शास्त्रं वदति – 28

Saastram speaks -28

यं मातापितरौ क्लेशं सहेते संभवे नृणाम् ।

न तस्य निष्कृतिः शक्या कर्तुं वर्षशतैरपि ॥

yam mätäpitarou kleçam sahete sambhave nåëäm ।

na tasya niñkåtiù çakyä kartum varñaçatairapi ॥

The trouble and pain that the parents undergo on the birth of their children cannot be compensated even in hundred years.

मातापितरौ - parents , नृणाम् – people (children) , संभवे - on the birth, यं क्लेशं- that pain , सहेते- bear or undergo , तस्य निष्कृतिः- discharge of a debt or obligation, वर्षशतैरपि- even in hundred years, कर्तुं- to do , न- not , शक्या - possible .

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श्लोकोऽयं मह्यं रोचते – 56

छि
छिन्नमप्यतनु हारमण्डलं मुग्धया सुरतलास्यकेलिभिः ।
न व्यतर्किं सुदृशा चिरादपि स्वेदबिन्दुकितवक्षसा हृदि ॥ (18, 107)

The above sloka is from the eighteenth canto of sri Harsha’s ‘naishadiya charitam’.

The eighteenth canto starts with a description of nala’s palace but the main portion of this canto describes the love sport between Nala and Damayanti. The above verse is one from the same canto where the intimacy between the couple has been poetically fancied by the poet sri Harsha

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शास्त्रं वदति -27

Saastram speaks -27

न तेन वृद्धो भवति येनास्य पलितं शिरः ।

यो वै युवा-अप्यधीयानस् तं देवाः स्थविरं विदुः ॥

na tena våddho yenäsya palitam çiraù ।

yo vai yuvä- apyadhéyänas tam deväù sthaviram viduù ॥

A man is not honoured just because his head is grey. Though young if he has learnt the scriptures then the gods consider him as an honourable person.

न- not, तेन- by that, वृद्धो- old , भवति- becomes, येनास्य- by which, पलितं-grey, शिरः- head, यो वै- who, युवा अपि – though young , अधीयानः – learned (learnt the Vedas) , देवाः- the gods , तं- him , स्थविरं- aged, विदुः- know or consider.

There is a term called ‘ज्ञानवृद्धः’ in Sanskrit. Though a person is young by age but given due respect due to the depth of knowledge.

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कविः 10

वेदान्त देशिकः
सप्तशतवर्षात्पूर्वम् काञ्चीपुरतुप्पुल् ग्रामे श्रीवेङ्कटनाथः समजनि ।
सः स्व प्रतिभया वेदन्तदेशिकः अभवत् । एकदा सः स्व गुरुणा मातुलेन अप्पुल्लालेन सह ‘ नडदूर् अम्माल् ’ इति नाम्ना प्रसिद्ध-आचार्यस्य उपन्यासार्थं जगाम। तत्र तेजस्विनं देशिकं दृष्ट्वा श्री अम्माल् –
“प्रतिष्ठापित वेदान्ताः प्रतिक्षिप्त - बहिर्मतः त्रैविद्यामान्यास्त्वम् भूरि कल्याण भाजनम् ” इति आशीः ददुः।
श्री देशिकः अष्टाविंशत्यधिक स्त्तोत्रग्रन्थान् , चतुर्दशवेदान्त ग्रन्थान्, द्वौ अनुष्ठानग्रन्थौ , चतुर्काव्यग्रन्थान् , अष्टव्याख्यानग्रन्थान् , द्वात्रिंशत् रहस्यग्रन्थान् , एकं नाटकं च संस्कृते अरचयत्। अनेन आचार्येण द्रविडभाषायामपि द्विचत्वारिंशत् ग्रन्थाः विरचिताः। विशिष्टाद्वैतसिद्धान्तः सर्वत्र प्रचारितः। अनेन विरचितं ‘हंस संदेशः’ इति महाकाव्यं कालिदासप्रणीतं मेघदूतमिव भवति। अत्र श्रीरामः सीतां प्रति हंसं प्रेषयति।
पादुकासहस्रम् इति काव्ये अष्टोत्तरसहस्र श्लोकाः सन्ति।द्वात्रिंशत् पद्धतिः अत्र विद्यन्ते।भगवतः पादुकयोः वर्णनं सर्वेषु श्लोकेषु दृश्यते। एवम् अयं ग्रन्थः एकस्यां रात्रौ एव श्रीदेशिकेन लिखितः । अस्य आचार्यस्य यादवाभ्युदयम्
(काव्यं ) , तत्वमुक्ताकलापः ,अधिकरणसारावली, शतदूषणी, चतुश्लोकीभाष्यं , श्रीमद्रहस्यत्रयसारम् , अडैक्कलपत्तु (द्रविडभाषायां) इति एते प्रसिद्धाः ग्रन्थाः। स्तोत्रेषु हयग्रीवस्तोत्रं , श्रीस्तुतिः , सुदर्शनाष्टकम् एवं दयाशतकं च सर्वैः अनुदिनं पठ्यन्ते।
श्रीसुदर्शनभट्टेन विरचितं श्रुतप्रकाशिकानाम श्रीभाष्यव्याख्यानं अचार्यवर्यैः श्रीवेदान्तदेशिकैरेव परिरक्षितं तथा प्रकाशितं च।
श्रीमद्वेदान्तदेशिकस्य पुत्रः स्व गुरोः श्रीमद्वेदान्तदेशिकमङ्गलाशासने - एवं वदति

