The metaphorical representation of the Mānasa as a lake and its glory
Dohas
jasa mānasa jēhi bidhi bhayau jaga pracāra jēhi hētu.
aba sōi kahau prasaṃga saba sumiri umā bṛṣakētu..35.. [1-35]
Invoking Umā (Goddess Pārvatī) and Lord Śiva (who has a bull emblazoned on His standard), I now proceed to give a full account as to what this Rāmacaritamānasa is like, how it came to be and what led to its popularity in the world. (35)
Chaupais
saṃbhu prasāda sumati hiyaom hulasī. rāmacaritamānasa kabi tulasī..
karai manōhara mati anuhārī. sujana sucita suni lēhu sudhārī.. [1-35-1]
sumati bhūmi thala hṛdaya agādhū. bēda purāna udadhi ghana sādhū..
baraṣahiṃ rāma sujasa bara bārī. madhura manōhara maṃgalakārī.. [1-35-2]
līlā saguna jō kahahiṃ bakhānī. sōi svacchatā karai mala hānī..
prēma bhagati jō barani na jāī. sōi madhuratā susītalatāī.. [1-35-3]
sō jala sukṛta sāli hita hōī. rāma bhagata jana jīvana sōī..
mēdhā mahi gata sō jala pāvana. sakili śravana maga calēu suhāvana.. [1-35-4]
bharēu sumānasa suthala thirānā. sukhada sīta ruci cāru cirānā.. [1-35-5]
By the grace of Śambhu (Lord Śiva) a blessed idea inspired the mind of Tulasīdāsa, which made him the author of Rāmacaritamānasa. The author has polished his composition to the best of his intellect; yet listen to it with a sympathetic mind, O noble souls, and correct it. A refined (Sāttvika) intellect is the catchment area, heart is the fathomless depression, the Vedas and Purāṇas constitute the ocean; while holy men represent the clouds which rain down pure, sweet, agreeable and blessed water in the form of Śrī Rāma’s excellent glory. Pastimes of a personal God that such holy men narrate in extenso are the transparency of this water, which cleanses all impurity; while loving Devotion, which defies all description, represents its sweetness and coolness. This water is beneficial for the paddy crop in the form of virtuous deeds, it is life itself to the devotees of Śrī Rāma. The same holy water, when it dropped on the soil of the intellect, flowed in a volume through the beautiful channel of the ears and, collecting in the lovely spot called the heart, came to be stationary. Having remained there for a long time, it became clear, agreeable, cool and refreshing. (1-5)
Dohas
suṭhi suṃdara saṃbāda bara biracē buddhi bicāri.
tēi ēhi pāvana subhaga sara ghāṭa manōhara cāri..36.. [1-36]
The four most beautiful and excellent dialogues (viz., those between (i) Bhuśuṇḍi and Garuḍa, (ii) Śiva and Pārvatī (iii) Yājñāvalkya and Bharadvāja and (iv) between Tulasīdāsa and other saints) that have been cleverly woven into this narrative are the four lovely Ghāṭas of this holy and charming lake. (36)
Chaupais
sapta prabandha subhaga sōpānā. gyāna nayana nirakhata mana mānā..
raghupati mahimā aguna abādhā. baranaba sōi bara bāri agādhā.. [1-36-1]
rāma sīya jasa salila sudhāsama. upamā bīci bilāsa manōrama..
puraini saghana cāru caupāī. juguti maṃju mani sīpa suhāī.. [1-36-2]
chaṃda sōraṭhā suṃdara dōhā. sōi bahuraṃga kamala kula sōhā..
aratha anūpa sumāva subhāsā. sōi parāga makaraṃda subāsā.. [1-36-3]
sukṛta puṃja maṃjula ali mālā. gyāna birāga bicāra marālā..
dhuni avarēba kabita guna jātī. mīna manōhara tē bahubhāomtī.. [1-36-4]
aratha dharama kāmādika cārī. kahaba gyāna bigyāna bicārī..
nava rasa japa tapa jōga birāgā. tē saba jalacara cāru taḍaāgā.. [1-36-5]
sukṛtī sādhu nāma guna gānā. tē bicitra jala bihaga samānā..
saṃtasabhā cahu disi avaomrāī. śraddhā ritu basaṃta sama gāī.. [1-36-6]
bhagati nirupana bibidha bidhānā. chamā dayā dama latā bitānā..
