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From the Jacket:

Mystic Songs of Meera presents (probably for the first time) the original text in Devanagari, side by side with English transliteration and English translation of 101 songs of Meera, the mystic saint of Rajasthan who lived in the 15th-16th century A.D.

Bridal mysticism marked Meera's spritual approach to God. Krishna, whom she endearingly called Giridhar, the Lord who upheld the mountain, was her Beloved, and she expressed the imagery of human love to delineate the agony of separation from Him and the intense desire to be united with Him.

Childlike simplicity, deep devotion, intense spiritual yearning and soulful poetry make the God-oriented songs of Meera a national heritage of India, transcending regional, lingual and time barriers.

This volume should prove useful to all those interested in the spiritual heritage of India, especially the life and work of mystics of India, whose devotional lyrics can be savoured as spiritual nectar, by all.

The Raga (melody) in which each song is to be sung has been given for the benefit of musicians, choreographers etc.

About the Author:

Vadakaymadom Krishna Iyer Subramanian (b. 1930, Kerala, India) is an eminent scholar, whose life mission is to present to the world the treasures of ancient India, in the fields of art, literature, philosophy and religion.

He has already translated several ancient texts into English.

These include: Saundaryalahari, Sivanandalahari, Sacred Songs of India, Wondrous Whispers of Wisdom from Ancient India, Maxims of Chanakya and Sri Rudraprasna.

As a consultant for holistic health and spiritual development, he has spelt out the regimens in this regard in his popular book: The Holistic Way to Health, Happiness and Harmony.

Subramanian's prolific literary output covers a variety of subjects ranging from Astrology to Art. He has been an astropalmic counselor for over 35 years.

A retired officer of the Indian Audit and Accounts Service (which he joined in 1953), Subramanian is also a reputed painter, who has held 22 one-man shows and whose paintings (some of them in the Chandigarh Museum) have won wide acclaim from leading art crisis of India.

All the illustrations in Subramanian's books are done by himself.

Subramanian who has traveled extensively in India, now lives in United States of America.

Introduction

Among the mystic saints of India, Meera, the royal princess of Rajasthan, occupies a pride of place.

Women mystics are only a few among the many mystics who lived in various regions of India, in different periods of time and poured out their God-oriented devotional lyrics.

They are:
Karaikkal Ammaiyar, the Tamil saint who lived in the 5th century A.D.

Andal, the Tamil saint, who lived in the 7th century A.D.

Mahadevi Akka, the Karnataka saint who lived in the 12th century A.D.

Lal Ded (Lalla Yogeswari) of Kashmir who lived in the 14th century A.D.

Meera, the Rajasthani saint who lived in the 15th 16th century A.D.

Bridal mysticism marked the approach to God of this quintet of women mystics, of which Meera is the most recent and most well-known.

Loving God intensely through the spiritual path of devotion or Bhakti necessitates two things:

One: an image or a manifestation of Divinity (since God is spirit and loving requires a concretized object of love).

Two: loving requires the adoption of an attitude. There can be five different types of attitude available in loving God:

1. Bridal mysticism or treating God as the Lover or Beloved
2. Loving God as a parent
3. Loving God as a child
4. Loving God as a friend
5. Loving God as a servant would a Master.

Different mystics have adopted different attitudes.
As earlier stated, the women-mystics have all adopted bridal mysticism. Many male mystics like some Alwars and Nayanmars and even mystics like Raskhan and Rahim have also treated God as the Beloved.

Mystics like Vidyapati, Jayadeva, Chandidas, Chaitanya and others have invoked the person of Radha as a symbol of bridal mysticism to delineate the yearning of the individual soul for union with the Supreme.

In the beautiful words of Swami Vivekanada: "We are all women, there are no men in the world; there is but One Man and this is He, our Beloved."

All the mystics who have adopted bridal mysticism have used the imagery of human love between man and woman to express their love for God and the restless yearning for union.

Meera is no exception. Hence, in all her songs, we find the pain of the separated lover seeking to unite with the Beloved and the description of joy in union.

