∑§Ê◊M§¬ ‚È¢Œ⁄U ß œÊ⁄UË – ‚Á„Uà ‚◊Ê¡ ‚Á„Uà ’⁄U ŸÊ⁄UËH 5H
ª∞ ‚∑§‹ ÃÈÁ„UŸÊø‹ ª„UÊ – ªÊfl®„U ◊¢ª‹ ‚Á„Uà ‚Ÿ„ÊH 6H
kāmarūpa sundara tana dhārī. sahita samāja sahita bara nārī. 5.
ga'ē sakala tuhinācala gēhā. gāvahiṁ maṅgala sahita sanēhā. 6.
They (mountains, hills, forests, rivers, ponds and lakes) assumed beautiful physical
forms, and formed groups of attractive males and charming ladies (5)---
---who then went to the abode of Himaachal, all the while affectionately
singing auspicious songs befitting the occasion^1. (6)
[Note—This scene is reminiscent of the one which was witnessed at the time of
Lord Ram’s marriage. At that time, the gods and goddesses had assumed human
forms and joined the celebrations.
(^1) Refer to Ram Charit Manas, Baal Kand, (i) Chaupai line nos. 6-8 that precede
Doha no. 318; (ii) Chaupai line nos. 6-8 that precede Doha no. 321; and (iii) Chaupai
line no. 5 that precede Doha no. 322.]
¬ ̋Õ◊®„U ÁªÁ⁄U ’„ÈU ªÎ„U ‚°fl⁄UÊ∞ – ¡ÕÊ¡ÙªÈ Ã„°U Ä°U ‚’ ¿UÊ∞H 7H
¬È⁄U ‚Ù÷Ê •fl‹ÙÁ∑§ ‚È„UÊß ̧ – ‹Êªß ‹ÉÊÈ Á’⁄¢UÁø ÁŸ¬ÈŸÊß ̧H 8H
prathamahiṁ giri bahu gṛha sam̐varā'ē. jathājōgu taham̐ taham̐ saba chā'ē. 7.
pura sōbhā avalōki suhā'ī. lāga'i laghu biran̄ci nipunā'ī. 8.
Giri (the king of mountains) had already got a number of guest-houses readied for the
invited guests. So these guests (who had come to attend the marriage ceremony)
lodged themselves in suitable accommodations according to their liking^1. (7)
The city was beautifully deceked up and it looked so exceptionally charming
and fascinating to the beholder that even the wonderful abode of Brahma, the creator,
faded in comparison to it^2. (8)
[Note—^1 Refer to Ram Charit Manas, Baal Kand, Doha no. 306 along with its
preceding Chaupai line no. 6, as well as Chaupai line no. 1 that follows it that
describe how the guests of Lord Ram’s marriage party were lodged in pleasant guest-
houses.
(^2) A similar idea is expressed when the city of Janakpur, the place where Sita, the
wife of Lord Ram, lived, is being described in Ram Charit Manas, Baal Kand, (i)
from Chaupai line no. 1 that precedes Doha no. 213—to Chaupai line no. 5 that
precedes Doha no. 214; and (ii) Chaupai line nos. 4-8 that precede Doha no. 314.]
¿¢U0. ‹ÉÊÈ ‹Êª Á’Áœ ∑§Ë ÁŸ¬ÈŸÃÊ •fl‹ÙÁ∑§ ¬È⁄U ‚Ù÷Ê ‚„UË– 1–
’Ÿ ’ʪ ∑ͧ¬ ë∏Uʪ ‚Á⁄UÃÊ ‚È÷ª ‚’ ‚∑§ ∑§Ù ∑§„UËH 2H
◊¢ª‹ Á’¬È‹ ÃÙ⁄UŸ ¬ÃÊ∑§Ê ∑§ÃÈ ªÎ„U ªÎ„U ‚Ù„U„UË¥– 3–
’ÁŸÃÊ ¬ÈL§· ‚È¢Œ⁄U øÃÈ⁄U ¿UÁ’ ŒÁπ ◊ÈÁŸ ◊Ÿ ◊Ù„U„UË¥H 4H
chanda.
laghu lāga bidhi kī nipunatā avalōki pura sōbhā sahī. 1.
bana bāga kūpa taṛāga saritā subhaga saba saka kō kahī. 2.
maṅgala bipula tōrana patākā kētu gṛha gṛha sōhahīṁ. 3.