फूला। सांति पढ़हिं महिसुर अनुकूला।।

Samayan samayan sur barashahin phoolaa. saanti padhahin mahisur anukoolaa

From time to time, the gods showered flowers, and learned brahmins chanted auspicious hymns.

नभ अरु नगर कोलाहल होई। आपनि पर कछु सुनइ न कोई।।

Nabh aru nagar kolaahal hoee. aapani par kachhu sunai na koee

There was such tumultuous celebration in the sky and the city that no one could hear their own voice.

एहि बिधि रामु मंडपहिं आए। अरघु देइ आसन बैठाए।।

Ehi bidhi raamu mandapahin aae. araghu dei aasan baithaae

In this manner, Rama came to the wedding pavilion, where he was offered worship and seated on the ceremonial seat.

Commentary & Notes ↓

Notes

This chaupai details the wedding rituals with both earthly grandeur and celestial participation. 'Panch sabad' refers to the five traditional instruments of auspicious ceremony: shankha (conch), mridanga (drum), jhallari (cymbal), bheri (kettledrum), and dundubhi (large war drum). 'Arghya' is the ritual offering of water mixed with flowers and rice, symbolizing honor and welcome. 'Lokapati' (lords of the worlds) refers to the dikpalas, the divine guardians of the eight directions, who themselves are awed by the wedding's splendor.

छन्द 29
बैठारि आसन आरती करि निरखि बरु सुखु पावहीं।।

मनि बसन भूषन भूरि वारहिं नारि मंगल गावहीं।।

ब्रह्मादि सुरबर बिप्र बेष बनाइ कौतुक देखहीं।

अवलोकि रघुकुल कमल रबि छबि सुफल जीवन लेखहीं।।

Baithaari aasan aaratee kari nirakhi baru sukhu paavaheen

Mani basan bhooshan bhoori vaarahin naari mangal gaavaheen

Brahmaadi surabar bipr besh banaai kautuk dekhaheen

Avaloki raghukul kamal rabi chhabi suphal jeevan lekhaheen

Gods in brahmin garb came down | to see this sacred sight,

The Sun of Raghu's line made | their very lives bright.

Seating Him with honor and performing aarti, they gazed upon the Bridegroom and found supreme delight.

They lavished jewels, garments, and ornaments upon Him, while women sang auspicious wedding songs.

Brahma and the other great gods, disguised as learned priests, came to witness this wondrous spectacle.

Beholding Rama, the Sun of Raghu's lotus dynasty, they counted their very lives fulfilled and blessed.

Commentary & Notes ↓

Notes

This chhand reveals the cosmic dimension of the wedding: even Brahma, the Creator, takes the disguise of a humble priest to witness Rama's marriage. The metaphor 'Raghukul kamal rabi' (Sun of the lotus that is Raghu's dynasty) is striking. Just as the lotus blooms only when the sun rises, the entire Raghu lineage finds its full flowering in Rama. The word 'suphal' (fulfilled, fruitful) conveys that beholding the Lord is the ultimate purpose of all existence.

नाऊ बारी भाट नट राम निछावरि पाइ।

मुदित असीसहिं नाइ सिर हरषु न हृदयँ समाइ।।319।।

Naaoo baaree bhaat nat raam nichhaavari paai

Mudit aseesahin naai sir harashu na hridayan samaai (319)

दोहा 319

Bards and dancers, one and all | received the prince's gold,

With hearts too full for words they blessed | this sight to behold.

Barbers, water-bearers, bards, and dancers all received generous gifts from Shri Rama. Bowing their heads in gratitude, they offered joyful blessings; their hearts overflowed with a happiness beyond all measure.

Commentary & Notes ↓

Notes

Naaoo (barber), baaree (water-bearer), bhaat (bard/genealogist), nat (dancer) are the traditional attendants at a wedding. Nichhaavari refers to ceremonial gifts showered upon them. Tulsidas shows Rama's grace flowing to every station of life, making this divine wedding a blessing for all who attend.

चौपाई 317
मिले जनकु दसरथु अति प्रीतीं। करि बैदिक लौकिक सब रीतीं।।

Mile janaku dasarathu ati preeteen. kari baidik laukik sab reeteen

King Janaka and Dasharatha met with great affection, performing all Vedic and worldly customs properly.

मिलत महा दोउ राज बिराजे। उपमा खोजि खोजि कबि लाजे।।

Milat mahaa dou raaj biraaje. upamaa khoji khoji kabi laaje

When the two great kings met in their splendor, poets searched in vain for comparisons and felt ashamed.

लही न कतहुँ हारि हियँ मानी। इन्ह सम एइ उपमा उर आनी।।

Lahee na katahun haari hiyan maanee. inh sam ei upamaa ura aanee

Finding no suitable comparison anywhere, they accepted defeat and brought this analogy to heart.

सामध देखि देव अनुरागे। सुमन बरषि जसु गावन लागे।।

Saamadh dekhi dev anuraage. suman barashi jasu gaavan laage

Seeing this harmony, the gods became delighted and began showering flowers while singing praises.

जगु बिरंचि उपजावा जब तें। देखे सुने ब्याह बहु तब तें।।

Jagu biranchi upajaavaa jab ten. dekhe sune byaah bahu tab ten

Since Brahma created the world, we have seen and heard of many marriages.

सकल भाँति सम साजु समाजू। सम समधी देखे हम आजू।।

Sakal bhaanti sam saaju samaajoo. sam samadhee dekhe ham aajoo

In all respects - preparations, assemblies, and relations - we have seen equals today.

देव गिरा सुनि सुंदर साँची। प्रीति अलौकिक दुहु दिसि माची।।

Dev giraa suni sundar saanchee. preeti alaukik duhu disi maachee

Hearing these beautiful and truthful words of the gods, extraordinary love spread in both directions.

देत पाँवड़े अरघु सुहाए। सादर जनकु मंडपहिं ल्याए।।

Det paanvade araghu suhaae. saadar janaku mandapahin lyaae

Offering beautiful foot-washing water and ceremonial gifts, Janaka respectfully brought them to the wedding pavilion.

Commentary & Notes ↓

Notes

This chaupai captures the meeting of the two royal fathers. The poets' inability to find a comparison (upamaa khoji khoji kabi laaje) is a classic Tulsidas device: when the divine is at work, earthly metaphors fail. The gods themselves bear witness from heaven, declaring this marriage uniquely perfect. Paanvade refers to the ritual foot-washing (paadya) offered to honored guests, and araghu is the arghya offering of welcome.

छन्द 30
मंडपु बिलोकि बिचीत्र रचनाँ रुचिरताँ मुनि मन हरे।।

निज पानि जनक सुजान सब कहुँ आनि सिंघासन धरे।।

कुल इष्ट सरिस बसिष्ट पूजे बिनय करि आसिष लही।

कौसिकहि पूजत परम प्रीति कि रीति तौ न परै कही।।

Mandapu biloki bicheetr rachanaan ruchirataan muni man hare

Nij paani janak sujaan sab kahun aani singhaasan dhare

Kul isht saris basisht pooje binay kari aasish lahee

Kausikahi poojat param preeti ki reeti tau na parai kahee

The pavilion's splendor enchants every sage | Janaka seats each guest with care

Vasishtha blessed, Kaushika honored | with love beyond compare

Beholding the wedding pavilion with its wondrous design, its exquisite beauty captivated the hearts of all the sages. With his own hands, wise King Janaka brought thrones and seated every guest with honor. He worshipped Vasishtha as one reveres a family deity, offering humble prayers and receiving blessings in return. The depth of love and reverence with which he honored Kaushika (Vishvamitra) simply cannot be told in words.

Commentary & Notes ↓

Notes

This chhand highlights Janaka's personal devotion to the great sages. Vasishtha is Dasharatha's family guru (kul isht), and Kaushika is another name for Vishvamitra, who brought Rama and Lakshmana to Janaka's court. Janaka's act of seating them with his own hands (nij paani) shows the highest form of hospitality, where the host himself becomes the servant.

बामदेव आदिक रिषय पूजे मुदित महीस।

दिए दिब्य आसन सबहि सब सन लही असीस।।320।।

Baamadev aadik rishay pooje mudit mahees

Die diby aasan sabahi sab san lahee asees (320)

दोहा 320

Vamadeva and sages all | received the king's devotion

Divine seats and blessings shared | in sacred emotion

The joyful king worshipped Vamadeva and the other sages with great delight. He offered divine seats to every one of them and received blessings from all.

Commentary & Notes ↓

Notes

Vamadeva (Baamadev) is a renowned Vedic rishi. Divya aasan (divine seats) suggests that the seating arrangements themselves were extraordinary, befitting this celestial gathering. The exchange of worship and blessing flows both ways, reflecting the sacred reciprocity between a righteous king and holy sages.

चौपाई 318
बहुरि कीन्ह कोसलपति पूजा। जानि ईस सम भाउ न दूजा।।

Bahuri keenh kosalapati poojaa. jaani eesa sam bhaau na doojaa

Then the lord of Kosala (Dasharatha) performed worship, knowing that there is no devotion equal to that of Shiva.

कीन्ह जोरि कर बिनय बड़ाई। कहि निज भाग्य बिभव बहुताई।।

Keenh jori kar binay badaaee. kahi nij bhaagy bibhav bahutaaee

With folded hands he made great entreaties, speaking of his own fortune and abundant prosperity.

पूजे भूपति सकल बराती। समधि सम सादर सब भाँती।।

Pooje bhoopati sakal baraatee. samadhi sam saadar sab bhaantee

The king worshipped all the wedding party with respect, treating them like his own relatives in every way.

आसन उचित दिए सब काहू। कहौं काह मूख एक उछाहू।।

Aasan uchit die sab kaahoo. kahaun kaah mookh eka uchhaahoo

He gave appropriate seats to everyone - how can this single mouth describe such joy?

सकल बरात जनक सनमानी। दान मान बिनती बर बानी।।

Sakal baraat janak sanamaanee. daan maan binatee bar baanee

Janaka honored the entire wedding party with gifts, respect, humble requests, and excellent speech.

बिधि हरि हरु दिसिपति दिनराऊ। जे जानहिं रघुबीर प्रभाऊ।।

Bidhi hari haru disipati dinaraaoo. je jaanahin raghubeer prabhaaoo

Brahma, Vishnu, Shiva, the guardians of directions, and the sun - all who know the glory of Raghuvira (Rama).

कपट बिप्र बर बेष बनाएँ। कौतुक देखहिं अति सचु पाएँ।।

Kapat bipr bar besh banaaen. kautuk dekhahin ati sachu paaen

Disguised as excellent brahmins in false forms, they came to witness the spectacle with great delight.

पूजे जनक देव सम जानें। दिए सुआसन बिनु पहिचानें।।

Pooje janak dev sam jaanen. die suaasan binu pahichaanen

Janaka worshipped them knowing them to be like gods, giving them good seats without recognizing them.

Commentary & Notes ↓

Notes

This chaupai reveals the cosmic dimension of Rama's wedding. The supreme deities, Brahma (Bidhi), Vishnu (Hari), Shiva (Haru), along with the Dikpalas (guardians of the directions) and Surya (the Sun), have disguised themselves as brahmins (kapat bipr) to witness this sacred event. Janaka's intuitive recognition of their divinity (dev sam jaane) even without identifying them shows his spiritual refinement. Tulsidas underlines that all of creation rejoices in the Lord's lila.

छन्द 31
पहिचान को केहि जान सबहिं अपान सुधि भोरी भई।

आनंद कंदु बिलोकि दूलहु उभय दिसि आनँद मई।।

सुर लखे राम सुजान पूजे मानसिक आसन दए।

अवलोकि सीलु सुभाउ प्रभु को बिबुध मन प्रमुदित भए।।

Pahichaan ko kehi jaan sabahin apaan sudhi bhoree bhaee

Aanand kandu biloki doolahu ubhay disi aanand maee

Sur lakhe raam sujaan pooje maanasik aasan dae

Avaloki seelu subhaau prabhu ko bibudh man pramudit bhae

All identity lost in bliss divine | as Rama's glory shines

Gods worship in their hearts | while joy through heaven twines

Who could recognize whom? All had lost awareness of their very selves.

Seeing the bridegroom, that fountain of bliss, joy overflowed on both sides of the assembly.

The all-knowing Rama perceived the gods among the gathering, and He worshipped them, offering seats of honor within His heart.

Witnessing the Lord's gracious nature and gentle character, the hearts of the celestials blossomed with supreme delight.

Commentary & Notes ↓

Notes

Chhand 31. The wedding assembly is so suffused with divine presence that ordinary identity dissolves. Tulsidas shows Rama's exquisite courtesy: though He is the Supreme Lord, He quietly honors the disguised gods with mental worship (maanasik aasan). The gods, in turn, are moved to joy by His humility. 'Aanand kandu' (fountain of bliss) is a signature Manas epithet for Rama as the very source of all joy.

रामचंद्र मुख चंद्र छबि लोचन चारु चकोर।

करत पान सादर सकल प्रेमु प्रमोदु न थोर।।321।।

Raamachandr mukh chandr chhabi lochan chaaru chakor

Karat paan saadar sakal premu pramodu na thor (321)

दोहा 321

Rama's face shines like the moon | eyes like chakora bright

All drink His beauty reverently | in love's pure light

Ramchandra's face was radiant as the moon, and all eyes were like chakora birds gazing upon it. Everyone drank in that loveliness with deep reverence, their love and delight beyond all measure.

Commentary & Notes ↓

Notes

Doha 321. The chakora is a bird of Indian poetry that lives on moonbeams, gazing at the moon with tireless longing. Tulsidas makes every eye in the assembly a chakora, drinking in the moonlight of Rama's face. 'Premu pramodu na thor' (love and joy not slight) is classic litotes: the joy is infinite, stated through gentle understatement.

चौपाई 319
समउ बिलोकि बसिष्ठ बोलाए। सादर सतानंदु सुनि आए।।

Samau biloki basishth bolaae. saadar sataanandu suni aae

Seeing the auspicious time, Vasishtha called out, and Satananda came respectfully upon hearing the summons.

बेगि कुअँरि अब आनहु जाई। चले मुदित मुनि आयसु पाई।।

Begi kuanri aba aanahu jaaee. chale mudit muni aayasu paaee

He said, 'Go quickly now and bring the princess.' The sage departed joyfully upon receiving this command.

रानी सुनि उपरोहित बानी। प्रमुदित सखिन्ह समेत सयानी।।

Raanee suni uparohit baanee. pramudit sakhinh samet sayaanee

The queen, hearing the priest's words, became delighted along with her wise companions.

बिप्र बधू कुलबृद्ध बोलाईं। करि कुल रीति सुमंगल गाईं।।

Bipr badhoo kulabriddh bolaaeen. kari kul reeti sumangal gaaeen

They called the Brahmin women and elderly ladies of noble families, who sang auspicious songs according to family tradition.

नारि बेष जे सुर बर बामा। सकल सुभायँ सुंदरी स्यामा।।

Naari besh je sur bar baamaa. sakal subhaayan sundaree syaamaa

The celestial goddesses who had taken the form of women were all naturally beautiful and dark-complexioned like Shyama.

तिन्हहि देखि सुखु पावहिं नारीं। बिनु पहिचानि प्रानहु ते प्यारीं।।

Tinhahi dekhi sukhu paavahin naareen. binu pahichaani praanahu te pyaareen

Seeing them, the women felt great joy, finding them dearer than life itself without recognizing their true identity.

बार बार सनमानहिं रानी। उमा रमा सारद सम जानी।।

Baar baar sanamaanahin raanee. umaa ramaa saarad sam jaanee

The queen honored them again and again, considering them equal to Uma, Lakshmi, and Saraswati.

सीय सँवारि समाजु बनाई। मुदित मंडपहिं चलीं लवाई।।

Seey sanvaari samaaju banaaee. mudit mandapahin chaleen lavaaee

After adorning Sita and arranging the assembly, they joyfully proceeded toward the wedding pavilion.

Commentary & Notes ↓

Notes

Chaupai 319. This eight-couplet chaupai describes the preparations for Sita's procession to the mandap. Several layers of devotional beauty unfold: Vasishtha and Satananda coordinate the sacred timing; the queen and her companions burst into song; and, most charmingly, heavenly goddesses mingle with mortal women unrecognized, yet loved instinctively 'dearer than life.' The queen's intuition is telling: she honors these strangers as if they were Uma, Lakshmi, and Saraswati, which is precisely who they are. 'Ramaa' here refers to Lakshmi (not Rama), and 'Saarad' to Saraswati. Tulsidas delights in this gentle dramatic irony throughout the wedding sequence.

छन्द 32
चलि ल्याइ सीतहि सखीं सादर सजि सुमंगल भामिनीं।

नवसप्त साजें सुंदरी सब मत्त कुंजर गामिनीं।।

कल गान सुनि मुनि ध्यान त्यागहिं काम कोकिल लाजहीं।

मंजीर नूपुर कलित कंकन ताल गती बर बाजहीं।।

Chali lyaai seetahi sakheen saadar saji sumangal bhaamineen

Navasapt saajen sundaree sab matt kunjar gaamineen

Kal gaan suni muni dhyaan tyaagahin kaam kokil laajaheen

Manjeer noopur kalit kankan taal gatee bar baajaheen

Sweet maidens bring fair Sita | adorned in wedding gold

Their songs make sages wonder | their grace is joy to behold

The dear companions lovingly brought Sita forth, those beautiful maidens adorned with every auspicious ornament.

Decked in fresh garlands and wedding finery, each one moved with the graceful, stately gait of a lordly elephant.

Hearing their melodious singing, even sages abandoned their meditation, and the love-intoxicated cuckoos fell silent in shame.

Anklet bells, toe-rings, and delicate bangles chimed together in perfect rhythm with their graceful steps.

Commentary & Notes ↓

Notes

Chhand 32. Tulsidas paints the bridal procession as an assault on ascetic composure itself: the maidens' singing is so enchanting that sages forsake dhyaan, and the famed kokila (cuckoo, symbol of sweet song) is put to shame. 'Matt kunjar gaaminee' (gait of intoxicated elephants) is a classical Indian poetic convention for the most graceful feminine movement. The jingling ornaments provide a sonic dimension, turning the visual procession into a symphony of devotional beauty.

सोहति बनिता बृंद महुँ सहज सुहावनि सीय।

छबि ललना गन मध्य जनु सुषमा तिय कमनीय।।322।।

Sohati banitaa brind mahun sahaj suhaavani seey

Chhabi lalanaa gan madhy janu sushamaa tiy kamaneey (322)

दोहा 322

Mid countless beauteous maidens | Sita's grace divine appears

As Beauty's self incarnate | among her lovely peers

Among that multitude of lovely women, naturally beautiful Sita shone forth like graceful Beauty herself, radiant and enchanting, in the midst of her fair companions.

Commentary & Notes ↓

Notes

Doha 322. Tulsidas distills the entire bridal procession into a single, luminous image. Sita is not merely the most beautiful woman present; she is 'Sushamaa tiy kamaneey,' Beauty personified, loveliness incarnate. 'Sahaj suhaavani' (naturally charming) is key: her beauty is effortless, not contrived, befitting the divine consort of Rama.

चौपाई 320
सिय सुंदरता बरनि न जाई। लघु मति बहुत मनोहरताई।।

Siy sundarataa barani na jaaee. laghu mati bahut manoharataaee

Sita's beauty cannot be described in words. My limited intellect cannot capture her immense charm and grace.

आवत दीखि बरातिन्ह सीता।।रूप रासि सब भाँति पुनीता।।

Aavat deekhi baraatinh seetaa.roop raasi sab bhaanti puneetaa

When the wedding party saw Sita approaching, they beheld a treasure of beauty, pure and perfect in every way.

सबहि मनहिं मन किए प्रनामा। देखि राम भए पूरनकामा।।

Sabahi manahin man kie pranaamaa. dekhi raam bhae pooranakaamaa

Everyone offered mental salutations to her in their hearts. Seeing Rama, they felt their desires fulfilled.

हरषे दसरथ सुतन्ह समेता। कहि न जाइ उर आनँदु जेता।।

Harashe dasarath sutanh sametaa. kahi na jaai ura aanandu jetaa

Dasharatha rejoiced along with his sons. The joy in his heart cannot be expressed in words.

सुर प्रनामु करि बरसहिं फूला। मुनि असीस धुनि मंगल मूला।।

Sur pranaamu kari barasahin phoolaa. muni asees dhuni mangal moolaa

The gods offered their salutations and showered flowers. The sages chanted blessings that are the root of all auspiciousness.

गान निसान कोलाहलु भारी। प्रेम प्रमोद मगन नर नारी।।

Gaan nisaan kolaahalu bhaaree. prem pramod magan nar naaree

There was great celebration with songs and musical instruments. Men and women were absorbed in love and joy.

एहि बिधि सीय मंडपहिं आई। प्रमुदित सांति पढ़हिं मुनिराई।।

Ehi bidhi seey mandapahin aaee. pramudit saanti padhahin muniraaee

In this manner, Sita came to the wedding pavilion. The great sages joyfully recited the sacred peace mantras.

तेहि अवसर कर बिधि ब्यवहारू। दुहुँ कुलगुर सब कीन्ह अचारू।।

Tehi avasar kar bidhi byavahaaroo. duhun kulagur sab keenh achaaroo

At that auspicious moment, the family priests of both houses performed all the proper ceremonial rites.

Commentary & Notes ↓

Notes

Chaupai 320. Describes Sita's arrival at the wedding mandap. Tulsidas opens with poetic humility (laghu mati), acknowledging words cannot capture her radiance. 'Siya' is Tulsidas's preferred intimate form of Sita. 'Kulaguru' = family priest. 'Shanti mantras' = Vedic peace invocations. The celestial flower-shower signals divine approval.

छन्द 33
आचारु करि गुर गौरि गनपति मुदित बिप्र पुजावहीं।

सुर प्रगटि पूजा लेहिं देहिं असीस अति सुखु पावहीं।।

मधुपर्क मंगल द्रब्य जो जेहि समय मुनि मन महुँ चहैं।

भरे कनक कोपर कलस सो सब लिएहिं परिचारक रहैं।।1।।

कुल रीति प्रीति समेत रबि कहि देत सबु सादर कियो।

एहि भाँति देव पुजाइ सीतहि सुभग सिंघासनु दियो।।

सिय राम अवलोकनि परसपर प्रेम काहु न लखि परै।।

मन बुद्धि बर बानी अगोचर प्रगट कबि कैसें करै।।2।।

Aachaaru kari gur gauri ganapati mudit bipr pujaavaheen

Sur pragati poojaa lehin dehin asees ati sukhu paavaheen

Madhupark mangal draby jo jehi samay muni man mahun chahain

Bhare kanak kopar kalas so sab liehin parichaarak rahain (1)

Kul reeti preeti samet rabi kahi det sabu saadar kiyo

Ehi bhaanti dev pujaai seetahi subhag singhaasanu diyo

Siy raam avalokani parasapar prem kaahu na lakhi parai

Man buddhi bar baanee agochar pragat kabi kaisen karai (2)

The gods receive their worship | bless the sacred rite

Sita-Rama's love eternal | transcends all poet's sight

Performing the rites, the gurus joyfully lead worship of Gauri, Ganesha, and the Brahmins.