The manifestation of God, which Meera chose to adore, is Krishna, the cowherd lover, whom she endearingly calls Giridhar, the Lord who upheld the mountain.

The mythical legend is that Indra, the chief of celestials, was angery that the cowherds of Brindavan began to worship Krishna (and not him!) and threatened to drown them with torrential rain. When the threat materialized, Krishna held up the Govardhana mountain as an umbrella on his little finger and saved his cowherd friends.

Though Giridhar is the most frequently used term to refer to Krisha, her Beloved, she also calls Him occasionally as Ram or Ramaiyya, seeing the identity of the two incarnations.

But the exploits of her Beloved she mentions are all those of the Krishna incarnation.

Biographical details about Meera are scanty and often mixed up with traditional myths and legends. But certain facts are widely accepted by scholars.

These are:
She was born in 1498 A.D. in a royal family of Mewar, Rajasthan. From childhood she became a devotee of Krishna.

She was married at the age of 8 to Bhojaraja, a son of Rama Sanga, who died while quite young.

Early widowhood helped Meera in her God-oriented ascetic life of prayer and devotion.

She was persecuted a lot by her husband's brother while in Chittor.

She was a contemporary of Saint Raidas (1500 A.D.- 1576 A.D.) as also of Surdas and Kabir.

Meera became a disciple of Saint Raidas and invited him to Chittor.

Unable to bear the persecution of her brother-in-law, Meera ultimately left Chittor and went to Brindavan.

Her last years were spent in Dwarka, Gujarat. Meera died in 1547 A.D.

Her childlike simplicity, deep devotion to God, intense spiritual yearning and soulful poetry make the God-intoxicated songs of Meera a national heritage of India, which have transcended regional, lingual and time barriers and are sung all over India.

 