श्रुतप्राकाशिका भूमौ येनासौ परिरक्षिता ।
प्रवर्तिता च पात्रेषु तस्मै श्रेष्ठाय मङ्गलम्॥
सांस्कृतीभिर्द्रामिडीभिः बह्वीभिः कृतिभिर्जनान्।
यस्समुज्जीवयामास तस्मै सेव्याय मङ्गलम्॥
एवम्
वेदे सञ्जात खेदे मुनिजन वचने प्राप्तनित्यावमाने
संकीर्णे सर्ववर्णे सति तदनुगुणे निष्प्रमाणे पुराणे।
मायावादे समोदे कलिकलुष वशाच्छून्यवदेऽविवादे
धर्मत्राणाय योऽभूत् स जयति भगवान् विष्णुघण्टावतारः॥
“विष्णोः घण्टावतारः एव श्रीवेदान्त देशिकः” इति गुरुम् अपि च पितरं विशेषयति
कुमारवरदार्यः।

cut and paste the link below to read about vedanta desika in english
http://en.wikipedia.org/wiki/Vedanta_Desika

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शास्त्रं वदति –26

Saastram speaks – 26

विद्यया एव समं कामं मर्तव्यं ब्रह्मवादिना ।

आपद्यपि हि घोरायां न तु एनाम् इरिणे वपेत् ॥ (2, 113)

vidyayä eva samam kämam martavyam brahmavädinä ।

äpadyapi hi ghoräyäm na tu enäm iriëe vapet ॥

ब्रह्मवादिना – by a teacher , विद्यया एव समं – along with his knowledge, कामं मर्तव्यं – can die , हि - but, घोरायां - terrible , आपद्यपि- calamity or distress , न तु - should not, इरिणे- a saline soil ( a field unfit for sowing) , वपेत् - sow .

Even in times of terrible distress a teacher of veda should rather die with his knowledge than sow it in barren soil. The teacher should see whether the disciple is fit enough to learn the scriptures.