The deities appear in person to receive the worship, bestow blessings, and experience great happiness.

Whatever auspicious substances for madhuparka the sages desire at any moment,

filled golden vessels and pitchers are kept ready by the attendants.

Following family tradition with love, Surya speaks and all is respectfully carried out.

Thus, having worshipped the gods, they gave Sita a beautiful simhasana.

Siya and Rama gaze upon each other; their mutual love none can perceive.

Beyond mind, beyond intellect, beyond the finest speech: how shall any poet make it known?

Commentary & Notes ↓

Notes

Chhand 33. The wedding rituals begin with invocations to Gauri (Parvati) and Ganesha, auspicious guardians of every Hindu ceremony. 'Madhuparka' = a traditional Vedic offering of honey, curd, and ghee given to the groom. 'Simhasana' = lion-throne, a seat of honor. The final couplet is Tulsidas's signature devotional trope: the love between Siya and Rama transcends every faculty of human expression.

होम समय तनु धरि अनलु अति सुख आहुति लेहिं।

बिप्र बेष धरि बेद सब कहि बिबाह बिधि देहिं।।323।।

Hom samay tanu dhari analu ati sukh aahuti lehin

Bipr besh dhari bed sab kahi bibaah bidhi dehin (323)

दोहा 323

Fire took form to taste the sacred flame | While Vedas came as priests to bless the name

At the time of the homa, Agni himself took bodily form and received the oblations with supreme joy. Donning the guise of Brahmins, all the Vedas appeared and proclaimed the proper rites of marriage.

Commentary & Notes ↓

Notes

Doha 323. A compact, powerful verse revealing the cosmic stature of Rama's wedding. Agni (the fire-god) and the four Vedas do not merely preside in spirit; they assume physical forms to participate. 'Homa' = the sacred fire ritual central to every Hindu wedding. This supernatural detail underscores that the marriage of Rama and Sita is a divine event witnessed and solemnized by the very foundations of creation.

चौपाई 321
जनक पाटमहिषी जग जानी। सीय मातु किमि जाइ बखानी।।

Janak paatamahishee jag jaanee. seey maatu kimi jaai bakhaanee

King Janaka's queen is renowned throughout the world. How can one adequately describe Sita's mother?

सुजसु सुकृत सुख सुदंरताई। सब समेटि बिधि रची बनाई।।

Sujasu sukrit sukh sudanrataaee. sab sameti bidhi rachee banaaee

The Creator gathered all good fame, virtuous deeds, happiness, and beauty to fashion and create her.

समउ जानि मुनिबरन्ह बोलाई। सुनत सुआसिनि सादर ल्याई।।

Samau jaani munibaranh bolaaee. sunat suaasini saadar lyaaee

Knowing the proper time, the great sages were called, and hearing this, the queen respectfully brought them.

जनक बाम दिसि सोह सुनयना। हिमगिरि संग बनि जनु मयना।।

Janak baam disi soh sunayanaa. himagiri sang bani janu mayanaa

The beautiful-eyed queen sits gracefully to Janaka's left, like the moon goddess beside the snow mountain.

कनक कलस मनि कोपर रूरे। सुचि सुंगध मंगल जल पूरे।।

Kanak kalas mani kopar roore. suchi sungadh mangal jal poore

Golden vessels adorned with jewels and precious stones, filled with pure fragrant and auspicious water.

निज कर मुदित रायँ अरु रानी। धरे राम के आगें आनी।।

Nij kar mudit raayan aru raanee. dhare raam ke aagen aanee

With their own hands, the joyful king and queen brought and placed them before Rama.

पढ़हिं बेद मुनि मंगल बानी। गगन सुमन झरि अवसरु जानी।।

Padhahin bed muni mangal baanee. gagan suman jhari avasaru jaanee

The sages recite Vedic hymns of blessing, and flowers shower from heaven, recognizing the auspicious moment.

बरु बिलोकि दंपति अनुरागे। पाय पुनीत पखारन लागे।।

Baru biloki dampati anuraage. paay puneet pakhaaran laage

Seeing the groom, the loving couple began to wash his sacred feet.

Commentary & Notes ↓

Notes

Chaupai 321. Introduces Queen Sunayana (literally 'beautiful-eyed'), Sita's mother, with the same device of poetic humility. The simile 'like Mayana beside Himavana' compares the royal couple to the parents of Parvati, who is daughter of the Himalaya. 'Suaasini' = married women whose husbands are living, considered auspicious in Vedic ritual. The foot-washing (padya) of the groom is a key act of reverence in the wedding ceremony.

छन्द 34
लागे पखारन पाय पंकज प्रेम तन पुलकावली।

नभ नगर गान निसान जय धुनि उमगि जनु चहुँ दिसि चली।।

जे पद सरोज मनोज अरि उर सर सदैव बिराजहीं।

जे सकृत सुमिरत बिमलता मन सकल कलि मल भाजहीं।।1।।

जे परसि मुनिबनिता लही गति रही जो पातकमई।

मकरंदु जिन्ह को संभु सिर सुचिता अवधि सुर बरनई।।

करि मधुप मन मुनि जोगिजन जे सेइ अभिमत गति लहैं।

ते पद पखारत भाग्यभाजनु जनकु जय जय सब कहै।।2।।

बर कुअँरि करतल जोरि साखोचारु दोउ कुलगुर करैं।

भयो पानिगहनु बिलोकि बिधि सुर मनुज मुनि आँनद भरैं।।

सुखमूल दूलहु देखि दंपति पुलक तन हुलस्यो हियो।

करि लोक बेद बिधानु कन्यादानु नृपभूषन कियो।।3।।

हिमवंत जिमि गिरिजा महेसहि हरिहि श्री सागर दई।

तिमि जनक रामहि सिय समरपी बिस्व कल कीरति नई।।

क्यों करै बिनय बिदेहु कियो बिदेहु मूरति सावँरी।

करि होम बिधिवत गाँठि जोरी होन लागी भावँरी।।4।।

Laage pakhaaran paay pankaj prem tan pulakaavalee

Nabh nagar gaan nisaan jay dhuni umagi janu chahun disi chalee

Je pad saroj manoj ari ura sar sadaiv biraajaheen

Je sakrit sumirat bimalataa man sakal kali mal bhaajaheen (1)

Je parasi munibanitaa lahee gati rahee jo paatakamaee

Makarandu jinh ko sambhu sir suchitaa avadhi sur baranaee

Kari madhup man muni jogijan je sei abhimat gati lahain

Te pad pakhaarat bhaagyabhaajanu janaku jay jay sab kahai (2)

Bar kuanri karatal jori saakhochaaru dou kulagur karain

Bhayo paanigahanu biloki bidhi sur manuj muni aannad bharain

Sukhamool doolahu dekhi dampati pulak tan hulasyo hiyo

Kari lok bed bidhaanu kanyaadaanu nripabhooshan kiyo (3)

Himavant jimi girijaa mahesahi harihi shree saagar daee

Timi janak raamahi siy samarapee bisv kal keerati naee

Kyon karai binay bidehu kiyo bidehu moorati saavanree

Kari hom bidhivat gaanthi joree hon laagee bhaavanree (4)

Those feet where Shiva dwells in sacred rest | Grant liberation to the soul distressed

They began washing those lotus feet, their bodies thrilling with waves of love, while from sky and city rose songs, drums, and cries of 'Jaya!' spreading in all four directions.

Those lotus feet that forever abide in the heart of Shiva, the conqueror of Kama; those feet which, remembered even once, purify the mind of every stain of Kali Yuga.

Those feet whose touch redeemed the sage's wife, Ahalya, though she had been steeped in sin; whose nectar Shambhu bears upon his head as the very limit of purity, praised by all the gods.

Making their minds into bees, sages and yogis worship those feet and attain the goal they seek. Those same feet the blessed Janaka now washes; all the world cries, 'Jaya! Jaya!'

Bride and groom join their palms as the two kulagurus perform the saakhochaaru rite. Beholding the paanigrahana, Brahma, the gods, men, and sages are filled with bliss.

Seeing the groom who is the root of all joy, the couple's bodies thrill and their hearts overflow. Following the ordinances of custom and Veda, King Janaka, jewel among kings, gave away his daughter.

As Himavana gave Girija to Maheshvara, and the ocean gave Shri to Hari, so Janaka offered Siya to Rama, and new and glorious fame spread through all the worlds.

How shall Videha plead? He has been rendered bodiless by that dark and beautiful form. The homa was duly performed, the sacred knot was tied, and the wedding rounds began.

Commentary & Notes ↓

Notes

Chhand 34. The grand climax of the wedding. 'Kama's conqueror' = Shiva, who burned Kamadeva. 'The sage's wife' = Ahalya, turned to stone by a curse and redeemed by the touch of Rama's feet (Bala Kanda, earlier passage). 'Shambhu' = Shiva. 'Saakhochaaru' = the ritual of calling witnesses and reciting lineage. 'Paanigrahana' = the formal taking of the bride's hand. The similes to Himavana giving Parvati and the ocean giving Lakshmi place this wedding among the three supreme divine unions. The wordplay on 'Videha' (Janaka's dynastic name, literally 'bodiless') is Tulsidas at his most playful: Janaka is rendered 'bodiless' with ecstasy at the sight of Rama's dark, beautiful form. 'Bhavanri' = the sacred circumambulations around the fire.

जय धुनि बंदी बेद धुनि मंगल गान निसान।

सुनि हरषहिं बरषहिं बिबुध सुरतरु सुमन सुजान।।324।।

Jay dhuni bandee bed dhuni mangal gaan nisaan

Suni harashahin barashahin bibudh surataru suman sujaan (324)

दोहा 324

Heaven's music fills the sacred air | As gods rain blossoms everywhere

Cries of victory, the bards' melodious songs, Vedic chanting, auspicious music and the beat of drums; hearing all this, the wise gods rejoice and shower blossoms from the wish-fulfilling trees of heaven.

Commentary & Notes ↓

Notes

Doha 324. The cosmic celebration reaches its height as every realm, earthly and divine, joins the wedding festivities. 'Surataru' (wish-fulfilling trees) signals heaven's own approval of this sacred union. 'Bibudh' (the wise ones) refers to the gods.

चौपाई 322
कुअँरु कुअँरि कल भावँरि देहीं।।नयन लाभु सब सादर लेहीं।।

Kuanru kuanri kal bhaavanri deheen.nayan laabhu sab saadar leheen

The prince and princess gracefully perform the wedding circumambulations, while all the onlookers respectfully receive the blessed sight with their eyes.

जाइ न बरनि मनोहर जोरी। जो उपमा कछु कहौं सो थोरी।।

Jaai na barani manohar joree. jo upamaa kachhu kahaun so thoree

This enchanting couple cannot be described in words; whatever comparison I might offer would fall short of their beauty.

राम सीय सुंदर प्रतिछाहीं। जगमगात मनि खंभन माहीं ।

Raam seey sundar pratichhaaheen. jagamagaat mani khambhan maaheen

The beautiful reflections of Rama and Sita sparkle brilliantly within the jeweled pillars of the wedding pavilion.

मनहुँ मदन रति धरि बहु रूपा। देखत राम बिआहु अनूपा।।

Manahun madan rati dhari bahu roopaa. dekhat raam biaahu anoopaa

It appears as if Cupid and Rati have taken many forms to witness Rama's incomparable wedding ceremony.

दरस लालसा सकुच न थोरी। प्रगटत दुरत बहोरि बहोरी।।

Daras laalasaa sakuch na thoree. pragatat durat bahori bahoree

The desire to see them and modest shyness create a sweet conflict, causing people to appear and disappear repeatedly.

भए मगन सब देखनिहारे। जनक समान अपान बिसारे।।

Bhae magan sab dekhanihaare. janak samaan apaan bisaare

All the spectators became so absorbed in watching that they forgot themselves, just like King Janaka.

प्रमुदित मुनिन्ह भावँरी फेरी। नेगसहित सब रीति निबेरीं।।

Pramudit muninh bhaavanree pheree. negasahit sab reeti nibereen

The delighted sages completed the circumambulations and fulfilled all the wedding rituals along with the ceremonial gifts.

राम सीय सिर सेंदुर देहीं। सोभा कहि न जाति बिधि केहीं।।

Raam seey sir sendur deheen. sobhaa kahi na jaati bidhi keheen

Rama applies vermillion to Sita's forehead, creating a beauty that cannot be described by any means.

अरुन पराग जलजु भरि नीकें। ससिहि भूष अहि लोभ अमी कें।।

Arun paraag jalaju bhari neeken. sasihi bhoosh ahi lobh amee ken

Like a beautiful lotus filled with red pollen, or the moon adorned by a serpent greedy for nectar.

बहुरि बसिष्ठ दीन्ह अनुसासन। बरु दुलहिनि बैठे एक आसन।।

Bahuri basishth deenh anusaasan. baru dulahini baithe eka aasan

Then sage Vasishtha gave his blessings, and the groom and bride sat together on the same seat.

Commentary & Notes ↓

Notes

Chaupai 322 (10 couplet pairs). The climactic moment of the wedding: the circumambulation (bhaavanri), the sindoor ceremony, and Vasishtha's blessing. 'Madan' and 'Rati' are the god and goddess of love. The simile of the lotus and moon underlines the cosmic radiance of this divine union.

छन्द 35
बैठे बरासन रामु जानकि मुदित मन दसरथु भए।

तनु पुलक पुनि पुनि देखि अपनें सुकृत सुरतरु फल नए।।

भरि भुवन रहा उछाहु राम बिबाहु भा सबहीं कहा।

केहि भाँति बरनि सिरात रसना एक यहु मंगलु महा।।1।।

तब जनक पाइ बसिष्ठ आयसु ब्याह साज सँवारि कै।

माँडवी श्रुतिकीरति उरमिला कुअँरि लईं हँकारि के।।

कुसकेतु कन्या प्रथम जो गुन सील सुख सोभामई।

सब रीति प्रीति समेत करि सो ब्याहि नृप भरतहि दई।।2।।

जानकी लघु भगिनी सकल सुंदरि सिरोमनि जानि कै।

सो तनय दीन्ही ब्याहि लखनहि सकल बिधि सनमानि कै।।

जेहि नामु श्रुतकीरति सुलोचनि सुमुखि सब गुन आगरी।

सो दई रिपुसूदनहि भूपति रूप सील उजागरी।।3।।

अनुरुप बर दुलहिनि परस्पर लखि सकुच हियँ हरषहीं।

सब मुदित सुंदरता सराहहिं सुमन सुर गन बरषहीं।।

सुंदरी सुंदर बरन्ह सह सब एक मंडप राजहीं।

जनु जीव उर चारिउ अवस्था बिमुन सहित बिराजहीं।।4।।

Baithe baraasan raamu jaanaki mudit man dasarathu bhae

Tanu pulak puni puni dekhi apanen sukrit surataru phal nae

Bhari bhuvan rahaa uchhaahu raam bibaahu bhaa sabaheen kahaa

Kehi bhaanti barani siraat rasanaa eka yahu mangalu mahaa (1)

Tab janak paai basishth aayasu byaah saaj sanvaari kai

Maandavee shrutikeerati uramilaa kuanri laeen hankaari ke

Kusaketu kanyaa pratham jo gun seel sukh sobhaamaee

Sab reeti preeti samet kari so byaahi nrip bharatahi daee (2)

Jaanakee laghu bhaginee sakal sundari siromani jaani kai

So tanay deenhee byaahi lakhanahi sakal bidhi sanamaani kai

Jehi naamu shrutakeerati sulochani sumukhi sab gun aagaree

So daee ripusoodanahi bhoopati roop seel ujaagaree (3)

Anurup bar dulahini paraspar lakhi sakuch hiyan harashaheen

Sab mudit sundarataa saraahahin suman sur gan barashaheen

Sundaree sundar baranh sah sab eka mandap raajaheen

Janu jeev ura chaariu avasthaa bimun sahit biraajaheen (4)

Upon the dais sat Rama and his bride | while Dasharatha's heart swelled with pride

The world rejoiced at this sacred sight | as virtue's tree bore fruit of light

Rama and Janaki sat upon the wedding throne, and King Dasharatha's heart overflowed with bliss. His body thrilled again and again as he beheld the fresh fruit of his own good deeds, like blossoms on a divine wish-fulfilling tree.

The whole world resounded with celebration. 'Rama's wedding has taken place!' all proclaimed. How can a single tongue ever describe such supreme auspiciousness?

Then Janaka, receiving Vasishtha's command, had the wedding preparations arranged with care. Mandavi, Shrutakirti, and Urmila, the princesses, were summoned with full ceremony.

First, King Kushadhvaja's daughter, graced with virtue, gentle character, and radiant beauty, was wed to Prince Bharata with all the proper rites and loving devotion.

Janaki's younger sister, the crown jewel among all beauties, was given in marriage to Lakshmana with every mark of honour and reverence.

She whose name was Shrutakirti, lovely of eye and face, a treasury of all virtues, was given by the king to Ripusudana (Shatrughna), resplendent in beauty and noble character.

Each groom and bride, perfectly matched, glanced at one another with shy delight. All rejoiced and praised their beauty, while the gods showered flowers from the heavens.

The four fair brides with their four handsome grooms shone together in the single pavilion, as though the four states of consciousness, together with the liberated soul, were seated in splendour within the heart.

Commentary & Notes ↓

Notes

Chhand 4 (4 stanzas). Celebrates the fourfold wedding: Rama-Sita, Bharata-Mandavi, Lakshmana-Urmila, Shatrughna-Shrutakirti. Dasharatha's joy is likened to a Kalpataru (wish-fulfilling tree) bearing fruit. The closing image of the four states (waking, dream, deep sleep, turiya) with the liberated self is a profound Vedantic metaphor for the completeness of the divine household. 'Ripusudana' is another name for Shatrughna.

मुदित अवधपति सकल सुत बधुन्ह समेत निहारि।

जनु पार महिपाल मनि क्रियन्ह सहित फल चारि।।325।।

Mudit avadhapati sakal sut badhunh samet nihaari

Janu paar mahipaal mani kriyanh sahit phal chaari (325)

दोहा 325

Ayodhya's king beheld with joy complete | his sons and brides, a vision sweet

Like virtue's fruits in perfect array | adorning this most blessed day

The lord of Ayodhya gazed with delight at all his sons together with their brides, as though the four fruits of righteous action adorned this jewel among kings.

Commentary & Notes ↓

Notes

Doha 325. The 'four fruits' (chaar phal) allude to the four Purusharthas: Dharma (righteousness), Artha (prosperity), Kama (fulfilment), and Moksha (liberation). Dasharatha, the 'jewel among kings' (mahipaal mani), sees his complete fulfilment reflected in his four sons and their brides.

चौपाई 323
जसि रघुबीर ब्याह बिधि बरनी। सकल कुअँर ब्याहे तेहिं करनी।।

Jasi raghubeer byaah bidhi baranee. sakal kuanr byaahe tehin karanee

Just as the divine ceremony was performed for Raghubir's marriage, all the princes were wed in the same manner.

कहि न जाइ कछु दाइज भूरी। रहा कनक मनि मंडपु पूरी।।

Kahi na jaai kachhu daaij bhooree. rahaa kanak mani mandapu pooree

The dowry was so abundant that it cannot be described; the wedding pavilion was filled with gold and precious gems.

कंबल बसन बिचित्र पटोरे। भाँति भाँति बहु मोल न थोरे।।

Kambal basan bichitr patore. bhaanti bhaanti bahu mol na thore

There were blankets, garments, and beautiful silk cloths of various kinds, each of immense value.

गज रथ तुरग दास अरु दासी। धेनु अलंकृत कामदुहा सी।।

Gaj rath turag daas aru daasee. dhenu alankrit kaamaduhaa see

Elephants, chariots, horses, male and female servants, and adorned cows that were like wish-fulfilling Kamadhenu.

बस्तु अनेक करिअ किमि लेखा। कहि न जाइ जानहिं जिन्ह देखा।।

Bastu anek karia kimi lekhaa. kahi na jaai jaanahin jinh dekhaa

How can one count the countless items? It cannot be described; only those who witnessed it can know.

लोकपाल अवलोकि सिहाने। लीन्ह अवधपति सबु सुखु माने।।

Lokapaal avaloki sihaane. leenh avadhapati sabu sukhu maane

The guardians of the worlds looked on with wonder; the lord of Ayodhya accepted everything with joy.

दीन्ह जाचकन्हि जो जेहि भावा। उबरा सो जनवासेहिं आवा।।

Deenh jaachakanhi jo jehi bhaavaa. ubaraa so janavaasehin aavaa

Whatever pleased each beggar was given to them; whoever came to the wedding feast was satisfied.

तब कर जोरि जनकु मृदु बानी। बोले सब बरात सनमानी।।

Tab kar jori janaku mridu baanee. bole sab baraat sanamaanee

Then with folded hands, Janaka spoke in gentle words, honoring the entire wedding party.

Commentary & Notes ↓

Notes

Chaupai 323 (8 couplet pairs). Describes the magnificent dowries and Janaka's boundless generosity. 'Kamadhenu' is the celestial wish-fulfilling cow. 'Lokapalas' are the divine guardians of the cardinal directions (Indra, Agni, Yama, Varuna, etc.). Even they marvel at the splendour of Janaka's gifts.