CONTENTS
  Acknowledgements 13
  Introduction 15
1. Tumre kaaran sab sukh cchoda 21
  Raga: Bhoopali  
2. Mai maine govind leeno mol 23
  Raga: Mand  
3. Harigum gaavat naachoongee 25
  Raga: Jayjaywanti  
4. Jaggo bansiwaare 27
  Raga: Lalat  
5. Maine chaakar raakho jee 29
  Raga: Misra Kapi  
6. Hari tum harau 31
  Raga: Durbari Kanada  
7. Pag ghunghroo baandh 33
  Raga: Malkauns  
8. Mere to girdhar gopal 35
  Raga: Jinjoti  
9. Baso mere nainam mem nandlal 37
  Raga: Peelu  
10. Paayojee maine ram ratan 39
  Raga: Pahadi  
11. Man re parasi hari ke charan 41
  Raga: Tilang  
12. Aaj main dekhyo girdhari 43
  Raga: Bhimpalas  
13. Jab te mohi nand nandan 45
  Raga: Bhairavi  
14. Naina lobhee re bahuri 47
  Raga: Pahadi  
15. Dars bin dukhan laage nain 49
  Raga: Des Bilampat  
16. Main birahin baithee 51
  Raga: Bihag  
17. Neendladee naheem aaven saree raat 53
  Raga: Mand  
18. Birahinee baavaree ree bhai 55
  Raga: Jogiya  
19. Bhuvan pati tum ghar aajyo ho 57
  Raga: Bagesri  
20. Nainaam more baan padee 59
  Raga: Anand Bhairavi  
21. Sakhi! meree neend nasaanee ho 61
  Raga: Pooriya Kalyan  
22. De maa girdhari, mohi de maa girdhari 63
  Raga: Prabhati  
23. Mhaare janan maran raa saathee 65
  Raga: Kosi  
24. Pyaare darsan deejo aay 67
  Raga: Asaveri  
25. Karunaa suno syaam meree 69
  Raga: Peelu  
26. Mat jaa mat jaa jogee 71
  Raga: Malkauns  
27. Tum suno dayaal mhaaree arjee 73
  Raga: Khamas  
28. Ab to nibhaayaam saregee 75
  Raga: Dhana  
29. The to palak ughaado deenaanaath 77
  Raga: Sooha  
30. Mero man hari soon joryom 79
  Raga: Jhanjhoti  
31. Mero man laago hari jee soom 81
  Raga: Bilawal  
32. Tu mat barjai maidee 83
  Raga: Brindavani Sarang  
33. Ghar aangan na suhaave 85
  Raga: Kafi  
34. Maim roee akhiyaan raatee karoon 87
  Raga: Sahana  
35. Raanaa jee mohe yah badnaamee 89
  Raga: Jonpuri  
36. Chaalaam vaahi des preetam paavaam 91
  Raga: Des  
37. Barjee maim kaahoo kee naahi rahoom 93
  Raga: Neelambari  
38. Jaldi khabar lenaa mehram meri 95
  Raga: Yamuna Kalyani  
39. Do din ka mijmaan 97
  Raga: Patmanjari  
40. Dhik hai jag mem jeevan 99
  Raga: Ragasree  
41. Hari mane paar utaar 101
  Raga: Durbari  
42. Karnaa fakiree tab kyaa 103
  Raga: Devagiri  
43. Mero man raam hi raam ratai 105
  Raga: Saranga  
44. Mere man raam naam basee 107
  Raga: Peelu  
45. Piya tere naam lubhaanee ho 109
  Raga: Darbari Kanada  
46. Jo tum todo piyaa 111
  Raga: Paras  
47. Govind gaav man govind gaav 113
  Raga: Agana  
48. Hari jan dhobia ve mail manaa 115
  Raga: Prabhati  
49. Galee to chaaron bandh hui 117
  Raga: Jayjaywanti  
50. He ree maim to prem diwaanee 119
  Raga: Malkauns  
51. Cchod mat jaajyo jee maharaj 121
  Raga: Tilak Kamod  
52. Aao manmohanaa jee jovoon thaaree baat 123
  Raga: Todi  
53. Aalee manmohanaa jee jovoon thaaree baat 125
  Raga: Kamod  
54. Syaam sundar par vaar 127
  Raga: Peelu  
55. Baadaldekh daree ho syaam 129
  Raga: Gaund Malhar  
56. Aisee lagan lagaaye kahaan tu jaasee 131
  Raga: Behag  
57. Hari mere jeevan praan aadhaar 133
  Raga: Hamir  
58. Aise prabhu jaan na deejai ho 135
  Raga: Multani  
59. Bade ghar taalee laagee re 137
  Raga: Peelu Barva  
60. Main girdhar ke ghar jaaoon 139
  Raga: Gunkali  
61. Helee mhaasyoon hari binaa 141
  Raga: Pahadi  
62. Meera magan bhaee hari ke gun gaay 143
  Raga: Khamas  
63. Dekhat raam hanse sudaamaa 145
  Raga: Peelu  
64. Param snehee raam kee nit oloom 147
  Raga: Pooriya Dhanasree  
65. Maim girdhar rang raatee 149
  Raga: Dhani  
66. Hari bin kyoom jeevoom 151
  Raga: Saveri  
67. Sakhee mhaaro kaanoodo 153
  Raga: Chaya Todi  
68. Ab so nibhaayaam saregi 155
  Raga: Mand  
69. Aalee mhaane laage brindavan neeko 157
  Raga: Brindavani Sarang  
70. Yaa braj mem kaacchu dekhyo ree tonaa 159
  Raga: Madhumagh Sarang  
71. Re samvaliyaam mhaare 161
  Raga: Nat Bilawal  
72. Raam naam ras peeje manua 163
  Raga: Pooriya Kalyan  
73. Sisodyo roothyo to mhaare koi 165
  Raga: Pahadi  
74. Mhaare ghar aao preetam pyaaraa 167
  Raga: Cchaya Todi  
75. Aao saheliyam ralee karaam 171
  Raga: Hamir  
76. Girdhar roosanoon jee kyo gunhaa 173
  Raga: Bagesri  
77. Mhaaraa olagiya ghar aayaa jee 175
  Raga: Kajari  
78. Ree mere paar nikas gayaa 177
  Raga: Sahana  
79. Piyaaa mohi darsan deejo ho 179
  Raga: Des  
80. Prabhujee the kahaan gayaa 181
  Raga: Darbari  
81. Maai mhaare hari jee na boojhee baat 183
  Raga: Behag  
82. He mero man mohana aayo nahim 185
  Raga: Sarang  
83. Mhaare ghar hotaa jaajyo raj 187
  Raga: Simh Bhairavi  
84. Mharee sudh jyoom jaano 189
  Raga: Hunseni  
85. Aalii saamvare kee drishti 191
  Raga: Hams Narayan  
86. Ho gaye syaam dooj ke chanda 193
  Raga: Durga  
87. Bhaj man charan kamval 195
  Raga: Chaayaa Nat  
88. Ho jee hari kit gaye neh lagaay 197
  Raga: Saurashtra  
89. Papiya re piv kee vaani na bol 199
  Raga: Savani Kalyan  
90. Daaree gayo manmohan paasee 201
  Raga: Ramdasee Malhar  
91. Hamaro pranaam baanke bihaaree ko 203
  Raga: Lalit  
92. Chalo man ganga yamuna teer 205
  Raga: Sooha  
93. Tanak hari chitavojee mori 207
  Raga: Jonpuri  
94. Koi kahiyo re prabhu aavan kee 209
  Raga: Kosdi Kanada  
95. Jogiya som preet kiyaam dukh hoi 211
  Raga: Jogiya  
96. Koi kachu kahe man laagaa re 213
  Raga: Bihag  
97. Maim to teree saran pari re 215
  Raga: Peelu  
98. Nainam banaj basaavoon 217
  Raga: Rajasree  
99. Nand nandana bilmaaee 219
  Raga: Madhumagh Sarang  
100. Meha barasavo kare re 221
  Raga: Des  
101. Tum bina meri kaun khabaraa le 223
  Raga: Sree  
Sample Pages

















