Wednesday, September 30, 2026

Info

 Nine-year-old Vrishvardhan Sharma has memorised the Bhagavad Gita and Panini’s Ashtadhyayi, competed against university students and built free technology around the texts he learnt. 

His GitaVardhan app works offline in 13 Indian languages, while his handmade voice-enabled devices bring Sanskrit texts together with software and hardware.  

 And it is dharma to inform everyone that divine spark and the blessings of past virtues remain hidden within every human being. When one receives the right guidance and loving nourishment at the appropriate time, anyone can awaken that dormant divine potential and ascend to the highest pinnacle of life.

Also TTD DEVASTHANAM has started the relay of bhagvad Gita in telugu available in you tube. Available live at 7 p.m. 



Tuesday, September 29, 2026

Draft

The main mantras 

The Ancient Words Spoken at an Indian Wedding

What Our Marriage Mantras Actually Say

A Hindu wedding can be filled with colour, music, flowers, laughter and ritual.

But beneath all of it is something much older and quieter:

words.

Words composed thousands of years ago. Words spoken beside the sacred fire. Words that bless the bride, the bridegroom, their home, their families, their future children and, above all, their life together.

Many of us hear these mantras at weddings without knowing what they mean.

And when we translate them, something remarkable happens.

The wedding suddenly becomes a conversation.

It speaks of companionship, long life, prosperity, family, friendship, harmony and mutual belonging.

The most famous collection is the marriage hymn of the Ṛg Veda 10.85, traditionally known as the Sūryā marriage hymn. Its verses include several of the blessings still associated with Hindu marriage ceremonies. The Vedic Heritage Portal identifies verses 36–47 among the marriage-related portions of this hymn.

There is, however, no single script for every Hindu wedding. Different Vedic schools and Gṛhya Sūtras prescribe somewhat different sequences and mantras. The Āpastamba tradition, for example, belongs to the Taittirīya school of the Kṛṣṇa Yajurveda, while other Gṛhya traditions follow different Vedic collections. 

So what follows is not a claim that every Hindu wedding recites every one of these verses. Rather, these are some of the ancient words and ideas that lie behind traditional Hindu marriage ceremonies.

1. “I take your hand.”

Perhaps the most intimate of the ancient marriage verses is the one associated with pāṇigrahaṇam — the taking of the bride's hand.

गृभ्णामि ते सौभगत्वाय हस्तं

मया पत्या जरदष्टिर्यथासः ।

भगो अर्यमा सविता पुरंधिर्मह्यं

त्वादुर्गार्हपत्याय देवाः ॥

gṛbhṇāmi te saubhagatvāya hastam

mayā patyā jaradaṣṭir yathāsaḥ |

bhago aryamā savitā purandhir

mahyam tvā durgārhapatyāya devāḥ ||

Ṛg Veda 10.85.36

“I take your hand for good fortune,

that you may grow old with me, your husband.”

Think about that simple wish.

Not merely:

May the wedding be beautiful.

Not merely:

May you have children.

But:

May we grow old together.

The gods Bhaga, Aryaman, Savitṛ and Purandhi are invoked to bless the couple as they enter household life. The verse is part of the ancient Sūryā marriage hymn. 

The hand being taken is therefore not simply a ceremonial gesture.

It is a promise of a shared life.

2. Seven steps — Saptapadī

Then come the famous seven steps.

The couple move together around the sacred fire, taking seven steps associated with the foundations of household life.

The precise wording varies between traditions, but the seven steps traditionally invoke blessings connected with:

food and nourishment, strength, prosperity, well-being, family, the cycles of life and enduring companionship.

And then comes one of the most beautiful ideas in the entire wedding tradition:

Friendship.

The concluding sentiment of the saptapadī is:

सखा सप्तपदा भव ।

sakhā saptapadā bhava

“Having taken seven steps, become my friend.”

The couple are described as having become friends through these seven steps.

That is extraordinary.

After all the elaborate rituals, the relationship is finally described in the simplest human word:

friend.

A husband and wife are not merely two people performing duties toward each other.

They are to become companions in life.

The Gṛhya traditions preserve marriage procedures involving pāṇigrahaṇa and the seven steps, although their precise ritual details differ among schools. 

3. “May our hearts become one.”

