.. Â:iram:st:Øet: ( t:Øl:s:idas: ) ..

          .. AT: Â:iram:st:Øet: ..

Send corrections to Girish Beeharry (gkb@ast.cam.ac.uk)

Â:iram:c:ndÓ káp:al:Ø B:j:Ø m:n:     hrN: B:v:B:y: da,N:m:Î .
n:v:kWj: l::ðc:n: kWj: m:ØK:kr     kWj:p:d kWj:,N:m:Î .. 1..

ködp:ü Ag:eN:t: Aem:t: Ceb:    n:v: n:il: n:irj: s:Øndrm:Î .
p:Xp:it: p:an:hÚú t:e_t: ,ec: s:Øec:    n::òem: j:n:k s:Øt:av:rm:Î  .. 2..

B:j:Ø din: b:nD:Ø edn:ðS: dan:v:    dòty:v:öS:en:kndn:m:Î .
rG:Øn:nd A:n:ödköd k:ðS:l:    c:nd dS:rT: n:ndn:m:Î  .. 3..

es:r#iX kÙNRl: et:l:k c:a,    udar A¤ ev:B:Ü\:N:m:Î  .
A:j:an:ØB:Øj: s:r c:ap:D:r    s:{Ïg:Òam: ej:t: K:rdÝ\:N:m:Î .. 4..

Eet: v:det: t:Øl:s:idas: S:¢r    S:ð\: m:Øen: m:n:rWj:n:m:Î .
m:m: Ædy:kWj: en:v:as: kÙ,    kam:aedK:l:dl:m:Wj:n:m:Î  .. 5..

m:n: j:aeh rac::ð em:l:eh s::ðv:r    s:hj:s:Øndr s:aöv:r:ð  .
k,N:aen:D:an: s:Øj:an: S:il:    s:n:ðh j:an:t: rav:r:ð . 6..

Oeh B:aúet: g::òer AS:is: s:Øen: es:y:    s:eht: ehy: he\:üt: Al:i .
t:Øl:s:i B:v:aen:ehö p:Üej: p:Øen: p:Øen:   m:Øedt: m:n: m:endr c:l:i .. 7..

     j:aen: g::òer An:ØkÝl:    es:y: ehy: h\:ün:H j:at: keh .
     m:Wj:Øl: m:¤l: m:Ül:   v:am: A¤ p:rkn: l:g:ð ..

        es:y:av:r ram:c:ndÓ p:d g:eh rhÚú .
        um:av:r S:mB:Øn:aT: p:d g:eh rhÚú .
        m:haev:r b:j:rúg:i p:d g:eh rhÚú .
        S:rN:a g:t::ð her ..



This is written in Hindi(Awadi rather, the language of Ayodhya and of the
rAmacharitmAnasa).

1) The stuti itself is simple . The 1st part of each half-verse is sung
with the pitch going up [ :-) ] . The 2nd part is rather toned down . Until
someone comes up with a good idea on how to convey the pitch.
The spacing has been increased at the pauses.(It is possible that each
shloka is 12 - - 10 - - -/ 12 - - 10/- - - - )

2) The last 4 lines are repeated during rAmacharitamAnasa chanting.

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