Anand (bliss) is considered the ultimate goal of human life. It is an extraordinary, indescribable experience that can only be truly absorbed and not fully expressed in words. Anand is beyond comparison, so much so that no antonym for it has ever been found. In truth, bliss, or rasa, is life itself. Just as life revolves around rasa, similarly, rasa holds a central role in poetry. The concept of rasa was first articulated by Acharya Bharat Muni, who described it as the soul of poetry. Following him, many philosophers and scholars offered their perspectives on rasa, concluding that there are nine rasas in poetry, among which Shringar (the romantic or erotic rasa) is considered the most prominent, often referred to as the Rasaraja (King of Rasas). There are two aspects of Shringar: sanyog (union) and viyog (separation). The sthayibhav (permanent emotion) of Shringar is rati (love). The descriptions of love, attachment, affection, and romantic union between the hero and heroine manifest the Shringar rasa. In the union, the sanyog is celebrated, and in separation, the viyog takes precedence. Since ancient times, most poets, whether in epic or smaller poetic works, have depicted Shringar rasa. In the epic Ramcharitmanas by Tulsidas, we find a beautiful and refined expression of Shringar rasa among all the other rasas that are essential to the epic. In Ramcharitmanas, the depiction of Shringar is refined, elegant, and imbued with dignity. Tulsidas presents the protagonist, Lord Rama, as the ideal human being (Maryada Purushottama). Rama, an incarnation of Lord Vishnu, appears on Earth in human form, thus engaging in various divine and earthly acts. Tulsidas portrays Shringar rasa with gentleness, decorum, supernatural beauty, and sweetness. The first union of Rama and Sita occurs in the garden of Mithila, where Rama visits as per his guru's command, and at that moment, Sita enters the garden for the worship of Goddess Gauri. While Sita's playful friend roams around the garden, she notices the divine beauty of Rama and Lakshman. Enchanted by their beauty, Sita's friend becomes overwhelmed, exclaiming the impossibility of describing their grandeur: Syam gora kimi kahun bakhani, Gira anayan nayan binu baani. — Ayodhya Kanda Sita is greatly pleased by her friend's words, and her eyes become eager to see the princes. Her longing is expressed as: Taasu vachan ati siyahi sohaane, Dars laagi lochan akulaane. — Balkanda Recalling the words of Sage Narada, Sita’s heart begins to sprout the seeds of pure affection. Filled with the desire to see Rama, she looks around like a frightened doe: Sumiri siy narad bachan, Upaji preeti punita. Chakit bilokat sakal disi, Sisumrigi sabhit. — Balkanda Meanwhile, the sound of Sita's jewelry—her bangles, anklets, and bracelets—reaches Rama's ears, and he remarks to Lakshman that the sound seems as though Kamadeva, the God of Love, has struck a resounding blow to win the world. As Rama listens, he gazes upon Sita’s face, his eyes becoming like those of the chakora (a bird that gazes at the moon), enchanted by her beauty: As kahi phir chitai tehi ora, Siyamukh sashi bhae nayan chakora. Dekhi siya sobha sukh paava, Hriday sarahat bachan na aawa. — Balkanda Sita, equally fascinated by Rama's beauty, is eager to meet him. Her eyes, mesmerized by his charm, look at him longingly: Thake nayan Raghupati chhabi dekhen, Palaknehi parihari nimese. Adhik sneh dehe bhaye mori, Sarad sashi januchitav chakori. — Balkanda When Rama and Lakshman appear from the Lata Mandap (a pavilion), Sita shyly opens her eyes and sees the two princes. Their presence sparks the flow of pure love between them: Sakuchi Siyaá¹ tab nayan ughaare, Sanmukh dou Raghusindhu nihaare. In this moment, both Rama and Sita feel an inexplicable pull towards each other, and the divine and pure current of love begins to flow between them. Later, when Sita hears the news of Rama's exile, her heart is filled with unbearable sorrow. She is unable to bear the separation and decides to leave the royal comforts to accompany Rama into exile. She even forsakes her soft bed and comforts, embracing the hard earth, finding bliss in her love and devotion for Rama: Palanpith taji god hindora, Siyan na deenh pag avani kathora. — Ayodhya Kanda During the incident of Sita's abduction by Ravana, when Rama calls out to her and the sound reaches Sita, she urges Lakshman to follow Rama. Upon seeing the empty hermitage by the banks of the Godavari, Rama becomes deeply distressed, and the search for Sita ensues. Tulsidas presents the intensity of separation in the form of Shringar, focusing on Rama's pain and longing for his beloved. Ashram dekhi Janaki heena, Bhaya vikala jas prakrit deena. — Aranyakanda In this way, Tulsidas beautifully captures the emotional turmoil and yearning of Rama and Sita, painting the picture of separation with unmatched depth, elegance, and tenderness. Through these poetic descriptions, Tulsidas creates an unparalleled portrayal of the Shringar rasa, filled with passion, longing, and devotion, making Ramcharitmanas a remarkable work in Hindi literature.
Ramcharitmanas Mein Shringar
By Dr. Krishna Kumari
मुख्य बिंदु
- Anand (bliss) is considered the ultimate goal of human life.
- It is an extraordinary, indescribable experience that can only be truly absorbed and not fully expressed in words.
- Anand is beyond comparison, so much so that no antonym for it has ever been found.
- In truth, bliss, or rasa, is life itself.
- Just as life revolves around rasa, similarly, rasa holds a central role in poetry.
- The concept of rasa was first articulated by Acharya Bharat Muni, who described it as the soul of poetry.