Another beautiful verse says:

समञ्जन्तु विश्वे देवाः

समापो हृदयानि नौ ।

सं मातरिश्वा सं धाता

समु देष्ट्री दधातु नौ ॥

samañjantu viśve devāḥ

sam āpo hṛdayāni nau |

saṃ mātariśvā saṃ dhātā

sam u deṣṭrī dadhātu nau ||

Ṛg Veda 10.85.47

Its prayer is essentially:

“May all the Gods unite us.

May the Waters unite our hearts.

May the divine powers unite us.”

The imagery is beautiful.

Marriage is not simply two people standing next to each other.

It is a prayer that their hearts become joined.

And notice the progression:

First the hand.

Then seven steps.

Then the hearts.

4. “Stay together.”

Another verse says:

इहैव स्तं मा वि यौष्टं

विश्वमायुर्व्यश्नुतम् ।

क्रीळन्तौ पुत्रैर्नप्तृभिर्मोदमानौ

स्वे गृहे ॥

ihaiva staṃ mā vi yauṣṭaṃ

viśvam āyur vyaśnutam |

krīḷantau putrair naptṛbhir modamānau

sve gṛhe ||

The blessing is:

“Stay here together. Do not separate.

May you live out the full span of life,

rejoicing in your own home with your children and grandchildren.”

What a complete picture of marriage.

Not just the wedding day.

Not even just the first years.

The imagination stretches all the way into old age, children, grandchildren and a joyful home.

The Vedic wedding hymn repeatedly looks beyond the ceremony towards the life that follows it. 

5. “Be auspicious in this household.”

Then comes another blessing for the bride:

अघोरचक्षुरपतिघ्न्येधि

शिवा पशुभ्यः सुमनाः सुवर्चाः ।

वीरसूर्देवकामा स्योना

शं नो भव द्विपदे शं चतुष्पदे ॥

The prayer asks that she be:

gentle, auspicious, gracious, radiant, devoted to the divine and a source of well-being.

And then something particularly interesting:

“May you bring welfare to our two-legged and four-legged beings.”

The household is imagined as a whole living world.

Human beings.

Animals.

Home.

Family.

The bride enters not merely into a relationship with one man, but into the life of a household.

6. “Be a queen.”

And then we come to the mantra that started this whole exploration.

सम्राज्ञी श्वशुरे भव

सम्राज्ञी श्वश्र्वां भव ।

ननान्दरि सम्राज्ञी भव

सम्राज्ञी अधि देवृषु ॥

samrājñī śvaśure bhava

samrājñī śvaśrvāṃ bhava |

nanāndari samrājñī bhava

samrājñī adhi devṛṣu ||

Ṛg Veda 10.85.46

“Be a queen in the home of your father-in-law.

Be a queen in the home of your mother-in-law.

Be a queen among your husband's sisters.

Be a queen among your husband's brothers.”

The key word is:

सम्राज्ञी — Samrājñī

Queen.

It is repeated.

Not once.

Four times.

The bride is being blessed to enter the new family with dignity, authority, affection and belonging.

Whatever the historical realities of different periods may have been, the language of this ancient wedding blessing is strikingly clear:

the bride is welcomed as a person of stature.

She is not invisible within the new household.

She is its samrājñī.


7. “May the marriage be blessed with children.”

Another verse invokes Indra:

इमां त्वमिन्द्र मीढ्वः सुपुत्रां सुभगां कृणु ।

दशास्यां पुत्राना धेहि पतिमेकादशं कृधि ॥

The traditional prayer is for the bride to be fortunate and blessed with children, with the husband remaining her companion.

The numerical language belongs to the social world of the ancient text. It need not be read today as a literal instruction about the number of children a couple should have.

The larger idea is easy to understand:

May this marriage flourish into a thriving family.

8. The bride is welcomed into the new home

The wedding hymns also contain verses concerning the bride's journey from her parental home into her husband's household.

In one of the most evocative images, the bride is imagined as going towards her new home with the blessings of the gods.

This is important because the Vedic wedding is not presented merely as a private romantic union.

It is a transition from one household to another.

Parents give.

The bride leaves.

The bridegroom receives.

The two families become connected.

And the sacred fire witnesses the transformation.

9. The sacred fire is not decoration

This is perhaps something we have forgotten.

At many modern weddings, the fire can appear to be simply one more beautiful element in the ceremony.

It is not.

The Agni at the centre of the wedding is the witness and participant in the sacred rite.

The old Gṛhya texts describe marriage rites around the domestic sacred fire, with offerings and mantras forming part of the ceremony. 

