गगन चढ़इ रज पवन प्रसंगा। कीचहिं मिलइ नीच जल संगा॥
साधु असाधु सदन सुक सारीं। सुमिरहिं राम देहिं गनि गारीं॥
धूम कुसंगति कारिख होई। लिखिअ पुरान मंजु मसि सोई॥
सोइ जल अनल अनिल संघाता। होइ जलद जग जीवन दाता॥
दोहा :
ग्रह भेषज जल पवन पट पाइ कुजोग सुजोग।
होहिं कुबस्तु सुबस्तु जग लखहिं सुलच्छन लोग॥
दोहा :
ग्रह भेषज जल पवन पट पाइ कुजोग सुजोग।
होहिं कुबस्तु सुबस्तु जग लखहिं सुलच्छन लोग॥
सम प्रकास तम पाख दुहुँ नाम भेद बिधि कीन्ह।
ससि सोषक पोषक समुझि जग जस अपजस दीन्ह॥
जड़ चेतन जग जीव जत सकल राममय जानि।
बंदउँ सब के पद कमल सदा जोरि जुग पानि॥
देव दनुज नर नाग खग प्रेत पितर गंधर्ब।
बंदउँ किंनर रजनिचर कृपा करहु अब सर्ब॥
चौपाई :
आकर चारि लाख चौरासी। जाति जीव जल थल नभ बासी॥
सीय राममय सब जग जानी। करउँ प्रनाम जोरि जुग पानी॥
जानि कृपाकर किंकर मोहू। सब मिलि करहु छाड़ि छल छोहू॥
निज बुधि बल भरोस मोहि नाहीं। तातें बिनय करउँ सब पाहीं॥
करन चहउँ रघुपति गुन गाहा। लघु मति मोरि चरित अवगाहा॥
सूझ न एकउ अंग उपाऊ। मन मति रंक मनोरथ राउ॥
मति अति नीच ऊँचि रुचि आछी। चहिअ अमिअ जग जुरइ न छाछी॥
छमिहहिं सज्जन मोरि ढिठाई। सुनिहहिं बालबचन मन लाई॥
मति अति नीच ऊँचि रुचि आछी। चहिअ अमिअ जग जुरइ न छाछी॥
छमिहहिं सज्जन मोरि ढिठाई। सुनिहहिं बालबचन मन लाई॥
जौं बालक कह तोतरि बाता। सुनहिं मुदित मन पितु अरु माता॥
हँसिहहिं कूर कुटिल कुबिचारी। जे पर दूषन भूषनधारी॥
निज कबित्त केहि लाग न नीका। सरस होउ अथवा अति फीका॥
जे पर भनिति सुनत हरषाहीं। ते बर पुरुष बहुत जग नाहीं॥
जग बहु नर सर सरि सम भाई। जे निज बाढ़ि बढ़हि जल पाई॥
सज्जन सकृत सिंधु सम कोई। देखि पूर बिधु बाढ़इ जोई॥
भए प्रगट कृपाला दीनदयाला कौसल्या हितकारी।
हरषित महतारी मुनि मन हारी अद्भुत रूप बिचारी॥
The merciful, compassionate Lord — the benefactor of Kaushalya — appeared. The mother was filled with joy; the sage's mind was captivated at the sight of his wondrous form.
लोचन अभिरामा तनु घनस्यामा निज आयुध भुज चारी।
भूषन बनमाला नयन बिसाला सोभासिंधु खरारी॥
Beautiful eyes, a dark-cloud-hued body, four arms bearing his own weapons; adorned with ornaments and a garland of forest flowers, large eyes — an ocean of beauty, the destroyer of Khar.
बार बार नाइ चरन सिर, बिनय करइ रनिवास।
जनि प्रभु मोहि बिसारहु, करहु हृदय निवास॥
Bowing again and again at the Lord's feet, the palace ladies pray: "O Lord, do not forget me — make your home in my heart."
ठुमकि चलत रामचंद्र बाजत पैजनियाँ।
किलकि किलकि उठत धाइ गिरत भूमि लटपटाइ॥
Little Ramchandra toddles along, his anklets jingling. He squeals with delight, runs, then falls and rolls on the ground — again and again.
Bal Lila — English Meaning
The merciful, compassionate Lord — the benefactor of Kaushalya — appeared in his divine form. The mother was filled with overwhelming joy; even the sages' minds were captivated at the sight of his wondrous form.