sama jama niyama phūla phala gyānā. hari pata rati rasa bēda bakhānā.. [1-36-7]
aurau kathā anēka prasaṃgā. tēi suka pika bahubarana bihaṃgā.. [1-36-8]
The seven Books are the seven beautiful flights of steps, which the soul delights to look upon with the eyes of wisdom; the unqualified and unbounded greatness of Śrī Rāma, which will be presently discussed, represents the unfathomable, depth of this holy water. The glory of Śrī Rāma and Sītā constitutes the nectarean water; the similes represent the soul-ravishing sport of its wavelets. The beautiful Caupāis represent the thick growth of lotus-plants; the various poetic devices constitute the lovely shells that yield beautiful pearls. The other metres, viz., Chandas, Soraṭhās and Dohas, are the cluster of charming many-coloured lotuses. The incomparable sense, the beautiful ideas and the elegant expression represent the pollen, honey and fragrance of those flowers respectively. The virtuous acts mentioned therein are the charming swarms of bees; the references to spiritual enlightenment, dispassion and reason represent the swan. The implications and involutions and the various excellences and styles of poetry are the lovely fishes of various kinds. The four ends of human existence, viz., worldly riches religious merit, enjoyment and liberation, the reasoned exposition of Jñāna (Knowledge of God in His absolute formless aspect) and Vijñāna (Knowledge of qualified Divinity both with and without form), the nine sentiments of poetry,* and the references to Japa (the muttering of mystic formulae), austerity, Yoga (contemplative union with God) and detachment from the world-all these represent the charming aquatic creatures of this lake. Eulogies on virtuous men, pious souls and the Name of God-these correspond to water-birds of various kinds. The assemblages of saints referred to herein are the mango groves hemming the lake on all sides and piety has been likened to the vernal season. The exposition of the various types of Devotion and the references to forbearance, compassion and sense-control represent the canopies of creepers. Even so mind- control, the five Yamas or forms of self-restraint (viz., non-violence, truthfulness, non- thieving, continence and non-acquisition of property), the five Niyamas or religious vows (viz., those of external and internal purity, contentment, austerity, study of sacred books or repetition of the Divine Name and self-surrender to God) are the blossoms of these creepers; spiritual enlightenment is their fruit and loving devotion to the feet of Śrī Hari constitutes the sap of this fruit of spiritual enlightenment: so declare the Vedas. The various other episodes forming part of this narrative are the birds of different colours such as the parrot and the cuckoo. (1-8)
- * The nine sentiments of poetry are: (1) Śṛṅgāra (the erotic sentiment or the sentiment of love) (2) Hāsya (the humorous sentiment) (3) Karuṇa (the pathetic sentiment) (4) Vīra (the heroic sentiment) (5) Raudra (the sentiment of wrath or fury) (6) Bhayānaka (the sentiment of terror) (7) Bībhatsa (the sentiment of disgust) (8) Śānta (the sentiment of quietism) and (9) Adbhuta (the marvellous sentiment).
Dohas
pulaka bāṭikā bāga bana sukha subihaṃga bihāru.
mālī sumana sanēha jala sīṃcata lōcana cāru..37.. [1-37]
The thrill of joy that one experiences while listening to this narrative represents the flower gardens, orchards and groves; and the delight one feels is the sporting of birds; while a noble mind is the gardener, who waters the garden etc., with the moisture of love through the charming jars of eyes. (37)
Chaupais
jē gāvahiṃ yaha carita saombhārē. tēi ēhi tāla catura rakhavārē..
sadā sunahiṃ sādara nara nārī. tēi surabara mānasa adhikārī.. [1-37-1]
ati khala jē biṣaī baga kāgā. ēhiṃ sara nikaṭa na jāhiṃ abhāgā..
saṃbuka bhēka sēvāra samānā. ihāom na biṣaya kathā rasa nānā.. [1-37-2]
tēhi kārana āvata hiyaom hārē. kāmī kāka balāka bicārē..
āvata ēhiṃ sara ati kaṭhināī. rāma kṛpā binu āi na jāī.. [1-37-3]
kaṭhina kusaṃga kupaṃtha karālā. tinha kē bacana bāgha hari byālā..
gṛha kāraja nānā jaṃjālā. tē ati durgama saila bisālā.. [1-37-4]
bana bahu biṣama mōha mada mānā. nadīṃ kutarka bhayaṃkara nānā.. [1-37-5]
Those who carefully recite this poem, they alone are the vigilant guardians of this lake. And those men and women who reverently hear it everyday are the great gods exercising jurisdiction over this Mānasarovara lake. Sensual wretches are the accursed herons and crows who never approach the lake. For here there are no varied talks of the pleasures of sense, corresponding to snails, frogs and moss. That is why poor crows and herons in the form of lustful men lack the heart to visit this place. For there is much difficulty in getting to this place and it is not possible to reach it without the grace of Śrī Rāma. Bad company, which is so obdurate, constitutes a terribly rough road; and the words of such companions are so many tigers, lions and serpents. The various occupations and entanglements of domestic life are huge mountains which are so difficult to approach. Infatuation, arrogance and pride are so many inaccessible woods; and sophisms of various kinds are frightful streams. (1-5)
Dohas
jē śraddhā saṃbala rahita nahi saṃtanha kara sātha.
