Doha 319
नयन नीरु हटि मंगल जानी। परिछनि करहिं मुदित मन रानी॥ बेद बिहित अरु कुल आचारू। कीन्ह भली बिधि सब ब्यवहारू॥१॥
पंच सबद धुनि मंगल गाना। पट पाँवड़े परहिं बिधि नाना॥ करि आरती अरघु तिन्ह दीन्हा। राम गमनु मंडप तब कीन्हा॥२॥
दसरथु सहित समाज बिराजे। बिभव बिलोकि लोकपति लाजे॥ समयँ समयँ सुर बरषहिं फूला। सांति पढ़हिं महिसुर अनुकूला॥३॥
नभ अरु नगर कोलाहल होई। आपनि पर कछु सुनइ न कोई॥ एहि बिधि रामु मंडपहिं आए। अरघु देइ आसन बैठाए॥४॥
Meaning
Restraining her tears, knowing it to be an auspicious occasion, Queen Sunayanā performed the ceremony of waving lights (before the bridegroom) with a gladdened heart, and duly completed all the rites prescribed by the Vedas as well as by family usage. (1) The five kinds of music* were being played, accompanied by five varieties of other sounds† and festal songs; carpets of different sorts were spread on the way. After performing Āratī (आरती) the queen offered water to Śrī Rāma for washing His hands with and the latter then proceeded to the marriage-pavilion (Maṇḍapa). (2) * The five kinds of music referred to above are those produced from:—(l) Vīṇā or the lute, (2) the clapping of hands, (3) the clashing of a pair of cymbals, (4) the beating of a kettle-drum and (5) the blowing of a trumpet or any other wind instrument. † The five varieties of other sounds are: (1) Vedadhvani (the murmuring of Vedic texts), (2) Vandidhvani (the praises sung by family bards), (3) Jayadhvani (shouts of victory), (4) Śaṅkhadhvani (the blast of conches), and (5) Dundubhidhvani (beat of drums). Daśaratha shone in all his glory with his followers; his magnificence put to shame the guardians of the different worlds. From time to time the gods rained down flowers; and the Brāhmaṇas recited propitiatory texts appropriate to the occasion. (3) There was such a great uproar in the heavens as well as in the city that no one could hear one’s own voice, much less of others. In this way Śrī Rāma entered the marriage-ceremony pavilion (Maṇḍapa); after offering Him water to wash His hands with, Śrī Rāma was conducted to His seat. (4)
बैठारि आसन आरती करि निरखि बरु सुखु पावहीं। मनि बसन भूषन भूरि वारहिं नारि मंगल गावहीं॥ ब्रह्मादि सुरबर बिप्र बेष बनाइ कौतुक देखहीं। अवलोकि रघुकुल कमल रबि छबि सुफल जीवन लेखहीं॥
Meaning
When Śrī Rāma sat on the seat assigned for Him, His Āratī (आरती) was performed; everyone rejoiced to behold the bridegroom, scattering about Him gems and raiments and ornaments in profusion, while women sang festal songs. Brahmā and the other great gods witnessed the spectacle disguised as Brāhmaṇas; and as they gazed on the beauty of Śrī Rāma, who delighted Raghu’s race even as the sun brings joy to the lotuses, they regarded this privilege as the fulfilment of their life.
नाऊ बारी भाट नट राम निछावरि पाइ। मुदित असीसहिं नाइ सिर हरषु न हृदयँ समाइ॥३१९॥
Meaning
Having gathered the offerings scattered about Śrī Rāma, the barbers, water-vessel carriers and palanquin-bearers, family bards and dancers bowed their head and gladly invoked blessings on Him with a heart overflowing with joy. (319)
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