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कविः – 9

भासः

संस्कृतसाहित्ये कवेः भासस्य प्रशस्तिप्रकटने कालिदासादि कवीनां प्रशंसापूर्वकवचनान्येव साधु। अलमतिप्रसङ्गेन। कालिदासः स्वस्य मालवाग्निमित्रनाटकस्य प्रस्तावनायां कविभासमधिकृत्य एवं वर्णयति-

‘प्रथितयशसां भाससौमिल्लकविपुत्रादीनां प्रबन्धानतिक्रम्य वर्तमानकवेः कालिदासस्य क्रियायां कथं परिषदोऽस्याः बहुमानः। ‘

अत्र वर्ण्यमाणानां भाससौमिल्लकविपुत्रादीनां त्रयाणां कवीनां मध्ये कविभासस्यैव प्रथमं स्थानं दत्तं कविश्रेष्ठैः कालिदासैः ।

‘बाणोच्छिष्टं जगत् सर्वमिति’ यशसा विख्यातेन बाणभट्टेन ‘हर्षचरितस्य’ प्रस्तावनायां भासविषये एवं आलिख्यते-

‘सूत्रधारकृतारम्भैः नाटकैर्बहुभूमिकैः ।

सपातकैर्यशो लेभे भासो देवकुलैरिव ॥ ‘

नानाप्रकारकथाभिः तथा बहुपात्रयुक्तानि नाटकानि कविभासैः विरचितानि इति अस्मात् श्लोकात् ज्ञायते। यद्यपि बहुभिः कविभिः भासस्य यशः प्रकटितं तथापि दौर्भाग्यवशात् एतादृशस्य महाकवेः जन्मादिविषये यु्क्तिपूर्वकविषयाः अनुपलब्धाः। भासः इति शब्दोऽपि तस्य गोत्रनाम एव न तु यथार्थनाम।

संस्कृतसाहित्ये भासकृतानि त्रयोदशनाटकानि प्रसिद्धानि वर्तन्ते। तानि च

स्वप्नवासवदत्तम् , प्रतिज्ञायौगन्धरायणम् , अविमारकम्, चारुदत्तम् , बालचरितम्, मध्यमव्यायोगम् , पञ्चरात्रम्, दूतवाक्यम् , दूतघटोत्कचम् , कर्णभारम् , ऊरुभङ्गम् , प्रतिमानाटकम्, अभिषेकनाटकम् ।

एतेषां नाटकानां संख्याः, मूलानि, अनन्तानि तथा विविधानि पात्रकल्पनानि च भासस्य विषये कालिदासबाणभट्टादीनां प्रशंसावाक्यानि समर्थयन्ति ।

Poet -9

Bhaasa

Bhaasa was a reputed dramatist of ancient India whose plays were popular even in the days of kaalidasa. High praise has been bestowed on him by kaalidasa in the introductory part of his drama maalavikaagnimitram - ‘प्रथितयशसां भाससौमिल्लकविपुत्रादीनां प्रबन्धानतिक्रम्य वर्तमानकवेः कालिदासस्य क्रियायां कथं परिषदोऽस्याः बहुमानः। ‘ Of the three authors referred to in the above line (Bhaasa, soumilla and kaviputra) Bhaasa is given the first place.

Baanabhatta the famous author of kaadambarii, refers to bhaasa in the introduction of his srIharashacharitam –

‘सूत्रधारकृतारम्भैः नाटकैर्बहुभूमिकैः ।

सपातकैर्यशो लेभे भासो देवकुलैरिव ॥ ‘

The above reference says that bhaasa wrote many plays with a variety of characters and incidents.

It is really unfortunate that we do not know anything about the personal history of this great author. Even the word bhaasa does not appear to be his real name, but only his gotra name.

The following thirteen works were written by bhaasa-

Svapnavaasavadattam, Pratignya yougandharaayanam, Avimaarakam, chaarudattam, Baalacharitam, Madhyama vyaayogam, Pancharaatram, Doota vaakyam, Doota ghatotkacham, Karnabhaaram,Uru bhangam, Pratimaa naatakam and Abhisheka naatakam.