छन्द 36
सनमानि सकल बरात आदर दान बिनय बड़ाइ कै।

प्रमुदित महा मुनि बृंद बंदे पूजि प्रेम लड़ाइ कै।।

सिरु नाइ देव मनाइ सब सन कहत कर संपुट किएँ।

सुर साधु चाहत भाउ सिंधु कि तोष जल अंजलि दिएँ।।1।।

कर जोरि जनकु बहोरि बंधु समेत कोसलराय सों।

बोले मनोहर बयन सानि सनेह सील सुभाय सों।।

संबंध राजन रावरें हम बड़े अब सब बिधि भए।

एहि राज साज समेत सेवक जानिबे बिनु गथ लए।।2।।

ए दारिका परिचारिका करि पालिबीं करुना नई।

अपराधु छमिबो बोलि पठए बहुत हौं ढीट्यो कई।।

पुनि भानुकुलभूषन सकल सनमान निधि समधी किए।

कहि जाति नहिं बिनती परस्पर प्रेम परिपूरन हिए।।3।।

बृंदारका गन सुमन बरिसहिं राउ जनवासेहि चले।

दुंदुभी जय धुनि बेद धुनि नभ नगर कौतूहल भले।।

तब सखीं मंगल गान करत मुनीस आयसु पाइ कै।

दूलह दुलहिनिन्ह सहित सुंदरि चलीं कोहबर ल्याइ कै।।4।।

Sanamaani sakal baraat aadar daan binay badaai kai

Pramudit mahaa muni brind bande pooji prem ladaai kai

Siru naai dev manaai sab san kahat kar samput kien

Sur saadhu chaahat bhaau sindhu ki tosh jal anjali dien (1)

Kar jori janaku bahori bandhu samet kosalaraay son

Bole manohar bayan saani saneh seel subhaay son

Sambandh raajan raavaren ham bade aba sab bidhi bhae

Ehi raaj saaj samet sevak jaanibe binu gath lae (2)

E daarikaa parichaarikaa kari paalibeen karunaa naee

Aparaadhu chhamibo boli pathae bahut haun dheetyo kaee

Puni bhaanukulabhooshan sakal sanamaan nidhi samadhee kie

Kahi jaati nahin binatee paraspar prem paripooran hie (3)

Brindaarakaa gan suman barisahin raau janavaasehi chale

Dundubhee jay dhuni bed dhuni nabh nagar kautoohal bhale

Tab sakheen mangal gaan karat munees aayasu paai kai

Doolah dulahininh sahit sundari chaleen kohabar lyaai kai (4)

With honor deep and gifts so grand | Janaka blessed the wedding band

In humble words of love so true | he pledged his service through and through

Honoring the entire wedding party with respect, gifts, humility and praise, the great assembly of joyful munis offered worship, brimming with love.

Bowing his head, he propitiated all the devas, and spoke with joined palms:

'Can the ocean of devotion that gods and saints desire ever be satisfied with mere handfuls of water?'

With folded hands, Janaka again addressed Kosalaraja along with his kinsmen, speaking enchanting words steeped in affection, grace and noble temperament:

'O King, through this bond with your family, we have become exalted in every way. Consider us your servants, together with this entire realm and its splendor; accept it without any hesitation.'

'These daughters are now your maidservants; nurture them with ever-fresh compassion. Forgive any boldness in my words, for I have spoken with much presumption.'

Then Bhanukula-Bhushana honored his samadhis, those treasuries of every virtue. Their mutual love was so deep that no words could capture the entreaties exchanged between them.

Hosts of celestial beings showered blossoms as the king departed for the janavaasa. Drums of victory resounded alongside Vedic chanting; the city brimmed with joyous wonder.

Then the sakhis, receiving the great sage's permission, began singing auspicious songs, and the beautiful women led the brides and grooms together to the kohbar.

Commentary & Notes ↓

Notes

Chhand 36 captures Janaka's farewell speech to Dasharatha after the four weddings, an outpouring of royal humility and devotion. 'Bhanukula-Bhushana' (ornament of the solar dynasty) refers to Dasharatha. 'Samadhis' here means co-fathers-in-law. 'Janavaasa' is the bridegroom's lodge. 'Kohbar' is the nuptial chamber where post-wedding rituals are performed. The metaphor of offering water-handfuls to satisfy an ocean conveys Janaka's sense that no gift could match the blessing of kinship with Rama's family.

पुनि पुनि रामहि चितव सिय सकुचति मनु सकुचै न।

हरत मनोहर मीन छबि प्रेम पिआसे नैन।।326।।

Puni puni raamahi chitav siy sakuchati manu sakuchai n

Harat manohar meen chhabi prem piaase nain (326)

दोहा 326

Sweet Sita's eyes on Rama dwell | though bashful heart beats like a bell

Like thirsty fish that drink their fill | yet yearn for beauty's nectar still

Again and again Sita gazes upon Rama, yet her shy heart finds no contentment. Her love-thirsty eyes, surpassing the beauty of captivated fish, drink in his enchanting form without ceasing.

Commentary & Notes ↓

Notes

Doha 326 in the text. A tender portrait of newlywed Sita's bashful adoration. The 'meena' (fish) image is classic in Indian poetry: just as fish live immersed in water yet never tire of it, Sita's eyes dwell upon Rama's beauty and are never sated. The tension between her natural modesty (sakucha) and her irrepressible longing creates the verse's exquisite sweetness.

चौपाई 324
स्याम सरीरु सुभायँ सुहावन। सोभा कोटि मनोज लजावन।।

Syaam sareeru subhaayan suhaavan. sobhaa koti manoj lajaavan

His dark body is naturally beautiful and charming, its splendor puts millions of Cupids to shame.

जावक जुत पद कमल सुहाए। मुनि मन मधुप रहत जिन्ह छाए।।

Jaavak jut pad kamal suhaae. muni man madhup rahat jinh chhaae

His lotus feet are adorned with beautiful shoes, around which the minds of sages hover like bees.

पीत पुनीत मनोहर धोती। हरति बाल रबि दामिनि जोती।।

Peet puneet manohar dhotee. harati baal rabi daamini jotee

He wears a pure yellow dhoti that is enchanting, surpassing the brilliance of the young sun and lightning.

कल किंकिनि कटि सूत्र मनोहर। बाहु बिसाल बिभूषन सुंदर।।

Kal kinkini kati sootr manohar. baahu bisaal bibhooshan sundar

Sweet-sounding anklets and a beautiful waist-cord adorn him, along with ornaments on his mighty arms.

पीत जनेउ महाछबि देई। कर मुद्रिका चोरि चितु लेई।।

Peet janeu mahaachhabi deee. kar mudrikaa chori chitu leee

His yellow sacred thread enhances his great beauty, and the ring on his finger steals away all hearts.

सोहत ब्याह साज सब साजे। उर आयत उरभूषन राजे।।

Sohat byaah saaj sab saaje. ura aayat urabhooshan raaje

All wedding ornaments look splendid on him, with beautiful chest ornaments adorning his broad chest.

पिअर उपरना काखासोती। दुहुँ आँचरन्हि लगे मनि मोती।।

Piar uparanaa kaakhaasotee. duhun aancharanhi lage mani motee

He wears a yellow upper garment reaching to his armpits, with pearls and gems attached to both its ends.

नयन कमल कल कुंडल काना। बदनु सकल सौंदर्ज निधाना।।

Nayan kamal kal kundal kaanaa. badanu sakal saundarj nidhaanaa

His lotus eyes and beautiful earrings grace his ears, his face is the treasure-house of all beauty.

सुंदर भृकुटि मनोहर नासा। भाल तिलकु रुचिरता निवासा।।

Sundar bhrikuti manohar naasaa. bhaal tilaku ruchirataa nivaasaa

His beautiful eyebrows and charming nose are captivating, the tilaka on his forehead is the abode of loveliness.

सोहत मौरु मनोहर माथे। मंगलमय मुकुता मनि गाथे।।

Sohat mauru manohar maathe. mangalamay mukutaa mani gaathe

A beautiful crown adorns his head magnificently, strung with auspicious pearls and gems.

Commentary & Notes ↓

Notes

Chaupai 324. An elaborate head-to-toe portrait of Rama in his wedding finery. 'Javaka' is the red lac-dye applied to the soles, a traditional bridal adornment. 'Kamadeva' is the god of love (Cupid). 'Maura' is the bridegroom's wedding crown, a signature ornament in North Indian weddings. The imagery of sages' minds as bees around Rama's lotus feet conveys that even renunciants are drawn irresistibly to his divine beauty.

छन्द 37
गाथे महामनि मौर मंजुल अंग सब चित चोरहीं।

पुर नारि सुर सुंदरीं बरहि बिलोकि सब तिन तोरहीं।।

मनि बसन भूषन वारि आरति करहिं मंगल गावहिं।

सुर सुमन बरिसहिं सूत मागध बंदि सुजसु सुनावहीं।।1।।

कोहबरहिं आने कुँअर कुँअरि सुआसिनिन्ह सुख पाइ कै।

अति प्रीति लौकिक रीति लागीं करन मंगल गाइ कै।।

लहकौरि गौरि सिखाव रामहि सीय सन सारद कहैं।

रनिवासु हास बिलास रस बस जन्म को फलु सब लहैं।।2।।

निज पानि मनि महुँ देखिअति मूरति सुरूपनिधान की।

चालति न भुजबल्ली बिलोकनि बिरह भय बस जानकी।।

कौतुक बिनोद प्रमोदु प्रेमु न जाइ कहि जानहिं अलीं।

बर कुअँरि सुंदर सकल सखीं लवाइ जनवासेहि चलीं।।3।।

तेहि समय सुनिअ असीस जहँ तहँ नगर नभ आनँदु महा।

चिरु जिअहुँ जोरीं चारु चारयो मुदित मन सबहीं कहा।।

जोगीन्द्र सिद्ध मुनीस देव बिलोकि प्रभु दुंदुभि हनी।

चले हरषि बरषि प्रसून निज निज लोक जय जय जय भनी।।4।।

Gaathe mahaamani maur manjul ang sab chit choraheen

Pur naari sur sundareen barahi biloki sab tin toraheen

Mani basan bhooshan vaari aarati karahin mangal gaavahin

Sur suman barisahin soot maagadh bandi sujasu sunaavaheen (1)

Kohabarahin aane kunar kunari suaasininh sukh paai kai

Ati preeti laukik reeti laageen karan mangal gaai kai

Lahakauri gauri sikhaav raamahi seey san saarad kahain

Ranivaasu haas bilaas ras bas janm ko phalu sab lahain (2)

Nij paani mani mahun dekhiati moorati suroopanidhaan kee

Chaalati na bhujaballee bilokani birah bhay bas jaanakee

Kautuk binod pramodu premu na jaai kahi jaanahin aleen

Bar kuanri sundar sakal sakheen lavaai janavaasehi chaleen (3)

Tehi samay sunia asees jahan tahan nagar nabh aanandu mahaa

Chiru jiahun joreen chaaru chaarayo mudit man sabaheen kahaa

Jogeendr siddh munees dev biloki prabhu dundubhi hanee

Chale harashi barashi prasoon nij nij lok jay jay jay bhanee (4)

Crown of gems steals every heart, | gods rain flowers from the sky,

Saraswati guides the rites, | as love's sweet moments multiply.

The magnificent maura, set with great gems, steals the heart of all who behold his limbs. The women of the city and the celestial apsaras, gazing upon the bridegroom, abandon all composure.

With gems, garments and ornaments they wave offerings, perform aarati and sing auspicious songs. The devas shower blossoms from above, while sutas, magadhas and bandis recite his glorious praise.

The princes and princesses are brought to the kohbar, and the blessed married women rejoice. With deep affection they follow every worldly custom, performing auspicious rites and singing wedding songs.

Goddess Sarada herself teaches Gauri how to instruct Rama and Sita in the sacred rituals. The women's quarters overflow with laughter, delight and rasa; everyone savors the supreme fruit of human birth.

Sita beholds the form of that treasury of beauty reflected in the jeweled mirror held in her own hand. Overcome by the dread of separation, Janaki's arms cannot move; her gaze remains fixed, unable to turn away.

Such wonder, sport, rapture and love cannot be expressed in words; only the intimate sakhis truly know it. The beautiful companions then escorted the handsome prince and princesses to the janavaasa.

Commentary & Notes ↓

Notes

Chhand 37. The cosmic wedding celebration continues. 'Sarada' is Goddess Saraswati. 'Gauri' here refers to Goddess Parvati, who serves as Sita's divine guide in the rituals. The poignant image of Sita unable to look away from Rama's reflection in her mirror, frozen by fear of separation, foreshadows the couple's future trials in exile. 'Sutas, magadhas, bandis' are the three classes of royal bards and panegyrists. 'Rasa' signifies aesthetic and emotional delight.

सहित बधूटिन्ह कुअँर सब तब आए पितु पास।

सोभा मंगल मोद भरि उमगेउ जनु जनवास।।327।।

Sahit badhootinh kuanr sab tab aae pitu paas

Sobhaa mangal mod bhari umageu janu janavaas (327)

दोहा 327

Princes with their brides approach | the father's blessed sight,

Palace blooms with joy and grace, | pure celestial light.

Together with their brides, all the princes then came into their father's presence. The janavaasa overflowed with beauty, auspiciousness and joy, as though bliss itself had surged forth in waves.

Commentary & Notes ↓

Notes

Doha 327 in the text. This verse marks the formal presentation of the four newly wedded couples to King Dasharatha. The simile of 'bliss surging forth' (umageu) suggests that the janavaasa (bridegroom's lodge) has become a living vessel of divine celebration, completing the sacred wedding sequence.

चौपाई 325
पुनि जेवनार भई बहु भाँती। पठए जनक बोलाइ बराती।।

Puni jevanaar bhaee bahu bhaantee. pathae janak bolaai baraatee

Then elaborate feasts were prepared in many varieties. Janaka sent word and summoned the wedding party.

परत पाँवड़े बसन अनूपा। सुतन्ह समेत गवन कियो भूपा।।

Parat paanvade basan anoopaa. sutanh samet gavan kiyo bhoopaa

Receiving beautiful garments and fine clothes, the king departed with his sons.

सादर सबके पाय पखारे। जथाजोगु पीढ़न्ह बैठारे।।

Saadar sabake paay pakhaare. jathaajogu peedhanh baithaare

With reverence he washed everyone's feet and seated them on appropriate seats according to their status.

धोए जनक अवधपति चरना। सीलु सनेहु जाइ नहिं बरना।।

Dhoe janak avadhapati charanaa. seelu sanehu jaai nahin baranaa

Janaka washed the feet of the king of Ayodhya. His humility and love cannot be described.

बहुरि राम पद पंकज धोए। जे हर हृदय कमल महुँ गोए।।

Bahuri raam pad pankaj dhoe. je har hriday kamal mahun goe

Then he washed Rama's lotus feet, which are hidden in the lotus of Shiva's heart.

तीनिउ भाई राम सम जानी। धोए चरन जनक निज पानी।।

Teeniu bhaaee raam sam jaanee. dhoe charan janak nij paanee

Considering all three brothers equal to Rama, Janaka washed their feet with his own hands.

आसन उचित सबहि नृप दीन्हे। बोलि सूपकारी सब लीन्हे।।

Aasan uchit sabahi nrip deenhe. boli soopakaaree sab leenhe

The king gave appropriate seats to everyone and called all the cooks to serve.

सादर लगे परन पनवारे। कनक कील मनि पान सँवारे।।

Saadar lage paran panavaare. kanak keel mani paan sanvaare

Respectfully they began serving betel leaves adorned with golden cloves and gems.

Commentary & Notes ↓

Notes

Janaka's act of personally washing the feet of his guests, especially Rama's lotus feet, reveals the depth of his humble devotion. Tulasidasa reminds the reader that these are the same feet treasured within Shiva's heart. Paanvade refers to ornamental carpets or cloths spread along the pathway for the procession. Gaari (teasing wedding songs) begin here and continue through the feast. The offering of paan (betel leaf) signals the start of formal hospitality.

सूपोदन सुरभी सरपि सुंदर स्वादु पुनीत।

छन महुँ सब कें परुसि गे चतुर सुआर बिनीत।।328।।

Soopodan surabhee sarapi sundar svaadu puneet

Chhan mahun sab ken parusi ge chatur suaar bineet (328)

दोहा 328

Fragrant ghee and pure delights, | served with humble, skillful care,

Celestial feast for divine guests, | beyond compare.

Fragrant rice, pure ghee, beautiful and delicious sacred dishes; in a moment the skillful and courteous cooks served them all.

Commentary & Notes ↓

Notes

Soopodan means excellent cooked rice or dal; surabhee sarapi refers to fragrant, clarified butter (ghee). The food is called puneet (pure, sacred), elevating a worldly feast into a devotional offering. The cooks' humility (bineet) mirrors the devotional spirit of the entire celebration.

चौपाई 326
पंच कवल करि जेवन लअगे। गारि गान सुनि अति अनुरागे।।

Panch kaval kari jevan laage. gaari gaan suni ati anuraage

They arranged five courses for the meal and began dining, listening with great delight to the melodious songs being sung.

भाँति अनेक परे पकवाने। सुधा सरिस नहिं जाहिं बखाने।।

Bhaanti anek pare pakavaane. sudhaa saris nahin jaahin bakhaane

Various types of delicious dishes were prepared, so exquisite they cannot be described - like nectar itself.

परुसन लगे सुआर सुजाना। बिंजन बिबिध नाम को जाना।।

Parusan lage suaar sujaanaa. binjan bibidh naam ko jaanaa

Skilled cooks began serving the food, with countless varieties of dishes whose names are beyond counting.

चारि भाँति भोजन बिधि गाई। एक एक बिधि बरनि न जाई।।

Chaari bhaanti bhojan bidhi gaaee. eka eka bidhi barani na jaaee

The scriptures describe four types of food, but each type has varieties that cannot be fully described.

छरस रुचिर बिंजन बहु जाती। एक एक रस अगनित भाँती।।

Chharas ruchir binjan bahu jaatee. eka eka ras aganit bhaantee

There were delightful dishes of six flavors and many varieties, with each taste having countless preparations.

जेवँत देहिं मधुर धुनि गारी। लै लै नाम पुरुष अरु नारी।।

Jevant dehin madhur dhuni gaaree. lai lai naam purush aru naaree

While eating, they sang sweet melodious songs, taking the names of men and women with affection.

समय सुहावनि गारि बिराजा। हँसत राउ सुनि सहित समाजा।।

Samay suhaavani gaari biraajaa. hansat raau suni sahit samaajaa

The auspicious occasion was graced with beautiful songs, and the king laughed joyfully hearing them along with his assembly.

एहि बिधि सबहीं भौजनु कीन्हा। आदर सहित आचमनु दीन्हा।।

Ehi bidhi sabaheen bhaujanu keenhaa. aadar sahit aachamanu deenhaa

In this manner everyone completed their meal, and water for rinsing was respectfully offered to all.

Commentary & Notes ↓

Notes

Panch kaval refers to the five ritual morsels offered before eating, a traditional act of sanctification. Gaari are the customary playful, teasing songs sung by women at weddings, a beloved North Indian tradition that adds humor and warmth. The four types of food (chaari bhaanti bhojan) are those mentioned in Ayurvedic tradition: bhojya (chewable), peya (drinkable), lehya (lickable), and choshya (suckable). Chharas (six flavors) are sweet, sour, salty, bitter, pungent, and astringent. Aachamanu is the ritual rinsing of the mouth and hands after a meal.

देइ पान पूजे जनक दसरथु सहित समाज।

जनवासेहि गवने मुदित सकल भूप सिरताज।।329।।

Dei paan pooje janak dasarathu sahit samaaj

Janavaasehi gavane mudit sakal bhoop sirataaj (329)

दोहा 329

With betel leaves King Janaka honored all, | then joyful kings withdrew,

To their royal quarters they departed, | hearts with bliss made new.

Offering betel leaves, Janaka honored Dasharatha and his entire assembly. All those crowned kings then departed joyfully to the guest quarters.

Commentary & Notes ↓

Notes

The offering of paan (betel leaf) marks the formal and gracious conclusion of the feast. Janavaas refers to the guest quarters prepared for the wedding party. Sakal bhoop sirataaj (all the crowned kings) underscores the royal grandeur of the occasion.

चौपाई 327
नित नूतन मंगल पुर माहीं। निमिष सरिस दिन जामिनि जाहीं।।

Nit nootan mangal pur maaheen. nimish saris din jaamini jaaheen

Every day brought new joy and auspiciousness to the city. Days and nights passed by like mere moments.

बड़े भोर भूपतिमनि जागे। जाचक गुन गन गावन लागे।।

Bade bhor bhoopatimani jaage. jaachak gun gan gaavan laage

Early in the morning, the jewel among kings awoke. Bards and singers began singing his praises and virtues.

देखि कुअँर बर बधुन्ह समेता। किमि कहि जात मोदु मन जेता।।

Dekhi kuanr bar badhunh sametaa. kimi kahi jaat modu man jetaa

Seeing the excellent princes with their brides, how can one describe the joy that filled his heart?

प्रातक्रिया करि गे गुरु पाहीं। महाप्रमोदु प्रेमु मन माहीं।।

Praatakriyaa kari ge guru paaheen. mahaapramodu premu man maaheen

After completing his morning rituals, he went to his guru with great joy and love in his heart.

करि प्रनाम पूजा कर जोरी। बोले गिरा अमिअँ जनु बोरी।।

Kari pranaam poojaa kar joree. bole giraa amian janu boree

Bowing respectfully with folded hands, he spoke words as sweet as if dipped in nectar.

तुम्हरी कृपाँ सुनहु मुनिराजा। भयउँ आजु मैं पूरनकाजा।।

Tumharee kripaan sunahu muniraajaa. bhayaun aaju main pooranakaajaa

By your grace, O king of sages, listen - today I have become fulfilled in all my purposes.

अब सब बिप्र बोलाइ गोसाईं। देहु धेनु सब भाँति बनाई।।

Aba sab bipr bolaai gosaaeen. dehu dhenu sab bhaanti banaaee

Now, O master, please call all the brahmins and give them cows prepared in every way.

सुनि गुर करि महिपाल बड़ाई। पुनि पठए मुनि बृंद बोलाई।।

Suni gur kari mahipaal badaaee. puni pathae muni brind bolaaee

Hearing this, the guru praised the king greatly, then sent messengers to call all the sages.

Commentary & Notes ↓

Notes

Bhoopatimani (jewel among kings) is an epithet for Dasharatha. Praatakriyaa refers to the morning devotional routine including bathing, prayers, and worship. Dasharatha's first act after rising is to seek his guru, modeling the ideal of a dharmic king. His request for godaan (the gift of cows) to learned ones is the traditional charitable offering that follows an auspicious ceremony. Giraa amian janu boree means speech as though soaked in amrita (nectar), conveying both sweetness and sacredness.

बामदेउ अरु देवरिषि बालमीकि जाबालि।

आए मुनिबर निकर तब कौसिकादि तपसालि।।330।।

Baamadeu aru devarishi baalameeki jaabaali

Aae munibar nikar tab kausikaadi tapasaali (330)

दोहा 330

Great Vamadeva came with Devarishi, | Valmiki sage divine,

With Jabali and noble Kaushika, | ascetics in sacred line.

Vamadeva and the divine sage Narada, Valmiki, Jabali, and other great ascetics arrived. Then came excellent sages in multitudes, Kaushika and other devoted practitioners of austerity.

Commentary & Notes ↓

Notes

This doha catalogues the illustrious sages assembling for the ceremonial giving (dana). Vamadeva is a Vedic rishi; Devarishi refers to Narada, the celestial sage. Valmiki, the Adi Kavi who composed the original Ramayana, lends special gravity to the gathering. Kaushika is Vishvamitra, Rama's first guru. Their collective presence sanctifies the charitable rites that follow the wedding.