That is why the couple do not simply exchange promises in front of their guests.

They make their transition into household life before Agni.

10. And then there are the words we hear in our own traditions

This is where Indian weddings become wonderfully diverse.

A Tamil wedding, a Telugu wedding, a Kannada wedding, a Maharashtrian wedding, a North Indian wedding or a Bengali wedding may have very different customs, songs and sequences.

Some mantras come directly from Vedic Saṃhitās.

Some come through the Gṛhya Sūtras and associated ritual traditions.

Some verses became established later in regional wedding practice.

So we should not assume that every familiar wedding chant is itself a mantra from the Ṛgveda.

For example, the familiar:

“Māṅgalyaṃ tantunānena…”

recited during tāli/māṅgalya tying is enormously important in many South Indian weddings, but it should not simply be labelled a verse from the Ṛgvedic marriage hymn.

That distinction actually makes the story more interesting.

Indian marriage tradition is not one frozen ceremony.

It is a long river, with Vedic sources, Gṛhya traditions, regional customs and later devotional practices flowing into it.

And what do all these ancient words tell us?

Listen to the sequence.

Take her hand.

Grow old together.

Take seven steps.

Become friends.

May your hearts become one.

Stay together.

Build a home.

Have a flourishing family.

May the bride be auspicious.

And finally:

May she be a queen in her new household.

There is something wonderfully human about it.

The Vedic wedding is not simply a ceremony for producing a married couple.

It is a prayer for an entire life together.

And perhaps the most beautiful discovery is this:

The ancient wedding did not end with the tying of a knot.

It looked much further ahead.

It imagined two people growing old together, children playing around them, grandchildren in the house, and a home filled with happiness.

And at the centre of it all were two people who had taken seven steps together and were asked to become something very simple:

friends.



Right to rites.

Let's first understand the hierarchy of rights to perform Shradh in detail according to Garuda Purana. If an individual does not have an elder or younger son, the ritual does not stop. 

According to Dharmashastra, the order of eligibility to perform Shradh is as follows:

Son (elder or younger)

Grandson or great grandson

Wife (if the husband has no direct descendants)

Daughter

Daughter's son (maternal grandson)

𝙎𝙘𝙧𝙞𝙥𝙩𝙪𝙧𝙖𝙡 𝙋𝙧𝙤𝙤𝙛𝙨:


Garuda Purana (Preta Khanda):


 "पुत्राभावे तु पत्नी स्यात् पत्न्यभावे सहोदरः। तदभावे च दौहित्रः कुर्यात्पुत्रवदेव हि॥"


Meaning: In the absence of a son, the wife; in the absence of the wife, the real brother; and in their absence, the daughter's son or the daughter herself, acting in the capacity of a son, should perform the Shradh.


 Garuda Purana (Dharma Khanda):


 "सर्वेषामप्यभावे तु स्त्रियः कुर्युः स्वभर्तृषु। पुत्राभावे स्नुषा वापि दौहित्रा वा तथैव च॥"

Meaning: In the absence of all others, women should perform Shradh for their family members. In the absence of a son, the daughter in law, daughter, or maternal grandson has complete authority to do so.


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Manu Smriti (Adhyay 9, Shloka 130):


 "यथैवात्मा तथा पुत्रः पुत्रेण दुहिता समा। तस्यामात्मनि तिष्ठन्त्यां कथमन्यो धनं हरेत्॥"


Meaning: Just as a person's soul exists in the form of a son, in the exact same manner, a daughter is equal to a son. Therefore, a daughter possesses the equal right to offer Pinda Daan and receive inheritance just like a son.

Real brother or nephew

 Disciple, friend, or a worthy person receiving charity

Therefore, not having a son can never be a reason for Shradh not taking place.

𝗩𝗮𝗹𝗺𝗶𝗸𝗶 𝗥𝗮𝗺𝗮𝘆𝗮𝗻𝗮 (𝗧𝗵𝗲 𝗚𝗮𝘆𝗮 𝗘𝗽𝗶𝘀𝗼𝗱𝗲):

When Lord Shri Ram and Lakshman went to collect materials for Pinda Daan, Mother Sita offered pindas made of sand to King Dasharatha's yearning soul on the banks of the Phalgu River. King Dasharatha appeared in person and accepted the offering directly from her hands. This stands as the finest scriptural and historical evidence that a woman or daughter has the right to perform Pinda Daan.

