Ramcharitmanas: Ayodhya Kanda, Prakarana 5
दोहा 46
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।
मुख सुखाहिं लोचन स्रवहिं सोकु न हृदयँ समाइ।मनहुँ करुन रस कटकई उतरी अवध बजाइ।।46।।
mukha sukhāhiṁ locana sravahiṁ soku na hṛdayã samāi |manahũ karuna rasa kaṭakaī utarī avadha bajāi ||46||
उनके मुह सूख गए और आँखों से आँसू बह निकले। उनका दुख दिल में समा नही रहा। ऐसा लग रहा था जैसे दुख की एक पूरी फौज अयोध्या पर आ गिर हो, और ढोल बजा रही हो।
Speaker
Tulsidas (narrator)
Listener
General audience
Karuna (with Vatsalya and Dasya undertones in the citizens' love for Rama)
The scene
The prasanga
The news of Rama's coming exile has spread through Ayodhya, and all its men and women are overcome. The verse shows their outward signs of grief and then compares the sudden sorrow to an invading army.
The teaching
- Themes
- अयोध्यावासियों का शोक, करुण रस का मूर्त रूप, राम के प्रति प्रजा का प्रेम, शोक की अभिव्यक्ति, उत्प्रेक्षा द्वारा भाव-चित्रण
For right living (Ramrajya ethics)
The whole city feels the prince's exile as its own wound, which shows a bond between ruler and subjects. A righteous king's separation from the people is felt as public calamity, not private sorrow.
Nirguna and saguna
The abstract, formless quality of rasa is given a concrete shape as an army with drums, as the Lord's qualities are made visible in a form. The grief is for the Saguna Rama, whose presence the city cannot bear to lose.
The verse describes how the people of Ayodhya reacted to the news that Rama was to leave for the forest. Their mouths dried up and their eyes streamed, and the grief could not stay within their hearts. Tulsidas then compares the scene to the sentiment of pathos descending on Ayodhya as an army marching in with beating drums. The image suggests that the sorrow came suddenly, loudly and in overwhelming force, and no one could resist it. The whole city is shown as one body in mourning for Rama.
Doha (13/11 matra pattern): 'मुख सुखाहिं लोचन स्रवहिं' is 13 matras and 'सोकु न हृदयँ समाइ' is 11; 'मनहुँ करुन रस कटकई' is 13 and 'उतरी अवध बजाइ' is 11. The line ends rhyme (समाइ / बजाइ).
Utpreksha in 'मनहुँ करुन रस कटकई उतरी अवध बजाइ', where grief is imagined as an army. Rupaka and personification in 'करुन रस कटकई', where the sentiment is made a marching host. Atishayokti in 'सोकु न हृदयँ समाइ', where grief is too great to be held in the heart. Anuprasa in the repeated s sounds of 'सुखाहिं', 'स्रवहिं', 'सोकु', 'समाइ' and the repeated k sounds in 'करुन', 'कटकई'.
The citizens' grief at parting from Rama shows a love that treats him as the dearest object of their hearts, which fits the Vishishtadvaita view of the devotee bound to the Lord in loving relation. Their sorrow is a form of attachment to the Lord, not mere worldly loss, though the verse itself describes only the grief.
Raga Bhairavi (or Darbari Kanada), whose tender, serious and mournful mood suits the pathos of the verse.
मुख | सुखाहिं | लोचन | स्रवहिं | सोकु | न | हृदयँ | समाइ |
मनहुँ | करुन | रस | कटकई | उतरी | अवध | बजाइ ||
- सुखाहिं
- सूख जाते हैंOrigin: Awadhi
- स्रवहिं
- बहते हैं, टपकते हैं (आँसू)Origin: Sanskrit
- समाइ
- समाता है, भीतर ठहरता हैOrigin: Awadhi
- कटकई
- सेना, दलOrigin: Awadhi
- बजाइ
- बजाकर (नगाड़े आदि)Origin: Awadhi
- How does the use of Sanskritized Awadhi here elevate the 'Loka' (folk) to the 'Shastra' (scriptural)?
- The verse sets plain colloquial images, dry mouths (मुख सुखाहिं) and streaming eyes (लोचन स्रवहिं), beside the technical term करुन रस, which comes from the Sanskrit theory of rasa. The tatsama word स्रवहिं and the learned phrase करुन रस lift an ordinary village scene into the vocabulary of the Natyashastra tradition. The folk experience of weeping is thus read as the classical sentiment of pathos. The Awadhi forms कटकई and बजाइ keep it close to the speech of the common listener.
- What is the specific 'Siddhanta' (doctrine) Tulsidas establishes regarding the Name (Nama) vs Form (Rupa)?
- This verse does not state the Nama-Rupa doctrine directly, and nothing in it names Rama. What it shows is an abstract quality, karuna rasa, that has a name only as a category, being given a concrete form as an army with drums. By analogy, the formless is grasped through a nameable, visible shape, and the citizens' grief is fixed on the Lord's coming departure in visible form. The verse thus supports the broader Manas view that the unseen is known through name and shape, without itself setting out that doctrine.
- How does this verse reflect the poet's 'Kavi-Manas' (the lake of the poet's mind) metaphor?
- The poet's mind here acts like a deep lake that takes in a public grief and gives it back as an image. The phrase सोकु न हृदयँ समाइ describes a vessel too full, and the tears streaming from the eyes show the overflow, much as a full lake spills. The sudden move to the fancy of an army (मनहुँ ... कटकई उतरी) shows the poet's imagination working in the heroic key to describe the opposite feeling of pathos. The mind of the poet thus holds sorrow, rasa and martial imagery together in two short lines.
FAQs
दोहे में कहा गया है कि उनके मुख सूख गए और आँखों से आँसू बहने लगे। शोक इतना बड़ा था कि हृदय में समा नहीं रहा था, इसलिए वह चेहरे और आँखों में प्रकट हो गया।
इसमें उत्प्रेक्षा अलंकार है, जिसे 'मनहुँ' शब्द सूचित करता है, और करुण रस का मानवीकरण भी है। कवि करुण रस को ऐसी सेना मानते हैं जो नगाड़े बजाते हुए अयोध्या पर उतर आई है। इससे शोक का अचानक, प्रबल और असह्य होना प्रकट होता है।
यह दोहा छंद है, जिसमें प्रत्येक पंक्ति के पहले चरण में 13 और दूसरे चरण में 11 मात्राएँ होती हैं। यहाँ 'सोकु न हृदयँ समाइ' और 'उतरी अवध बजाइ' में अंत्यानुप्रास (समाइ / बजाइ) है।
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