tinha kahu mānasa agama ati jinhahi na priya raghunātha..38.. [1-38]
The Mānasa is most inaccessible to those who lack provisions for the journey in the shape of piety, who do not enjoy the company of saints and who have no love for the Lord of Raghus (Śrī Rāma). (38)
Chaupais
jauṃ kari kaṣṭa jāi puni kōī. jātahiṃ nīṃda juḍaāī hōī..
jaḍatā jāḍa biṣama ura lāgā. gaēhu na majjana pāva abhāgā.. [1-38-1]
kari na jāi sara majjana pānā. phiri āvai samēta abhimānā..
jauṃ bahōri kōu pūchana āvā. sara niṃdā kari tāhi bujhāvā.. [1-38-2]
sakala bighna byāpahi nahiṃ tēhī. rāma sukṛpāom bilōkahiṃ jēhī..
sōi sādara sara majjanu karaī. mahā ghōra trayatāpa na jaraī.. [1-38-3]
tē nara yaha sara tajahiṃ na kāū. jinha kē rāma carana bhala bhāū..
jō nahāi caha ēhiṃ sara bhāī. sō satasaṃga karau mana lāī.. [1-38-4]
asa mānasa mānasa cakha cāhī. bhai kabi buddhi bimala avagāhī..
bhayau hṛdayaom ānaṃda uchāhū. umagēu prēma pramōda prabāhū.. [1-38-5]
calī subhaga kabitā saritā sō. rāma bimala jasa jala bharitā sō..
sarajū nāma sumaṃgala mūlā. lōka bēda mata maṃjula kūlā.. [1-38-6]
nadī punīta sumānasa naṃdini. kalimala tṛna taru mūla nikaṃdini.. [1-38-7]
Even if anyone makes his way to it undergoing so much hardship, he is forthwith attacked by ague in the shape of drowsiness. Benumbing cold in the shape of stupor overtakes his heart, so that the unhappy soul is deprived of a dip even after reaching there. Finding himself unable to take a plunge into the lake or to drink from it, he returns with a feeling of pride. And if anyone comes to inquire about the lake, he tries to satisfy him by vilifying it. All these obstacles do not, however, deter him whom Śrī Rāma regards with overwhelming kindness. He alone reverently bathes in the lake and thus escapes the threefold agony* of the fiercest kind. Those men who cherish ideal devotion to the feet of Śrī Rāma never quit this lake. Let him who would bathe in this lake, brother, diligently practise Satsarga (association with saints). Having seen the said Mānasa lake with the mind’s eye and taken a dip into it, the poet’s intellect got purged of all its dross. The heart was flooded with joy and alacrity and a torrent of love and rapture welled from it. Thence flowed a stream of beautiful poetry, carrying the water of Śrī Rāma’s fair renown. Sarayū is the name of this river, which is the very fountain of pure bliss. The secular view-point and the view-point of the Vedas - there represent its two charming banks. This holy stream, issuing as it does from the beautiful Mānasa lake, uproots in its course all the impurities of the Kali age, whether in the form of tiny blades of grass or of mighty trees. (1-7)
- * The three kinds of agony referred to above are:
(i) that inflicted by other living beings (ii) that proceeding from natural causes and (iii) that caused by bodily or mental distemper.
Dohas
śrōtā tribidha samāja pura grāma nagara duhu kūla.
saṃtasabhā anupama avadha sakala sumaṃgala mūla..39.. [1-39]
The three* types of audience are the towns, villages and cities on both the banks; and the congregation of saints is the imcomparable Ayodhyā, which is the fountain of all auspicious blessings. (39)
- * The three types of listeners referred to here may be understood to mean (i) liberated souls (ii) seekers of liberation and (iii) sensually-minded men.
