Ramcharitmanas: Ayodhya Kanda, Prakarana 5
दोहा 43
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।
गइ मुरुछा रामहि सुमिरि नृप फिरि करवट लीन्ह।सचिव राम आगमन कहि बिनय समय सम कीन्ह।।43।।
gai muruchā rāmahi sumiri nṛpa phiri karavaṭa līnha |saciva rāma āgamana kahi binaya samaya sama kīnha ||43||
राजा को राम याद आया तो उसकी बेहोशी चली गई, और राजा पलट कर करवट बदल ली। सचिव ने राम के आने की बात बताई, और वक्त के हिसाब से अर्जी लगा दी।
Speaker
Tulsidas (narrator)
Listener
General audience
Karuna (with Vatsalya undertone)
The scene
The prasanga
King Dasharatha lies in a swoon, crushed by grief at Kaikeyi's demands. At the thought of Rama he revives and turns on his side, and the minister announces that Rama has come and makes his petition with fitting tact.
The teaching
- Themes
- नाम-स्मरण की शक्ति, पितृ-वात्सल्य और शोक, मंत्री का विवेक और शिष्टाचार, समयोचित विनय, मूर्छा से चेतना की ओर
For right living (Ramrajya ethics)
The minister's conduct models right counsel: he speaks only when the king is ready and phrases his petition to suit the moment (समय सम). A good minister serves the ruler's dignity and grief with tact, and a father's love for his son is shown as a force that revives him.
Nirguna and saguna
Rama is not yet physically present, yet his remembered name and form restore the king, so the unseen Name acts with the power of the manifest Person. The announcement of his actual coming (राम आगमन) then joins the remembered Rama to the arriving Rama.
Commentators note that the king's swoon breaks the moment Rama's name enters his mind, and they take this as proof that smaran alone can revive a failing life. His turning on his side shows consciousness returning slowly, not suddenly. The minister then tells him Rama has come, and he does so with a petition fitted to the time, neither rushing the grieving king nor withholding the news. The two lines thus show a father's love and a servant's tact side by side.
Doha (13/11 matra pattern per line, rhyming at the line ends: लीन्ह / कीन्ह)
Anuprasa (repeated sounds in सुमिरि, समय सम, and the end-rhyme लीन्ह / कीन्ह); Hetu or Karana-karya (remembering Rama is the cause of the swoon's departure); Svabhavokti (the natural touch of the king turning on his side, फिरि करवट लीन्ह).
The remembrance of Rama (रामहि सुमिरि) is what ends the swoon, which fits Vishishtadvaita's view of the Lord as the inner support of the soul and of smaran as a living means of grace. The king's recovery comes from a relation of love with a personal Rama, not from any abstract knowledge.
Raga Bhairavi, whose tender, pathos-laden character suits the king's waking from grief and the minister's gentle address.
गइ | मुरुछा | रामहि | सुमिरि | नृप | फिरि | करवट | लीन्ह |
सचिव | राम | आगमन | कहि | बिनय | समय | सम | कीन्ह ||
- मुरुछा
- मूर्छा, बेहोशीOrigin: Sanskrit
- सुमिरि
- स्मरण करके, याद करकेOrigin: Sanskrit
- करवट
- लेटे हुए शरीर का एक ओर पलटनाOrigin: Awadhi
- सचिव
- मंत्री, परामर्शदाताOrigin: Sanskrit
- बिनय
- विनती, नम्र निवेदनOrigin: Sanskrit
- How does the use of Sanskritized Awadhi here elevate the 'Loka' (folk) to the 'Shastra' (scriptural)?
- The scene is a homely one: a sick old man turns over in bed and an attendant speaks to him. Words like मुरुछा (from Sanskrit mūrchā), सचिव, आगमन and बिनय carry the formal register of the court and the scriptures. Their blend with plain Awadhi forms such as गइ, फिरि, करवट and कीन्ह lends dignity to an everyday sickroom moment. Tulsidas thus lets a domestic scene be heard in the tone of scripture without losing its warmth.
- What is the specific 'Siddhanta' (doctrine) Tulsidas establishes regarding the Name (Nama) vs Form (Rupa)?
- The verse says the swoon departs 'रामहि सुमिरि', so remembering Rama is what restores the king. Nothing else is named as the cause, and the sleeper has not yet seen Rama's form. This shows the Name working before the Form appears. Only in the second line does the minister announce the Form's coming (राम आगमन), so Name first and Form after follows the order Tulsidas teaches elsewhere.
- How does this verse reflect the poet's 'Kavi-Manas' (the lake of the poet's mind) metaphor?
- The poet's mind is a lake in which Rama's story flows, and here that flow has two currents: a stream of feeling in the king's remembrance and a stream of decorum in the minister's measured speech. The short span of two lines holds a full movement from unconsciousness to waking to courtly address. The balance of the two halves, one for the king and one for the minister, gives the clear, ordered surface that the lake metaphor suggests. The quiet restraint in 'समय सम' is the same calm that the poet wants his waters to keep.
FAQs
दोहे के अनुसार राजा दशरथ राम का स्मरण करके होश में आए (रामहि सुमिरि)। मूर्छा के जाते ही उन्होंने करवट ली, जो चेतना लौटने का पहला चिह्न है।
सचिव ने राजा को बताया कि राम आए हैं और फिर अपनी विनती की। उसे 'समय सम' इसलिए कहा गया कि उसने शोकग्रस्त राजा की दशा देखकर अवसर के अनुकूल, उचित ढंग से बात कही।
राम के प्रत्यक्ष आने से पहले ही उनके स्मरण से राजा की मूर्छा टूट गई, यानी नाम का प्रभाव रूप के आने से पहले ही दिखा। फिर दूसरी पंक्ति में राम के आगमन की सूचना आती है। इस तरह स्मरण और सगुण रूप का मिलन दिखाया गया है।
Ask anything about this verse
Answers come straight from the texts, with the shlokas they draw on. Ask in your own words.
A free sign-in with Google or Apple keeps your chat saved across web and the app.
Read Ramcharitmanas in the Vedapath app
Scan the QR code to open this directly in the app, with word-by-word meanings, Awadhi recitation where available, and more.
