Bharat Devotion
Embroidered artwork for Aisi Lagi Lagan: Embroidered Om symbol above a brass diya, marigolds and a temple spire at sunrise

Aisi Lagi Lagan

Aisi Lagi Lagan

A bhajan celebrating the saint Meerabai's ecstatic love for Krishna — leaving royal life to sing his praises in the streets, facing persecution with acceptance.

Verses

Hai aankh vo jo Shyam ka darshan kiya kare Hai sheesh, jo Prabhu charan mein vandan kiya kare Bekaar vo mukh hai jo rahe vyarth baaton mein Mukh vo hai jo Hari naam ka sumiran kiya kare

Verse 1

Heere-moti se nahin shobha hai haath ki Hai hāth, jo Bhagwan ka poojan kiya kare Mar kar bhi amar naam hai us jeev ka jag mein Prabhu prem mein balidan jo jeevan kiya kare

Verse 2

Aisi lagi lagan Meera ho gayi magan Vo to gali-gali Hari gun gaane lagi Aisi lagi lagan Meera ho gayi magan Vo to gali-gali Hari gun gaane lagi Mehalon mein pali, ban ke jogan chali Meera rani deewani kahaane lagi Aisi lagi lagan Meera ho gayi magan

Verse 3

Koi roke nahin, koi toke nahin Meera Govind-Gopal gaane lagi Koi roke nahin, koi toke nahin Meera Govind-Gopal gaane lagi

Verse 4

Baithi santon ke sang, rangi Mohan ke rang Meera premi-preetam ko manane lagi Vo to gali-gali Hari gun lagi

Verse 5

Aisi lagi lagan Meera ho gayi magan Vo to gali-gali Hari gun gaane lagi Mehalon mein pali, ban ke jogan chali Meera rani deewani kahaane lagi Aisi lagi lagan Meera ho gayi magan

Verse 6

Rana ne vish diya, mano amrit piya Meera sagar mein sarita samane lagi Rana ne vish diya, mano amrit piya Meera sagar mein sarita samane lagi

Verse 7

Dukh lakhon sahe, mukh se "Govind" kahe Meera Govind-Gopal gaane lagi Vo to gali-gali Hari gun gaane lagi

Verse 8

Aisi lagi lagan Meera ho gayi magan Vo to gali-gali Hari gun gaane lagi Mehalon mein pali, ban ke jogan chali Meera rani deewani kahaane lagi Aisi lagi lagan Meera ho gayi magan

Verse 9

Aisi lagi lagan Meera ho gayi magan Aisi lagi lagan Meera ho gayi magan

Verse 10

Worship Guidelines & Chanting Benefits (Phalashruti)

Auspicious Day

Wednesday (Budhwar), Thursday (Guruwar) & Ekadashi

Best Time (Muhurta)

Early Morning (Brahma Muhurta) or Sandhya (Twilight)

Sacred Offerings

Tulsi leaves, Butter (Makhan), Mishri, Yellow flowers & Chandan

Spiritual Benefits (Phalashruti)
  • Awakening of pure divine love (Prema Bhakti), mental joy, and freedom from anxiety

Background

This devotional piece belongs to the Hindu bhakti (intense personal devotion) tradition, specifically associated with the 16th-century saint-poetess Meerabai. Meera was a Rajput princess who became a wandering devotee of Lord Krishna (also called Shyam, Hari, Govind, Gopal, or Mohan in these verses). These lines are traditionally sung as a bhajan (a devotional song) in temples, homes, and community gatherings, especially in regions like Rajasthan, Gujarat, and North India. They celebrate Meera's complete surrender and love for Krishna, and her rejection of worldly status and comfort in favor of divine devotion.

Did You Know?

Author & Era

These verses celebrate the 16th-century Rajput princess and poet-saint Mīrābāī (c. 1498–1546), a central figure in the North Indian Bhakti movement. She rejected royal life to become a wandering devotee of Krishna, composing ecstatic songs in Braj Bhasha that remain popular today.

The Poison Legend

Verse 6 alludes to the well-known episode in which Mīrā is said to have been given a cup of poison. Tradition holds that she drank it as an offering from Krishna and that it became nectar for her, a sign of her complete trust in him.

From Palace to Street

Verses 2–5 contrast her upbringing “in palaces” (mahalon mein pali) with her later life as a “yogin” (jogan) singing Krishna’s praises in every lane. This dramatic renunciation underscores the Bhakti ideal of abandoning social status for divine love.

Poetic Structure

The song uses a repetitive refrain (“aisi lagi lagan Meera ho gayi magan”) typical of North Indian bhajans, creating a hypnotic, trance-like effect that mirrors Mīrā’s state of blissful absorption (magan) in devotion.

Universal Devotional Frame

The opening verses (0–1) are not about Mīrā herself but set the theme: the eyes, head, mouth, and hands are only valuable when used for seeing, bowing to, chanting, and serving God. Mīrā’s story then becomes the living example of that teaching.

Connected Teachings

The same teaching, echoed across traditions