Ramcharitmanas: Ayodhya Kanda, Prakarana 5
दोहा 41
यह सोपान ‘धर्म-संकट में भक्ति की परख’ है: राज-वैभव का द्वार खुलते ही त्याग का द्वार भी खुलता है। अयोध्या काण्ड में राम का ‘मर्यादा-पुरुषोत्तम’ रूप करुणा, धीरज, और पितृ-आज्ञा-पालन के द्वारा साधक को सिखाता है कि मुक्ति की सीढ़ी घर-गृहस्थी से भागना नहीं, बल्कि आसक्ति का रूपांतरण है—स्वेच्छा से व्रत बनकर आया हुआ वनवास।
मुनिगन मिलनु बिसेषि बन सबहि भाँति हित मोर।तेहि महँ पितु आयसु बहुरि संमत जननी तोर।।41।।
munigana milanu biseṣi bana sabahi bhā̃ti hita mora |tehi mahã pitu āyasu bahuri saṁmata jananī tora ||41||
बन मे रिशि लोगों से मिलना मुझे खास पसंद है, और हर तरह से मेरे लिए अच्छा है। उसके अलावा पिता जी का आदेश भी है, और माँ, तुम भी राज़ी हो।
Speaker
Rama
Listener
Kaikeyi (his stepmother)
Shanta, with a Dasya and Vatsalya undertone in his obedience and tender address to his mother
The scene
The prasanga
In Ayodhya Kanda, Kaikeyi has told Rama of his exile, and Rama replies with a gentle smile. He presents the forest life as a gain for himself: it brings meetings with sages, his father's command and her own consent.
The teaching
- Themes
- पितृ-आज्ञा पालन, मातृ-सम्मान और विनय, संत-समागम का महत्त्व, विपत्ति में समभाव, शिष्टाचार और मर्यादा
For right living (Ramrajya ethics)
The verse teaches obedience to parents and respect for a mother's consent. It also teaches seeking the company of the wise (muni-gan) and turning hardship into good, which are the qualities of a ruler fit for Ramrajya.
Nirguna and saguna
The unchanging bliss that stays untroubled by gain or loss is the nirguna ground, and it shows through the saguna figure who speaks warmly of 'my good' and 'your consent'. The formless peace appears as courteous, loving speech to Kaikeyi.
Rama answers Kaikeyi's harsh announcement with a gentle reassurance that exile is no loss to him. He gives three reasons: meeting the sages in the forest is especially dear to him and good for him in every way, there is his father's command, and there is the mother's own consent. Commentators note that Rama speaks to Kaikeyi as a loving son and does not blame her. By turning her demand into his own gain he spares everyone pain and sets the ideal of obedience.
Doha (13/11 matra pattern per line). Line 1: मुनिगन मिलनु बिसेषि बन (13) + सबहि भाँति हित मोर (11). Line 2: तेहि महँ पितु आयसु बहुरि (13) + संमत जननी तोर (11). The line ends rhyme on मोर / तोर.
Antyanuprasa (end rhyme) in 'हित मोर' and 'जननी तोर'. Anuprasa (repeated म sound) in 'मुनिगन मिलनु', 'महँ' and 'संमत'. Krama or gradation in the ordered reasons: the sages' company, the father's command, then the mother's consent. Parikara (meaningful word choice) in 'बिसेषि' and 'सबहि भाँति', which turn the exile into a benefit.
Rama's calm acceptance of an order that looks like loss fits the Vishishtadvaita picture of the Lord as a perfect, self-possessed person who acts through dharma and finds his joy in it. The Lord enters human obligations to teach them, while his own bliss is untouched.
Raga Bhairavi, whose gentle, devotional and serene mood suits Rama's calm and loving reply.
मुनि-गन | मिलनु | बिसेषि | बन | सबहि | भाँति | हित | मोर |
तेहि | महँ | पितु | आयसु | बहुरि | संमत | जननी | तोर ||
- मुनिगन
- मुनियों का समूह, ऋषि-मंडलीOrigin: Sanskrit
- बिसेषि
- विशेष रूप से, खास तौर परOrigin: Sanskrit
- भाँति
- प्रकार, तरह, ढंगOrigin: Awadhi
- आयसु
- आज्ञा, आदेशOrigin: Sanskrit
- संमत
- सहमत, अनुमति, स्वीकृतिOrigin: Sanskrit
- How does the use of Sanskritized Awadhi here elevate the 'Loka' (folk) to the 'Shastra' (scriptural)?
- The verse joins Sanskrit-derived words such as मुनिगन, बिसेषि, हित, आयसु and संमत with plain Awadhi pronouns and particles such as मोर, तोर, तेहि महँ and सबहि भाँति. The learned vocabulary brings in the scriptural ideals of sage-company, a father's command and consent, while the everyday idiom keeps the speech a son's talk to his mother. The meter and the rhyme of मोर with तोर give the lines a folk-song ease that any listener can follow. In this way the Shastra's teaching on filial duty is carried in the language of the household, and the two registers do not separate.
- What is the specific 'Siddhanta' (doctrine) Tulsidas establishes regarding the Name (Nama) vs Form (Rupa)?
- This verse does not state the doctrine of Nama over Rupa directly, and it should not be read as doing so. What it shows is the manifest Form (Rupa) of Rama acting in the world, speaking with courtesy and finding good in a hard command. In the verse the spoken word is one of obedience, since Rama calls the father's आयसु and the mother's संमत his reasons. That fits the wider Manas teaching that the Lord's presence is known through his conduct and his word. Here the Form is seen in right action and gentle speech, and the verse itself rests its weight on these.
- How does this verse reflect the poet's 'Kavi-Manas' (the lake of the poet's mind) metaphor?
- The Manas is pictured as a clear lake with orderly steps leading down to its water, and this couplet has that kind of ordered, transparent flow. The three reasons, the sages' company, the father's command and the mother's consent, descend one after another like steps, each leading to calm acceptance. The rhyme on मोर and तोर works like two matched banks that hold the thought. The poet's mind is thus shown as still and clear, so that Rama's inner peace is visible through the words without any disturbance.
FAQs
राम तीन कारण बताते हैं। पहला, वन में मुनियों से मिलना उन्हें विशेष प्रिय है और हर प्रकार से उनके हित में है। दूसरा, उन्हें पिता की आज्ञा है, और तीसरा, उसमें माता कैकेयी की सहमति भी है।
इससे राम यह भाव देते हैं कि वनवास उनके लिए हानि नहीं बल्कि हर तरह से लाभ है। इस तरह वे कैकेयी को निश्चिंत करते हैं और स्वयं भी शांत रहते हैं। यह उनके सहज, समभाव वाले स्वभाव को दिखाता है।
यह दोहा है, जिसकी हर पंक्ति में 13 और 11 मात्राएँ होती हैं। पहली पंक्ति 'मुनिगन मिलनु बिसेषि बन' (13) और 'सबहि भाँति हित मोर' (11) में बँटी है। दोनों पंक्तियों के अंत में 'मोर' और 'तोर' की तुक मिलती है।
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