चौपाई 328
दंड प्रनाम सबहि नृप कीन्हे। पूजि सप्रेम बरासन दीन्हे।।

Dand pranaam sabahi nrip keenhe. pooji saprem baraasan deenhe

All the kings bowed down with folded hands in reverence. They worshipped with love and were given seats of honor.

चारि लच्छ बर धेनु मगाई। कामसुरभि सम सील सुहाई।।

Chaari lachchh bar dhenu magaaee. kaamasurabhi sam seel suhaaee

Four hundred thousand excellent cows were requested, beautiful in nature like Kamadhenu herself.

सब बिधि सकल अलंकृत कीन्हीं। मुदित महिप महिदेवन्ह दीन्हीं।।

Sab bidhi sakal alankrit keenheen. mudit mahip mahidevanh deenheen

All were adorned in every way with ornaments. The joyful king gave them to the Brahmins.

करत बिनय बहु बिधि नरनाहू। लहेउँ आजु जग जीवन लाहू।।

Karat binay bahu bidhi naranaahoo. laheun aaju jag jeevan laahoo

Making humble requests in many ways, the king said he had gained the true profit of life today.

पाइ असीस महीसु अनंदा। लिए बोलि पुनि जाचक बृंदा।।

Paai asees maheesu anandaa. lie boli puni jaachak brindaa

Receiving blessings, the king was filled with joy. He then called forth groups of beggars and supplicants.

कनक बसन मनि हय गय स्यंदन। दिए बूझि रुचि रबिकुलनंदन।।

Kanak basan mani hay gay syandan. die boojhi ruchi rabikulanandan

Understanding their preferences, the delight of the solar dynasty gave gold, clothes, jewels, horses, elephants, and chariots.

चले पढ़त गावत गुन गाथा। जय जय जय दिनकर कुल नाथा।।

Chale padhat gaavat gun gaathaa. jay jay jay dinakar kul naathaa

They departed chanting and singing songs of praise: 'Victory, victory, victory to the lord of the solar dynasty!'

एहि बिधि राम बिआह उछाहू। सकइ न बरनि सहस मुख जाहू।।

Ehi bidhi raam biaah uchhaahoo. sakai na barani sahas mukh jaahoo

The joy and celebration of Rama's wedding was such that even a thousand-mouthed serpent could not describe it.

Commentary & Notes ↓

Notes

This grand chaupai describes the climactic dana (charitable giving) that concludes the wedding rites. The gift of four lakh cows, compared to Kamadhenu (Kaamasurabhi), elevates the generosity to a cosmic plane. 'Rabikulanandan' (joy of the solar dynasty) is an epithet of Rama and Dasharatha alike. The final couplet invokes Shesha (Sahasramukh), the divine serpent of a thousand mouths, as a measure of the indescribable joy. Tulsidas uses this conventional humility topos to signal the event surpasses all words.

बार बार कौसिक चरन सीसु नाइ कह राउ।

यह सबु सुखु मुनिराज तव कृपा कटाच्छ पसाउ।।331।।

Baar baar kausik charan seesu naai kah raau

Yah sabu sukhu muniraaj tav kripaa kataachchh pasaau (331)

दोहा 331

Bowing low at Kaushika's feet | the grateful king declares:

"All joy springs from your grace | O sage beyond compare!"

Again and again bowing his head at the feet of Kaushika, the king spoke with deep reverence: 'O king among sages, all this happiness and good fortune is the gift of your gracious glance alone.'

Commentary & Notes ↓

Notes

Dasharatha attributes every blessing of the wedding to Vishvamitra's kripa-kataksha (gracious sidelong glance). 'Kataksha' carries the specific meaning of a sidelong or benevolent glance, a common devotional image for the flow of divine grace. The king's repeated prostration (baar baar) underscores genuine humility rather than mere courtly etiquette.

चौपाई 329
जनक सनेहु सीलु करतूती। नृपु सब भाँति सराह बिभूती।।

Janak sanehu seelu karatootee. nripu sab bhaanti saraah bibhootee

King Janaka praised Dasharatha's affection, noble character, and deeds, extolling his virtues and prosperity in every way.

दिन उठि बिदा अवधपति मागा। राखहिं जनकु सहित अनुरागा।।

Din uthi bidaa avadhapati maagaa. raakhahin janaku sahit anuraagaa

When the lord of Ayodhya asked for permission to depart after some days, Janaka lovingly insisted that he stay longer.

नित नूतन आदरु अधिकाई। दिन प्रति सहस भाँति पहुनाई।।

Nit nootan aadaru adhikaaee. din prati sahas bhaanti pahunaaee

Each day brought fresh honor and increased respect, with hospitality shown in thousands of new ways daily.

नित नव नगर अनंद उछाहू। दसरथ गवनु सोहाइ न काहू।।

Nit nav nagar anand uchhaahoo. dasarath gavanu sohaai na kaahoo

The city rejoiced with new celebrations daily, and no one liked the thought of Dasharatha's departure.

बहुत दिवस बीते एहि भाँती। जनु सनेह रजु बँधे बराती।।

Bahut divas beete ehi bhaantee. janu saneh raju bandhe baraatee

Many days passed in this manner, as if the wedding party was bound by the rope of affection.

कौसिक सतानंद तब जाई। कहा बिदेह नृपहि समुझाई।।

Kausik sataanand tab jaaee. kahaa bideh nripahi samujhaaee

Then sage Kaushika and Satananda went to King Videha and spoke to make him understand.

अब दसरथ कहँ आयसु देहू। जद्यपि छाड़ि न सकहु सनेहू।।

Aba dasarath kahan aayasu dehoo. jadyapi chhaadi na sakahu sanehoo

Now give permission to Dasharatha to leave, even though you cannot abandon your affection for him.

भलेहिं नाथ कहि सचिव बोलाए। कहि जय जीव सीस तिन्ह नाए।।

Bhalehin naath kahi sachiv bolaae. kahi jay jeev sees tinh naae

The king said 'Very well' and called his ministers, who bowed their heads and said 'Victory and long life to you.'

Commentary & Notes ↓

Notes

This beautiful passage depicts the tug between love and duty. The metaphor 'saneh raju bandhe baraatee' (the wedding party bound by the rope of affection) is a signature Tulsidas image, personifying love as a physical cord. Satananda, Janaka's own family priest, joins Vishvamitra in urging departure, showing that even those closest to Janaka recognize the time has come. Videha is another name for Janaka, king of the Videha region (Mithila).

अवधनाथु चाहत चलन भीतर करहु जनाउ।

भए प्रेमबस सचिव सुनि बिप्र सभासद राउ।।332।।

Avadhanaathu chaahat chalan bheetar karahu janaau

Bhae premabas sachiv suni bipr sabhaasad raau (332)

दोहा 332

"Announce within the palace walls | Avadh's king would leave,"

All hearts with love's deep sorrow | began to grieve.

The ministers were told: 'The lord of Avadh wishes to depart. Go and announce this within the inner palace.' Hearing this, the ministers, the Brahmins, the courtiers, and the king himself were all overcome by love.

Commentary & Notes ↓

Notes

The formal announcement of departure brings a wave of prembas (being overcome by love) upon everyone in Janaka's court. Avadh (Ayodhya) is Dasharatha's capital. The word 'bheetar' (within, the inner quarters) signals that the women of the palace, especially Queen Sunayana and the brides, must now be informed. This sets the emotional stage for the farewell scenes that follow.

चौपाई 330
पुरबासी सुनि चलिहि बराता। बूझत बिकल परस्पर बाता।।

Purabaasee suni chalihi baraataa. boojhat bikal paraspar baataa

Hearing this, the citizens of the city began to prepare for the wedding procession. They anxiously inquired from one another about the arrangements.

सत्य गवनु सुनि सब बिलखाने। मनहुँ साँझ सरसिज सकुचाने।।

Saty gavanu suni sab bilakhaane. manahun saanjh sarasij sakuchaane

Upon hearing the confirmed news of departure, everyone began to weep. They appeared like lotus flowers wilting at evening time.

जहँ जहँ आवत बसे बराती। तहँ तहँ सिद्ध चला बहु भाँती।।

Jahan jahan aavat base baraatee. tahan tahan siddh chalaa bahu bhaantee

Wherever the wedding party was to stay along the route, there provisions were arranged in various ways.

बिबिध भाँति मेवा पकवाना। भोजन साजु न जाइ बखाना।।

Bibidh bhaanti mevaa pakavaanaa. bhojan saaju na jaai bakhaanaa

Various kinds of fruits and sweets were prepared. The feast arrangements were beyond description.

भरि भरि बसहँ अपार कहारा। पठई जनक अनेक सुसारा।।

Bhari bhari basahan apaar kahaaraa. pathaee janak anek susaaraa

King Janaka sent countless excellent provisions, filling numerous bearers to capacity.

तुरग लाख रथ सहस पचीसा। सकल सँवारे नख अरु सीसा।।

Turag laakh rath sahas pacheesaa. sakal sanvaare nakh aru seesaa

One hundred thousand horses and twenty-five thousand chariots were prepared, all adorned from hoof to head.

मत्त सहस दस सिंधुर साजे। जिन्हहि देखि दिसिकुंजर लाजे।।

Matt sahas das sindhur saaje. jinhahi dekhi disikunjar laaje

Ten thousand intoxicated elephants were decorated with vermillion, seeing whom even the elephants of the directions felt ashamed.

कनक बसन मनि भरि भरि जाना। महिषीं धेनु बस्तु बिधि नाना।।

Kanak basan mani bhari bhari jaanaa. mahisheen dhenu bastu bidhi naanaa

Golden garments and jewels were loaded in abundance, along with buffaloes, cows, and various other gifts.

Commentary & Notes ↓

Notes

Chaupai 330, Bala Kanda. Eight couplet pairs describing Mithila's lavish departure preparations. 'Sindhur' (elephant) is a poetic synonym; 'disikunjara' refers to the mythological elephants guarding the eight cardinal directions. The simile of lotuses closing at dusk captures the people's sorrow at Sita's departure. Janaka's generosity is depicted on a cosmic scale to convey that his love for Sita surpasses worldly measure.

दाइज अमित न सकिअ कहि दीन्ह बिदेहँ बहोरि।

जो अवलोकत लोकपति लोक संपदा थोरि।।333।।

Daaij amit na sakia kahi deenh bidehan bahori

Jo avalokat lokapati lok sampadaa thori (333)

दोहा 333

Videha's dowry knows no bounds | beyond all earthly measure,

Even Indra's realm seems small | beside this loving treasure.

The dowry given by King Videha was beyond all measure; no words could capture it. Seeing it, even Indra, lord of the heavens, would consider the wealth of all three worlds to be small.

Commentary & Notes ↓

Notes

Doha 333, Bala Kanda. 'Videha' is Janaka's dynastic title (the kings of Videha). 'Lokapati' here means Indra, sovereign of the celestial realm. The hyperbole conveys that a father's love, expressed through generosity, exceeds even divine opulence.

चौपाई 331
सबु समाजु एहि भाँति बनाई। जनक अवधपुर दीन्ह पठाई।।

Sabu samaaju ehi bhaanti banaaee. janak avadhapur deenh pathaaee

Having arranged the entire assembly in this manner, Janaka sent word to Ayodhya.

चलिहि बरात सुनत सब रानीं। बिकल मीनगन जनु लघु पानीं।।

Chalihi baraat sunat sab raaneen. bikal meenagan janu laghu paaneen

Hearing that the wedding procession would depart, all the queens became distressed like fish in shallow water.

पुनि पुनि सीय गोद करि लेहीं। देइ असीस सिखावनु देहीं।।

Puni puni seey god kari leheen. dei asees sikhaavanu deheen

Again and again they took Sita in their lap, giving blessings and imparting guidance.

होएहु संतत पियहि पिआरी। चिरु अहिबात असीस हमारी।।

Hoehu santat piyahi piaaree. chiru ahibaat asees hamaaree

May you always remain beloved to your husband - this is our eternal blessing.

सासु ससुर गुर सेवा करेहू। पति रुख लखि आयसु अनुसरेहू।।

Saasu sasur gur sevaa karehoo. pati rukh lakhi aayasu anusarehoo

Serve your mother-in-law, father-in-law and guru, and follow your husband's wishes by observing his mood.

अति सनेह बस सखीं सयानी। नारि धरम सिखवहिं मृदु बानी।।

Ati saneh bas sakheen sayaanee. naari dharam sikhavahin mridu baanee

The wise female companions, filled with great affection, taught her the duties of womanhood in gentle words.

सादर सकल कुअँरि समुझाई। रानिन्ह बार बार उर लाई।।

Saadar sakal kuanri samujhaaee. raaninh baar baar ura laaee

Having respectfully instructed the princess in all matters, the queens embraced her to their hearts again and again.

बहुरि बहुरि भेटहिं महतारीं। कहहिं बिरंचि रचीं कत नारीं।।

Bahuri bahuri bhetahin mahataareen. kahahin biranchi racheen kat naareen

The mothers met her repeatedly, saying 'Why did Brahma create women?' (expressing their sorrow at separation).

Commentary & Notes ↓

Notes

Chaupai 331, Bala Kanda. Eight couplet pairs depicting the queens' farewell to Sita. The simile 'meenagana janu laghu paaneen' (fish in shallow water) is a classic Tulsidas image for unbearable distress. The final line, 'Biranchi racheen kat naareen,' is a poignant lament: mothers questioning why the Creator made women, since a daughter must inevitably leave her birth home. 'Ahivaat' (also 'ahivaataa') signifies the blessed state of a married woman whose husband is alive.

तेहि अवसर भाइन्ह सहित रामु भानु कुल केतु।

चले जनक मंदिर मुदित बिदा करावन हेतु।।334।।

Tehi avasar bhaainh sahit raamu bhaanu kul ketu

Chale janak mandir mudit bidaa karaavan hetu (334)

दोहा 334

The solar princes bright and fair | to Janaka's court repair,

To bid farewell with hearts so light | and blessings everywhere.

At that auspicious moment, Rama, the banner of the Solar dynasty, went joyfully with His brothers to Janaka's palace to take their formal leave.

Commentary & Notes ↓

Notes

Doha 334, Bala Kanda. 'Bhaanu kul ketu' (banner of the Solar dynasty) is an epithet for Rama, affirming His role as the crowning glory of the Raghu lineage. The verse pivots the narrative from the queens' sorrow to the formal vidaai (farewell) ceremony.

चौपाई 332
चारिअ भाइ सुभायँ सुहाए। नगर नारि नर देखन धाए।।

Chaaria bhaai subhaayan suhaae. nagar naari nar dekhan dhaae

The four brothers, naturally beautiful and charming, rushed forth as the men and women of the city came to see them.

कोउ कह चलन चहत हहिं आजू। कीन्ह बिदेह बिदा कर साजू।।

Kou kah chalan chahat hahin aajoo. keenh bideh bidaa kar saajoo

Some said they wish to depart today, as the king of Videha has made preparations for their farewell.

लेहु नयन भरि रूप निहारी। प्रिय पाहुने भूप सुत चारी।।

Lehu nayan bhari roop nihaaree. priy paahune bhoop sut chaaree

Fill your eyes with the sight of their beauty, these four beloved princely guests.

को जानै केहि सुकृत सयानी। नयन अतिथि कीन्हे बिधि आनी।।

Ko jaanai kehi sukrit sayaanee. nayan atithi keenhe bidhi aanee

Who knows by what good fortune, O wise ones, Providence has brought these guests before our eyes?

मरनसीलु जिमि पाव पिऊषा। सुरतरु लहै जनम कर भूखा।।

Maranaseelu jimi paav piooshaa. surataru lahai janam kar bhookhaa

As a dying person receives nectar, or a hungry soul obtains the wish-fulfilling tree at birth.

पाव नारकी हरिपदु जैसें। इन्ह कर दरसनु हम कहँ तैसे।।

Paav naarakee haripadu jaisen. inh kar darasanu ham kahan taise

As a sinner attains the feet of Hari, such is this vision of them to us.

निरखि राम सोभा उर धरहू। निज मन फनि मूरति मनि करहू।।

Nirakhi raam sobhaa ura dharahoo. nij man phani moorati mani karahoo

Behold Rama's beauty and treasure it in your hearts, make this jewel-like form the ornament of your minds.

एहि बिधि सबहि नयन फलु देता। गए कुअँर सब राज निकेता।।

Ehi bidhi sabahi nayan phalu detaa. gae kuanr sab raaj niketaa

Thus giving the fruit of sight to all, the princes departed to the royal palace.

Commentary & Notes ↓

Notes

Chaupai 332, Bala Kanda. Eight couplet pairs in which the people of Mithila voice their spiritual understanding of Rama's darshan. 'Phani moorati mani' is a beautiful metaphor: just as a cobra bears a luminous gem (mani) upon its hood, let Rama's form be the radiant jewel crowning the serpent of one's mind. 'Nayan phalu' (fruit of the eyes) expresses the Vaishnava belief that the highest purpose of sight is beholding the Lord. The three analogies (nectar for the dying, wish-tree for the starving, Hari's feet for the sinner) escalate in spiritual intensity, culminating in the supreme blessing of Rama-darshan.

रूप सिंधु सब बंधु लखि हरषि उठा रनिवासु।

करहि निछावरि आरती महा मुदित मन सासु।।335।।

Roop sindhu sab bandhu lakhi harashi uthaa ranivaasu

Karahi nichhaavari aaratee mahaa mudit man saasu (335)

दोहा 335

The royal mothers rise in joy | to greet their sons so dear,

With lamps and offerings blessed | and hearts without a fear.

Seeing the ocean of beauty with all His brothers, the royal household arose in joy. The mother-in-law performed arati with offerings, her heart filled with great delight.

Commentary & Notes ↓

Notes

Doha 335. Queen Sunayana and the royal ladies of Mithila welcome the four bridegrooms with the traditional arati ceremony. 'Roop sindhu' (ocean of beauty) is a classic epithet for Rama. 'Ranivaasu' denotes the inner royal quarters where the queens reside. 'Nichhaavari' refers to the ritual waving of gifts around someone to ward off the evil eye, expressing protective maternal love.

चौपाई 333
देखि राम छबि अति अनुरागीं। प्रेमबिबस पुनि पुनि पद लागीं।।

Dekhi raam chhabi ati anuraageen. premabibas puni puni pad laageen

Seeing Rama's divine beauty, they became deeply enamored and overwhelmed with love, repeatedly touching His feet.

रही न लाज प्रीति उर छाई। सहज सनेहु बरनि किमि जाई।।

Rahee na laaj preeti ura chhaaee. sahaj sanehu barani kimi jaaee

All modesty vanished as love filled their hearts completely. How can such natural affection be described?

भाइन्ह सहित उबटि अन्हवाए। छरस असन अति हेतु जेवाँए।।

Bhaainh sahit ubati anhavaae. chharas asan ati hetu jevaane

Along with their brothers, they bathed and anointed the princes, then lovingly fed them delicious food.

बोले रामु सुअवसरु जानी। सील सनेह सकुचमय बानी।।

Bole raamu suavasaru jaanee. seel saneh sakuchamay baanee

Recognizing the appropriate moment, Rama spoke with words full of modesty, affection, and gentle hesitation.

राउ अवधपुर चहत सिधाए। बिदा होन हम इहाँ पठाए।।

Raau avadhapur chahat sidhaae. bidaa hon ham ihaan pathaae

The king of Ayodhya wishes to return home, and we have been sent here to take leave.

मातु मुदित मन आयसु देहू। बालक जानि करब नित नेहू।।

Maatu mudit man aayasu dehoo. baalak jaani karab nit nehoo

O mother, give your joyful permission, and considering us as children, continue to show your affection always.

सुनत बचन बिलखेउ रनिवासू। बोलि न सकहिं प्रेमबस सासू।।

Sunat bachan bilakheu ranivaasoo. boli na sakahin premabas saasoo

Hearing these words, the royal ladies began to weep, and the mothers-in-law could not speak, overcome by love.

हृदयँ लगाइ कुअँरि सब लीन्ही। पतिन्ह सौंपि बिनती अति कीन्ही।।

Hridayan lagaai kuanri sab leenhee. patinh saumpi binatee ati keenhee

They embraced all the princes to their hearts and made earnest requests to their husbands.

Commentary & Notes ↓

Notes

Chaupai 333. This eight-couplet chaupai captures the entire arc of the farewell scene at Janakpur. The queens' uninhibited devotion to Rama (touching His feet, abandoning all formality) reveals how divine love dissolves social propriety. Rama's speech is a masterclass in gentle courtesy: He calls the queen 'Maatu' (Mother), asks to be treated as a child, and frames departure as the king's wish rather than his own. The final couplet, where the queens entrust the princesses to their husbands, is the emotional pivot of the scene. 'Ubati' means anointing with fragrant paste before a bath. 'Seel' (modesty), 'saneh' (affection), and 'sakuch' (hesitation) together define Rama's characteristic speech.

छन्द 38
करि बिनय सिय रामहि समरपी जोरि कर पुनि पुनि कहै।

बलि जाँउ तात सुजान तुम्ह कहुँ बिदित गति सब की अहै।।

परिवार पुरजन मोहि राजहि प्रानप्रिय सिय जानिबी।

तुलसीस सीलु सनेहु लखि निज किंकरी करि मानिबी।।

Kari binay siy raamahi samarapee jori kar puni puni kahai

Bali jaanu taat sujaan tumh kahun bidit gati sab kee ahai

Parivaar purajan mohi raajahi praanapriy siy jaanibee

Tulasees seelu sanehu lakhi nij kinkaree kari maanibee

With folded hands she pleads | again and yet again,

'You know all hearts, dear son | treat Sita as your own.'

With folded hands, offering Sita to Rama with reverent salutations, the queen speaks again and again:

'I sacrifice myself for you, dear son. You are wise and know the condition of all hearts.

Know that the family, the citizens, myself, and the king all hold Sita dearer than life itself.

Tulasidas says: seeing her virtue and her love, consider her your own devoted servant.'

Commentary & Notes ↓

Notes

Chhand 38. Queen Sunayana's direct address to Rama. 'Bali jaanu' (I sacrifice myself) is an expression of intense maternal affection. The queen's plea is both intimate and theologically layered: she asks Rama the Supreme Being to treat Sita (who is Lakshmi herself) as a humble servant, reflecting the devotional ideal of total surrender. Tulsidas signs the verse in the final line, a convention in chhands. 'Kinkaree' means a female servant, the ultimate expression of self-offering in the bhakti tradition.

तुम्ह परिपूरन काम जान सिरोमनि भावप्रिय।

जन गुन गाहक राम दोष दलन करुनायतन।।336।।

Tumh paripooran kaam jaan siromani bhaavapriy

Jan gun gaahak raam dosh dalan karunaayatan (336)

दोहा 336

Crown jewel of beloved hearts | fulfiller of all desires,

O compassionate Rama | who sees virtue, destroys vice.

You are the fulfiller of all desires, the crown jewel among the wise, beloved of all hearts. O Rama, You cherish the virtues of Your devotees, destroy their faults, and are the very abode of compassion.