Mystic Songs of Meera (With English Transliteration and Translation)

Item Code:
IDF197
Cover:
Hardcover
Edition:
2005
Publisher:
Abhinav Publications
ISBN:
8170174589
Language:
With English Transliteration and Translation
Size:
8.6" X 5.6"
Pages:
223
Other Details:
Weight of the Book: 468 gms
Price:
$22.50   Shipping Free
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From the Jacket:

Mystic Songs of Meera presents (probably for the first time) the original text in Devanagari, side by side with English transliteration and English translation of 101 songs of Meera, the mystic saint of Rajasthan who lived in the 15th-16th century A.D.

Bridal mysticism marked Meera's spritual approach to God. Krishna, whom she endearingly called Giridhar, the Lord who upheld the mountain, was her Beloved, and she expressed the imagery of human love to delineate the agony of separation from Him and the intense desire to be united with Him.

Childlike simplicity, deep devotion, intense spiritual yearning and soulful poetry make the God-oriented songs of Meera a national heritage of India, transcending regional, lingual and time barriers.

This volume should prove useful to all those interested in the spiritual heritage of India, especially the life and work of mystics of India, whose devotional lyrics can be savoured as spiritual nectar, by all.

The Raga (melody) in which each song is to be sung has been given for the benefit of musicians, choreographers etc.

About the Author:

Vadakaymadom Krishna Iyer Subramanian (b. 1930, Kerala, India) is an eminent scholar, whose life mission is to present to the world the treasures of ancient India, in the fields of art, literature, philosophy and religion.

He has already translated several ancient texts into English.

These include: Saundaryalahari, Sivanandalahari, Sacred Songs of India, Wondrous Whispers of Wisdom from Ancient India, Maxims of Chanakya and Sri Rudraprasna.

As a consultant for holistic health and spiritual development, he has spelt out the regimens in this regard in his popular book: The Holistic Way to Health, Happiness and Harmony.

Subramanian's prolific literary output covers a variety of subjects ranging from Astrology to Art. He has been an astropalmic counselor for over 35 years.

A retired officer of the Indian Audit and Accounts Service (which he joined in 1953), Subramanian is also a reputed painter, who has held 22 one-man shows and whose paintings (some of them in the Chandigarh Museum) have won wide acclaim from leading art crisis of India.