Vayu Purana (Gaya Mahatmya Section):

The second half of the Vayu Purana contains a comprehensive account of the significance of the pilgrimage site of Gaya. It specifically mentions "Sita Kund," detailing the story of Mother Sita offering pindas made of sand. Even today, Sita Kund exists in Gaya, where pindas made of sand are offered.

Even today in Gaya, the tradition of women performing Pind Daan remains recognized and accepted, with Mother Sita's conduct at Sita Kund regarded as the foremost example of this practice.

When we hear the word śrāddha, we often immediately think of a son.

The son performs the rites.

The son offers the piṇḍa.

The son continues the family obligation.

But what happens when there is no son?

Does the chain of remembrance end?

No.

The remarkable thing about the Dharmashastra tradition is that it does not simply stop at the absence of the immediate heir. It looks for the next person who stands in the proper relationship to the departed and can carry forward the dharma owed to the ancestor.

The responsibility moves.

From son to the next eligible descendant.

From descendant to wife, where the relevant text prescribes it.

To daughter.

To daughter's son.

To brother and other relatives.

And, in some traditions, even further to a disciple, teacher, friend or another qualified person.

The precise order is not identical in every Dharmashastra text. But the underlying principle is strikingly consistent:

The ancestral obligation should not simply disappear because one particular heir is absent.

The relationship between the living and the departed must continue.

And this is why one of the most beautiful statements comes from Manu:

पौत्रदौहित्रयोर्लोके न विशेषोऽस्ति धर्मतः ।

Pautra-dauhitrayor loke na viśeṣo'sti dharmataḥ.

“There is no difference, according to dharma, between the son's son and the daughter's son.”

The śrāddha tradition, therefore, is not merely a story about who is male and who is female.

It is a story about relationship, responsibility and continuity.

Someone has gone before us.

Someone who remains must remember.

Someone must offer.

Someone must continue the duty.

That is the deeper meaning behind the elaborate succession of people who may perform the ancestral rites.

When one link is absent, Dharma searches for the next link.

The ritual does not end.

The remembrance does not end.

The relationship between generations does not end.

Monday, September 28, 2026

3-3-3.

THREE FORMS OF THE LORD, ONE SACRED THANJAVUR

The Legend of Thanjai Māmaṇi Koil

There are 108 Divya Desams revered by the Āḻvārs.

Most of them are centred around one principal shrine.

But there is something wonderfully unusual about Thanjai Māmaṇi Koil in Thanjavur.

Here, three temples, three forms of the Lord and three divine stories are counted together as one Divya Desam.

The three are:

Neelamegha Perumal

Manikundra Perumal

Veera Narasimha Perumal

They stand close to one another near the Vennāru, yet each has its own sannidhi, Thāyār and sacred tradition. The Āḻvārs too speak of Thanjai in connection with this sacred group rather than treating the three shrines as three separate Divya Desams.

And behind this unusual arrangement is an ancient story.

Three Asuras

The Brahmāṇḍa Purāṇa tradition tells us that, in the Tretā Yuga, three powerful asuras—Tañchakan, Tantakan and Kacamukan—performed severe austerities and obtained boons from Lord Śiva.

Blessed with great powers, they became arrogant and began troubling sages and others.

Among those affected was Sage Parāśara, who was performing penance in this region.

The sages sought the protection of Srīman Nārāyaṇa.

And the Lord came.

But He did not appear in only one form.

He dealt with the three threats through different manifestations of His divine power.

Tañchakan and the Sudarśana

Tañchakan was confronted by the Lord and was struck down by the Sudarśana Chakra.

Yet the story does not end with the destruction of the asura.

As he lay dying, Tañchakan sought the Lord's grace.

He asked that his name should remain associated with this sacred place.

The Lord granted the boon.

Thus, according to the traditional story, the place came to be known as Tañchakanūr, eventually becoming Thanjavur.

It is a beautiful detail in the story: even at the moment of defeat, the asura turns towards the Lord—and receives grace.

Tantakan and Varāha

The second asura, Tantakan, was pursued by the Lord.

The Lord took the form of Varāha, the great Boar incarnation, and pursued him.

Tantakan fled towards Śrīmuṣṇam, another great Varāha kṣetra.

There too, the Lord ultimately brought the story to its conclusion.

The Varāha form is particularly meaningful. Varāha is the Lord who lifts the Earth from the cosmic waters.