Commentary & Notes ↓

Notes

Doha 336. A compact hymn of Rama's divine attributes. 'Paripooran kaam' means one who fulfils all desires. 'Jaan siromani' (crown jewel of the wise) and 'bhaavapriy' (beloved of hearts) describe His accessibility to devotees. 'Jan gun gaahak' (one who values the virtues of His servants) paired with 'dosh dalan' (destroyer of faults) captures Rama's dual grace: He magnifies the good in us and removes the bad. 'Karunaayatan' (abode of compassion) is one of the most cherished epithets for Rama in the Manas.

चौपाई 334
अस कहि रही चरन गहि रानी। प्रेम पंक जनु गिरा समानी।।

Asa kahi rahee charan gahi raanee. prem pank janu giraa samaanee

Saying this, the queen grasped Rama's feet, her speech seeming to be immersed in the mud of love.

सुनि सनेहसानी बर बानी। बहुबिधि राम सासु सनमानी।।

Suni sanehasaanee bar baanee. bahubidhi raam saasu sanamaanee

Hearing her affectionate and noble words, Rama honored his mother-in-law in many ways.

राम बिदा मागत कर जोरी। कीन्ह प्रनामु बहोरि बहोरी।।

Raam bidaa maagat kar joree. keenh pranaamu bahori bahoree

Rama sought permission to depart with folded hands, bowing repeatedly in reverence.

पाइ असीस बहुरि सिरु नाई। भाइन्ह सहित चले रघुराई।।

Paai asees bahuri siru naaee. bhaainh sahit chale raghuraaee

Receiving blessings and bowing his head once more, Raghurai departed with his brothers.

मंजु मधुर मूरति उर आनी। भई सनेह सिथिल सब रानी।।

Manju madhur moorati ura aanee. bhaee saneh sithil sab raanee

Bringing his beautiful and sweet form to their hearts, all the queens became overwhelmed with affection.

पुनि धीरजु धरि कुअँरि हँकारी। बार बार भेटहिं महतारीं।।

Puni dheeraju dhari kuanri hankaaree. baar baar bhetahin mahataareen

Then gathering courage, they called the princess, and the mothers embraced her again and again.

पहुँचावहिं फिरि मिलहिं बहोरी। बढ़ी परस्पर प्रीति न थोरी।।

Pahunchaavahin phiri milahin bahoree. badhee paraspar preeti na thoree

They escorted her and then met again, their mutual love having grown considerably.

पुनि पुनि मिलत सखिन्ह बिलगाई। बाल बच्छ जिमि धेनु लवाई।।

Puni puni milat sakhinh bilagaaee. baal bachchh jimi dhenu lavaaee

Meeting repeatedly, they separated her from her companions, like a cow being led away from her calf.

Commentary & Notes ↓

Notes

Chaupai 334. The final farewell at Janakpur. 'Prem pank' (the mud or flood of love) is a striking image: love so deep it drowns speech itself. Rama's repeated bowing ('bahori bahoree') shows His perfect humility before elders. The simile of the cow and calf ('baal bachchh jimi dhenu lavaaee') is one of the most poignant in the Manas, evoking the raw, animal pain of maternal separation. The back-and-forth movement of escorting, returning, and meeting again physically enacts the heart's inability to let go. 'Raghuraaee' (Lord of the Raghus) is a formal epithet marking the solemnity of the departure.

प्रेमबिबस नर नारि सब सखिन्ह सहित रनिवासु।

मानहुँ कीन्ह बिदेहपुर करुनाँ बिरहँ निवासु।।337।।

Premabibas nar naari sab sakhinh sahit ranivaasu

Maanahun keenh bidehapur karunaan birahan nivaasu (337)

दोहा 337

Love-overwhelmed people all | companions and royal court,

Made Mithila seem the home | of compassion and parting's hurt.

Overwhelmed by love, every man and woman, the companions and the royal household alike, made it seem as though Karuna and Viraha themselves had taken up residence in Videha's city.

Commentary & Notes ↓

Notes

Doha 337. Tulsidas personifies compassion (karuna) and the ache of separation (viraha) as living beings who have moved into Mithila. The entire city is so drenched in tender grief that the feelings seem to have a physical dwelling there. 'Videha's city' is Mithila, capital of King Janaka (also called Videha).

चौपाई 335
सुक सारिका जानकी ज्याए। कनक पिंजरन्हि राखि पढ़ाए।।

Suk saarikaa jaanakee jyaae. kanak pinjaranhi raakhi padhaae

Parrots and mynas that Janaki had raised spoke her name, kept in golden cages where she had taught them.

ब्याकुल कहहिं कहाँ बैदेही। सुनि धीरजु परिहरइ न केही।।

Byaakul kahahin kahaan baidehee. suni dheeraju pariharai na kehee

They cry out restlessly asking where Vaidehi is, and hearing this, no one can maintain their composure.

भए बिकल खग मृग एहि भाँति। मनुज दसा कैसें कहि जाती।।

Bhae bikal khag mrig ehi bhaanti. manuj dasaa kaisen kahi jaatee

When birds and animals became so distressed in this manner, how can the condition of humans be described?

बंधु समेत जनकु तब आए। प्रेम उमगि लोचन जल छाए।।

Bandhu samet janaku tab aae. prem umagi lochan jal chhaae

Then King Janaka arrived with his brothers, his eyes overflowing with tears of overwhelming love.

सीय बिलोकि धीरता भागी। रहे कहावत परम बिरागी।।

Seey biloki dheerataa bhaagee. rahe kahaavat param biraagee

Upon seeing Sita, his steadiness fled; he who was called supremely detached remained no more.

लीन्हि राँय उर लाइ जानकी। मिटी महामरजाद ग्यान की।।

Leenhi raany ura laai jaanakee. mitee mahaamarajaad gyaan kee

The king took Janaki to his heart, and all the great dignity of his wisdom vanished.

समुझावत सब सचिव सयाने। कीन्ह बिचारु न अवसर जाने।।

Samujhaavat sab sachiv sayaane. keenh bichaaru na avasar jaane

All the wise ministers tried to counsel him, but he paid no heed nor recognized the occasion.

बारहिं बार सुता उर लाई। सजि सुंदर पालकीं मगाई।।

Baarahin baar sutaa ura laaee. saji sundar paalakeen magaaee

Again and again he embraced his daughter to his heart, then ordered a beautiful palanquin to be prepared.

Commentary & Notes ↓

Notes

Chaupai 335. Eight couplets depicting the emotional climax of Sita's farewell. Tulsidas moves from the heartbreak of Sita's pet birds to the collapse of Janaka's famed philosophical detachment (param biraagi). The parrots calling 'Where is Vaidehi?' is among the most poignant images in the Manas. Janaka, renowned as a Jnani-king who lived in the world yet remained unattached, is shown surrendering completely to paternal love. The passage illustrates Tulsidas's teaching that divine love (prema) transcends even the highest intellectual renunciation.

प्रेमबिबस परिवारु सबु जानि सुलगन नरेस।

कुँअरि चढ़ाई पालकिन्ह सुमिरे सिद्धि गनेस।।338।।

Premabibas parivaaru sabu jaani sulagan nares

Kunari chadhaaee paalakinh sumire siddhi ganes (338)

दोहा 338

Love fills the royal house | as blessed time draws near,

Sita mounts her palanquin | with Ganesha's grace so dear.

The whole family overwhelmed with love, the king recognized the auspicious moment. He seated the princesses in their palanquins and invoked Siddhi and Ganesha.

Commentary & Notes ↓

Notes

Doha 338. Janaka gathers himself at last and acts on the auspicious timing (sulagan). Invoking Siddhi (divine success personified as Ganesha's consort) and Ganesha (the remover of obstacles) before any journey or ceremony is standard Sanatan practice. 'Kunvari' (princesses) is plural because all four brides depart together.

चौपाई 336
बहुबिधि भूप सुता समुझाई। नारिधरमु कुलरीति सिखाई।।

Bahubidhi bhoop sutaa samujhaaee. naaridharamu kulareeti sikhaaee

The king instructed his daughter in many ways, teaching her the duties of women and the customs of the family.

दासीं दास दिए बहुतेरे। सुचि सेवक जे प्रिय सिय केरे।।

Daaseen daas die bahutere. suchi sevak je priy siy kere

He gave many maidservants and attendants, pure servants who were dear to Sita.

सीय चलत ब्याकुल पुरबासी। होहिं सगुन सुभ मंगल रासी।।

Seey chalat byaakul purabaasee. hohin sagun subh mangal raasee

As Sita departed, the city dwellers became distressed, yet auspicious omens and blessings appeared.

भूसुर सचिव समेत समाजा। संग चले पहुँचावन राजा।।

Bhoosur sachiv samet samaajaa. sang chale pahunchaavan raajaa

The brahmins, ministers, and the entire assembly accompanied the king to escort her.

समय बिलोकि बाजने बाजे। रथ गज बाजि बरातिन्ह साजे।।

Samay biloki baajane baaje. rath gaj baaji baraatinh saaje

Seeing the proper time, musical instruments played and chariots, elephants, and horses were prepared for the wedding procession.

दसरथ बिप्र बोलि सब लीन्हे। दान मान परिपूरन कीन्हे।।

Dasarath bipr boli sab leenhe. daan maan paripooran keenhe

Dasharatha called all the brahmins and honored them with complete gifts and respect.

चरन सरोज धूरि धरि सीसा। मुदित महीपति पाइ असीसा।।

Charan saroj dhoori dhari seesaa. mudit maheepati paai aseesaa

Placing the dust of their lotus feet on his head, the king joyfully received their blessings.

सुमिरि गजाननु कीन्ह पयाना। मंगलमूल सगुन भए नाना।।

Sumiri gajaananu keenh payaanaa. mangalamool sagun bhae naanaa

Remembering Ganesha, he began the journey, and many auspicious omens appeared as the root of all good fortune.

Commentary & Notes ↓

Notes

Chaupai 336. Eight couplets covering the formal departure. Janaka imparts final counsel to Sita on stri-dharma (wifely duties) and kula-riti (family customs). The verse then shifts perspective to King Dasharatha, who honours the brahmins of Mithila with dana (charitable gifts) and mana (respect), receiving their ashirvad (blessings) in return. 'Gajanana' (elephant-faced) is an epithet of Lord Ganesha, invoked once more before the procession begins. The cascade of shubh sagun (auspicious omens) signals divine approval of the union.

सुर प्रसून बरषहि हरषि करहिं अपछरा गान।

चले अवधपति अवधपुर मुदित बजाइ निसान।।339।।

Sur prasoon barashahi harashi karahin apachharaa gaan

Chale avadhapati avadhapur mudit bajaai nisaan (339)

दोहा 339

Heaven's flowers fall like rain | as apsaras sweetly sing,

Ayodhya's lord returns again | with trumpets heralding.

The gods rained down flowers in their delight, and the apsaras sang sweet songs. The Lord of Ayodhya set out for his city, joyful, with drums and trumpets sounding.

Commentary & Notes ↓

Notes

Doha 339. The celestial celebration confirms the cosmic significance of the marriage. Pushpa-varsha (flower rain) from the devas and singing by apsaras (celestial maidens) are classic Manas markers of divine approval. 'Avadhapati' (Lord of Ayodhya) is Dasharatha. 'Nisaan' refers to kettledrums and war-trumpets, here sounded in celebration as the royal procession departs Mithila for Ayodhya.

चौपाई 337
नृप करि बिनय महाजन फेरे। सादर सकल मागने टेरे।।

Nrip kari binay mahaajan phere. saadar sakal maagane tere

The king made humble requests and sent away the great sages with honor, calling out to all the mendicants with respect.

भूषन बसन बाजि गज दीन्हे। प्रेम पोषि ठाढ़े सब कीन्हे।।

Bhooshan basan baaji gaj deenhe. prem poshi thaadhe sab keenhe

He gave ornaments, clothes, horses and elephants, and made everyone stand satisfied with love and care.

बार बार बिरिदावलि भाषी। फिरे सकल रामहि उर राखी।।

Baar baar biridaavali bhaashee. phire sakal raamahi ura raakhee

Again and again he spoke words of praise and blessing, and all departed keeping Rama in their hearts.

बहुरि बहुरि कोसलपति कहहीं। जनकु प्रेमबस फिरै न चहहीं।।

Bahuri bahuri kosalapati kahaheen. janaku premabas phirai na chahaheen

Repeatedly the lord of Kosala would speak, but Janaka, overcome with love, would not wish to depart.

पुनि कह भूपति बचन सुहाए। फिरिअ महीस दूरि बड़ि आए।।

Puni kah bhoopati bachan suhaae. phiria mahees doori badi aae

Then the king spoke sweet words saying, 'O king, return now, you have come from very far.'

राउ बहोरि उतरि भए ठाढ़े। प्रेम प्रबाह बिलोचन बाढ़े।।

Raau bahori utari bhae thaadhe. prem prabaah bilochan baadhe

The king again dismounted and stood there, his eyes overflowing with streams of love.

तब बिदेह बोले कर जोरी। बचन सनेह सुधाँ जनु बोरी।।

Tab bideh bole kar joree. bachan saneh sudhaan janu boree

Then Videha spoke with joined palms, his words seeming to be drenched in the nectar of affection.

करौ कवन बिधि बिनय बनाई। महाराज मोहि दीन्हि बड़ाई।।

Karau kavan bidhi binay banaaee. mahaaraaj mohi deenhi badaaee

How shall I frame my humble request? O great king, you have bestowed great honor upon me.

Commentary & Notes ↓

Notes

Chaupai 337 (sortOrder 715). The tender farewell scene after the four royal weddings. Dasharatha distributes gifts and honors the sages, but Janaka, bound by love, cannot bear to part. Videha (Janaka) finally speaks with folded hands, his words soaked in devotion. 'Biridaavali' refers to recounting one's lineage-honors and blessings. 'Mahaajan' here means great sages or elders, not merchants. 'Prem prabaah bilochan baadhe' is a beautiful image of love literally flooding the eyes with tears.

कोसलपति समधी सजन सनमाने सब भाँति।

मिलनि परसपर बिनय अति प्रीति न हृदयँ समाति।।340।।

Kosalapati samadhee sajan sanamaane sab bhaanti

Milani parasapar binay ati preeti na hridayan samaati (340)

दोहा 340

Kosala's king with honor true | embraces friend and kin,

Their hearts with love so deep and new | no vessel holds within.

The lord of Kosala honored his kinsman and dear companion in every way. Their meeting was filled with such deep courtesy and love that their hearts could not contain it.

Commentary & Notes ↓

Notes

Doha 340 (sortOrder 716). 'Samadhee' means co-father-in-law, the kinship bond formed through marriage. 'Preeti na hridayan samaati' conveys love so immense that the heart cannot hold it all. This doha distills the entire farewell into a single image of overflowing affection.

चौपाई 338
मुनि मंडलिहि जनक सिरु नावा। आसिरबादु सबहि सन पावा।।

Muni mandalihi janak siru naavaa. aasirabaadu sabahi san paavaa

Janaka bowed his head to the assembly of sages and received blessings from all of them.

सादर पुनि भेंटे जामाता। रूप सील गुन निधि सब भ्राता।।

Saadar puni bhente jaamaataa. roop seel gun nidhi sab bhraataa

Then he respectfully met his sons-in-law, all brothers who were treasures of beauty, character and virtues.

जोरि पंकरुह पानि सुहाए। बोले बचन प्रेम जनु जाए।।

Jori pankaruh paani suhaae. bole bachan prem janu jaae

Joining his beautiful lotus-like hands together, he spoke words as if love itself were speaking.

राम करौ केहि भाँति प्रसंसा। मुनि महेस मन मानस हंसा।।

Raam karau kehi bhaanti prasansaa. muni mahes man maanas hansaa

How can I praise Rama, who is like a swan dwelling in the lake of the minds of sages and Shiva?

करहिं जोग जोगी जेहि लागी। कोहु मोहु ममता मदु त्यागी।।

Karahin jog jogee jehi laagee. kohu mohu mamataa madu tyaagee

For whose sake yogis practice yoga, abandoning anger, delusion, attachment and pride.

ब्यापकु ब्रह्मु अलखु अबिनासी। चिदानंदु निरगुन गुनरासी।।

Byaapaku brahmu alakhu abinaasee. chidaanandu niragun gunaraasee

He is the all-pervading, imperishable Brahman, pure consciousness and bliss, beyond attributes yet the source of all qualities.

मन समेत जेहि जान न बानी। तरकि न सकहिं सकल अनुमानी।।

Man samet jehi jaan na baanee. taraki na sakahin sakal anumaanee

Whom neither mind nor speech can know, and whom all reasoners cannot fathom through logic.

महिमा निगमु नेति कहि कहई। जो तिहुँ काल एकरस रहई।।

Mahimaa nigamu neti kahi kahaee. jo tihun kaal ekaras rahaee

Whose glory the Vedas describe by saying 'not this, not this', who remains unchanging through all three periods of time.

Commentary & Notes ↓

Notes

Chaupai 338 (sortOrder 717). Janaka's magnificent theological hymn to Rama. He recognizes Rama as Para Brahman while maintaining the tender relationship of a father-in-law. 'Maanas hansaa' is a multilayered image: the hamsa (royal swan) that swims in the Maanasa (mind-lake) of great souls, also evoking Lake Maanasarovar. 'Neti neti' is the Upanishadic formula of negation from Brihadaaranyaka Upanishad. 'Chidaanandu niragun gunaraasee' captures the paradox of the Absolute: attributeless yet the source of all attributes.

नयन बिषय मो कहुँ भयउ सो समस्त सुख मूल।

सबइ लाभु जग जीव कहँ भएँ ईसु अनुकुल।।341।।

Nayan bishay mo kahun bhayau so samast sukh mool

Sabai laabhu jag jeev kahan bhaen eesu anukul (341)

दोहा 341

The source of joy stands before my sight, | all blessings flow complete

When God's grace falls on mortal hearts, | life's purpose finds its meet.

He who is the root of all happiness has become visible before my very eyes. All gains in this world come to living beings when the Lord turns favorable toward them.

Commentary & Notes ↓

Notes

Doha 341 (sortOrder 718). Janaka speaks of divine darshana, the supreme blessing of beholding God directly. 'Nayan bishay' means 'object of my eyes,' emphasizing the grace of seeing the Lord in person. 'Samast sukh mool' (root of all happiness) identifies Rama as the ultimate source of joy. The second line universalizes the teaching: when Ishvara (the Lord) becomes gracious, every blessing follows.

चौपाई 339
सबहि भाँति मोहि दीन्हि बड़ाई। निज जन जानि लीन्ह अपनाई।।

Sabahi bhaanti mohi deenhi badaaee. nij jan jaani leenh apanaaee

In every way You have bestowed greatness upon me, accepting me as Your own devotee and taking me under Your protection.

होहिं सहस दस सारद सेषा। करहिं कलप कोटिक भरि लेखा।।

Hohin sahas das saarad seshaa. karahin kalap kotik bhari lekhaa

Even if there were thousands of Saraswatis and Sheshas writing for millions of ages, they could not complete the account.

मोर भाग्य राउर गुन गाथा। कहि न सिराहिं सुनहु रघुनाथा।।

Mor bhaagy raaur gun gaathaa. kahi na siraahin sunahu raghunaathaa

My fortune and Your glorious deeds cannot be fully narrated, O Lord of the Raghus, please listen.

मै कछु कहउँ एक बल मोरें। तुम्ह रीझहु सनेह सुठि थोरें।।

Mai kachhu kahaun eka bal moren. tumh reejhahu saneh suthi thoren

I speak with one strength of mine - that You are pleased with even the smallest amount of love.

बार बार मागउँ कर जोरें। मनु परिहरै चरन जनि भोरें।।

Baar baar maagaun kar joren. manu pariharai charan jani bhoren

Again and again I beseech with folded hands - may my mind never forget Your feet even for a moment.

सुनि बर बचन प्रेम जनु पोषे। पूरनकाम रामु परितोषे।।

Suni bar bachan prem janu poshe. pooranakaam raamu paritoshe

Hearing these excellent words nurtured by love, Rama, the fulfiller of all desires, was pleased.

करि बर बिनय ससुर सनमाने। पितु कौसिक बसिष्ठ सम जाने।।

Kari bar binay sasur sanamaane. pitu kausik basishth sam jaane

After making excellent prayers, he honored his father-in-law, regarding Vishwamitra equal to Vashishtha.

बिनती बहुरि भरत सन कीन्ही। मिलि सप्रेमु पुनि आसिष दीन्ही।।

Binatee bahuri bharat san keenhee. mili sapremu puni aasish deenhee

Then he made humble requests to Bharata, met him lovingly, and again gave blessings.

Commentary & Notes ↓

Notes

Chaupai 339 (sortOrder 719). Janaka concludes his prayer with exquisite humility: despite his own spiritual eminence, he asks only that his mind never stray from Rama's feet. 'Sahas das saarad seshaa' means ten thousand Saraswatis (goddess of speech) and Sheshas (the thousand-hooded serpent who narrates scripture). 'Kalap kotik' means millions of kalpas (cosmic ages). 'Eka bal moren' is the turning point of the verse: Janaka's sole confidence is that the Lord is won by love, however small. 'Pitu kausik basishth sam jaane' shows Rama honoring Vishwaamitra (Kaushika) on par with Vashishtha, His own family guru.

मिले लखन रिपुसूदनहि दीन्हि असीस महीस।

भए परस्पर प्रेमबस फिरि फिरि नावहिं सीस।।342।।

Mile lakhan ripusoodanahi deenhi asees mahees

Bhae paraspar premabas phiri phiri naavahin sees (342)

दोहा 342

The brothers met with loving hearts, | blessings flowed like rain

In sacred bonds of family love, | they bowed and bowed again.

Lakshmana met Ripusoodana (Shatrughna), and the king bestowed his blessings upon them. Overcome with mutual love, they bowed their heads to one another again and again.

Commentary & Notes ↓

Notes

Ripusoodana is another name for Shatrughna, meaning 'destroyer of enemies.' The repeated bowing (phiri phiri naavahin sees) conveys the depth of familial devotion and reverence that flows naturally among members of the royal household, sanctified by the divine marriages just completed.

चौपाई 340
बार बार करि बिनय बड़ाई। रघुपति चले संग सब भाई।।

Baar baar kari binay badaaee. raghupati chale sang sab bhaaee

After making repeated humble requests and praises, Lord Raghupati departed with all his brothers.

जनक गहे कौसिक पद जाई। चरन रेनु सिर नयनन्ह लाई।।

Janak gahe kausik pad jaaee. charan renu sir nayananh laaee

Janaka went and clasped the feet of sage Kaushika, applying the dust of his feet to his head and eyes.