All the illustrations in Subramanian's books are done by himself.

Subramanian who has traveled extensively in India, now lives in United States of America.

Introduction

Among the mystic saints of India, Meera, the royal princess of Rajasthan, occupies a pride of place.

Women mystics are only a few among the many mystics who lived in various regions of India, in different periods of time and poured out their God-oriented devotional lyrics.

They are:
Karaikkal Ammaiyar, the Tamil saint who lived in the 5th century A.D.

Andal, the Tamil saint, who lived in the 7th century A.D.

Mahadevi Akka, the Karnataka saint who lived in the 12th century A.D.

Lal Ded (Lalla Yogeswari) of Kashmir who lived in the 14th century A.D.

Meera, the Rajasthani saint who lived in the 15th 16th century A.D.

Bridal mysticism marked the approach to God of this quintet of women mystics, of which Meera is the most recent and most well-known.

Loving God intensely through the spiritual path of devotion or Bhakti necessitates two things:

One: an image or a manifestation of Divinity (since God is spirit and loving requires a concretized object of love).

Two: loving requires the adoption of an attitude. There can be five different types of attitude available in loving God:

1. Bridal mysticism or treating God as the Lover or Beloved
2. Loving God as a parent
3. Loving God as a child
4. Loving God as a friend
5. Loving God as a servant would a Master.

Different mystics have adopted different attitudes.
As earlier stated, the women-mystics have all adopted bridal mysticism. Many male mystics like some Alwars and Nayanmars and even mystics like Raskhan and Rahim have also treated God as the Beloved.

Mystics like Vidyapati, Jayadeva, Chandidas, Chaitanya and others have invoked the person of Radha as a symbol of bridal mysticism to delineate the yearning of the individual soul for union with the Supreme.

In the beautiful words of Swami Vivekanada: "We are all women, there are no men in the world; there is but One Man and this is He, our Beloved."

All the mystics who have adopted bridal mysticism have used the imagery of human love between man and woman to express their love for God and the restless yearning for union.

Meera is no exception. Hence, in all her songs, we find the pain of the separated lover seeking to unite with the Beloved and the description of joy in union.

The manifestation of God, which Meera chose to adore, is Krishna, the cowherd lover, whom she endearingly calls Giridhar, the Lord who upheld the mountain.

The mythical legend is that Indra, the chief of celestials, was angery that the cowherds of Brindavan began to worship Krishna (and not him!) and threatened to drown them with torrential rain. When the threat materialized, Krishna held up the Govardhana mountain as an umbrella on his little finger and saved his cowherd friends.

Though Giridhar is the most frequently used term to refer to Krisha, her Beloved, she also calls Him occasionally as Ram or Ramaiyya, seeing the identity of the two incarnations.

But the exploits of her Beloved she mentions are all those of the Krishna incarnation.

Biographical details about Meera are scanty and often mixed up with traditional myths and legends. But certain facts are widely accepted by scholars.

These are:
She was born in 1498 A.D. in a royal family of Mewar, Rajasthan. From childhood she became a devotee of Krishna.

She was married at the age of 8 to Bhojaraja, a son of Rama Sanga, who died while quite young.

Early widowhood helped Meera in her God-oriented ascetic life of prayer and devotion.

She was persecuted a lot by her husband's brother while in Chittor.

She was a contemporary of Saint Raidas (1500 A.D.- 1576 A.D.) as also of Surdas and Kabir.

Meera became a disciple of Saint Raidas and invited him to Chittor.

Unable to bear the persecution of her brother-in-law, Meera ultimately left Chittor and went to Brindavan.

Her last years were spent in Dwarka, Gujarat. Meera died in 1547 A.D.

Her childlike simplicity, deep devotion to God, intense spiritual yearning and soulful poetry make the God-intoxicated songs of Meera a national heritage of India, which have transcended regional, lingual and time barriers and are sung all over India.

