संस्कृते लिखामः: December 2009

श्लोकोऽयं मह्यं रोचते – 40

गे
गेयं गीता नामसहस्रं
ध्येयं श्रीपतिरूपमजस्रम् ।
नेयं सज्जनसङ्गे चित्तम्
देयं दीनजनाय च वित्तम् ॥

geyam gétä nämasahasram dhyeyam çrépati rüpamajasram

neyam sajjjanasange cittam deyam dénajanäya ca vittam

The above verse is from Adi sankara’s Bhaja govindam.

The Bhagavad Gita and Sahasranama are to be chanted;
always the form of the Lord of Lakshmi is to be meditated upon;
the mind is to be led towards the company of the good;
wealth is to be shared with the needy.

गीता नामसहस्रम् – Bhagavat gita and sahsranama of the lord, गेयम् – should be chanted . श्रीपतिरूपम् – the form of the lord of lakshmi , अजस्रम् – constantly, ध्येयम्- should be meditated. चित्तम्- mind, सज्जनसङ्गे – towards the company of good people, नेयम्- should lead . च- and,
वित्तम् - wealth, दीनजनाय- to the needy, देयम् – given or shared.

poet- 6

कविः - 6
कालिदासः
पञ्चमहाकाव्येषु द्वयोः महाकाव्ययोः रचयिता कालिदासः। क्व कालिदासस्य महिमा क्व च मे अल्पामतिः एतदपि तस्य उपमया एव वर्णयितुम् इच्छामि, ‘प्रांशुलभ्ये फले उद्बाहुः वामनः इव’ इति । तथापि श्रीवेदान्तदेशीकाचार्येण उक्तप्रकारं ‘अमृतं यदि लभ्यते किं न गृह्येत मानवैः’ इति कालिदासस्य कीर्तिं कि़ञ्चित् इव लिखितुम् इच्छामि।
यद्यपि कालिदासस्य जन्मादि विषये सप्रमाणयु्क्तयः न लब्धाः तथापि संस्कृतसाहित्ये सर्वाधिकप्रसिद्धिप्राप्तः महाकविः स एव। तस्य महाकवेः रचनासु रघुवंशः, कुमारसंभवश्च इति द्वे महाकाव्ये अपि च अभिज्ञानशाकुन्तलम्, विक्रमोर्वश्यम्, मालविकाग्निमित्रमिति त्रीणि नाटकानि तथा मेघदूतः ऋतुसंहारः च इति द्वे खण्डकाव्ये। तस्य अतिसरलशैलीयुक्तचनाः अस्मान् मोहयन्ति।
‘उपमा कालिदासस्य’ इति प्रसिद्धा सूक्तिः तस्य उपमा प्राशस्त्यं प्रकटयति। रघुवंशमहाकाव्ये ‘संचारिणी दीपशिखेव रात्रौ’ इति पद्ये तस्य उत्कृष्टोपमाकौशलेन विस्मितवन्तः पण्डिताः दीपशिखा कालिदासः इति विरुदेन तं सम्मानितवन्तः।
तस्य रघुवंशमहाकाव्यस्य मङ्गलश्लोके कविः पार्वतीपरमेश्वरौ स्तौति। श्लोकश्च यथा –
‘वागर्थाविव संपृक्तौ वागर्थप्रतिपत्तये। जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ’॥ देवी सरस्वती ज्ञानस्वरूपिणी, तां विहाय कालिदासः किमर्थं पार्वतीपरमेश्वरौ शब्दस्वरूपम् अर्थस्वरूपमिति वर्णयति?
उक्तञ्च वायवीयसंहितायाम् – ‘शब्दजातमशेषं तु दत्ते शर्वस्य वल्लभा । अर्थजातमशेषं तु दत्ते मुग्धेन्दुशेखरः’ ॥
तस्मात् शब्दाधिदेवता पार्वती तथा अर्थाधिपतिः परमेश्वरः इति कारणात् कविः कालिदासः वागर्थप्रतिपत्तये पार्वतीपरमेश्वरौ नमति। अनिर्वर्णनीयो हि तस्य वाक्विशेषः।

कालिदासस्य कीर्तयः श्रोतृणां कर्णेषु मधुनः धारां प्रवाहयति। तस्य वाग्विशेषेण तत्काव्यस्य नायकः नायिका च सजीवौ साकारौ एव अस्माकं पुरतः उपस्थितौ इव भवतः ।
अधरः किसलयरागः कोमलविटपानुकारिणौ बाहु।
कुसुममिव लोभनीयं यौवनमङ्गेषु सन्नद्धम् ॥
इयमधिक मनोज्ञा वल्कलेनापि तन्वी ।
किमिव हि मधुराणां मण्डनं नाकृतीनाम्॥

इति दुष्यन्तमुखात् आगतं शकुन्तलायाः वर्णनं न केवलं तस्याः सौन्दर्यं द्योतयति किन्तु कविकालिदासस्य अनुपमवर्णनसामर्थ्यं तस्य सरला शैलीं वाङ्माधुर्यं च प्रकाशयति।

