---
title: "Bal Kand Doha 37"
canonical: "https://ramayana.com/ramcharitmanas/bal-kand/doha-37"
lang: "en"
---

# Bal Kand · Doha 37

**चौ०** 
> सप्त प्रबंध सुभग सोपाना। ग्यान नयन निरखत मन माना॥  
> रघुपति महिमा अगुन अबाधा। बरनब सोइ बर बारि अगाधा॥१॥

**चौ०** 
> राम सीय जस सलिल सुधासम। उपमा बीचि बिलास मनोरम॥  
> पुरइनि सघन चारु चौपाई। जुगुति मंजु मनि सीप सुहाई॥२॥

**चौ०** 
> छंद सोरठा सुंदर दोहा। सोइ बहुरंग कमल कुल सोहा॥  
> अरथ अनूप सुभाव सुभासा। सोइ पराग मकरंद सुबासा॥३॥

**चौ०** 
> सुकृत पुंज मंजुल अलि माला। ग्यान बिराग बिचार मराला॥  
> धुनि अवरेब कबित गुन जाती। मीन मनोहर ते बहुभाँती॥४॥

**चौ०** 
> अरथ धरम कामादिक चारी। कहब ग्यान बिग्यान बिचारी॥  
> नव रस जप तप जोग बिरागा। ते सब जलचर चारु तड़ागा॥५॥

**चौ०** 
> सुकृती साधु नाम गुन गाना। ते बिचित्र जलबिहग समाना॥  
> संतसभा चहुँ दिसि अवँराई। श्रद्धा रितु बसंत सम गाई॥६॥

**चौ०** 
> भगति निरूपन बिबिध बिधाना। छमा दया दम लता बिताना॥  
> सम जम नियम फूल फल ग्याना। हरि पद रति रस बेद बखाना॥७॥

**चौ०** 
> औरउ कथा अनेक प्रसंगा। तेइ सुक पिक बहुबरन बिहंगा॥८॥

Meaning: The seven Sections are the seven beautiful flights of steps, which the soul delights to look upon with the eyes of wisdom; Nirguṇa (beyond all Guṇas) and unbounded greatness of Śrī Rāma, which will be presently narrated, represents the unfathomable depth of this holy water. (1)

The glory of Śrī Rāma and Sītā constitutes the nectarean water; the similes represent the soul-ravishing sport of its wavelets. The beautiful Caupāīs represent the thick growth of lotus-plants; the various poetic devices constitute the lovely shells that yield beautiful pearls. (2)

The other metres, viz., Chandas, Soraṭhās and Dohās, are the cluster of charming many-coloured lotuses. The illustrious meanings, the beautiful ideas and the elegant expression represent the pollen, honey and fragrance of those flowers, respectively. (3)

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. (4)

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 Saguṇa 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. (5)

* The nine sentiments of poetry are: (1) Śṛṁgāra (the erotic sentiment or the sentiment of love) (2) Hāsya (the humorous sentiment) (3) Karuṇā (the pathetic sentiment) (4) Vīra (the heroic sentiment) (5) Raudra (the sentiment of wrath or fury) (6) Bhayānaka (the sentiment of terror) (7) Bibhatsa (the sentiment of disgust) (8) Śānta (the sentiment of quietism) and (9) Adbhuta (the marvellous sentiment).

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 faith has been likened to the vernal season. (6)

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. (7)

The various other episodes forming part of this narrative are the birds of different colours such as the parrot and the cuckoo. (8)

**दो०** 
> पुलक बाटिका बाग बन सुख सुबिहंग बिहारु।  
> माली सुमन सनेह जल सींचत लोचन चारु॥३७॥

Meaning: 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 pure mind is the gardener, who waters the garden etc., with the streaming drops of love through the charming jars of eyes. (37)

Previous: https://ramayana.com/ramcharitmanas/bal-kand/doha-36  
Kand: https://ramayana.com/ramcharitmanas/bal-kand  
Next: https://ramayana.com/ramcharitmanas/bal-kand/doha-38

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Source: Gita Press, Gorakhpur editions. Buy the book: https://gitapress.org/product/sri-ramcharitmanas-special-edition

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