His eyes were enchanting, his body dark as rain-clouds; he held his own weapons in four arms. Adorned with ornaments and a garland of forest flowers, with large eyes — he was an ocean of beauty, the destroyer of Khar.
Little Ramchandra toddles along with his anklets jingling sweetly. He squeals with delight, runs excitedly, then falls and rolls on the ground — then gets up and does it all over again. His dark beautiful form dusted with earth was so enchanting that Tulsidas could only compare him to the beautiful child Krishna, son of Nanda.
The palace women bow again and again at his feet, praying with folded hands: "O Lord, do not forget us — make your eternal dwelling in our hearts."
The Bal Lila is not merely a description of Ram's childhood — it is a profound spiritual teaching on vatsalya bhakti (devotion as a parent). Tulsidas shows us that the supreme Lord who sustains the universe chose to appear as a helpless, laughing, tottering child — entirely out of love for his devotees. Every parent who reads this feels Kaushalya's joy, and every devotee feels the privilege of being loved by such a Lord.
भए प्रगट कृपाला दीनदयाला कौसल्या हितकारी।
Chaupai 1, Line 1 — Balkanda · Bal Lila
| # | Word (Sanskrit) | Roman | Type | Meaning |
|---|---|---|---|---|
| 1 | भए | Bhae | Verb (Past) | Appeared / became manifest |
| 2 | प्रगट | Pragaṭa | Adjective | Manifest / visible / appeared |
| 3 | कृपाला | Kṛpālā | Noun (vocative) | The merciful / compassionate one |
| 4 | दीनदयाला | Dīnadayālā | Compound Noun | दीन (poor/humble) + दयाला (compassionate) = the merciful to the humble |
| 5 | कौसल्या | Kausalyā | Proper Noun | Kaushalya — mother of Lord Ram, queen of Dasharatha |
| 6 | हितकारी | Hitakārī | Adjective | One who does good / benefactor / well-wisher |
हरषित महतारी मुनि मन हारी अद्भुत रूप बिचारी।
Chaupai 1, Line 2 — Balkanda · Bal Lila
| # | Word | Roman | Type | Meaning |
|---|---|---|---|---|
| 1 | हरषित | Haraṣita | Adjective | Filled with joy / overjoyed / delighted |
| 2 | महतारी | Mahatārī | Noun | Mother (Awadhi) — refers to Kaushalya |
| 3 | मुनि | Muni | Noun | Sage / ascetic / one who has taken a vow of silence |
| 4 | मन | Mana | Noun | Mind / heart / consciousness |
| 5 | हारी | Hārī | Verb | Captivated / stolen / enchanted (mind was won over) |
| 6 | अद्भुत | Adbhuta | Adjective | Wondrous / extraordinary / beyond description |
| 7 | रूप | Rūpa | Noun | Form / appearance / beauty |
| 8 | बिचारी | Bicārī | Verb (gerund) | Upon contemplating / reflecting / seeing |
Tulsidas follows the Bhakti tradition of seeing the Lord as one's child (vatsalya). Kaushalya's joy at seeing the divine child is the archetype of this devotion — she doesn't see the all-powerful Vishnu; she sees her baby Ram, and that limited, personal love is itself the highest spiritual achievement.
The Bal Lila section uses the chaupai metre — four-line verses in Awadhi, each line of 16 matras (syllabic units). This metre gives the verses a rhythmic, almost musical quality suited to the joyful subject matter.
The dohas (two-line couplets) that appear between groups of chaupais serve as summaries and meditative pauses — a traditional structure Tulsidas inherited from the Sant Kavya tradition of his predecessors like Kabir and Surdas.
Notice the onomatopoeia in "ठुमकि" (thumaki) — the word itself sounds like the toddle of a child. This is Tulsidas at his literary finest, using sound to reinforce meaning.
The Bal Lila prakarana of Balkanda is among the most beloved sections of the Ramcharitmanas. It deals with the divine childhood of Lord Ram — his first steps, his playful antics, the joy of his parents, and the wonder of the citizens of Ayodhya who witness these acts.
Goswami Tulsidas chose to include these episodes to highlight the concept of vatsalya bhakti — devotion in the mood of a parent. In this form of devotion, the devotee sees God not as the supreme master but as their own beloved child, to be pampered, protected, and delighted in.
The famous verse "ठुमकि चलत रामचंद्र बाजत पैजनियाँ" (Thumaki chalat Ramachandra, bajat paijaniyaan) captures the divine child Ram toddling with his anklets ringing — an image so tender that it has been set to music and sung across India for centuries.