Chaupais
rāmabhagati surasaritahi jāī. milī sukīrati saraju suhāī..
sānuja rāma samara jasu pāvana. milēu mahānadu sōna suhāvana.. [1-39-1]
juga bica bhagati dēvadhuni dhārā. sōhati sahita subirati bicārā..
tribidha tāpa trāsaka timuhānī. rāma sarupa siṃdhu samuhānī.. [1-39-2]
mānasa mūla milī surasarihī. sunata sujana mana pāvana karihī..
bica bica kathā bicitra bibhāgā. janu sari tīra tīra bana bāgā.. [1-39-3]
umā mahēsa bibāha barātī. tē jalacara aganita bahubhāomtī..
raghubara janama anaṃda badhāī. bhavaomra taraṃga manōharatāī.. [1-39-4]
The beautiful Sarayū in the form of Śrī Rāma’s fair renown joined the heavenly stream (Gaṅgā) of devotion to Rāma. The latter was joined again by the charming stream of the mighty Sona in the form of the martial glory of Rāma with His younger brother Lakṣmaṇa. Intervening the two streams of Sarayū and Sona shines the celestial stream of Devotion blended with noble dispassion and reason. This triple stream, which scares away the threefold agony referred to above, headed towards the ocean of Śrī Rāma’s divine personality. With its source in the Mānasa lake and united with the celestial river (Gaṅgā), the Sarayū of Śrī Rāma’s fame will purify the mind of the pious souls who listen to it; while the strange episodes interspersed here and there are the groves and gardens as it were adjoining the river banks. The bridegroom’s party in the wedding of Goddess Umā (Pārvatī) and the great Lord Śiva are the numberless aquatic creatures of various kinds. The rejoicings and felicitations that attended the advent of Śrī Rāma, the Chief of Raghus represent the charm of the eddies and waves. (1-4)
Dohas
bālacarita cahu baṃdhu kē banaja bipula bahuraṃga.
nṛpa rānī parijana sukṛta madhukara bāribihaṃga..40.. [1-40]
The childlike sports of the four divine brothers are the, numerous lotus flowers of varied colours; while the stock of merits of king Daśaratha and his consorts and court represent the bees and water-birds. (40)
Chaupais
sīya svayaṃbara kathā suhāī. sarita suhāvani sō chabi chāī..
nadī nāva paṭu prasna anēkā. kēvaṭa kusala utara sabibēkā.. [1-40-1]
suni anukathana paraspara hōī. pathika samāja sōha sari sōī..
ghōra dhāra bhṛgunātha risānī. ghāṭa subaddha rāma bara bānī.. [1-40-2]
sānuja rāma bibāha uchāhū. sō subha umaga sukhada saba kāhū..
kahata sunata haraṣahiṃ pulakāhīṃ. tē sukṛtī mana mudita nahāhīṃ.. [1-40-3]
rāma tilaka hita maṃgala sājā. paraba jōga janu jurē samājā..
kāī kumati kēkaī kērī. parī jāsu phala bipati ghanērī.. [1-40-4]
The fascinating story of Sītā’s choice-marriage is the delightful charm surrounding the river. The numerous pertinent questions are the boats on the river, while the judicious replies to the same are the skilled boatmen. The conversation that follows the narration of the story is the crowd of travellers moving along the river banks. The wrath of Paraśurāma (the Lord of Bhṛgus) represents the furious current of this river; while Śrī Rāma’s soft words are the strongly built Ghtas on the banks. The festivities connected with the wedding of Śrī Rāma and His younger brothers represent the graceful swell in the river, which is a source of delight to all. Those who rejoice and experience a thrill of joy in narrating or hearing the story are the lucky souls who take an exhilarating dip in the river. The auspicious preparations that were gone through in connections with the installation of Śrī Rāma as the Yuvarāja (Prince-regent) represent as it were the crowds of bathers assembled at the river bank on a sacred occasion. Kaikeyī’s evil counsel represents the moss on the bank, which brought a serious calamity in its wake. (1-4)
Dohas
samana amita utapāta saba bharatacarita japajāga.
kali agha khala avaguna kathana tē jalamala baga kāga..41.. [1-41]
The story of Bharata, which wards off all calamities, is a congregational muttering of sacred formulae carried on at the river bank; while the references to the corruptions of the Kali age and to the evil propensities of wicked souls represent the scum on the water as well as the herons and crows living by the riverside. (41)
Chaupais
kīrati sarita chahūom ritu rūrī. samaya suhāvani pāvani bhūrī..
hima himasailasutā siva byāhū. sisira sukhada prabhu janama uchāhū.. [1-41-1]
baranaba rāma bibāha samājū. sō muda maṃgalamaya riturājū..
grīṣama dusaha rāma banagavanū. paṃthakathā khara ātapa pavanū.. [1-41-2]
baraṣā ghōra nisācara rārī. surakula sāli sumaṃgalakārī..
rāma rāja sukha binaya baḍaāī. bisada sukhada sōi sarada suhāī.. [1-41-3]
satī sirōmani siya gunagāthā. sōi guna amala anūpama pāthā..
