Rām Āyenge

by Vridhi Manchanda

Singer: Swati Mishra

Lyrics: Shyam Sundar Sharma (Palam Wale)

Original Song credit: Shri Prem Bhushanji Maharaj

Music: Mohit Musik

Link with video: https://youtu.be/wncNcu6jEgs?si=NgCo8RAlw3XN9VLr

Introduction

“Rām Āenge” is a devotional bhajan that falls within the Hindu spiritual and folk music traditions. Unlike film songs that are composed for cinematic narratives, this bhajan exists in the milieu of Hindu devotional worship and has become widely popular through contemporary digital platforms. It reflects the bhakti (devotion) tradition, particularly emphasizing Sita-Ram bhakti, where the devotee eagerly prepares for the divine arrival of Lord Ram.

The singer, Swati Mishra, originally from Bihar and now based in Mumbai, is a versatile musician. She began her musical journey at a young age. Her passion for music led her to establish a strong online presence, with her YouTube channel amassing over 1.4 million subscribers as of May 2025. ​Swati Mishra was honored at the Golden Star Icon Awards, recognizing her remarkable contribution to music. Prime Minister Narendra Modi also tweeted about the viral song, describing it as "mesmerizing." This endorsement further amplified its reach and popularity.

The lyricist, Shyam Sundar Sharma “Palam Wale,” is a prominent figure in the devotional music scene. He has been associated with various spiritual compositions and has contributed significantly to the bhajan tradition. His lyrics often reflect deep devotion and resonate with the spiritual sentiments of the devotees.​ The bhajan is originally credited to Shri Prem Bhushanji Maharaj, a revered Ram kathāvācak, or expounder of the Ramayana, whose compositions have inspired many contemporary renditions.​ The musical arrangement is by Mohit Musik, an emerging music composer, who has been gaining recognition for his contributions to devotional music.​

The music video, available on YouTube, presents a devotional setting reinforcing the intimate relationship between the devotee and the divine. The use of folk elements in melody and instrumentation, such as harmonium and table, connects this composition to the North Indian bhajan tradition, where simplicity in music enhances the lyrical depth.

Lyrics, Transliteration, and Translation

Gratefully acknowledging  https://www.hinditracks.in/ram-aayenge-to-angana-sajaungi-lyrics

Wordlist

झोंपड़ी jhoṁpṛī [cf. *jhompa-], f. = झोंपड़ा. hut

भाग bhāg [S.], m. 1. part; share; division; section. 2. math. fraction. दो बटे पाँचवाँ, m. two-fifths. 3. degree (of angle). 4. math. division. 5. fate, lot (= भाग्य). 6. ? distribution, apportionment.

अंगना aṅgănā [S.], f. a woman. (in this song अंगना  is used to refer to आँगन rather than अंगना)

आँगन āṁgan [aṅgana-], m. 1. courtyard (of a house). 2. court, area, quadrangle.

दीप dīp, m. = दीया.-- दीपावली [˚pa + ā˚], f. = दिवाली.

जन्म janm [S.], m. 1. birth. 2. origin; emergence. 3. existence: lifetime; incarnation.

पाप pāp [S.], m. 1. sin; evil; wickedness, wrong; moral guilt. 2. transf. difficulty, suffering (seen as arising from sin).

मिटना miṭnā [conn. cf. mr̥ṣṭa-1], v.i. 1. to be erased, or obliterated; to be cancelled, abolished. 2. to be destroyed, or ruined. 3. to be reduced or eliminated (as an abuse). 4. to be allayed (as pangs of hunger, or of distress). 5. fig. to be infatuated (with, पर). 5. to expire; to be reduced to extinction (a species).

झूलना jhūlnā [*jhulyati: Pk. jhullaï], v.i. & m. 1. v.i. to swing, to sway; to dangle. 2. to swing (for amusement or exercise). 3. fig. to be in suspense. 4. m. a hanging bridge (= झूला, 5.). 5. pros. name of a metre.

पालना pālnā [pālana-], m. a cradle.

झुलाना jhulānā [cf. H. jhūlnā], v.t. 1. to cause to swing or to sway (an object). 2. to swing, to rock (a person). 3. to dangle, to hang. 4. to keep (one) running to and fro, or active (at, में). 5. to keep one waiting anxiously.

मीठा mīṭhā [mr̥ṣṭa-1], adj. & m. 1. adj. sweet. 2. agreeable (to the taste); mild (as tobacco); good, fresh, sweet (as water); soft (water). 3. pleasant, agreeable (as speech, thoughts, manner); mild. 4. gentle, soft (as breeze, rain). 5. low, slight, slow (as pain, a complaint; or as a fire). 6. tender, affectionate; not intended to wound (as a rebuke). 7. iron. outwardly agreeable, but in fact hostile or harmful. 8. m. sweet things generally (as sugar, molasses). 9. the sweet lime (santarā nībū).