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मञ्जुरामायणम् -8

अपूजयत् स पादुकामथोऽभिषिच्य भक्तिमान्
अनेकलोकमानिताम् अशेषमङ्गलास्पदम् ।
लघुर्गुरुर्निरन्तरं स पञ्चचामरोत्तमैः
लघुर्गुरुर्निरन्तरं भवेत् स पञ्चचामरम् ।।

apūjayat sa pādukāmatho'bhiṣicya bhaktimān
anekalokamānitām aśeṣamaṅgalāspadam|
laghurgururnirantaraṁ sa pañcacāmaraiḥ
laghurgururnirantaraṁ bhavet sa pañcacāmaram||

अथ – then
सः भक्तिमान् – He, Bharata the devotee (of rama)
अनेकलोकमानितां – honoured by all world
अशेषमङ्गलास्पदम् – repository of all auspicious things
पादुकाम् – paduka /sandals
अभिषिच्य – after coronating it
लघुर्गुरुर्निरन्तरं – always slowly and swiftly
स अपूजयत् – he worshiped
पञ्चचामरोत्तमैः – with the best fans

Bharata was a such a sincere devotee of his brother Rama that he made Rama’s paduka as king. Lord Rama’s paduka is honored by all the worlds and is a repository of all auspicious things. Bharata worshiped it ever slowly and swiftly, waving broad with the best chaamara or fans.

The specialty of this sloka lies in the fact that the meter of this verse – PanchaChamara is indicated with its definition in the last quarter of the verse. It has sixteen syllables of alternating लघु and गुरु. In meter vowels are counted as syllables. Short vowel is लघु. Long vowel and short vowel followed by combined consonant is गुरु.

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शास्त्रं वदति – 25

शास्त्रं वदति – 25

आत्मानाम गुरोर्नाम नामातिकृपणस्य च ।

श्रेयस्कामो न गृह्णीयात्ज्येष्ठापत्यकलत्रयोः ॥

ätmänäma gurornäma nämätikåpaëasya ca

çreyaskämo na gåëéyät jyeñöhäpatya kalatrayoù

आत्मानाम – name of the self, गुरोर्नाम – name of the guru or preceptor, नामातिकृपणस्य – name of a stingy person, श्रेयस्कामो – who is desirous of his prosperity, ज्योष्ठापत्यः – the first born, कलत्रयोः – of the spouse, न गृह्णीयात् –does not say or utter .

One who is desirous of his prosperity should not utter his own name, the name of his preceptor, name of a stingy person, name of the first born, name of the spouse.

P.S. आत्मानाम – ätmänäma , (A person should not utter his name) This may be quite weird, as the question arises that how an individual survive without uttering his own name ?

Probably it could be like this: A person has two other names apart from the colloquial name. Between the two names he utters the ‘sarman’ name while doing the ‘abhivaadye’. And as a gesture, during ‘abhivaadaye’, he closes his ears, so that he will not hear his own name.

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श्लोकोऽयं मह्यं रोचते - 55

छा

छायाशरीरे प्रतिबिम्बगात्रे यत्स्वप्नदेहे हृदि कल्पिताङ्गे।
यथात्मबुद्धिस्तव नास्ति काचिज्जीवच्छरीरे च तथैव मास्तु॥ (विवेकचूडामणि - 163)॥

chāyāśarīre pratibimbagātre yatsvapnadehe hṛdi kalpitāṅge|
yathātmabuddhistava nāsti kācijjīvaccharīre ca tathaiva māstu|| (vivekacūḍāmaṇi - 163)||

Just as you would not identify yourself with your shadow, your reflection, your dream-body or the body in your imagination, so too, you should not identify yourself with your living body.

A simple solution for a very difficult step towards self-realisation!

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श्लोकोऽयं मह्यं रोचते - 54

छ

छन्दश्शाखि–शिखान्वितै-र्द्विजवरै-स्संसेविते शाश्वते
सौख्यापादिनि खेदभेदिनि सुधासारैः फलैर्दीपिते ।
चेतः पक्षिशिखामणे त्यज वृथा संचार मन्यैरलम्
नित्यं शंकर-पादपद्म-युगली-नीडे विहारं कुरु ॥
chandaśśākhi-śikhānvitair-dvijavarais-saṁsevite śāśvate
saukhyāpādini khedabhedini sudhāsāraiḥ phalairdīpitaḥ|
cetaḥ pakṣiśikhāmaṇe tyaja vṛtha saṁcāra manyairalam
nityaṁ śaṁkara-pādapadma-yugalī-nīḍe vihāraṁ kuru||

The above sloka is from ādi śaṁkara's śivānandalaharī.

