दोहा 69
This Sopāna marks the soul’s initiation into Tyāga-yoga: dharma is no longer an ideal but a lived renunciation. Ayodhya—symbol of ordered consciousness—witnesses the wrenching shift from ‘gṛha’ (secure, scripted duty) to ‘vana’ (austere, unscripted surrender). The staircase-step here is Vairāgya tempered by Prem: the devotee learns that love does not cancel duty; it sanctifies separation, hardship, and obedience into bhakti-sādhana.
सीतहि सासु असीस सिख दीन्हि अनेक प्रकार।चली नाइ पद पदुम सिरु अति हित बारहिं बार।।69।।
sītahi sāsu asīsa sikha dīnhi aneka prakāra |calī nāi pada paduma siru ati hita bārahiṁ bāra ||69||
सीता की सास ने उन्हें बहुत तरह से आशीर्वाद और समझाई दी. सीता ने बहुत प्यार से बार बार उनके चरणों को मथा टच किया और निकल पदी.
Speaker
Tulsidas (narrator)
Listener
General audience
Karuna (with Vatsalya and Dasya undertones)
Sita has begged forgiveness of Kausalya for leaving her at the time when she should be serving her. Kausalya embraces her and blesses her, and Sita now bows and departs, closing the farewell scene before Lakshmana hears the news of exile.
It illustrates the reverence due to elders and the daughter-in-law's courteous, loving conduct even at a painful parting. The blessing and counsel (असीस सिख) show that the elder's role is to guide and bless without clinging to her own grief.
The verse does not name the Absolute, but it shows the Saguna idea that divine grace is received through concrete persons and gestures. The elder's blessing (असीस) and the touching of the feet (पद पदुम) make the formless sanctity of dharma visible and tangible.
Kausalya, still overcome by grief, gathers herself and gives Sita many blessings and much counsel. Sita, who is leaving for the forest with Rama, bows her head again and again at her mother-in-law's lotus feet, full of deep affection. The verse closes the parting scene with the picture of a daughter-in-law who is humble and loving even as she departs. Commentators read the repeated bowing as showing both her reverence and her reluctance to go, and the 'अनेक प्रकार' of the blessings as showing Kausalya's tender concern.
Doha (13/11 matra pattern in each line, with the line-end rhyme प्रकार / बार)
Anupras (alliteration) in the repeated स of 'सीतहि सासु असीस सिख' and the repeated प of 'पद पदुम'. Rupaka (implied metaphor) in 'पद पदुम', where the feet are the lotus. Veepsa/punarukti (repetition for emphasis) in 'बारहिं बार'. Antyanupras (end rhyme) in 'प्रकार' and 'बार'.
The verse shows the Vishishtadvaita ideal of loving service within a relationship: the affectionate elder gives and the devoted younger receives, each acting from dharma and love. The bowing to the lotus feet (पद पदुम) is the same reverent surrender that the tradition directs to the Lord, here practised on a human elder.
Raga Bhairavi, whose tender, pleading mood suits a farewell tinged with sorrow and affection; Raga Pahadi is a gentler alternative.
सीतहि | सासु | असीस | सिख | दीन्हि | अनेक | प्रकार |
चली | नाइ | पद | पदुम | सिरु | अति | हित | बारहिं | बार ||
सीता की सास, कौसल्या, उन्हें अनेक प्रकार से आशीर्वाद (असीस) और शिक्षा (सिख) देती हैं। यह पहली पंक्ति में 'सीतहि सासु असीस सिख दीन्हि' से स्पष्ट है। कौसल्या का दुख गहरा है, फिर भी वे सीता को स्नेह से आशीष देती हैं।
इसमें सीता की विनम्रता और श्रद्धा प्रकट होती है। वे सास के चरणकमलों में सिर झुकाकर विदा लेती हैं। 'पद पदुम' में चरणों को कमल के समान कहा गया है, जो रूपक अलंकार है।
'अति हित' से सीता का गहरा स्नेह और 'बारहिं बार' से बार-बार प्रणाम करना सूचित होता है। इससे पता चलता है कि विदा के समय सीता का मन सास को छोड़ने में हिचक रहा है। यह पुनरुक्ति विदाई की करुणा को और गहरा करती है।
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