ramcharitmanas,

Baal Kaanda

48 - Sita's entry into the pavilion

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Chaupais

siya sōbhā nahiṃ jāi bakhānī. jagadaṃbikā rūpa guna khānī..
 

upamā sakala mōhi laghu lāgīṃ. prākṛta nāri aṃga anurāgīṃ..
  [1-246-1]

siya barania tēi upamā dēī. kukabi kahāi ajasu kō lēī..
 

jau paṭataria tīya sama sīyā. jaga asi jubati kahāom kamanīyā..
  [1-246-2]

girā mukhara tana aradha bhavānī. rati ati dukhita atanu pati jānī..
 

biṣa bārunī baṃdhu priya jēhī. kahia ramāsama kimi baidēhī..
  [1-246-3]

jau chabi sudhā payōnidhi hōī. parama rūpamaya kacchapa sōī..
 

sōbhā raju maṃdaru siṃgārū. mathai pāni paṃkaja nija mārū..
  [1-246-4]


Description

Sita's beauty defies all description, Mother of the universe that She is and an embodiment of charm and excellence. All comparisons seem to me too poor; for they have affinity with the limbs of mortal women. Proceeding to depict Sita with the help of those very similes why should one earn the title of an unworthy poet and court ill-repute? Should Sita be likened to any woman of this material creation, where in this world shall one come across such a lovely damsel? The goddess of speech (Sarasvati), for instance, is a chatterer; while Bhavani possesses only half a body (the other half being represented by her lord, Siva). And Rati (Love's consort) is extremely distressed by the thought of her husband being without a form. And it is quite out of the question to compare Videha's Daughter with Rama, who has poison and spirituous liquor for her dear brothers. Supposing there was an ocean of nectar in the form of loveliness and the tortoise serving as a base for churning it was an embodiment of consummate beauty, and if splendour itself were to take the form of a cord, the erotic sentiment should crystallize and assume the shape of Mount Mandara and the god of love himself were to churn this ocean with his own hands-

 
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