सुनु मुनीस बर दरसन तोरें। अगमु न कछु प्रतीति मन मोरें।।

Sunu munees bar darasan toren. agamu na kachhu prateeti man moren

Listen, O best of sages, by your blessed sight, nothing remains impossible in my heart's belief.

जो सुखु सुजसु लोकपति चहहीं। करत मनोरथ सकुचत अहहीं।।

Jo sukhu sujasu lokapati chahaheen. karat manorath sakuchat ahaheen

The happiness and fame that kings desire and hesitate to even wish for in their hearts,

सो सुखु सुजसु सुलभ मोहि स्वामी। सब सिधि तव दरसन अनुगामी।।

So sukhu sujasu sulabh mohi svaamee. sab sidhi tav darasan anugaamee

That very happiness and fame has become easily attainable to me, O master; all perfections follow your sight.

कीन्हि बिनय पुनि पुनि सिरु नाई। फिरे महीसु आसिषा पाई।।

Keenhi binay puni puni siru naaee. phire maheesu aasishaa paaee

Making humble requests again and again while bowing his head, the king returned after receiving blessings.

चली बरात निसान बजाई। मुदित छोट बड़ सब समुदाई।।

Chalee baraat nisaan bajaaee. mudit chhot bad sab samudaaee

The wedding procession departed with musical instruments playing, all the small and great rejoicing.

रामहि निरखि ग्राम नर नारी। पाइ नयन फलु होहिं सुखारी।।

Raamahi nirakhi graam nar naaree. paai nayan phalu hohin sukhaaree

Seeing Rama, the men and women of the villages became happy, obtaining the fruit of their eyes.

Commentary & Notes ↓

Notes

This Chaupai captures Janaka's supreme gratitude to Guru Vishvamitra, whose grace made the divine union possible. Janaka's declaration that 'all siddhis follow your darshana' is a classic expression of how the guru's blessing surpasses even the aspirations of the greatest kings. The closing image of villagers finding 'the fruit of their eyes' (nayan phalu) in Rama's sight is a beloved Tulsidasan motif: the very purpose of having eyes is fulfilled by beholding the Lord. Chaupai pairs are separated by blank lines for readability.

बीच बीच बर बास करि मग लोगन्ह सुख देत।

अवध समीप पुनीत दिन पहुँची आइ जनेत।।343।।

Beech beech bar baas kari mag loganh sukh det

Avadh sameep puneet din pahunchee aai janet (343)

दोहा 343

With blessed stops that brought delight | to every soul along the way,

Near Ayodhya's gates they came at last | upon that sacred, joyous day.

Halting at blessed resting places along the way, bringing joy to all the people on the road, the wedding procession reached the outskirts of Ayodhya on a most auspicious day.

Commentary & Notes ↓

Notes

The baraat's journey home is itself a blessing. Every halt (baas) sanctifies the land and gladdens the people. The arrival near Ayodhya on a 'puneet din' (sacred day) signals that the cosmos itself has arranged the timing of this divine homecoming.

चौपाई 341
हने निसान पनव बर बाजे। भेरि संख धुनि हय गय गाजे।।

Hane nisaan panav bar baaje. bheri sankh dhuni hay gay gaaje

Drums and excellent kettledrums were beaten. War drums and conches resounded as horses and elephants trumpeted.

झाँझि बिरव डिंडमीं सुहाई। सरस राग बाजहिं सहनाई।।

Jhaanjhi birav dindameen suhaaee. saras raag baajahin sahanaaee

Cymbals, horns and sweet-sounding drums played. Melodious music of shehnais was performed.

पुर जन आवत अकनि बराता। मुदित सकल पुलकावलि गाता।।

Pur jan aavat akani baraataa. mudit sakal pulakaavali gaataa

The city folk came to see the wedding procession. All were joyful, singing with hair standing on end in ecstasy.

निज निज सुंदर सदन सँवारे। हाट बाट चौहट पुर द्वारे।।

Nij nij sundar sadan sanvaare. haat baat chauhat pur dvaare

They decorated their own beautiful homes. Markets, streets, squares and city gates were adorned.

गलीं सकल अरगजाँ सिंचाई। जहँ तहँ चौकें चारु पुराई।।

Galeen sakal aragajaan sinchaaee. jahan tahan chauken chaaru puraaee

All the lanes were sprinkled with fragrant water. Here and there beautiful squares were decorated.

बना बजारु न जाइ बखाना। तोरन केतु पताक बिताना।।

Banaa bajaaru na jaai bakhaanaa. toran ketu pataak bitaanaa

The marketplace was decorated beyond description. Festive arches, banners and flags were hung.

सफल पूगफल कदलि रसाला। रोपे बकुल कदंब तमाला।।

Saphal poogaphal kadali rasaalaa. rope bakul kadamb tamaalaa

Coconut, betel nut, banana and mango trees were planted. Bakul, kadamba and tamala trees were set.

लगे सुभग तरु परसत धरनी। मनिमय आलबाल कल करनी।।

Lage subhag taru parasat dharanee. manimay aalabaal kal karanee

Beautiful trees were planted touching the ground. Jeweled supports were artistically arranged.

Commentary & Notes ↓

Notes

Tulsidas paints an extraordinary sonic and visual panorama of Ayodhya's welcome. The enumeration of instruments (nisaan, panav, bheri, sankh, jhaanjhi, birav, dindimee, shehnai) creates a crescendo of sacred sound. The aragaja (sandalwood-scented water) sprinkled in every lane, the torana arches, and the jeweled tree-bases (manimay aalabaal) transform the city into a terrestrial heaven. Each detail reflects the citizens' overwhelming love for Rama.

बिबिध भाँति मंगल कलस गृह गृह रचे सँवारि।

सुर ब्रह्मादि सिहाहिं सब रघुबर पुरी निहारि।।344।।

Bibidh bhaanti mangal kalas grih grih rache sanvaari

Sur brahmaadi sihaahin sab raghubar puree nihaari (344)

दोहा 344

Each home adorned with sacred grace | and vessels bright with blessing's glow,

While gods above in wonder gaze | at Rama's city here below.

In every home, auspicious kalasha vessels were lovingly arranged with various decorations. Beholding the city of Raghuvara (Shri Rama), all the gods led by Brahma gazed in wonder and delight.

Commentary & Notes ↓

Notes

The mangala kalasha, a sacred vessel filled with water and topped with mango leaves and a coconut, is placed at the threshold to invoke divine presence and auspiciousness. That even Brahma and the devas marvel at Ayodhya's beauty reveals that the devotion of Rama's people has made their earthly city surpass the heavens themselves.

चौपाई 342
भूप भवन तेहि अवसर सोहा। रचना देखि मदन मनु मोहा।।

Bhoop bhavan tehi avasar sohaa. rachanaa dekhi madan manu mohaa

At that moment, the king's palace shone with splendor. Even Cupid's mind was enchanted seeing its beautiful arrangement.

मंगल सगुन मनोहरताई। रिधि सिधि सुख संपदा सुहाई।।

Mangal sagun manoharataaee. ridhi sidhi sukh sampadaa suhaaee

Auspicious signs, charming beauty, prosperity, supernatural powers, happiness and wealth adorned everything.

जनु उछाह सब सहज सुहाए। तनु धरि धरि दसरथ दसरथ गृहँ छाए।।

Janu uchhaah sab sahaj suhaae. tanu dhari dhari dasarath dasarath grihan chhaae

It seemed as if all forms of joy and celebration had taken bodily form and pervaded Dasharatha's home.

देखन हेतु राम बैदेही। कहहु लालसा होहि न केही।।

Dekhan hetu raam baidehee. kahahu laalasaa hohi na kehee

Who would not have the desire to see Rama and Sita (Vaidehi)?

जुथ जूथ मिलि चलीं सुआसिनि। निज छबि निदरहिं मदन बिलासनि।।

Juth jooth mili chaleen suaasini. nij chhabi nidarahin madan bilaasani

Groups of married women came together, whose beauty put even Cupid's beloved to shame.

सकल सुमंगल सजें आरती। गावहिं जनु बहु बेष भारती।।

Sakal sumangal sajen aaratee. gaavahin janu bahu besh bhaaratee

They prepared auspicious offerings for the ceremonial worship, as if Goddess Saraswati herself was singing in many forms.

भूपति भवन कोलाहलु होई। जाइ न बरनि समउ सुखु सोई।।

Bhoopati bhavan kolaahalu hoee. jaai na barani samau sukhu soee

There was great celebration in the king's palace. That joyous time cannot be described.

कौसल्यादि राम महतारीं। प्रेम बिबस तन दसा बिसारीं।।

Kausalyaadi raam mahataareen. prem bibas tan dasaa bisaareen

Kausalya and the other mothers of Rama, overwhelmed with love, forgot their bodily condition.

Commentary & Notes ↓

Notes

Chaupai 342, sortOrder 725. Kamadeva (madan) is the god of love; Vaidehi (baidehee) is Sita, daughter of Videha. Rati (madan bilaasani) is Kamadeva's consort. Bharati is Goddess Saraswati. The mothers' complete absorption in love reflects the highest devotional surrender, where the bhakta forgets all sense of separate self. Ridhi-sidhi are divine powers and spiritual attainments. Eight couplet pairs in this chaupai.

दिए दान बिप्रन्ह बिपुल पूजि गनेस पुरारी।

प्रमुदित परम दरिद्र जनु पाइ पदारथ चारि।।345।।

Die daan bipranh bipul pooji ganes puraaree

Pramudit param daridr janu paai padaarath chaari (345)

दोहा 345

With gifts to brahmins, prayers to gods | their joy knew no earthly bound,

Like paupers who through grace have found | all treasures in one mound.

Abundant gifts were given to the brahmins after worshipping Shri Ganesha and Lord Shiva. All rejoiced like the utterly destitute who had suddenly received life's four great treasures.

Commentary & Notes ↓

Notes

Doha 345, sortOrder 726. Purari refers to Lord Shiva (destroyer of Tripura). The four great treasures (padaarath chaari) are dharma, artha, kama, and moksha. The simile of a poor person receiving all four treasures at once captures the overwhelming gratitude and joy the royal family felt at the divine wedding.

चौपाई 343
मोद प्रमोद बिबस सब माता। चलहिं न चरन सिथिल भए गाता।।

Mod pramod bibas sab maataa. chalahin na charan sithil bhae gaataa

All the mothers were overwhelmed with joy and delight. Their feet could not move and their limbs became weak with emotion.

राम दरस हित अति अनुरागीं। परिछनि साजु सजन सब लागीं।।

Raam daras hit ati anuraageen. parichhani saaju sajan sab laageen

Filled with great love for seeing Rama, all the women began preparing the ceremonial items for welcoming.

बिबिध बिधान बाजने बाजे। मंगल मुदित सुमित्राँ साजे।।

Bibidh bidhaan baajane baaje. mangal mudit sumitraan saaje

Various types of musical instruments began playing. Sumitra joyfully arranged the auspicious preparations.

हरद दूब दधि पल्लव फूला। पान पूगफल मंगल मूला।।

Harad doob dadhi pallav phoolaa. paan poogaphal mangal moolaa

Turmeric, sacred grass, curd, tender leaves and flowers, betel leaves, areca nuts and auspicious roots were gathered.

अच्छत अंकुर लोचन लाजा। मंजुल मंजरि तुलसि बिराजा।।

Achchhat ankur lochan laajaa. manjul manjari tulasi biraajaa

Unbroken rice, sprouted grains, vermillion powder, beautiful clusters and tulsi leaves were arranged.

छुहे पुरट घट सहज सुहाए। मदन सकुन जनु नीड़ बनाए।।

Chhuhe purat ghat sahaj suhaae. madan sakun janu need banaae

Beautiful earthen pots were touched and arranged naturally, as if Cupid himself had made his nest there.

सगुन सुंगध न जाहिं बखानी। मंगल सकल सजहिं सब रानी।।

Sagun sungadh na jaahin bakhaanee. mangal sakal sajahin sab raanee

The auspicious fragrances cannot be described. All the queens arranged every type of ceremonial item.

रचीं आरतीं बहुत बिधाना। मुदित करहिं कल मंगल गाना।।

Racheen aarateen bahut bidhaanaa. mudit karahin kal mangal gaanaa

They prepared elaborate arati ceremonies and joyfully sang beautiful auspicious songs.

Commentary & Notes ↓

Notes

Chaupai 343, sortOrder 727. Parichhani (parichhani saaju) is the ceremonial welcome of the bridegroom. Doob (durva) grass is sacred in Hindu rituals. Tulasi (holy basil) is sacred to Lord Vishnu. Lochan likely refers to kajal or collyrium used in auspicious rites. Laajaa means parched or puffed rice, an essential wedding offering. Sumitra is the mother of Lakshmana and Shatrughna. The passage lovingly catalogs every ritual element of a traditional welcome.

कनक थार भरि मंगलन्हि कमल करन्हि लिएँ मात।

चलीं मुदित परिछनि करन पुलक पल्लवित गात।।346।।

Kanak thaar bhari mangalanhi kamal karanhi lien maat

Chaleen mudit parichhani karan pulak pallavit gaat (346)

दोहा 346

Golden plates with sacred gifts | in lotus hands they bear,

Their forms abloom with holy joy | beyond all earthly care.

Carrying golden plates filled with auspicious offerings in their lotus-soft hands, the mothers set forth joyfully to perform the parichhani welcome, their bodies blossoming with sacred delight.

Commentary & Notes ↓

Notes

Doha 346, sortOrder 728. Pulak pallavit gaat means the body sprouting with goosebumps of divine ecstasy, like new leaves (pallav) on a tree. This image of the mothers physically blossoming with devotional rapture as they carry golden plates to welcome Shri Rama is among the most tender in the Bala Kanda.

चौपाई 344
धूप धूम नभु मेचक भयऊ। सावन घन घमंडु जनु ठयऊ।।

Dhoop dhoom nabhu mechak bhayaoo. saavan ghan ghamandu janu thayaoo

The sky became filled with fragrant smoke and incense. It appeared as though the proud clouds of the rainy season had gathered.

सुरतरु सुमन माल सुर बरषहिं। मनहुँ बलाक अवलि मनु करषहिं।।

Surataru suman maal sur barashahin. manahun balaak avali manu karashahin

The gods showered garlands of flowers from the celestial trees. It seemed as if flocks of white cranes were sporting in the sky.

मंजुल मनिमय बंदनिवारे। मनहुँ पाकरिपु चाप सँवारे।।

Manjul manimay bandanivaare. manahun paakaripu chaap sanvaare

Beautiful gem-studded banners appeared everywhere. It seemed as though Indra had decorated his rainbow bow.

प्रगटहिं दुरहिं अटन्ह पर भामिनि। चारु चपल जनु दमकहिं दामिनि।।

Pragatahin durahin atanh par bhaamini. chaaru chapal janu damakahin daamini

Beautiful women appeared and disappeared on the terraces. They looked like lovely lightning flashing playfully.

दुंदुभि धुनि घन गरजनि घोरा। जाचक चातक दादुर मोरा।।

Dundubhi dhuni ghan garajani ghoraa. jaachak chaatak daadur moraa

The sound of drums was like the terrible roar of clouds. The supplicants were like chataka birds, frogs, and peacocks.

सुर सुगन्ध सुचि बरषहिं बारी। सुखी सकल ससि पुर नर नारी।।

Sur sugandh suchi barashahin baaree. sukhee sakal sasi pur nar naaree

The gods showered pure, fragrant water. All the men and women of the moon-like city became happy.

समउ जानी गुर आयसु दीन्हा। पुर प्रबेसु रघुकुलमनि कीन्हा।।

Samau jaanee gur aayasu deenhaa. pur prabesu raghukulamani keenhaa

Knowing the proper time, the guru gave his command. The jewel of Raghu's lineage entered the city.

सुमिरि संभु गिरजा गनराजा। मुदित महीपति सहित समाजा।।

Sumiri sambhu girajaa ganaraajaa. mudit maheepati sahit samaajaa

Remembering Shiva, Parvati, and Ganesha, the king along with his assembly became joyful.

Commentary & Notes ↓

Notes

Chaupai 344, sortOrder 729. Tulsidas weaves an extended monsoon metaphor: incense smoke becomes clouds, flower garlands become cranes, banners become Indra's rainbow (paakaripu chaap), women on terraces become lightning, drums become thunder, and joyful supplicants become the chataka bird, frogs, and peacocks who celebrate the rains. Savan is the monsoon month (July/August). Raghukulamani (jewel of Raghu's lineage) is Shri Rama. Shambhu is Lord Shiva, Girija is Parvati, and Ganaraaja is Lord Ganesha. The Guru here is Sage Vasishtha.

होहिं सगुन बरषहिं सुमन सुर दुंदुभीं बजाइ।

बिबुध बधू नाचहिं मुदित मंजुल मंगल गाइ।।347।।

Hohin sagun barashahin suman sur dundubheen bajaai

Bibudh badhoo naachahin mudit manjul mangal gaai (347)

दोहा 347

Heaven's drums beat victory songs | while flowers gently fall,

As dancing goddesses proclaim | the greatest joy of all.

Auspicious omens appeared and flowers rained from heaven; the gods sounded their celestial drums. Divine maidens danced in rapture, singing sweet songs of blessing and celebration.

Commentary & Notes ↓

Notes

Doha 347. The entire celestial realm joins the celebration of Sri Rama's wedding. Sagun (auspicious signs), sumana (flowers), dundubhi (divine drums), and the dancing of bibudh badhoo (celestial women) all confirm heaven's joyful approval of these sacred marriages.

चौपाई 345
मागध सूत बंदि नट नागर। गावहिं जसु तिहु लोक उजागर।।

Maagadh soot bandi nat naagar. gaavahin jasu tihu lok ujaagar

Bards, minstrels, dancers and citizens of Magadha sing the glorious fame that illuminates all three worlds.

जय धुनि बिमल बेद बर बानी। दस दिसि सुनिअ सुमंगल सानी।।

Jay dhuni bimal bed bar baanee. das disi sunia sumangal saanee

The pure sound of victory and the excellent Vedic hymns are heard in all ten directions, filled with auspiciousness.

बिपुल बाजने बाजन लागे। नभ सुर नगर लोग अनुरागे।।

Bipul baajane baajan laage. nabh sur nagar log anuraage

Numerous musical instruments began to play, and the gods in heaven and people on earth were filled with joy.

बने बराती बरनि न जाहीं। महा मुदित मन सुख न समाहीं।।

Bane baraatee barani na jaaheen. mahaa mudit man sukh na samaaheen

The wedding party was so magnificent it cannot be described; their hearts were supremely joyful and could not contain their happiness.

पुरबासिन्ह तब राय जोहारे। देखत रामहि भए सुखारे।।

Purabaasinh tab raay johaare. dekhat raamahi bhae sukhaare

The citizens then bowed to the king, and became delighted upon seeing Rama.

करहिं निछावरि मनिगन चीरा। बारि बिलोचन पुलक सरीरा।।

Karahin nichhaavari manigan cheeraa. baari bilochan pulak sareeraa

They offer precious gems and fine cloth as offerings, with tears of joy in their eyes and bodies thrilling with emotion.

आरति करहिं मुदित पुर नारी। हरषहिं निरखि कुँअर बर चारी।।

Aarati karahin mudit pur naaree. harashahin nirakhi kunar bar chaaree

The women of the city joyfully perform the arati ceremony, rejoicing as they behold the four excellent princes.

सिबिका सुभग ओहार उघारी। देखि दुलहिनिन्ह होहिं सुखारी।।

Sibikaa subhag ohaar ughaaree. dekhi dulahininh hohin sukhaaree

When the beautiful palanquins' curtains are opened, the brides become delighted upon seeing them.

Commentary & Notes ↓

Notes

Chaupai 345, eight couplets. Maagadh, soot, bandi, nat naagar: professional praise-singers, bards, heralds, and dancers. Tihu lok: the three worlds (heaven, earth, netherworld). Nichhaavari: the custom of waving offerings over the beloved and casting them away, an expression of lavish devotion. Sibikaa: palanquin. The verse moves from the cosmic (Vedic chanting, celestial music) to the intimate (citizens' tears, the brides' shy joy).

एहि बिधि सबही देत सुखु आए राजदुआर।

मुदित मातु परुछनि करहिं बधुन्ह समेत कुमार।।348।।

Ehi bidhi sabahee det sukhu aae raajaduaar

Mudit maatu paruchhani karahin badhunh samet kumaar (348)

दोहा 348

Thus bringing joy to every heart | they reached the palace door,

The mothers greet with pure delight | the princes and brides four.

In this manner, bringing delight to all, they arrived at the royal palace gates. The mothers, brimming with joy, perform the welcoming rites for the princes together with their brides.

Commentary & Notes ↓

Notes

Doha 348. Raajaduaar: the gates of the royal palace in Ayodhya. Paruchhani: the traditional welcoming ceremony (parichhan) performed by mothers upon the homecoming of their sons. The collective maternal love here mirrors the cosmic celebration above.

चौपाई 346
करहिं आरती बारहिं बारा। प्रेमु प्रमोदु कहै को पारा।।

Karahin aaratee baarahin baaraa. premu pramodu kahai ko paaraa

They perform aarti again and again. Who can describe the bounds of their love and joy?

भूषन मनि पट नाना जाती।।करही निछावरि अगनित भाँती।।

Bhooshan mani pat naanaa jaatee.karahee nichhaavari aganit bhaantee

With ornaments, jewels, and garments of various kinds, they make offerings in countless ways.

बधुन्ह समेत देखि सुत चारी। परमानंद मगन महतारी।।

Badhunh samet dekhi sut chaaree. paramaanand magan mahataaree

Seeing her four sons along with their brides, the mother is immersed in supreme bliss.

पुनि पुनि सीय राम छबि देखी।।मुदित सफल जग जीवन लेखी।।

Puni puni seey raam chhabi dekhee.mudit saphal jag jeevan lekhee

Again and again beholding the beauty of Sita and Rama, she considers her life in this world fulfilled and joyful.

सखीं सीय मुख पुनि पुनि चाही। गान करहिं निज सुकृत सराही।।

Sakheen seey mukh puni puni chaahee. gaan karahin nij sukrit saraahee

The companions gaze repeatedly at Sita's face and sing, praising their own good fortune.

बरषहिं सुमन छनहिं छन देवा। नाचहिं गावहिं लावहिं सेवा।।

Barashahin suman chhanahin chhan devaa. naachahin gaavahin laavahin sevaa

The gods shower flowers moment by moment, dancing, singing, and offering service.

देखि मनोहर चारिउ जोरीं। सारद उपमा सकल ढँढोरीं।।

Dekhi manohar chaariu joreen. saarad upamaa sakal dhandhoreen

Seeing the four enchanting couples, Saraswati searches for comparisons but finds them all inadequate.

देत न बनहिं निपट लघु लागी। एकटक रहीं रूप अनुरागीं।।

Det na banahin nipat laghu laagee. ekatak raheen roop anuraageen

No similes suffice, for they seem too small and insignificant. She remains transfixed, enamored by their beauty.