 

CONTENTS
  Acknowledgements 13
  Introduction 15
1. Tumre kaaran sab sukh cchoda 21
  Raga: Bhoopali  
2. Mai maine govind leeno mol 23
  Raga: Mand  
3. Harigum gaavat naachoongee 25
  Raga: Jayjaywanti  
4. Jaggo bansiwaare 27
  Raga: Lalat  
5. Maine chaakar raakho jee 29
  Raga: Misra Kapi  
6. Hari tum harau 31
  Raga: Durbari Kanada  
7. Pag ghunghroo baandh 33
  Raga: Malkauns  
8. Mere to girdhar gopal 35
  Raga: Jinjoti  
9. Baso mere nainam mem nandlal 37
  Raga: Peelu  
10. Paayojee maine ram ratan 39
  Raga: Pahadi  
11. Man re parasi hari ke charan 41
  Raga: Tilang  
12. Aaj main dekhyo girdhari 43
  Raga: Bhimpalas  
13. Jab te mohi nand nandan 45
  Raga: Bhairavi  
14. Naina lobhee re bahuri 47
  Raga: Pahadi  
15. Dars bin dukhan laage nain 49
  Raga: Des Bilampat  
16. Main birahin baithee 51
  Raga: Bihag  
17. Neendladee naheem aaven saree raat 53
  Raga: Mand  
18. Birahinee baavaree ree bhai 55
  Raga: Jogiya  
19. Bhuvan pati tum ghar aajyo ho 57
  Raga: Bagesri  
20. Nainaam more baan padee 59
  Raga: Anand Bhairavi  
21. Sakhi! meree neend nasaanee ho 61
  Raga: Pooriya Kalyan  
22. De maa girdhari, mohi de maa girdhari 63
  Raga: Prabhati  
23. Mhaare janan maran raa saathee 65
  Raga: Kosi  
24. Pyaare darsan deejo aay 67
  Raga: Asaveri  
25. Karunaa suno syaam meree 69
  Raga: Peelu  
26. Mat jaa mat jaa jogee 71
  Raga: Malkauns  
27. Tum suno dayaal mhaaree arjee 73
  Raga: Khamas  
28. Ab to nibhaayaam saregee 75
  Raga: Dhana  
29. The to palak ughaado deenaanaath 77
  Raga: Sooha  
30. Mero man hari soon joryom 79
  Raga: Jhanjhoti  
31. Mero man laago hari jee soom 81
  Raga: Bilawal  
32. Tu mat barjai maidee 83
  Raga: Brindavani Sarang  
33. Ghar aangan na suhaave 85
  Raga: Kafi  
34. Maim roee akhiyaan raatee karoon 87
  Raga: Sahana  
35. Raanaa jee mohe yah badnaamee 89
  Raga: Jonpuri  
36. Chaalaam vaahi des preetam paavaam 91
  Raga: Des  
37. Barjee maim kaahoo kee naahi rahoom 93
  Raga: Neelambari  
38. Jaldi khabar lenaa mehram meri 95
  Raga: Yamuna Kalyani  
39. Do din ka mijmaan 97
  Raga: Patmanjari  
40. Dhik hai jag mem jeevan 99
  Raga: Ragasree  
41. Hari mane paar utaar 101
  Raga: Durbari  
42. Karnaa fakiree tab kyaa 103
  Raga: Devagiri  
43. Mero man raam hi raam ratai 105
  Raga: Saranga  
44. Mere man raam naam basee 107
  Raga: Peelu  
45. Piya tere naam lubhaanee ho 109
  Raga: Darbari Kanada  
46. Jo tum todo piyaa 111
  Raga: Paras  
47. Govind gaav man govind gaav 113
  Raga: Agana  
48. Hari jan dhobia ve mail manaa 115
  Raga: Prabhati  
49. Galee to chaaron bandh hui 117
  Raga: Jayjaywanti  
50. He ree maim to prem diwaanee 119
  Raga: Malkauns  
51. Cchod mat jaajyo jee maharaj 121
  Raga: Tilak Kamod  
52. Aao manmohanaa jee jovoon thaaree baat 123
  Raga: Todi  
53. Aalee manmohanaa jee jovoon thaaree baat 125
  Raga: Kamod  