Adi Shankara says, ‘Oh mind why do you dwell unnecessarily when you can surrender yourself at the feet of lord Shiva; by whom all your obstacles will be removed and will be blessed with the four पुरुषार्थ’s namely धर्म, अर्थ, काम and मोक्ष.’

In the above verse Adi Shankara compares the mind to a bird.

Let us see how the words are applicable for the mind-

चेतः शिखामणे – Oh mind, शंकर-पादपद्म-युगली-नीडे- under the lotus like feet of lord çiva (who is the antarätmä and is like a nest), नित्यं - always, विहारं कुरु - reside, वृथा- unnecessarily, संचारं- dwelling , त्यज- leave.

Oh mind, छन्दश्शाखि शिखान्वितैः – the branches of the scriptures र्द्विजवरैः – by the best among the Brahmins, संसेविते – followed, The following words are the adjectives for the feet of çiva शाश्वते - eternal, सौख्यापादिनि- that which gives pleasure, खेदभेदिनि – removes the obstacles , सुधासारैः फलैः – by the fruits (धर्म, अर्थ, काम and मोक्ष) , दीपिते- shines, अन्यैः अलम् – it is enough

To the bird

पक्षि-शिखामणे- Oh bird, नीडे- in the nest, नित्यं - always, विहारं कुरु - reside, वृथा- unnecessarily, संचारं- dwelling, त्यज- leave , सुधासारैः फलैः

छन्दश्शाखि शिखान्वितैः- by branches of the tree, र्द्विजवरैः – by the other birds, you will be blessed with the सुधासारैः फलैः – juicy fruits, अन्यैः अलम् – it is enough .

Adi Shankara in his work soundaryalahari describes the feet of the goddess as

सुधाधारासारैः चरणयुगलान्तर्विगलितैः
प्रपञ्चं सिञ्चन्ती पुनरपि रसाम्नाय महसः ।
अवाप्य स्वां भूमिं भुजगनिभमध्युष्टवलयम्
स्वमात्मानं कृत्वा स्वपिषि कुलकुण्डे कुहरिणि ॥

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श्लोकोऽयं मह्यं रोचते - 53

चो

चोलकेरलपाण्ड्यानां पश्यन् अनुगतिं प्रभुः।
चकार पुनराधानं धर्म्यं हुतभुजामिव॥ (यादवाभ्युदयः 22-209)

colakeralapāṇḍyānāṁ paśyan anugatiṁ prabhuḥ|
cakāra punarādhānaṁ dharmyaṁ hutabhujāmiva|| (yādavābhyudayaḥ 22-209)

Satyaki saw the kings of chola, kerala and pandya follow his instructions and so, reestablished them on the throne as (subsidiary) kings, just as how the domestic fires of agnihotra are placed back after being followed thro' with vedic mantras.

yādavābhyudayaḥ is a kavya written by Sri Vedanta Desika. It is further enhanced by Sri Appayya Dikshita's commentary. In 24 cantos, the poet describes the story of Krishna from his birth to end. The context here is - after the killing of Shishupala, Krishna marries Bhama, brings her the parijata tree, kills Paundraka and Kashi king and starts discussions on digvijaya. This happens before the Kurukshetra war. All kings of yadu dynasty agree to Krishna's decision on sending Satyaki on the journey of conquest.

The slokas within this may seem very simple, yet, without Sri Appayya Dikshita's commentary it is difficult to understand some inner meanings. For eg, here the poet says 'धर्म्यं पुनराधानं' - according to dharma, satyaki reestablished the kings. What is that dharma? Commentary here - आश्रितसंरक्षणरूपत्वात् धर्मादनपेतं तेषां तत्तद्देशे पुर्निधानं चकार. The dharma here is 'protecting those who have surrendered'. This same dharma was followed by Rama when he reestablished Vibhishana as the king of Lanka.

