After playing around with the translations and transliterations for a while, I'm finally ready to post this - it's an excerpt from the RCM that describes the Swayamvar, I included verses that weren't part of the show but are nonetheless beautiful... Tulsiji puts Shakespeare to shame with his descriptions of Sita, they're just magical... thought it might be enjoyable anyway and maybe even inspire some more gorgeous Sita Maa siggies... enjoy!
BAALKAAND 247-248
Siya shobha nahin jaayi bakhaani, jagadambika roop gun khaani
Upama sakal mohi laghu laagi, prakrita naari ang anuraagi
Siya baraniya tehi upama dehi, kukavi kahaayi ajashu ko lehi
Jau patatariya tiya sama siya, jaga asi yuvati kahaan kamaniya
Giraa mukhara tana ardh bhavani, rati ati dukhita atanu pati jaani
Visha baaruni bandhu priya jehi, kahiya ramaa sama kimi vaidehi
Jo chhavi shuddha payonidhi hoyi, param roopmaya kachhap soi
Shobha raj-mandara singaaru, mathai paani pankaja nij maaru
Sita's beauty defies all description, Mother of the universe that She is and an
embodiment of charm and excellence. All comparisons seem to me too poor; for they
apply to the looks of mortal women. Proceeding to depict Sita. with the help of
those very similes why should one earn the title of an unworthy poet and encounter shame?
Should Sita. be likened to any woman of this material creation, where in this world shall
one come across such a lovely damsel? The goddess of speech (Sarasvati), for
instance, is a chatterer; while Bhavani possesses only half a body (the other half being
represented by her lord, Shiv). And Rati (Cupid's consort) is extremely distressed by the
thought of her husband being without a form. And it is quite out of the question to
compare Videha.s Daughter with Lakshmi, who has poison and spirituous liquor for her
dear brothers. Supposing there was an ocean of nectar in the form of loveliness and the
tortoise serving as a base for churning it was an embodiment of consummate beauty,
and if splendor itself were to take the form of a cord, the loving sentiment should
crystallize and assume the shape of Mount Mandara and the god of love himself were
to churn this ocean with his own hands…
Ehi vidhi upajai Lachhmi jab, sundarta sukh mul
Tadapi sakoch samet kavi, sahani siyaa samatul
And if from such churning were to be born a Lakshmi, who was the source of
all loveliness and joy, the poet would even then only hesitatingly declare her as comparable to Sita.
Chali sang layi sakhin sayaani, gaavata geet manohar baani
Soha naval tanu sundar saari, jagat janani atulit chhavi bhaari
Bhushan sakal sudesh suhaaye, ang ang rachi sakhin banaaye
Rangbhoomi jab siya pag dhaari, dekhi roop mohe nar naari
Harashi suran dundubhi bajaayi, barashi prasoona apachhara gaayi
Paani saroj soha jaimaala, avachat chitaye sakala bhuaala
Siya chakit chit ramahi chaaha, bhaaye moha bas dsb narnaaha
Muni sameep dekhe dou bhai, lage lalaki lochana nidhi paayi
Sita's clever companions escorted Her to the arena, singing songs in a charming
voice. A beautiful saari adorned Her youthful frame; the Mother of
the universe was incomparable in her exquisite beauty. Ornaments of all kinds had been
beautifully set in their appropriate places, each limb having been decked by Her
companions with great care. When Sita stepped into the arena, men and women alike
were fascinated by Her charms. The gods gladly sounded their kettledrums, while
celestial damsels rained down flowers in the midst of songs. In Her lotus-like hands
sparkled the wreath of victory, as She cast a hurried glance at all the princes. While Sita
looked for Ram with anxious heart, all the princes found themselves in the grip of
infatuation. Now Sita. discovered the two brothers by the side of the sage, and Her
eyes greedily fell on them as on a long-lost treasure.
Anupamaa
Kyunki Saas Bhi Kabhi Bahu Thi 2