bharata subhāu susītalatāī. sadā ēkarasa barani na jāī.. [1-41-4]
The river of Śrī Rāma’s glory is delightful during all the six seasons; it is exceedingly charming and holy at all times. The wedding of Goddess Pārvatī (the daughter of Himavān) with Lord Śiva represents Hemanta or the cold season while the festival connected with the Lord’s advent represents the delightful Śiśira or chilly season. The story of the preparations for Śrī Rāma’s wedding constitutes the vernal season* (the king of all seasons), which abounds in joy and felicity; while Śrī Rāma’s departure for the forest constitutes the oppressive hot weather and the tale of His wanderings represents the blazing sun and hot winds. The terrible conflict with the demons represents the rainy season, which constituted a veritable blessing to the paddy crop in the form of gods; while the prosperity attending Śrī Rāma’s reign, His politeness and glory represent the cloudless, delightful and charming autumn. The recital of the virtues of Sītā, the crestjewel of faithful wives, constitutes the excellence of the transparent and incomparable water. And Bharata’s amiability represents its coolness, which is uniform at all times and beyond description. (1-4)
- * The months of Mārgaśīrṣa and Pauṣa (corresponding roughly to November and December) constitute the cold season; Māgha and Phālguna (corresponding roughly to January and February) constitute the chilly season; the months of Caitra and Vaiśākha (corresponding roughly to March and April) constitute the vernal season; Jyeṣṭha and Āṣāḍha (corresponding roughly to May and June) constitute the hot weather; Śrāvana and Bhādrapada (corresponding roughly to July and August) constitute the rainy season and Āśvina Kārtika (corresponding roughly to September and October) constitute the autumnal season.
Dohas
avalōkani bōlani milani prīti parasapara hāsa.
bhāyapa bhali cahu baṃdhu kī jala mādhurī subāsa..42.. [1-42]
The way the four brothers look at one another, talk with one another meet and love one another, their mirth and their ideal brotherliness-these constitute the sweetness and fragrance of the water. (42)
Chaupais
ārati binaya dīnatā mōrī. laghutā lalita subāri na thōrī..
adabhuta salila sunata gunakārī. āsa piāsa manōmala hārī.. [1-42-1]
rāma suprēmahi pōṣata pānī. harata sakala kali kaluṣa galānī..
bhava śrama sōṣaka tōṣaka tōṣā. samana durita dukha dārida dōṣā.. [1-42-2]
kāma kōha mada mōha nasāvana. bimala bibēka birāga baḍhaāvana..
sādara majjana pāna kiē tēṃ. miṭahiṃ pāpa paritāpa hiē tēṃ.. [1-42-3]
jinha ēhi bāri na mānasa dhōē. tē kāyara kalikāla bigōē..
tṛṣita nirakhi rabi kara bhava bārī. phirihahi mṛga jimi jīva dukhārī.. [1-42-4]
My intense longing, supplication and humility represent the not inconsiderable lightness of this pure and holy water. This marvellous water heals by the mere hearing, quenches the thirst of desire and washes the dirt of the mind. This water nourishes true love for Śrī Rāma and drives away all the sins of the Kali age as well as the feeling of self-depreciation resulting therefrom. It relieves the fatigue of transmigration, gratifies gratification itself and puts an end to sin, sorrow, indigence and error. It wipes out lust, anger, pride and infatuation and enhances pure wisdom and dispassion. By reverently bathing in it and drinking from it all traces of sin and remorse are obliterated from the heart. Those who have not washed their heart with this water are wretches that have been duped by the age of Kali.These creatures, wandering in pursuit of sensuous pleasures, will come to grief even as a thirsty deer runs after a mirage mistaking it for real water and returns disappointed. (1-4)
Dohas
mati anuhāri subāri guna gani mana anhavāi.
sumiri bhavānī saṃkarahi kaha kabi kathā suhāi..43ka.. [1-43(A)]
aba raghupati pada paṃkaruha hiyaom dhari pāi prasāda .
kahau jugala munibarja kara milana subhaga saṃbāda..43kha.. [1-43(B)]
Having enumerated the virtues of this excellent water to the best of his intellectual capacity and bathed his mind in it, and remembering Goddess Bhavānī (Pārvatī) and Lord Śaṅkara, the poet (Tulasīdāsa) narrates the beautiful story. Installing in my heart the lotus feet of the Lord of Raghus and thus securing His grace, I now proceed to relate the charming story of the meeting of the two great sages (Yājñāvalkya and Bharadvāja). (43 A-B)