कालिदासस्य कवित्वगुणाः अवर्णनीयाः। तस्य स्वाभाविकी प्रतिभा अऩुपमा। प्रसादगुणगुम्फिता तस्य शैली अतिमधुरा उत्कृष्टा च। स एव भारतीयसंस्कृतेः प्रतिनिधिः। सः अप्रतिमः कविः अस्माकं भारतदेशम् अलङ्कृतवान् इति विषये न कोऽपि सन्देहः।

Poet - 6
kAlidAsa

Please see the link below to know about the poet kAlidAsa.

http://en.wikipedia.org/wiki/K%C4%81lid%C4%81sa

श्लोकोऽयं मह्यं रोचते - 39

गृ

गृहिणी भगिनी तस्याः श्वशुरौ श्याल इत्यपि।
प्राणिनां कलिना सृष्टाः पञ्च प्राणा इमेऽपरे॥कलिविडम्बनम् - ४१॥

gṛhiṇī bhaginī tasyāḥ śvaśurau śyāla ityapi|
prāṇināṁ kalinā sṛṣṭāḥ pañca prāṇā ime'pare||41||

This verse was written by Sri Nilakantha Dikshita in Kalividambanam - a satire on social evils.

The wife, her sister, the parents-in-law and the brother-in-law are another set of five prana - vital airs, created by Kaliyuga (the kali era) for a householder other than the existing set of vital airs such as prana, apana etc.

शास्त्रं वदति -20

saastram speaks -20

यथा काष्ठमयो हस्ती यथा चर्ममयो मृगः ।
यः च विप्रो अनधीयानः त्रयः ते नाम बिभ्रति ॥ (2. 157)

yatä käñöa mayo hasté yatä carmamayo mrgaù

yaù ca vipro anadhéyänaù trayaù te näma bibhrati

The above sloka is from manu smrti.

An elephant made of wood, a deer made of leather and a Brahmin who has not learned the scriptures, these three carry the names but not the substance.

यथा-Like a, काष्ठमयो – wooden, हस्ती- elephant, यथा-like a, मृगः- deer, चर्ममयो-made of leather, यः अनधीयानः – an unlearned, विप्रः-brahmin, त्रयः ते- those three, नाम-name, बिभ्रति-carry.

A person cannot proclaim himself as a brahmin just because he is born into it. He should perform the deeds that are prescribed to him.

श्लोकोऽयं मह्यं रोचते – 38

गू
गूढोऽपि वपुषा राजन् धाम्ना लोकाभिभाविना ।
अंशुमानिव तन्वभ्रपटलच्छन्नविग्रहः ॥ (11, 6)

güòopi vapuñä räjan dhämnä lokäbhibhävinä

amçumäniva tanvabhrapatalachannavigrahaù

The above sloka is from BhAravi’s kirAtArjunIyam.

kirAtArjunIyam is one among the pancha mahakAvyams in Sanskrit. The plot of the kAvyam is taken from mahabharatha. The story deals with arjuna doing the penance to acquire the paashupatha astra from lord shiva. And lord shiva comes in the guise of a kiraata or hunter and gives the weapon to arjuna.

The present context is Indra pleased by the penance of arjuna meets him in the guise of a Brahmin. Here, the poet compares the brightness of the sun with the valor of Indra. Just as it is impossible for the clouds to cover the powerful rays of the sun similarly though Indra comes in the guise of a Brahmin his valor is clearly visible.

Indra, वपुषा- by his body, गूढोऽपि- though in a disguised form, तन्वभ्रपटलच्छन्नविग्रहः – covered by the clouds (तनु - thin, अभ्र- cloud, पटलच्छन्न-covered by the mass, विग्रहः-form) अंशुमान् इव – like the sun, धाम्ना – by the powerful rays, लोकाभिभाविना- widely spread all over the world.

श्लोकोऽयं मह्यं रोचते - 37

गु
गुहायां गेहे वा बहिरपि वने वाद्रिशिखरे
जले वा वह्नौ वा वसतु वसतेः किं वद फलम् ।
सदा यस्यैवान्तःकरणमपि शंभो तव पदे
स्थितं चेद्योगोऽसौ स च परमयोगी स च सुखी ॥ 12

guhäyäm gehe vä bahirapi vane vädriçikhare

jale vä vahnou vä vasatu vasateù kim phalam

sadä yasyaivävantaùkaranamapi çambho tava pade

sthitam cet yogosou sa ca paramayogé sa ca sukhé

The above verse is from Adi sankara’s ‘sivAnanda lahari’.

In the above sloka Adi sankara says that any place would be fine if one has bhakti towards Isvara. One need not search for forests or mountains to show his/her devotion towards the lord. Need not perform severe penance by standing in the water during winter and surrounded by scorching fire during summer. Instead one can meditate upon the supreme power in which ever condition (he lives), this is the very essence of penance & yoga.