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श्लोकोऽयं मह्यं रोचते -52

चे

चेतःक्षीरपयोधिमन्थनचलद्रागाख्यमन्थाचल-
क्षोभव्यापृतिसम्भवां जननि ते मन्दस्मितश्रीसुधाम्।
स्वादं स्वादम् उदीतकौतुकरसं नेत्रत्रयी शाङ्करी
श्रीकामाक्षि निरन्तरं परिरमत्यानन्दवीचीमयी॥

cetaḥkṣīrapayodhi-manthana-calad-rāgākhya-manthācala-
kṣobha-vyāpṛti-saṁbhavaāṁ janani te mandasmitaśrīsudhām|
svādaṁ svādam udītakautukarasaṁ netratrayī śāṅkarī
śrīkāmākṣi nirantaraṁ pariramatyānandavīcīmayī||4 - 97||

Poets describe with colors, for eg, anger is red; Smile, laugh, fame and truth are white in color.

Goddess Kamakshi's mind is like the milk-ocean, which is being churned by desire/manthara mountain. From this oean rises her smile which is like nectar. Siva's 3 eyes which resemble the waves of happiness, take pleasure in drinking this nectar again and again. When Kamakshi thinks about lord Siva, desire in her mind makes her smile beautifully. Lord Siva in turn looks at her with all three eyes and experiences immense pleasure.

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शास्त्रं वदति – 24

Saastram speaks -24

पूर्वे वयसि तत् कुर्यात् येन वृद्धसुखं वसेत् ।

यावज्जीवेन तत् कुर्यात् येन प्रेत्य सुखं वसेत् ।। 58 विदुरनीतिः

pürve vayasi tat kuryät yena vèdhasukham vaset

yävajjévena tat kuryät yena pretya sukham vaset

Do that when you are young which may ensure a happy old age, and do that (good deed) during your whole life here which may enable you to live happily hereafter.

पूर्वे _ in earlier, वयसि – years, तत् कुर्यात् – do that ,येन- by which, वसेत् – live , वृद्धसुखं - during old age.

यावज्जीवेन- whole life ,तत् कुर्यात् – Do that, येन- by which, वसेत् – live, प्रेत्य सुखं – haapily after death.

According to our sanathana dharma it is believed that death does not mean destruction, but the existence of the soul continues elsewhere, where happiness or misery results according to one’s merits and de-merits performed in this world.

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शास्त्रं वदति – 23

Saastram speaks -23

आचिनोति च शास्त्रार्थान् आचारे स्थापयत्यपि ।

स्वयम् आचरते यस्मात् तस्मादाचार्य उच्यते ॥

äcinoti ca çästrärthän äcäre sthäpayatyapi

svayam äcarate yasmät tasmädäcärya ucyate

The above verse says the lakshana for an aachaarya or preceptor.

He who teaches the meanings of the scriptures, puts them into practice himself, and establishes others in those aachaaras.

यः – A teacher, शास्त्रार्थान् – meanings of the scriptures , आचिनोति -imparts, अपि च – and as well, आचारे स्थापयति- practice it, यस्मात्- from which, स्वयं- he himself , आचरते -follows, तस्मात् आचार्य उच्यते – only then he is called as aachaarya ।

p.s. this sloka is taken from the book ‘AchArya’s call’. This book has the discourses of kAnchi mahAswAmigal.

These are the various terms used for a teacher.

गुरुः – गुं रुणद्धि - One who removes the ignorance which is like the darkness.

आचरते इति आचार्यः – one who follows what he preaches.

अध्यापयति इति अध्यापकः – one who teaches.

पाठयति इति पाठकः – one who teaches.

शिक्षयति इति शिक्षकः - one who teaches.

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श्लोकोऽयं मह्यं रोचते -51

चू

चूर्णिताशेषकौरव्यः क्षीबो दुःशासनासृजा ।

भङ्क्ता सुयोधनस्योर्वीर्भीमोऽयं शिरसाञ्चति॥

cürëitäçeñakouravyaù kçébo duççäsanasèjä

bhaìktä suyadhanasyorvérbhémoyam çirasäïcati

The above sloka is from the fifth act of the drama venisamhara of bhatta narayana.