Commentary & Notes ↓

Notes

Chaupai 346, eight couplets. Paramaanand magan mahataaree: the mothers are 'drowned in supreme bliss,' a term (paramaananda) carrying deep Vedantic resonance even in this devotional setting. Saarad (Saraswati), goddess of speech and learning, finds all her poetic comparisons (upamaa) inadequate before the divine beauty of the four couples. This is a classic Tulsidas device: even divine eloquence falls silent before Sri Rama's glory.

निगम नीति कुल रीति करि अरघ पाँवड़े देत।

बधुन्ह सहित सुत परिछि सब चलीं लवाइ निकेत।।349।।

Nigam neeti kul reeti kari aragh paanvade det

Badhunh sahit sut parichhi sab chaleen lavaai niket (349)

दोहा 349

With Vedic rites and customs pure | they wash the sacred feet,

Then lead the blessed couples home | where love and joy complete.

Observing the rites prescribed by the Vedas and the customs of their noble lineage, they offer arghya and wash the feet of the beloved. Having thus welcomed all the sons together with their brides, the mothers lead them lovingly into the home.

Commentary & Notes ↓

Notes

Doha 349. Nigam neeti: rites prescribed by the Vedas (Nigama). Kul reeti: ancestral family customs. Aragh (arghya): ceremonial offering of sanctified water. Paanvade: the washing of feet, a sacred act of hospitality and reverence. Niket: the home, the dwelling. This verse closes the homecoming sequence by grounding the cosmic celebration in the simple, sacred rituals of the household.

चौपाई 347
चारि सिंघासन सहज सुहाए। जनु मनोज निज हाथ बनाए।।

Chaari singhaasan sahaj suhaae. janu manoj nij haath banaae

Four thrones appeared naturally beautiful, as if Cupid himself had crafted them with his own hands.

तिन्ह पर कुअँरि कुअँर बैठारे। सादर पाय पुनित पखारे।।

Tinh par kuanri kuanr baithaare. saadar paay punit pakhaare

Upon these thrones the princes and princesses were seated, and their sacred feet were respectfully washed.

धूप दीप नैबेद बेद बिधि। पूजे बर दुलहिनि मंगलनिधि।।

Dhoop deep naibed bed bidhi. pooje bar dulahini mangalanidhi

With incense, lamps, and offerings according to Vedic rites, they worshipped the blessed bridegroom and bride.

बारहिं बार आरती करहीं। ब्यजन चारु चामर सिर ढरहीं।।

Baarahin baar aaratee karaheen. byajan chaaru chaamar sir dharaheen

Again and again they performed the arati ceremony, while beautiful fans and whisks waved over their heads.

बस्तु अनेक निछावर होहीं। भरीं प्रमोद मातु सब सोहीं।।

Bastu anek nichhaavar hoheen. bhareen pramod maatu sab soheen

Many gifts were offered in sacrifice, and all the mothers were filled with joy and looked radiant.

पावा परम तत्व जनु जोगीं। अमृत लहेउ जनु संतत रोगीं।।

Paavaa param tatv janu jogeen. amrit laheu janu santat rogeen

The yogis seemed to have attained the supreme truth, like chronic patients who had found the nectar of immortality.

जनम रंक जनु पारस पावा। अंधहि लोचन लाभु सुहावा।।

Janam rank janu paaras paavaa. andhahi lochan laabhu suhaavaa

It was as if one born poor had found the philosopher's stone, or a blind person had gained the beautiful gift of sight.

मूक बदन जनु सारद छाई। मानहुँ समर सूर जय पाई।।

Mook badan janu saarad chhaaee. maanahun samar soor jay paaee

It seemed as if the mute had been blessed by Saraswati's grace, or a warrior had achieved victory in battle.

Commentary & Notes ↓

Notes

The elaborate similes compare the mothers' joy to various forms of supreme fulfillment: spiritual realization, healing, wealth, sight, eloquence, and victory. Each analogy deepens the sense of how immeasurable their happiness is upon receiving these divine couples. Kamadeva (Manoj) is the god of love. Paaras is the legendary philosopher's stone that turns iron to gold. Sharada is another name for Saraswati, goddess of speech and learning.

एहि सुख ते सत कोटि गुन पावहिं मातु अनंदु।।

भाइन्ह सहित बिआहि घर आए रघुकुलचंदु।।350(क)।।

लोक रीत जननी करहिं बर दुलहिनि सकुचाहिं।

मोदु बिनोदु बिलोकि बड़ रामु मनहिं मुसकाहिं।।350(ख)।।

Ehi sukh te sat koti gun paavahin maatu anandu

Bhaainh sahit biaahi ghar aae raghukulachandu.350(ka)

Lok reet jananee karahin bar dulahini sakuchaahin

Modu binodu biloki bad raamu manahin musakaahin.350(kha)

सोरठा 350

Joy beyond all measure flows | as Raghu's moon returns,

While customs play and shy love grows | sweet Rama inward turns.

A hundred million times greater than all this happiness is the bliss the mothers experience. Raghukulachanda, the moon of the Raghu dynasty, has come home with his brothers after the wedding.

The mothers follow the traditional customs of welcoming, while the bridegrooms and brides feel shy. Seeing such great joy and festivity, Rama smiles quietly within his heart.

Commentary & Notes ↓

Notes

This doha tenderly captures the homecoming after the wedding. The mothers perform the lok reet (customary folk rites of welcome), while the newlyweds display natural shyness. Rama's inward smile hints at his divine awareness of the loving play unfolding around him. Raghukulachanda means 'the moon of the Raghu lineage,' a name for Rama.

चौपाई 348
देव पितर पूजे बिधि नीकी। पूजीं सकल बासना जी की।।

Dev pitar pooje bidhi neekee. poojeen sakal baasanaa jee kee

The gods and ancestors were worshipped with proper rituals. All the deities who fulfill desires were honored.

सबहिं बंदि मागहिं बरदाना। भाइन्ह सहित राम कल्याना।।

Sabahin bandi maagahin baradaanaa. bhaainh sahit raam kalyaanaa

Bowing to all, they sought blessings and boons for the welfare of Rama and his brothers.

अंतरहित सुर आसिष देहीं। मुदित मातु अंचल भरि लेंहीं।।

Antarahit sur aasish deheen. mudit maatu anchal bhari lenheen

The gods gave heartfelt blessings, which the joyful mothers gathered in the folds of their garments.

भूपति बोलि बराती लीन्हे। जान बसन मनि भूषन दीन्हे।।

Bhoopati boli baraatee leenhe. jaan basan mani bhooshan deenhe

The king called the wedding party and gave them fine clothes, jewels and ornaments.

आयसु पाइ राखि उर रामहि। मुदित गए सब निज निज धामहि।।

Aayasu paai raakhi ura raamahi. mudit gae sab nij nij dhaamahi

Receiving the king's permission and keeping Rama in their hearts, all departed joyfully to their respective homes.

पुर नर नारि सकल पहिराए। घर घर बाजन लगे बधाए।।

Pur nar naari sakal pahiraae. ghar ghar baajan lage badhaae

All the men and women of the city were given new clothes, and festive music began playing in every home.

जाचक जन जाचहि जोइ जोई। प्रमुदित राउ देहिं सोइ सोई।।

Jaachak jan jaachahi joi joee. pramudit raau dehin soi soee

Whatever each beggar and petitioner asked for, the delighted king gave them exactly that.

सेवक सकल बजनिआ नाना। पूरन किए दान सनमाना।।

Sevak sakal bajaniaa naanaa. pooran kie daan sanamaanaa

All servants and various musicians were satisfied with complete gifts and honors.

Commentary & Notes ↓

Notes

This passage describes the joyous conclusion of the wedding ceremonies. The worship of devas (celestial beings) and pitrs (departed ancestors) follows Vedic tradition. The mothers catching blessings in their aanchala (the decorative end of their sari) is a beloved gesture of reverence in Indian culture. King Dasharatha's boundless generosity reflects the dharmic ideal that no one should leave a sacred occasion empty-handed.

देंहिं असीस जोहारि सब गावहिं गुन गन गाथ।

तब गुर भूसुर सहित गृहँ गवनु कीन्ह नरनाथ।।351।।

Denhin asees johaari sab gaavahin gun gan gaath

Tab gur bhoosur sahit grihan gavanu keenh naranaath (351)

दोहा 351

Blessings flow with songs of praise, | home returns the king with grace.

All offer their salutations and blessings, singing songs that praise the noble qualities and glorious deeds of the Lord. Then the king, accompanied by his guru and the brahmins, returned to his palace.

Commentary & Notes ↓

Notes

This doha marks the ceremonial conclusion of the public celebrations. The singing of gun gan gaath (songs of virtuous deeds) reflects the tradition of devotional kirtana that accompanies auspicious occasions. The king's return home with his guru and brahmins underscores that spiritual guidance remains at the heart of royal life.

चौपाई 349
जो बसिष्ठ अनुसासन दीन्ही। लोक बेद बिधि सादर कीन्ही।।

Jo basishth anusaasan deenhee. lok bed bidhi saadar keenhee

Whatever instructions Sage Vasishtha had given, the king followed them with reverence according to worldly customs and Vedic injunctions.

भूसुर भीर देखि सब रानी। सादर उठीं भाग्य बड़ जानी।।

Bhoosur bheer dekhi sab raanee. saadar utheen bhaagy bad jaanee

Seeing the assembly of Brahmins, all the queens rose respectfully, recognizing their great fortune.

पाय पखारि सकल अन्हवाए। पूजि भली बिधि भूप जेवाँए।।

Paay pakhaari sakal anhavaae. pooji bhalee bidhi bhoop jevaane

They washed the feet of all the sages and bathed them, then the king fed them with proper ceremony.

आदर दान प्रेम परिपोषे। देत असीस चले मन तोषे।।

Aadar daan prem pariposhe. det asees chale man toshe

Nourishing them with respect, gifts and love, the sages departed giving blessings with satisfied hearts.

बहु बिधि कीन्हि गाधिसुत पूजा। नाथ मोहि सम धन्य न दूजा।।

Bahu bidhi keenhi gaadhisut poojaa. naath mohi sam dhany na doojaa

The king worshipped Vishvamitra in many ways, saying 'O Lord, none is as blessed as I am.'

कीन्हि प्रसंसा भूपति भूरी। रानिन्ह सहित लीन्हि पग धूरी।।

Keenhi prasansaa bhoopati bhooree. raaninh sahit leenhi pag dhooree

The king praised him abundantly and along with the queens, took the dust of his feet.

भीतर भवन दीन्ह बर बासु। मन जोगवत रह नृप रनिवासू।।

Bheetar bhavan deenh bar baasu. man jogavat rah nrip ranivaasoo

He gave excellent accommodation within the palace, and the king with his queens remained vigilant in service.

पूजे गुर पद कमल बहोरी। कीन्हि बिनय उर प्रीति न थोरी।।

Pooje gur pad kamal bahoree. keenhi binay ura preeti na thoree

Once again he worshipped the lotus feet of his guru and made humble requests with abundant love in his heart.

Commentary & Notes ↓

Notes

This passage highlights the devotion of King Dasharatha and his queens toward their gurus and the brahmin assembly. The washing of feet (paad prakshaalana) and taking of foot-dust (charan-raj) are cherished expressions of reverence in the bhakti tradition. Vishvamitra is called Gaadhisut, meaning 'son of Gadhi.' The king's declaration that none is as blessed as he reflects the Vaishnavite teaching that serving the saints is the highest fortune.

बधुन्ह समेत कुमार सब रानिन्ह सहित महीसु।

पुनि पुनि बंदत गुर चरन देत असीस मुनीसु।।352।।

Badhunh samet kumaar sab raaninh sahit maheesu

Puni puni bandat gur charan det asees muneesu (352)

दोहा 352

Princes, brides and royal court | bow to guru's blessed support.

All the princes with their brides, and the king with all his queens, bowed again and again at the guru's feet, while the great sage bestowed his blessings.

Commentary & Notes ↓

Notes

Doha 352. The entire royal family pays reverence to Guru Vasishtha after the wedding. 'Muneesu' (chief of sages) refers to Vasishtha. The repetition 'puni puni' (again and again) conveys the depth of their devotion and gratitude.

चौपाई 350
बिनय कीन्हि उर अति अनुरागें। सुत संपदा राखि सब आगें।।

Binay keenhi ura ati anuraagen. sut sampadaa raakhi sab aagen

With great love in his heart, the king made humble requests and placed all his wealth and sons before the sage.

नेगु मागि मुनिनायक लीन्हा। आसिरबादु बहुत बिधि दीन्हा।।

Negu maagi muninaayak leenhaa. aasirabaadu bahut bidhi deenhaa

The chief of sages accepted the ceremonial gifts and bestowed abundant blessings in many ways.

उर धरि रामहि सीय समेता। हरषि कीन्ह गुर गवनु निकेता।।

Ura dhari raamahi seey sametaa. harashi keenh gur gavanu niketaa

Taking Rama and Sita together in his heart, the guru joyfully departed for his abode.

बिप्रबधू सब भूप बोलाई। चैल चारु भूषन पहिराई।।

Biprabadhoo sab bhoop bolaaee. chail chaaru bhooshan pahiraaee

The king called all the Brahmin women and adorned them with beautiful garments and ornaments.

बहुरि बोलाइ सुआसिनि लीन्हीं। रुचि बिचारि पहिरावनि दीन्हीं।।

Bahuri bolaai suaasini leenheen. ruchi bichaari pahiraavani deenheen

Then he summoned the married women and gave them clothing according to their taste and preference.

नेगी नेग जोग सब लेहीं। रुचि अनुरुप भूपमनि देहीं।।

Negee neg jog sab leheen. ruchi anurup bhoopamani deheen

All those entitled to ceremonial gifts received them, and the jewel among kings gave according to each one's liking.

प्रिय पाहुने पूज्य जे जाने। भूपति भली भाँति सनमाने।।

Priy paahune poojy je jaane. bhoopati bhalee bhaanti sanamaane

The king honored in the best manner all those dear guests who were worthy of worship.

देव देखि रघुबीर बिबाहू। बरषि प्रसून प्रसंसि उछाहू।।

Dev dekhi raghubeer bibaahoo. barashi prasoon prasansi uchhaahoo

Seeing the wedding of Raghuvira, the gods showered flowers and praised with great enthusiasm.

Commentary & Notes ↓

Notes

Chaupai 350. Post-wedding generosity of King Dasharatha. 'Muninaayak' (chief among sages) is Vasishtha. 'Neg' refers to the traditional ceremonial gifts given at weddings. 'Biprabadhoo' means Brahmin women. 'Suaasini' refers to married women whose husbands are living, considered auspicious. The verse culminates with the gods (dev) showering flowers (prasoon) as divine approval of Rama's sacred marriage.

चले निसान बजाइ सुर निज निज पुर सुख पाइ।

कहत परसपर राम जसु प्रेम न हृदयँ समाइ।।353।।

Chale nisaan bajaai sur nij nij pur sukh paai

Kahat parasapar raam jasu prem na hridayan samaai (353)

दोहा 353

With drums resounding, gods depart in bliss | Speaking Rama's praise with hearts that overflow

The gods departed, sounding their celestial drums, each returning joyfully to their own abode. They spoke among themselves of Rama's glory; the love in their hearts could not be contained.

Commentary & Notes ↓

Notes

Doha 353. 'Nisaan' are celestial kettledrums. The gods, having witnessed the divine wedding, return to their respective heavens (nij nij pur). Their hearts overflow with love (prem) for Rama, highlighting that even celestial beings are devotees of the Lord.

चौपाई 351
सब बिधि सबहि समदि नरनाहू। रहा हृदयँ भरि पूरि उछाहू।।

Sab bidhi sabahi samadi naranaahoo. rahaa hridayan bhari poori uchhaahoo

The king honored everyone equally in all ways, his heart filled completely with joy and enthusiasm.

जहँ रनिवासु तहाँ पगु धारे। सहित बहूटिन्ह कुअँर निहारे।।

Jahan ranivaasu tahaan pagu dhaare. sahit bahootinh kuanr nihaare

When he set foot in the royal quarters, he saw the princes along with their wives.

लिए गोद करि मोद समेता। को कहि सकइ भयउ सुखु जेता।।

Lie god kari mod sametaa. ko kahi sakai bhayau sukhu jetaa

Taking them in his embrace with great joy, who can describe how much happiness there was?

बधू सप्रेम गोद बैठारीं। बार बार हियँ हरषि दुलारीं।।

Badhoo saprem god baithaareen. baar baar hiyan harashi dulaareen

The daughters-in-law lovingly seated him in their lap, repeatedly caressing him with hearts full of delight.

देखि समाजु मुदित रनिवासू। सब कें उर अनंद कियो बासू।।

Dekhi samaaju mudit ranivaasoo. sab ken ura anand kiyo baasoo

Seeing this gathering, the royal quarters became joyful, and bliss made its dwelling in everyone's heart.

कहेउ भूप जिमि भयउ बिबाहू। सुनि हरषु होत सब काहू।।

Kaheu bhoop jimi bhayau bibaahoo. suni harashu hot sab kaahoo

The king told how the marriage had taken place, and hearing this, everyone felt happiness.

जनक राज गुन सीलु बड़ाई। प्रीति रीति संपदा सुहाई।।

Janak raaj gun seelu badaaee. preeti reeti sampadaa suhaaee

He praised Janaka's royal virtues, noble character, greatness, love, customs, and beautiful prosperity.

बहुबिधि भूप भाट जिमि बरनी। रानीं सब प्रमुदित सुनि करनी।।

Bahubidhi bhoop bhaat jimi baranee. raaneen sab pramudit suni karanee

In many ways the king described everything like a bard, and all the queens became delighted hearing these accounts.

Commentary & Notes ↓

Notes

Chaupai 351. Dasharatha enters the 'ranivaasu' (the inner women's quarters of the palace) and shares the wedding story with the queens. 'Bahootinh' means daughters-in-law (brides). The king recounts Janaka's virtues like a 'bhaat' (bard or panegyrist), showing his admiration for his new in-law. The tender domestic scene contrasts with the grand public ceremony.

सुतन्ह समेत नहाइ नृप बोलि बिप्र गुर ग्याति।

भोजन कीन्ह अनेक बिधि घरी पंच गइ राति।।354।।

Sutanh samet nahaai nrip boli bipr gur gyaati

Bhojan keenh anek bidhi gharee panch gai raati (354)

दोहा 354

With sons beside him, bathed and blessed | The king feeds all as night finds rest

The king, together with his sons, bathed and then summoned the brahmins, the guru, and all kinsmen. A feast of countless varieties was served, and five watches of the night passed away.

Commentary & Notes ↓

Notes

Doha 354. 'Gharee panch' (five watches, or gharis) indicates that the post-wedding feasting continued through most of the night. 'Gyaati' means kinsmen or relatives. The ritual bathing before the feast is part of the traditional wedding protocol.

चौपाई 352
मंगलगान करहिं बर भामिनि। भै सुखमूल मनोहर जामिनि।।

Mangalagaan karahin bar bhaamini. bhai sukhamool manohar jaamini

The noble ladies sang auspicious songs, and the beautiful night became the very root of joy and happiness.

अँचइ पान सब काहूँ पाए। स्त्रग सुगंध भूषित छबि छाए।।

Anchai paan sab kaahoon paae. strag sugandh bhooshit chhabi chhaae

Everyone received betel leaves to chew, and garlands and fragrances enhanced the splendid beauty all around.

रामहि देखि रजायसु पाई। निज निज भवन चले सिर नाई।।

Raamahi dekhi rajaayasu paaee. nij nij bhavan chale sir naaee

After seeing Rama and receiving the king's permission, all bowed their heads and departed to their respective homes.

प्रेम प्रमोद बिनोदु बढ़ाई। समउ समाजु मनोहरताई।।

Prem pramod binodu badhaaee. samau samaaju manoharataaee

The celebration was filled with increasing love, joy, and merriment, making the gathering supremely enchanting.

कहि न सकहि सत सारद सेसू। बेद बिरंचि महेस गनेसू।।

Kahi na sakahi sat saarad sesoo. bed biranchi mahes ganesoo

Even hundreds of Saraswatis, Shesha, the Vedas, Brahma, Shiva, and Ganesha cannot describe this scene.

सो मै कहौं कवन बिधि बरनी। भूमिनागु सिर धरइ कि धरनी।।

So mai kahaun kavan bidhi baranee. bhoominaagu sir dharai ki dharanee

How then can I describe it? Can the serpent Shesha support the earth upon his head?

नृप सब भाँति सबहि सनमानी। कहि मृदु बचन बोलाई रानी।।

Nrip sab bhaanti sabahi sanamaanee. kahi mridu bachan bolaaee raanee

The king honored everyone in every way and, speaking gentle words, called the queen.

बधू लरिकनीं पर घर आईं। राखेहु नयन पलक की नाई।।

Badhoo larikaneen par ghar aaeen. raakhehu nayan palak kee naaee

The young brides have come to our home - protect them like the pupils of your eyes.

Commentary & Notes ↓

Notes

Chaupai 352. 'Mangalagaan' are auspicious wedding songs sung by women. 'Anchai paan' refers to betel leaf, traditionally offered at celebrations. Tulsidas uses the poetic device of 'atishayokti' (hyperbole) to express that even divine beings like Saraswati (goddess of speech), Shesha (the cosmic serpent), Brahma, Shiva, and Ganesha cannot describe this joy. The 'bhoominaagu' (earth-serpent) metaphor asks: can even Shesha, who bears the cosmos, bear the weight of describing this bliss? Dasharatha's tender instruction to Kausalya to protect the brides 'like the pupils of your eyes' (nayan palak kee naaee) is a beautiful Indian expression of utmost care.

लरिका श्रमित उनीद बस सयन करावहु जाइ।

अस कहि गे बिश्रामगृहँ राम चरन चितु लाइ।।355।।

Larikaa shramit uneed bas sayan karaavahu jaai

Asa kahi ge bishraamagrihan raam charan chitu laai (355)

दोहा 355

Weary children need their rest | King departs with Rama blessed

"The children are weary and overcome by sleep; go and put them to bed." Saying this, the king retired to his resting chamber, his mind fixed upon the feet of Rama.

Commentary & Notes ↓

Notes

Doha 355. A deeply tender verse. The king refers to the newlywed princes and princesses as 'larikaa' (children), revealing paternal affection. 'Bishraamagrihan' is the resting chamber. Even in this ordinary domestic moment, Dasharatha's devotion shines through: he retires with his mind absorbed in Rama's lotus feet (Raam charan chitu laai).

चौपाई 353
भूप बचन सुनि सहज सुहाए। जरित कनक मनि पलँग डसाए।।

Bhoop bachan suni sahaj suhaae. jarit kanak mani palang dasaae

Hearing the king's naturally pleasing words, golden beds adorned with precious gems were spread out.