54. Syaam sundar par vaar 127
  Raga: Peelu  
55. Baadaldekh daree ho syaam 129
  Raga: Gaund Malhar  
56. Aisee lagan lagaaye kahaan tu jaasee 131
  Raga: Behag  
57. Hari mere jeevan praan aadhaar 133
  Raga: Hamir  
58. Aise prabhu jaan na deejai ho 135
  Raga: Multani  
59. Bade ghar taalee laagee re 137
  Raga: Peelu Barva  
60. Main girdhar ke ghar jaaoon 139
  Raga: Gunkali  
61. Helee mhaasyoon hari binaa 141
  Raga: Pahadi  
62. Meera magan bhaee hari ke gun gaay 143
  Raga: Khamas  
63. Dekhat raam hanse sudaamaa 145
  Raga: Peelu  
64. Param snehee raam kee nit oloom 147
  Raga: Pooriya Dhanasree  
65. Maim girdhar rang raatee 149
  Raga: Dhani  
66. Hari bin kyoom jeevoom 151
  Raga: Saveri  
67. Sakhee mhaaro kaanoodo 153
  Raga: Chaya Todi  
68. Ab so nibhaayaam saregi 155
  Raga: Mand  
69. Aalee mhaane laage brindavan neeko 157
  Raga: Brindavani Sarang  
70. Yaa braj mem kaacchu dekhyo ree tonaa 159
  Raga: Madhumagh Sarang  
71. Re samvaliyaam mhaare 161
  Raga: Nat Bilawal  
72. Raam naam ras peeje manua 163
  Raga: Pooriya Kalyan  
73. Sisodyo roothyo to mhaare koi 165
  Raga: Pahadi  
74. Mhaare ghar aao preetam pyaaraa 167
  Raga: Cchaya Todi  
75. Aao saheliyam ralee karaam 171
  Raga: Hamir  
76. Girdhar roosanoon jee kyo gunhaa 173
  Raga: Bagesri  
77. Mhaaraa olagiya ghar aayaa jee 175
  Raga: Kajari  
78. Ree mere paar nikas gayaa 177
  Raga: Sahana  
79. Piyaaa mohi darsan deejo ho 179
  Raga: Des  
80. Prabhujee the kahaan gayaa 181
  Raga: Darbari  
81. Maai mhaare hari jee na boojhee baat 183
  Raga: Behag  
82. He mero man mohana aayo nahim 185
  Raga: Sarang  
83. Mhaare ghar hotaa jaajyo raj 187
  Raga: Simh Bhairavi  
84. Mharee sudh jyoom jaano 189
  Raga: Hunseni  
85. Aalii saamvare kee drishti 191
  Raga: Hams Narayan  
86. Ho gaye syaam dooj ke chanda 193
  Raga: Durga  
87. Bhaj man charan kamval 195
  Raga: Chaayaa Nat  
88. Ho jee hari kit gaye neh lagaay 197
  Raga: Saurashtra  
89. Papiya re piv kee vaani na bol 199
  Raga: Savani Kalyan  
90. Daaree gayo manmohan paasee 201
  Raga: Ramdasee Malhar  
91. Hamaro pranaam baanke bihaaree ko 203
  Raga: Lalit  
92. Chalo man ganga yamuna teer 205
  Raga: Sooha  
93. Tanak hari chitavojee mori 207
  Raga: Jonpuri  
94. Koi kahiyo re prabhu aavan kee 209
  Raga: Kosdi Kanada  
95. Jogiya som preet kiyaam dukh hoi 211
  Raga: Jogiya  
96. Koi kachu kahe man laagaa re 213
  Raga: Bihag  
97. Maim to teree saran pari re 215
  Raga: Peelu  
98. Nainam banaj basaavoon 217
  Raga: Rajasree  
99. Nand nandana bilmaaee 219
  Raga: Madhumagh Sarang  
100. Meha barasavo kare re 221
  Raga: Des  
101. Tum bina meri kaun khabaraa le 223
  Raga: Sree  
Sample Pages

















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  • Chalo man ganga yamuna teer
    by Surekha on 11th Aug 2008
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