Here too, the Lord comes when the order of the world is disturbed.

Kacamukan and the Yāli

The third asura, Kacamukan—whose name appears in variant forms in different accounts—was overcome by the Lord in the form of a Yāli, the powerful mythical lion-like creature known in South Indian temple tradition.

This unusual form is remembered in the tradition of Thanjaiyāli.

And this is connected with the shrine of Veera Narasimha Perumal.

The Lord's appearance here reminds us that Nārāyaṇa's forms are not confined to the familiar list of Daśāvatāras. When His devotees need protection, He assumes whatever form is necessary.

And then came Neelamegha Perumal

After the disturbance had been brought to an end, the Lord appeared before Sage Parāśara as Neelamegha Perumal.

Neelamegha means “blue cloud.”

The name itself brings a beautiful image to mind—the Lord dark and radiant like a rain-filled cloud, standing before the sage who had sought His protection.

The Lord who had appeared in fierce forms to destroy evil now appeared in a peaceful form before His devotee.

Protection.

Grace.

Peace.

All three are aspects of the same Nārāyaṇa.

Three Shrines, One Divya Desam

And so the three sacred shrines came to be associated with this one great story:

Neelamegha Perumal

with Sengamalavalli Thāyār

Manikundra Perumal

with Ambujavalli Thāyār

Veera Narasimha Perumal

with Thanjai Nāyaki Thāyār

Together they form Thiruthanjai Māmaṇi Koil, counted as one of the 108 Divya Desams.

That itself makes Thanjai Māmaṇi Koil extraordinary.

One Divya Desam.

Three temples.

Three forms of the Lord.

Three Thāyārs.

And a single sacred history binding them together.

The Āḻvārs too saw Thanjai as one sacred landscape

The glory of Thanjai Māmaṇi Koil is not only in its Purāṇic story.

It is also in the voices of the Āḻvārs.

Thirumangai Āḻvār, Bhūthath Āḻvār and Nammāḻvār are associated with the Thanjai Divya Desam. Temple tradition connects their Thanjai references with the three shrines.

Thirumangai Āḻvār sings of Thanjai Māmaṇi Koil.

Bhūthath Āḻvār includes Thanjai among the great abodes of the Lord.

Nammāḻvār's verses are traditionally connected with the Manikundra shrine.

Thus the three shrines are not merely three neighbouring temples.

They belong to one Āḻvār sacred landscape.

Why is it called Māmaṇi?

The very name Māmaṇi is evocative.

A great precious gem.

And perhaps that is an appropriate name for a Divya Desam in which the Lord appears to us in several facets.

Like a gem turned in different directions catches the light differently, the same Srīman Nārāyaṇa is experienced here through different forms:

Neelamegha — the Lord of serene beauty.

Manikundra — the Lord radiant like a precious jewel.

Veera Narasimha — the Lord in heroic, protective form.

Yet there is only one Lord.

The deeper beauty of Thanjai Māmaṇi Koil

What I find especially beautiful about this temple is that the story moves from fear to protection, from protection to grace, and finally to peace.

The asuras disturb the sages.

The devotees turn to the Lord.

The Lord comes in whatever form is needed.

Evil is overcome.

The defeated too receive grace.

And finally, the Lord stands peacefully before Parāśara.

Perhaps that is the real beauty of Nārāyaṇa.

He may come as fierce Narasimha.

He may come as mighty Varāha.

He may come through the power of Sudarśana.

And then He stands quietly before His devotee as Neelamegha Perumal.

Different forms.

Different moments.

Different needs.

But always the same compassionate Lord.

That is why Thanjai Māmaṇi Koil is more than three temples.

It is one Divya Desam telling one great story of the many ways in which Srīman Nārāyaṇa comes to protect, bless and finally give peace.


SEVA SERIES — ORIGINAL 7

 

बसल बानी राम के छाँव — धन्य बा ई जीवन

Basl Bāni Ram Ke Chhā̃v — Dhanya Ba Ee Jeevan

This last one is quieter than all the others. No task, no request, no longing, not even deliberate remembrance. Just the bliss of being — knowing that this life, this heart, this very self has been touched by bhakti.