ज़िन्दगी P زندگي zindagī [zindak = zinda, q.v.+Zend aff. i = S. इ], s.f. Life, living, existence

रुचि ruci [S.], f. light, beauty: 1. liking (for, से or में); interest (in); inclination (towards, की ओर). 2. taste, relish; appetite. 3. desire. 4. light; beauty. — करना, to have a taste or fancy (for, की). रख़ना, to have an interest or liking (in or for, में). – रुचिकर, adj. interesting; appetising; stimulating appetite.

भोग bhog [S.], m. 1. enjoyment; pleasure in food; eating. 2. use; benefit (of funds, property). 3. experiencing (an emotion); pleasure, gratification; suffering. 4. sexual enjoyment, sexual intercourse. 5. any object of enjoyment: food; food offered to an idol. 6. astron. presence (of a planet in a partic. constellation).

माखन mākhan , m. butter (= मक्खन)

राधा rādhā [S.], f. name (in popular and in later tradition generally) of the chief herdgirl or gopī of Braj, the favourite mistress (or the wife) of Kr̥ṣṇa.

श्याम śyām [S.], adj. & m. 1. adj. dark, black; dark blue; dark brown; dark green. 2. m. a name or title of Kr̥ṣṇa

Song Analysis

The bhajan “Rām Āenge” is a heartfelt devotional song that expresses a devotee’s excitement and longing for Lord Ram’s arrival. The lyrics use simple, everyday language (mostly tadbhava and deshi words), making the song feel personal and easys to relate to for a wide audience. The tone is warm, hopeful, and full of love.

The line “merī jhoṁpṛī ke bhāg āj khul jāenge” uses rūpaka alankāra (metaphor), where the “hut” stands for the devotee’s heart. The idea is that with Ram’s arrival, the devotee’s life will be blessed. The refrain “Rām Āenge” builds excitement and creates utsāha bhava—a feeling of enthusiasm and energy. It also gives the song a rhythmic, chant-like quality.

When the singer says “dīp jalāke, diwālī main manāūngi,” it creates beautiful imagery (citra) of lighting lamps and decorating the home. This brings out śṛṅgāra rasa, not in a romantic way but in a devotional, loving way—celebrating Ram as a beloved family member. The reference to Diwali directly connects to the moment in the Ramayan when Ram returns to Ayodhya and the people celebrate his homecoming by lighting lamps. This moment from the Uttara Kanda gives the song a mythological grounding.

Lines like “mere janmon ke sāre pāp miț jaenge” and “merī zindagī ke sāre dukh miț jāenge,” show the belief that Ram’s presence will remove all suffering and sins, tying into the theme of spiritual transformation. The repetition of ruci ruci (with delight) emphasizes the joy of serving Ram selflessly. Offering butter and sugar symbolizes sweetness and devotion. This line recalls the story of Shabari, a tribal ascentic who lovingly fed Ram berries after tasting them to make sure they were sweet. This act of humble, pure devotion is reflected in the lyrics where the devotee prepares the home and offers food with love, expecting nothing in return.

The foods mentioned in this line about Ram, especially the butter, are usually linked with Krishna, blending traditions and showing love beyond form. It is not incongruent then that the last line mentions Radha and Krishna, adding a Mādhurya Bhakti element. This shows that the singer sees all forms of the divine—Ram or Krishna—as one. This reflects Vaishnavite belief in the unity of Vishnu’s avatars and connects different devotional traditions.

If picturized, this song would likely show a simple home being decorated with flowers and lamps, a woman joyfully preparing offerings, and perhaps a soft breeze suggesting Ram’s presence. The lighting would be warm and festive, matching the feeling of celebration and grace. The setting and mood would match the Ramayana’s theme of joyful homecoming.

In short, this bhajan blends emotion, ritual, and devotion. It uses repetition, metaphors, and sensory details to evoke both śṛṅgāra and utsāha rasas. By bringing together the stories of Ram, Shabari, and even Radha-Krishna, it connects different strands of bhakti into one beautiful celebration of love, faith, and the divine.

Discussion Question: This bhajan describes preparations to welcome Lord Ram. Does it remind you of any particular Indian festival or tradition? Why?

Sources/ Further Reading

Lutgendorf, Philip. “Dining Out at Lake Pampa: The Shabari Episode in Multiple Ramayanas.” In: Questioning Ramayanas: A South Asian tradition, ed. Paula Richman. Berkeley: University of California Press.

Praveen, Pramod. 2024. “Kisne likhā thā vāyral bhajan ‘Rām āenge’?” Hindustan 01/19/2024.

(https://www.livehindustan.com/national/story-who-wrote-viral-bhajan-ram-aayenge-sung-by-swati-mishra-what-is-original-lyrics-connection-with-shyam-sundar-sharma-9221221.html)

Swati Mishra’s Website: https://singerswatimishra.com/ (last accessed May 10, 2025)