The plot of the drama is taken from Mahabharata. The context here is: Bheema and arjuna salute dhritarashtra and gaandhari addressing them in insulting terms.

Bheema says: “ I am Bheema, the pounder of all the kauravas, who is intoxicated with the blood of Dussasana and who is to break the thigh of Duriyodhana. I offer my salutations.”

अयं-This, भीमः-Bheema, शिरसा-by bending his head, अञ्चति-offers his salutations, This Bheema by whom , अशेषाः-all, कौरव्यः-kauravas, चूर्णिताः-killed, असृजा – by the blood ,दुःशासन- of dussasana, क्षीबः- intoxicated, सुयोधनस्य-of Duriyodhana, ऊर्वि-thighs, भङ्क्ता-will break.

Bheema could not have saluted the old couple in a more insulting manner. He was uncontrollably intoxicated. He believed that the arrogance of Duriyodhana manifested because of his father’s kingship. Moreover, the wicked deeds of Duriyodhana was so high to overpower the patience of any man with self respect.

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श्लोकोऽयं मह्यं रोचते – 50

चु

चुलुकिततमः सिन्धोर्भृङ्गैः करादिव शुभ्यते

नभसि बिसिनीबन्धोरन्ध्रच्युतैरुदबिन्दुभिः ।

शतदलमधुस्रोतःकच्छद्वयीपरिरम्भणा-

दनुपदमदःपङ्काशङ्काममी मम तन्वते ॥

culukitatamaù sidhorbåìgaiù karädiva çubhyate

nabhasi bisinibandhorandhracyutairudabindubhiù

çatadalamadhusrotaùkaccdvayéparirambhanä

danupadamadaùpaìkaçaìkämamé mama tanvate

The above verse is from the 19^th canto of naishadiya charitam of sri Harsha.

In the above verse the poet says “the bees shine in the sky like water drops falling from the sky. Then by clinging to the two sides of the nectar dripping from the lotus, the bees give me an impression of mosses floating on top of an ocean”.

Sun heats the water from the ocean and showers it as rain. Here, The poet describes that the sun drinks the ocean of darkness through his palm and showers as water drops through the space between his fingers and metamorphically compares the bees on the sky to the water drops.

Sun चुलुकित-drank, तमः- the darkness, सिन्धोः- of the ocean, करात्- through his palm, बिसिनीबन्धोः- sun (बिसिनी-lotus, बन्धोः- friend),रन्ध्र- space between the fingers, च्युतैः- dropped, उदबिन्दुभिः- water drops, इव- like, भृङ्गाः-the bees, नभसि- in the sky, शुभ्यते- shine ।

अनुपदं- after this, शतदल- lotus (शत- hundred, दल – petals; the flower with hundred petals) ,मधुस्रोतः- the flow of nectar, कच्छद्वयी- both the sides, परिरम्भणात्- clinging, अमी- these bees, पङ्कशङ्कां मम तन्वते - give me the impression that they are the mosses.

The sun rises destroying the darkness, the bees come out of their nest and proceed towards the lotuses to relish the nectar. This is a very normal scenario. But the secret of the magic spell present in the words of a poet can change a normal scenario into a commendable description.

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मञ्जुरामायणम् – 7

अवधीरितराज्यवैभवः भरतो भ्रातृसमीक्षणाकुलः ।
सहसा सजटः सवल्कलः सहसैन्यः प्रविवेश काननम् ।।

भरतः = Bharata
अवधीरित = relinquishing
राज्यवैभवः = luxury of kingdom
भ्रातृसमीक्षणाकुलः = desirous of seeing brother Rama
सहसा = at once
सजटः ( धृत्वा ) = wore matted hair
सवल्कलः = and bark garments
प्रविवेश = entered
काननम् = forest
सहसैन्यः = along with his army

Desirous of seeing his brother Rama, Bharata, relinquishing the luxury of the kingdom, immediately wore matted hair and bark garments and entered the forest with his retinue.