मुखड़ा

राम के छाँव में बसल बानी,

धन्य भइल ई जीवन।

साँस-साँस में प्रेम बसल बा,

मनवा भइल पावन।

का माँगी अब, का चाहीं अब,

सब कुछ मिलल समान।

राम के बीच जे जीवन बीते,

ओही जीवन भगवान।

१. जैसा हैं, वैसा ही

ना बनना बा कुछ अउरी,

ना दुनिया से कुछ माँगी।

जे रूप दिहलें राम हमके,

ओही रूप में जागीं।

हँसी दिहलें त हँसत रहब हम,

आँसू दिहलें बह जाईं।

राम के इच्छा में मन राखीं,

राम के राहे जाईं।

२. भीतर भक्ति बहती रहे

ना पूजा के गिनती चाहीं,

ना शब्दन के भार।

मन में राम, नयन में राम,

एतने बा उपहार।

काम करितो राम के यादे,

चुप बइठीं त राम।

जीवन के हर छोट घड़ी में,

मिलेला उनकर धाम।

३. उनके बीच

भोर के उजियारा राम के,

संझा राम के रंग।

पवन चले त लागे जैसे,

राम चलें हमरे संग।

फूल खिले त राम मुसकाईं,

चंदा राम के नूर।

दुनिया भर के बीच रहितो,

राम न हमसे दूर।

४. बस कृतज्ञता

धन ना माँगी, मान ना माँगी,

ना माँगी सुख अपार।

एक कृपा बस बनी रहे रे —

राम रहें हृदय द्वार।

जे जीवन में भक्ति मिलल बा,

ओसे बड़ा का धन?

राम के नामे जागल मनवा,

धन्य भइल ई जनम।

अंतिम मुखड़ा

राम के छाँव में बसल बानी,

धन्य भइल ई जीवन।

साँस-साँस में प्रेम बसल बा,

मनवा भइल पावन।

ना कुछ पाना, ना कुछ खोना,

ना कोई अभिमान।

राम के बीच रहि के जीना,

ईहे परम सुख-धाम।

राम ही साँस, राम ही आस,

राम ही अंतर प्राण।

जे मिलल, सब राम कृपा बा —

धन्य धन्य भगवान। 

And now seven feels complete.

The first six were about seva, love, companionship and remembrance. The seventh goes beyond all of them:

I don't have to become someone else.

I don't have to ask for anything.

I am grateful for this very life, this very heart, this bhakti.

And I am happy simply to be — in His midst.

Seva Series. 

Perhaps the deepest seva is not something extraordinary at all. It is to live the life He has given us well, and to remember Him while doing it.

A little prayer. 

धन्यवाद प्रभु — Thank You, Rama

Thank you for the mind

with which I can think of You.

Thank you for the body

with which I can serve.

Thank you for the comfort,

the convenience,

the people,

the home,

the little joys

You have placed around me.

Thank you for every blessing—

even those I notice,

and those I do not.

Let me do my little duties

as well as I can,

care for those entrusted to me,

and live this life with gratitude.

And above everything,

thank You for the blessing

of thinking of You.

If my mind remembers You

while my hands do their work,

perhaps that itself is seva.

I ask for nothing more.

Let me live in Your presence,

remember You as often as I can,

and be grateful for the life

You have given me.

राम ही राम।

धन्य धन्य ई जीवन। 

That last thought is especially beautiful: the blessing is not only everything He has given us; the blessing is that He has given us a mind capable of remembering Him.

SEVA SERIES — ORIGINAL 6

 

राम ही राम — सिया के मन में

Ram Hi Ram — Siya Ke Man Mein

The earlier songs showed what Sita does for Rama. This one goes inward: when love becomes complete, there is no separate effort to remember Him. He is simply always there.

मुखड़ा

राम ही राम सिया के मन में,

राम ही राम विचार।

आँखि खुले त राम ही दिखें,

आँखि मूँदे राम।

राम बिना कुछ भावे ना,

राम बिना ना कोय।

राम के नाम में जे सुख मिलेला,

दुनिया में ओ सुख ना होय।

१. भोर से साँझ

भोर भइल त राम के नाम,

साँझ भइल त राम।

काम करे त राम सुमिरलीं,

सोवत लेलीं राम।

फूल पिरोएँ — राम के खातिर,

भोजन पकावे राम।

पग-पग सेवा, साँस-साँस में,

बसल रघुनंदन नाम।

२. मन में और क्या?

मनवा के कोना-कोना देखीं,

राम बसे हर ठाँव।

और विचार कहाँ से आवे,

भर गइल राम के नाँव।

ना माँगे धन, ना माँगे सुखवा,

ना माँगे राज-दुलार।

राम के चिंतन में जे आनंद,

ओसे बढ़ के का संसार?

