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राधा प्यारी कह्यो सखिन सों सांझी धरोरी माई

Radha Pyari Kahyo Sakhin Son Sanjhi Dharori Mai

1 min read 1 verses

1 verses · ~1 min

राधा प्यारी कह्यो सखिन सों सांझी धरोरी माई। बिटियां बहुत अहीरन की मिल गई जहां फूलन अथांई॥१॥ यह बात जानी मनमोहन कह्यो सबन समुझाय। भैया बछरा देखे रहियो मैया छाक धराय॥२॥ असें कहि चले श्यामसुंदरवर पोहोंचे जहां सब आई। सखी रूप व्हे मिलें लाडिले फूल लिये हरखाई॥३॥ करसों कर राधा संग शोभित सांझी चीती जाय। खटरस के व्यंजन अरपे तब मन अभिलाख पुजाय॥४॥ कीरति रानी लेत बलैया विधिसों विनय सुनाय। सूरदास अविचल यह जोरी सुख निरखत न अघाय॥५॥

इति

Rasa: Shringara
Stanzas: 1
Lines: 10
Reading time: ~1 min
Form: Pada
Metre: pada
Rhyme: AABBCCDDee

The poem radiates a joyful, romantic, and playful mood infused with the festive devotion of Braj, capturing the lively spirit of the Sanjhi folk tradition where young women create intricate floral and cow dung artworks. Visually, the scene unfolds in a bustling courtyard overflowing with Abhir maiden friends gathered around a vibrant floral Sanjhi floor-painting, where Krishna mischievously slips in disguised as a female companion. Symbolically, this playful deception and divine masquerade highlights the blurring of boundaries between the human and the divine through shared festive labor, culminating in the joyous offering of six-flavored delicacies and the adoring blessings of Queen Kirtirti. The overarching tone is one of serene, celebratory intimacy and eternal romantic harmony, portraying the divine couple hand-in-hand against a backdrop of folk ritual and communal mirth.

राधा प्यारी कह्यो सखिन सों सांझी धरोरी माई (Radha Pyari Kahyo Sakhin Son Sanjhi Dharori Mai), by Surdas runs to 10 lines, set as Five numbered couplets describing a festive ritual. Its governing rasa is Shringara. The metre is pada. Rhyme falls as AABBCCDDee.

Reflects the local cultural festivals of Braj integrated into the devotional framework of the Ashtachhap poets.

Read it for सांझी उत्सव के बहाने राधा और कृष्ण का मिलन and कृष्ण का सखी रूप धारण कर राधा के पास आना. 3 words in it carry older or regional senses, so the poem rewards a second pass.

The verse is hung beside Krishna Rang Panchmi: Bathed in a warm, joyous glow, this vintage lithograph captures the exuberant spirit of Rang Panchmi within a grand palace courtyard as Lord Krishna and the Gopis celebrate the festival of colors. Amidst classic…

Words worth pausing on

सांझी: एक पारंपरिक लोक कला जिसमें गोबर और फूलों से चित्र बनाए जाते हैं
छाक: कलेवा या दोपहर का भोजन
खटरस: छह रसों से युक्त स्वादिष्ट भोजन

The Poet

सूरदास

Surdas

c. 1478 · c. 1583

Surdas represents the absolute zenith of the Bhakti movement in North India. Born in the late fifteenth century and believed to have been blind from birth, he did not need physical sight to observe the intricate beauty of the divine. He became the foremost poet of the Ashtachhap, a group of eight mystic poets dedicated to Lord Krishna. Composing entirely in Brajbhasha, Surdas authored the monumental Sur Sagar, a collection of thousands of devotional songs that remain deeply ingrained in the cultural memory of India. He wrote with an unparalleled understanding of child psychology, capturing the innocent mischief of the infant Krishna with a tenderness that no other poet has ever matched. His verses are not merely literature. They are the musical foundation of Vaishnava devotion. Five centuries later, his words continue to echo in temples and classical music concerts, offering eternal comfort to the human soul.