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
True are the eyes that gaze upon Lord Shyam, and true is the head that bows at the feet of the Lord. Useless is the mouth engaged in idle chatter; blessed is the mouth that chants the name of Hari.
Verse 1
The beauty of the hands does not come from diamonds and pearls; true are the hands that worship the Lord. Immortal in this world even after death is the soul that sacrifices its life in divine love.
Verse 2
So deeply was she smitten with divine love that Mira became intoxicated with joy, wandering from street to street singing the glories of Hari. Reared in palaces, she walked forth as a renunciate ascetic, and Queen Mira came to be called mad with love.
Verse 3
With no one to stop her and no one to hinder her, Mira joyfully began singing the names of Govind and Gopal.
Verse 4
Sitting in the company of saints and colored in the hues of Mohan (Krishna), Mira set out to please her beloved Lord, wandering from street to street singing His glories.
Verse 5
So deeply was she smitten with divine love that Mira became intoxicated with joy, wandering from street to street singing the glories of Hari. Reared in palaces, she walked forth as a renunciate ascetic, and Queen Mira came to be called mad with love.
Verse 6
When Rana gave her poison, she accepted it as if drinking nectar, and Mira began to merge like a river into the ocean.
Verse 7
Enduring millions of sorrows, she uttered 'Govind' from her lips, continuously chanting Govind and Gopal as she walked from street to street singing the glories of Hari.
Verse 8
So deeply was she smitten with divine love that Mira became intoxicated with joy, wandering from street to street singing the glories of Hari. Reared in palaces, she walked forth as a renunciate ascetic, and Queen Mira came to be called mad with love.
Verse 9
So deeply was she smitten with divine love that Mira became intoxicated with joy; so deeply was she smitten with divine love that Mira became intoxicated with joy.
Verse 10
Worship Guidelines & Chanting Benefits (Phalashruti)
Wednesday (Budhwar), Thursday (Guruwar) & Ekadashi
Early Morning (Brahma Muhurta) or Sandhya (Twilight)
Tulsi leaves, Butter (Makhan), Mishri, Yellow flowers & Chandan
- 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.
Krishna
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