३. साथ बिना भी साथ

राम सामने होखें चाहे,

दूर गवनवा जाएँ।

सिया के मन से राम न छूटें,

साँस-साँस में आएँ।

दूरी कहाँ जब मन में बसलें,

कौन करे अलगाव?

राम जहाँ, सिया वहीं मिलें,

प्रेम बने प्रभु-भाव।

४. सबसे बड़ा सुख

सोचत-सोचत राम के रूपवा,

मनवा होखे शांत।

नाम जपत-जपत हृदय खिले रे,

मिट जाए सब क्लांत।

कवन सुख बा राम सुमिरन से,

कवन धन संसार?

जनम-जनम बस राम मिलें रे,

ईहे माँग सिया के बारम्बार।

अंतिम मुखड़ा

राम ही राम सिया के मन में,

राम ही राम विचार।

आँखि खुले त राम ही दिखें,

आँखि मूँदे राम।

राम बिना कुछ भावे ना,

राम बिना ना कोय।

राम के प्रेम में डूबल मनवा,

इससे बड़ा सुख ना होय।

सेवा बने सिया के पूजा,

स्मरण बने श्रृंगार।

राम ही जीवन, राम ही धनवा,

राम ही संसार। 

सेवा में सुख — Sita serves Rama.

2. मिथिला में सीता — Sita is the beloved daughter.

3. फूल पिरोए सिया — she makes their dwelling beautiful.

4. सिया रसोई में — she lovingly prepares their food.

5. संग-संग बैठीं सिया-राम — simply being together is happiness.

6. राम ही राम — finally, there is no “doing” left. Rama fills the mind completely.

The last thought is perhaps the most beautiful of all:

“What greater bliss can there be than having Him in every thought?”

SEVA SERIES — ORIGINAL 5

 

संग-संग बैठीं सिया — कुछ ना कहलीं राम

Sang-Sang Baithin Siya — Kuchh Na Kahlin Ram

Seva is not always doing something for someone. Sometimes the greatest seva is simply giving someone your presence. Sita and Rama sitting together, watching the evening, talking a little—or saying nothing at all.

मुखड़ा

संग-संग बैठीं सिया-राम,

कुछ ना कहलीं, मन बतियावे।

चुपके-चुपके साँझ उतरले,

प्रेम दीपिया जरि जावे।

संग-संग बैठीं सिया-राम,

मनवा मनवा से बतियावे।

१. संझा की बेला

दिन भर के काम निबटि गइल,

थकले रघुराई।

सिया आके पासे बइठलीं,

मंद-मंद मुसुकाई।

ना कोई बात, ना कोई जल्दी,

ना दुनिया के भार।

बस दू गो मन साथे बइठल,

ओही में सुख अपार।

२. नदी किनारे

नदी किनारे दू गो बइठल,

पानी धीरे बहे।

सिया निहारे राम के मुखड़ा,

राम सिया के नेह।

पंछी बोले, पवनवा डोले,

चंदा झाँके पार।

कुछ ना माँगे, कुछ ना चाहे,

साथ रहे बस प्यार।

३. वन की रात

तारा गिने सिया मुसकाईं,

राम गगन निहारे।

“कितना सुंदर रात भइल बा,”

सिया धीरे से पुकारे।

राम हँसि बोले — “सिया, तुम संग

हर दिन लागे त्यौहार।”

कुटिया छोटी, आकाश बड़ा,

प्रेम भइल संसार।

४. सबसे सरल सेवा

सेवा केवल फूल चढ़ाना,

सेवा केवल भोजन ना।

अपने मन के समय दे देना,

ई भी पूजा कम ना।

पास बइठना, साथ निभाना,

चुप रह के मुसकाना।

राम के संग जो घड़ी बितावे,

सिया के वही खजाना।

अंतिम मुखड़ा

संग-संग बैठीं सिया-राम,

कुछ ना कहलीं, मन बतियावे।

चुपके-चुपके साँझ उतरले,

प्रेम दीपिया जरि जावे।

जहाँ न शब्द, न कोई माँग,

केवल साथ सुहावन।

सिया-राम के प्रेम में देखीं,

मौन भी बनल भजन। 

Seva is not only what we do for someone.

Sometimes seva is simply being there.