गुहायाम् – In the cave, गेहे वा – or in the house,बहिरपि- outside, वने वा – in the forest, अद्रिशिखरे – on the top of the mountain, जले वा – inside the water, वह्नौ वा – or near the fire, वसतु – let a person live, वसतेः- of living , किम्- what is the, फलम् - purpose, वद – tell . सदा - always, यस्य – whose, अन्तःकरणम् – inner- self , अपि- also, शंभो - oh lord siva, तव – at your, पदे - feet, स्थितं चेत् –lie or surrender oneself (involved in meditation), असौ – that is, योगः - yoga , स च – he is, परमयोगी – best among the yogis, स च – He is, सुखी – the happiest person.

श्लोकोऽयं मह्यं रोचते - 36

ग्री
ग्रीवाभङ्गाभिरामं मुहुरनुपतति स्यन्दने बद्धदृष्टिः
पश्चार्धेन प्रविष्टः शरपतनभयाद्भूयसा पूर्वकायम्।
दर्भैरर्धावलीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवर्त्मा
पश्योदग्रप्लुतत्वाद्वियति बहुतरं स्तोकमुर्व्यां प्रयाति॥

gréväbhangäbhirämam muhuranupatati syandane badhadrñtiù

paçcärdhena praviñtaù çarapatanabhayät bhüyasä pürvakäyam

darbhairardhävaléòaiù çramavivrtamukhabhramçibhiù kérëavartma

paçyodagraplutatvät bahutaram stokamurvyäm prayäti

The above verse is from kAlidAsa’s drama abhignAna sAkunthalam.
The context here is: King Dushyanta with a bow and arrow in hand follows a deer.
Dushyanta describes the deer that is frightened by seeing him and the deer runs very fast to save his life.--- ‘The deer, while running, beautifully bends back his neck and casting his eyes often at the chariot. He shrinks the back portion of his body to the front half due to the fear of the fall of arrows. His mouth was filled with the dharbha grass. He ate only half of it and the remaining grass slipped from his mouth due to fatigue and the path was scattered with dharbha grass. He runs very fast because of which he jumps high and seems to travel more in the sky and runs very less on the earth.’

ग्रीवाभङ्गाभिरामं- neck is beautiful because of bending, अनुपतति- falls, मुहुः - again, स्यन्दने- in the chariot, बद्धदृष्टिः- casting his eyes, पूर्वकायम्- the front portion of the body , शरपतनभयाद्भूयसा- due to the fear of the fall of arrows (शर- arrow, पतन-fall, भयात्-fear ,भूयसा-again) पश्चार्धेन प्रविष्टः- the deer shrinks the back portion , अर्धावलीढैः – half eaten, दर्भैः –with the dharbha grasses,श्रम – due to fatigue,विवृत - opened, भ्रंशिभिः – falling from the, मुख – mouth, कीर्णवर्त्मा- spreads the path,and पश्य- see the deer, उदग्रप्लुतत्वात्- as he jumps high ,वियति –in the sky ,बहुतरं – travels more ,स्तोकम्- very less, उर्व्याम् – in the earth ,प्रयाति- runs.

The above verse gives a beautiful and true presentation of a deer fleeting in fear of a hunter pursuing him. This is a very simple scene but the narration makes us visualize the whole scene. And there are no words to describe the simple style of the author kAlidAsa. In the text kAvya prakAsa , this verse is illustrated as an example for bhayaanaka rasa.

श्लोकोऽयं मह्यं रोचते - 35

गी
गीर्देवतेति गरुडध्वजसुन्दरीति
शाकम्भरीति शशिशेखरवल्लभेति।
सृष्टिस्थिति प्रलयकेलिषु संस्थिता या
तस्यै नमस्त्रिभुवनैक गुरोस्तरुण्यै ॥

The above sloka is from Adi sankara’s ‘kanaka dhaara stotram’.

Adi sankara says- ‘She is the goddess of knowledge. She is the beautiful lady of the lord who has garuda in his flag. She is decorated by vegetables. She is the beloved of the lord who bears moon on his head. She is involved in the act of creation, sustenance and destruction. I prostrate before the goddess who is worshipped by all the three worlds.’

गीर्देवतेति – The goddess of knowledge, सुन्दरीति- beautiful lady, गरुडध्वज – one who has garuda in his flag (lord mahavishnu), शाकम्भरीति – one who is decorated by vegetables, वल्लभेति – beloved of the , शशिशेखर- lord who bears the moon on his head (lord siva) , या – who is, संस्थिता- involved in the, सृष्टि – creation, स्थिति – sustenance, प्रलयकेलिषु - and in the act of destruction,
तस्यै नमः – my salutations to , गुरोस्तरुण्यै – that lady of the lord,
त्रिभुवनैक –of three worlds.

It is only that real entity Brahman (शुद्धचैतन्यम्) which appears as saraswati , lakshmi and pArvati and does the creation, protection and sustenance. Adi sankara states the same view in his work ‘soundaryalahari’-

गिरामाहुर्देवीं द्रुहिणगृहिणीमागमविदो
हरेः पत्नीं पद्मां हरसहचरीमद्रितनयाम्।
तुरिया कापि त्वं दुरधिगमनिस्सीममहिमा
महामाया विश्वं भ्रमयसि परब्रह्ममहिषि ॥

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