सुभग सुरभि पय फेन समाना। कोमल कलित सुपेतीं नाना।।

Subhag surabhi pay phen samaanaa. komal kalit supeteen naanaa

Beautiful beds white as the foam of divine cow's milk, soft and decorated with various fine white sheets.

उपबरहन बर बरनि न जाहीं। स्त्रग सुगंध मनिमंदिर माहीं।।

Upabarahan bar barani na jaaheen. strag sugandh manimandir maaheen

The excellent furnishings cannot be described, with garlands and fragrances filling the jeweled palace chambers.

रतनदीप सुठि चारु चँदोवा। कहत न बनइ जान जेहिं जोवा।।

Ratanadeep suthi chaaru chandovaa. kahat na banai jaan jehin jovaa

Gem-studded lamps and beautiful canopies - their splendor cannot be expressed by one who has seen them.

सेज रुचिर रचि रामु उठाए। प्रेम समेत पलँग पौढ़ाए।।

Sej ruchir rachi raamu uthaae. prem samet palang paudhaae

Having arranged the beautiful bed, Rama was lifted up and lovingly placed upon the couch.

अग्या पुनि पुनि भाइन्ह दीन्ही। निज निज सेज सयन तिन्ह कीन्ही।।

Agyaa puni puni bhaainh deenhee. nij nij sej sayan tinh keenhee

Instructions were given again and again to the brothers, and they each made their beds for sleeping.

देखि स्याम मृदु मंजुल गाता। कहहिं सप्रेम बचन सब माता।।

Dekhi syaam mridu manjul gaataa. kahahin saprem bachan sab maataa

Seeing Rama's dark, tender and beautiful form, all the mothers speak loving words.

मारग जात भयावनि भारी। केहि बिधि तात ताड़का मारी।।

Maarag jaat bhayaavani bhaaree. kehi bidhi taat taadakaa maaree

The path ahead is terribly frightening - how will you, dear child, slay the demoness Tadaka?

Commentary & Notes ↓

Notes

Chaupai 353. The mothers prepare sumptuous beds for the young princes. 'Jarit kanak mani' describes beds inlaid with gold and gems. 'Surabhi pay phen' compares the white bedsheets to the foam of milk from Surabhi, the divine wish-fulfilling cow. 'Syaam mridu manjul gaataa' describes Rama's dark (shyam), soft (mridu), and beautiful (manjul) limbs. The mothers' anxious questions about Tadaka reveal their maternal worry; they cannot imagine their tender boy confronting a fearsome demoness.

घोर निसाचर बिकट भट समर गनहिं नहिं काहु।।

मारे सहित सहाय किमि खल मारीच सुबाहु।।356।।

Ghor nisaachar bikat bhat samar ganahin nahin kaahu

Maare sahit sahaay kimi khal maareech subaahu (356)

दोहा 356

Fierce demons terrible in war | who feared no mortal might,

How were Maricha, Subahu slain | in that dreadful fight?

Those terrible demons, fearsome warriors whom no one could withstand in battle, how did you slay the wicked Maricha and Subahu along with all their allies?

Commentary & Notes ↓

Notes

Doha 356. The mothers continue their anxious questioning. 'Ghor nisaachar' means terrible night-roaming demons. 'Bikat bhat' means formidable warriors. Maricha and Subahu were the two principal demons who disrupted Vishvamitra's sacrifice. The mothers' tone mixes wonder with maternal fear.

चौपाई 354
मुनि प्रसाद बलि तात तुम्हारी। ईस अनेक करवरें टारी।।

Muni prasaad bali taat tumhaaree. eesa anek karavaren taaree

By the sage's grace and your strength, dear son, you have overcome many divine obstacles.

मख रखवारी करि दुहुँ भाई। गुरु प्रसाद सब बिद्या पाई।।

Makh rakhavaaree kari duhun bhaaee. guru prasaad sab bidyaa paaee

Both brothers protected the sacrifice and received all knowledge through the guru's grace.

मुनितय तरी लगत पग धूरी। कीरति रही भुवन भरि पूरी।।

Munitay taree lagat pag dhooree. keerati rahee bhuvan bhari pooree

The sage's wife was purified by the dust of your feet, and your fame filled the entire world.

कमठ पीठि पबि कूट कठोरा। नृप समाज महुँ सिव धनु तोरा।।

Kamath peethi pabi koot kathoraa. nrip samaaj mahun siv dhanu toraa

You broke Shiva's mighty bow, hard as a mountain peak, in the assembly of kings.

बिस्व बिजय जसु जानकि पाई। आए भवन ब्याहि सब भाई।।

Bisv bijay jasu jaanaki paaee. aae bhavan byaahi sab bhaaee

You gained world-conquering fame and won Janaki, then returned home with all brothers married.

सकल अमानुष करम तुम्हारे। केवल कौसिक कृपाँ सुधारे।।

Sakal amaanush karam tumhaare. keval kausik kripaan sudhaare

All these superhuman deeds of yours were accomplished solely through Kaushik's grace.

आजु सुफल जग जनमु हमारा। देखि तात बिधुबदन तुम्हारा।।

Aaju suphal jag janamu hamaaraa. dekhi taat bidhubadan tumhaaraa

Today our birth in this world has become fruitful, seeing your moon-like face, dear son.

जे दिन गए तुम्हहि बिनु देखें। ते बिरंचि जनि पारहिं लेखें।।

Je din gae tumhahi binu dekhen. te biranchi jani paarahin lekhen

The days that passed without seeing you - may Brahma not count them in his records.

Commentary & Notes ↓

Notes

Chaupai 354. The final chaupai of Bala Kanda. The mothers lovingly recount all of Rama's deeds: slaying Tadaka, protecting Vishvamitra's sacrifice (makh), liberating Ahalya (munitay, the sage's wife) by the dust of his feet, breaking Shiva's bow (described as hard as 'kamath peethi' [tortoise shell] and 'pabi koot' [thunderbolt peak]), and winning Sita (Jaanaki). 'Kaushik' is another name for Vishvamitra, descendant of Kushika. The final couplet is deeply moving: may the Creator (Biranchi/Brahma) not even count the days of separation. This verse, spoken by the mothers, closes Bala Kanda with tender maternal devotion, attributing all of Rama's glories to divine grace while cherishing the joy of reunion.

राम प्रतोषीं मातु सब कहि बिनीत बर बैन।

सुमिरि संभु गुर बिप्र पद किए नीदबस नैन।।357।।

Raam pratosheen maatu sab kahi bineet bar bain

Sumiri sambhu gur bipr pad kie needabas nain (357)

दोहा 357

With gentle words he pleased them all | then closed his eyes in rest,

Remembering Shiva, guru's grace | by holy thoughts blessed.

Rama gladdened every mother with humble, gracious words. Remembering Shambhu, his guru, and the feet of the learned, he gently closed his eyes in sleep.

Commentary & Notes ↓

Notes

Doha 357. Rama's final act before sleep is remembrance of Shiva (Shambhu), his guru, and holy ones. Even in a private moment, his devotion is flawless. 'Bineet bar bain' (humble, excellent words) shows how he comforts each mother personally before retiring.

चौपाई 355
नीदउँ बदन सोह सुठि लोना। मनहुँ साँझ सरसीरुह सोना।।

Needaun badan soh suthi lonaa. manahun saanjh saraseeruh sonaa

His sleeping face appears exceedingly charming, like a golden lotus in the evening pond.

घर घर करहिं जागरन नारीं। देहिं परसपर मंगल गारीं।।

Ghar ghar karahin jaagaran naareen. dehin parasapar mangal gaareen

In every house, women keep vigil through the night, exchanging auspicious songs with one another.

पुरी बिराजति राजति रजनी। रानीं कहहिं बिलोकहु सजनी।।

Puree biraajati raajati rajanee. raaneen kahahin bilokahu sajanee

The city shines resplendent in the night, as the queens say to each other, 'Behold, dear friend!'

सुंदर बधुन्ह सासु लै सोई। फनिकन्ह जनु सिरमनि उर गोई।।

Sundar badhunh saasu lai soee. phanikanh janu siramani ura goee

The beautiful bride sleeps with her mother-in-law beside her, like a serpent guarding a precious jewel at its breast.

प्रात पुनीत काल प्रभु जागे। अरुनचूड़ बर बोलन लागे।।

Praat puneet kaal prabhu jaage. arunachood bar bolan laage

At the pure dawn hour, the Lord awakened, and the excellent roosters began to crow.

बंदि मागधन्हि गुनगन गाए। पुरजन द्वार जोहारन आए।।

Bandi maagadhanhi gunagan gaae. purajan dvaar johaaran aae

The bards and minstrels sang songs of praise, and the citizens came to the door to pay their respects.

बंदि बिप्र सुर गुर पितु माता। पाइ असीस मुदित सब भ्राता।।

Bandi bipr sur gur pitu maataa. paai asees mudit sab bhraataa

After bowing to brahmins, gods, guru, father and mother, all the brothers received blessings joyfully.

जननिन्ह सादर बदन निहारे। भूपति संग द्वार पगु धारे।।

Jananinh saadar badan nihaare. bhoopati sang dvaar pagu dhaare

The mothers gazed lovingly at their faces, then the king stepped forth to the doorway.

Commentary & Notes ↓

Notes

Chaupai 355. A panoramic sweep from wedding night to dawn. The simile of sleeping brides as crest-jewels (siramani) guarded by serpents (phani) is Tulsidas's signature: the mothers-in-law treasure their new daughters. 'Arunachood' (the red-crested one, i.e. rooster) announces the sacred dawn.

कीन्ह सौच सब सहज सुचि सरित पुनीत नहाइ।

प्रातक्रिया करि तात पहिं आए चारिउ भाइ।।358।।

Keenh sauch sab sahaj suchi sarit puneet nahaai

Praatakriyaa kari taat pahin aae chaariu bhaai (358)

दोहा 358

Pure souls bathed in sacred streams | morning rites complete,

Four princely brothers came with love | their father's feet to greet.

Performing their ablutions with natural purity, bathing in the sacred river, completing their morning devotions, all four brothers came before their father.

Commentary & Notes ↓

Notes

Doha 358. 'Sahaj suchi' (naturally pure) is theologically significant: the brothers' purity is innate, not acquired through ritual alone. Yet they honor every observance, modeling ideal conduct for the world.

चौपाई 356
भूप बिलोकि लिए उर लाई। बैठै हरषि रजायसु पाई।।

Bhoop biloki lie ura laaee. baithai harashi rajaayasu paaee

The king looked upon them and embraced them to his heart. He sat down joyfully after receiving their permission.

देखि रामु सब सभा जुड़ानी। लोचन लाभ अवधि अनुमानी।।

Dekhi raamu sab sabhaa judaanee. lochan laabh avadhi anumaanee

Seeing Rama, the entire assembly felt fulfilled, considering the sight a great blessing for their eyes.

पुनि बसिष्टु मुनि कौसिक आए। सुभग आसनन्हि मुनि बैठाए।।

Puni basishtu muni kausik aae. subhag aasananhi muni baithaae

Then came the sages Vasishtha and Kaushika (Vishwamitra), and the king seated the holy ones on beautiful seats.

सुतन्ह समेत पूजि पद लागे। निरखि रामु दोउ गुर अनुरागे।।

Sutanh samet pooji pad laage. nirakhi raamu dou gur anuraage

Along with his sons, the king worshipped and touched their feet. Both gurus were filled with love seeing Rama.

कहहिं बसिष्टु धरम इतिहासा। सुनहिं महीसु सहित रनिवासा।।

Kahahin basishtu dharam itihaasaa. sunahin maheesu sahit ranivaasaa

Vasishtha narrates stories of dharma and history, which the king listens to along with the royal household.

मुनि मन अगम गाधिसुत करनी। मुदित बसिष्ट बिपुल बिधि बरनी।।

Muni man agam gaadhisut karanee. mudit basisht bipul bidhi baranee

The sage joyfully described in various ways the incomprehensible deeds of Gadhi's son (Vishwamitra).

बोले बामदेउ सब साँची। कीरति कलित लोक तिहुँ माची।।

Bole baamadeu sab saanchee. keerati kalit lok tihun maachee

Vamadeva spoke that all was true, and this glory had spread throughout the three worlds.

सुनि आनंदु भयउ सब काहू। राम लखन उर अधिक उछाहू।।

Suni aanandu bhayau sab kaahoo. raam lakhan ura adhik uchhaahoo

Hearing this, everyone became joyful, and Rama and Lakshmana felt especially great delight in their hearts.

Commentary & Notes ↓

Notes

Chaupai 356. The court scene centers on darshan: seeing Rama cools (judaanee) the assembly like moonlight. Vasishtha's storytelling of Vishvamitra's exploits (muni man agam, beyond ordinary comprehension) and Vamadeva's confirmation create a layered testimony to divine glory. The brothers' joy at hearing their guru praised shows beautiful humility.

मंगल मोद उछाह नित जाहिं दिवस एहि भाँति।

उमगी अवध अनंद भरि अधिक अधिक अधिकाति।।359।।

Mangal mod uchhaah nit jaahin divas ehi bhaanti

Umagee avadh anand bhari adhik adhik adhikaati (359)

दोहा 359

Days of joy and celebration | blessed the royal city,

Avadhi's bliss grew boundless | filled with love and pity.

With sacred joy and celebration, the days passed in this blessed way. Ayodhya overflowed, brimming with bliss, growing ever greater, ever greater, ever more.

Commentary & Notes ↓

Notes

Doha 359. The triple repetition 'adhik adhik adhikaati' is Tulsidas's deliberate rhetorical device: the happiness of Ayodhya literally cannot stop increasing. It mirrors the infinite nature of divine ananda.

चौपाई 357
सुदिन सोधि कल कंकन छौरे। मंगल मोद बिनोद न थोरे।।

Sudin sodhi kal kankan chhaure. mangal mod binod na thore

Choosing an auspicious day, they removed the ceremonial bangles. There were countless celebrations, joy, and festivities.

नित नव सुखु सुर देखि सिहाहीं। अवध जन्म जाचहिं बिधि पाहीं।।

Nit nav sukhu sur dekhi sihaaheen. avadh janm jaachahin bidhi paaheen

The gods rejoiced seeing new happiness daily. They prayed to Brahma for birth in Ayodhya.

बिस्वामित्रु चलन नित चहहीं। राम सप्रेम बिनय बस रहहीं।।

Bisvaamitru chalan nit chahaheen. raam saprem binay bas rahaheen

Vishwamitra desired to depart daily. He remained bound by Rama's loving entreaties.

दिन दिन सयगुन भूपति भाऊ। देखि सराह महामुनिराऊ।।

Din din sayagun bhoopati bhaaoo. dekhi saraah mahaamuniraaoo

Day by day, the great sage praised the king's hundredfold increasing affection.

मागत बिदा राउ अनुरागे। सुतन्ह समेत ठाढ़ भे आगे।।

Maagat bidaa raau anuraage. sutanh samet thaadh bhe aage

When the affectionate king requested permission to leave, he stood before him with his sons.

नाथ सकल संपदा तुम्हारी। मैं सेवकु समेत सुत नारी।।

Naath sakal sampadaa tumhaaree. main sevaku samet sut naaree

O Lord, all wealth is yours. I am your servant along with my sons and wife.

करब सदा लरिकनः पर छोहू। दरसन देत रहब मुनि मोहू।।

Karab sadaa larikanah par chhohoo. darasan det rahab muni mohoo

I shall always show affection to the boys. O sage, continue to bless me with your darshan.

अस कहि राउ सहित सुत रानी। परेउ चरन मुख आव न बानी।।

Asa kahi raau sahit sut raanee. pareu charan mukh aava na baanee

Saying thus, the king with his sons and queen fell at his feet, unable to speak.

दीन्ह असीस बिप्र बहु भाँती। चले न प्रीति रीति कहि जाती।।

Deenh asees bipr bahu bhaantee. chale na preeti reeti kahi jaatee

The sage blessed them in many ways. The love was so deep that proper farewell customs cannot be described.

रामु सप्रेम संग सब भाई। आयसु पाइ फिरे पहुँचाई।।

Raamu saprem sang sab bhaaee. aayasu paai phire pahunchaaee

Rama with love, along with all his brothers, received permission and returned after escorting him.

Commentary & Notes ↓

Notes

Chaupai 357. The farewell to Vishvamitra is one of the most tender passages in all of Manas. The king's words 'sakal sampada tumhari' (all wealth is yours) express total surrender. Even the gods envy Ayodhya's joy. The 10-line chaupai (extended) carries the emotional weight of Vishvamitra's departure, which closes the major narrative arc of Bala Kanda.

राम रूपु भूपति भगति ब्याहु उछाहु अनंदु।

जात सराहत मनहिं मन मुदित गाधिकुलचंदु।।360।।

Raam roopu bhoopati bhagati byaahu uchhaahu anandu

Jaat saraahat manahin man mudit gaadhikulachandu (360)

दोहा 360

Beauty, devotion, wedding bliss | filled the sage's mind,

Gadhi's heir left praising all | sacred love enshrined.

Rama's beauty, the king's devotion, the wedding, the jubilation, the bliss: the moon of Gadhi's lineage departed, praising all these within his heart.

Commentary & Notes ↓

Notes

Doha 360. Vishvamitra (Gaadhikulachandu, moon of Gadhi's clan) departs silently savoring five things: Rama's beauty (roopu), the king's devotion (bhagati), the wedding (byaahu), the rejoicing (uchhaahu), and the bliss (anandu). Each word is a jewel Tulsidas places in the sage's heart as a farewell offering.

चौपाई 358
बामदेव रघुकुल गुर ग्यानी। बहुरि गाधिसुत कथा बखानी।।

Baamadev raghukul gur gyaanee. bahuri gaadhisut kathaa bakhaanee

Vamadeva, the wise guru of the Raghu dynasty, then narrated the story of Gadhisuta (Vishwamitra).

सुनि मुनि सुजसु मनहिं मन राऊ। बरनत आपन पुन्य प्रभाऊ।।

Suni muni sujasu manahin man raaoo. baranat aapan puny prabhaaoo

Hearing the sage's noble fame, the king in his heart described the power of his own merit.

बहुरे लोग रजायसु भयऊ। सुतन्ह समेत नृपति गृहँ गयऊ।।

Bahure log rajaayasu bhayaoo. sutanh samet nripati grihan gayaoo

The people were dismissed by royal command, and the king returned home with his sons.

जहँ तहँ राम ब्याहु सबु गावा। सुजसु पुनीत लोक तिहुँ छावा।।

Jahan tahan raam byaahu sabu gaavaa. sujasu puneet lok tihun chhaavaa

Everywhere people sang of Rama's marriage, and this pure fame spread across all three worlds.

आए ब्याहि रामु घर जब तें। बसइ अनंद अवध सब तब तें।।

Aae byaahi raamu ghar jab ten. basai anand avadh sab tab ten

Ever since Rama came home after his marriage, joy has dwelt in all of Ayodhya.

प्रभु बिबाहँ जस भयउ उछाहू। सकहिं न बरनि गिरा अहिनाहू।।

Prabhu bibaahan jas bhayau uchhaahoo. sakahin na barani giraa ahinaahoo

The celebration that occurred at the Lord's wedding cannot be described even by the serpent's eloquent speech.

कबिकुल जीवनु पावन जानी।।राम सीय जसु मंगल खानी।।

Kabikul jeevanu paavan jaanee.raam seey jasu mangal khaanee

Knowing the fame of Rama and Sita to be the life of poets and pure, I consider it a mine of auspiciousness.

तेहि ते मैं कछु कहा बखानी। करन पुनीत हेतु निज बानी।।

Tehi te main kachhu kahaa bakhaanee. karan puneet hetu nij baanee

Therefore I have narrated something of it, to purify my own speech.

Commentary & Notes ↓

Notes

Chaupai 358. Tulsidas's colophon begins. The poet steps forward with characteristic humility: even Shesha (Ahinaahu, lord of serpents, an image for limitless speech) cannot exhaust this story. 'Kabikul jeevanu' (life of poets): Rama-Sita's glory is what gives all poetry its life. 'Karan puneet hetu nij baanee' (to purify my own speech): the poet's sole motive is self-purification through devotion.

छन्द 39
निज गिरा पावनि करन कारन राम जसु तुलसी कह्यो।

रघुबीर चरित अपार बारिधि पारु कबि कौनें लह्यो।।

उपबीत ब्याह उछाह मंगल सुनि जे सादर गावहीं।

बैदेहि राम प्रसाद ते जन सर्बदा सुखु पावहीं।।

Nij giraa paavani karan kaaran raam jasu tulasee kahyo

Raghubeer charit apaar baaridhi paaru kabi kaunen lahyo

Upabeet byaah uchhaah mangal suni je saadar gaavaheen

Baidehi raam prasaad te jan sarbadaa sukhu paavaheen

Tulsi sings to purify his voice | Rama's glory telling

Who can cross that endless sea | of deeds compelling?

Those who hear with loving hearts | these sacred stories

Find eternal joy through grace | of Rama's glories

To purify his own speech, Tulsi has sung the glory of Rama. What poet has ever crossed to the far shore of the boundless ocean that is Raghuvira's deeds?

Those who hear of the sacred thread ceremony, the marriage, the festivity, and the blessings, and who sing of them with reverence, by the grace of Vaidehi and Rama, such souls find happiness for all time.

Commentary & Notes ↓

Notes

Chhand 39. The final chhand of Bala Kanda. Tulsidas seals the book with two declarations: (1) Raghuvira's glory is an ocean no poet can fully cross (apaar baaridhi); (2) those who sing and hear of these events with reverence (saadar) receive the eternal grace (prasaad) of both Sita (Vaidehi) and Rama. 'Sarbadaa sukhu' (happiness for all time) is the poet's ultimate promise to the listener.

सिय रघुबीर बिबाहु जे सप्रेम गावहिं सुनहिं।

तिन्ह कहुँ सदा उछाहु मंगलायतन राम जसु।।361।।

Siy raghubeer bibaahu je saprem gaavahin sunahin

Tinh kahun sadaa uchhaahu mangalaayatan raam jasu (361)

दोहा 361

Who sing with love of Sita's wedding | to Raghuvira dear

Find endless joy and blessing | throughout each year

Those who with love sing and hear of the wedding of Sita and Raghuvira: for them there is always celebration. Rama's glory is the abode of all that is auspicious.

Commentary & Notes ↓

Notes

Doha 361. The very last verse of Bala Kanda. 'Mangalaayatan Rama jasu' (Rama's fame is the temple/abode of all auspiciousness): this single compound is the theological seal of the entire kanda. Everything that came before, every story, every wedding song, every tear of joy, finds its home in these four words. 'Saprem gaavahin sunahin' (sing and hear with love): the condition is not learning or penance, but love alone.