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The present research article critically examines selected spiritually, ethically and philosophically oriented Haryanvi Ragnis composed by Anand Kumar Ashodhiya, with special reference to Ragnis ???? ??????? ????? ???????????, ???????, ??? ???, ?????? ???? ????? ??, ???? ???? ????? ?? ???, ????? ???? ?? ??? ?????? ???, ???? ???????? ????? and ?? ??? ??? ?????? from the thematic corpus identified as "Pedagogical Memorials and Vedantic Metaphysics." The study investigates how these compositions collectively construct a vernacular philosophical discourse centred upon guru-veneration, collective memory, Bhakti consciousness, ethical anxiety, social fragmentation, Vedantic ontology and moral selfhood within the oral-performative framework of Haryanvi Saang-Shaili traditions. Employing an interdisciplinary methodology grounded in oral tradition studies, Pingal prosody, folk-performance theory, cultural semiotics, psychological literary criticism and vernacular philosophical hermeneutics, the article argues that these Ragnis function not merely as devotional or commemorative lyrics but as sophisticated oral-literary systems preserving regional epistemology, ethical pedagogy and performative spirituality. The selected corpus demonstrates how contemporary Haryanvi folk literature transforms abstract metaphysical concerns into emotionally accessible vernacular expression through disciplined m?tr? architecture, refrain systems, dialogic cadence, tonal gravity, symbolic metaphors and orally adaptive rhythmic structures. The article further analyses how Pingal Shastra continues to operate as an active structural force shaping emotional intensity, mnemonic continuity and collective participation within oral recitation traditions. Particular attention has been devoted to the integration of Bhakti aesthetics, Karuna, Shanta and socio-ethical discourse through Lavani-Mishrit Samamatrik Chhand structures, Guru-Laghu sequencing, Yati placement and refrain-oriented performative rhythm. The study identifies a significant scholarly gap in contemporary Haryanvi literary criticism where integrated analyses combining Pingal studies, oral-performance theory, vernacular Vedantic discourse, feminist interpretation and psychological folk aesthetics remain substantially underdeveloped. By situating these compositions within wider frameworks of Indian folk dramaturgy, oral epistemology and regional literary modernities, the article establishes Ashodhiya's Avikavani corpus as a major contemporary contribution to North Indian folk poetics, ethical folk consciousness and performative philosophical literature.