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वैराग्यशतकम् - विषयत्यागः - 17

एको रागिषु राजते प्रियतमादेहार्धहारी हरो
नीरागेषु जनो विमुक्तललनासङ्गो न यस्मात् परः।
दुर्वारस्मरबाणपन्नगविषव्याविद्धमुग्धो जनः
शेषः कामविडम्बितान्न विषयान् भोक्तुं न मोक्तुं क्षमः॥१७॥

eko rāgiṣu rājate priyatamā-dehārdha-hārī haro
nīrāgeṣu jano vimukta-lalanāsaṅgo na yasmāt paraḥ|
durvāra-smara-bāṇa-pannaga-viṣaya-vyāviddha-mugdho janaḥ
śeṣaḥ kāmaviḍambitānna viṣayān bhoktuṁ na moktuṁ kṣamaḥ||17||

Among the attached, Siva who has given half of his body to his beloved as 'ardhanArI', reigns supreme. Among the dispassionate too he is the foremost, as he does not have any attachment towards women. The rest of mankind struck by Manmatha's arrows are neither able to completely satiate themselves nor able to forsake the pleasures.

Detachment does not necessarily mean forsaking family. Dharma, in the four पुरुषार्थs is to be connected with all other three - artha, kaama and moksha. This would lead us practically to the pursuit of 3 पुरुषार्थs, namely, righteous acquisition of wealth, righteous pursuit of desire and righteous path of liberation. A famous example of one who did not pursue the righteous path of renunciation would be Buddha - he shirked his responsibility towards his family, left them to the care of the royal household to pursue his journey to the truth.

There cannot be any better example than Shiva who enjoys the fame of being the best of sages, while giving half of his body to his beloved Parvati.

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शास्त्रं वदति – 22

Saastram speaks -22

यथा खनन् खनित्रेण नरो वार्यधिगच्छति।
तथा गुरुगतां विद्यां शुश्रूषुरधिगच्छति ॥

A man digs the ground with a spade obtains water, Likewise a student obtains the knowledge which lies hidden in his teacher by doing service to him.

यथा- As , नरो- A man , खनित्रेण- by a spade , खनन् - digs , वार्यधिगच्छति – obtains water . तथा – Like wise , A student , गुरुगतां- in the preceptor , विद्यां- knowledge , शुश्रू षुः – by doing service, अधिगच्छति- gets.

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श्लोकोऽयं मह्यं रोचते – 49

ची

चीयते बालिशस्यापि सत्क्षेत्रपतिता कृषिः।

न शालेः स्तम्बकरिता वप्तुर्गुणमपेक्षते ॥

The above sloka is from the drama ‘mudraa raksasam’ of ‘vishaakhadatta’.

The context here is:- The sUtradhAra or the stage manager enters the stage to begin the drama with the above verse.

In the above verse the author compares himself to a farmer. He says a seed will be sprouted automatically if sown in the correct field. It does not matter whether the farmer is an expert or a novice. The abundant and luxuriant growth of rice does not depend on the quality of the farmer.

Likewise, the author compares himself to an ordinary farmer and the work written by him is compared to the seeds and the stage where the drama was going to be played as the correct field due to the extinguished audience. Hence, the author concludes with complete modesty that in the midst of scholars even a normal drama becomes successful irrespective of the author.

बालिशस्यापि- though an amateur , सत्क्षेत्रपतिता- correct field, कृषिः- seed (the word कृषिः means ploughing but secondarily the word conveys seed, चीयते- grows , शालेः- of the rice, स्तम्बकरिता- abundant growth , न- does not, वप्तुर्गुणमपेक्षते- depends the quality of the sower.

MudrA rAksasam is a political drama and deals with the story of chanakya uprooting the nanda dynasty and coronating chandragupta as the king. Though the poet Vishakadhatta cannot be compared to kAlidAsa or BhAravi but many verses and dialogues are really commendable.

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