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.
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.
श्लोकोऽयं मह्यं रोचते – 48
चि
चित्रकूटवनस्थं च कथितस्वर्गतिर्गुरोः ।
लक्ष्म्या निमन्त्रयाञ्चक्रे तमनुच्छिष्टसंपदा ॥
The above verse is from the 12th canto of kAlidasa’s ‘raghuvamsa’.
Bharata after hearing the news of Dasaratha’s death and rama’s exile proceeded towards chitrakuta to bring back rama along with Lakshmana and sita.
Bharata also wanted to give the kingdom back to rama and he wanted rama to enjoy the royalty whose glory had not been enjoyed by another.
गुरोः – father’s (of Dasaratha), कथितः – was informed, स्वर्गतिः- the death ,भरतः – Bharata, चित्रकूटवनस्थं- rama who stays in chitrakuta, तम् (रामम्) - to rama, अनुच्छिष्टसंपदा – kingdom which was not enjoyed by another, लक्ष्म्या- and wealth, निमन्त्रयाञ्चक्रे - invited.
चित्रकूटवनस्थं च कथितस्वर्गतिर्गुरोः ।
लक्ष्म्या निमन्त्रयाञ्चक्रे तमनुच्छिष्टसंपदा ॥
The above verse is from the 12th canto of kAlidasa’s ‘raghuvamsa’.
Bharata after hearing the news of Dasaratha’s death and rama’s exile proceeded towards chitrakuta to bring back rama along with Lakshmana and sita.
Bharata also wanted to give the kingdom back to rama and he wanted rama to enjoy the royalty whose glory had not been enjoyed by another.
गुरोः – father’s (of Dasaratha), कथितः – was informed, स्वर्गतिः- the death ,भरतः – Bharata, चित्रकूटवनस्थं- rama who stays in chitrakuta, तम् (रामम्) - to rama, अनुच्छिष्टसंपदा – kingdom which was not enjoyed by another, लक्ष्म्या- and wealth, निमन्त्रयाञ्चक्रे - invited.
श्लोकोऽयं मह्यं रोचते – 47
चा
चाम्पेयगौरार्धशरीरकायै
कर्पूरगौरार्धशरीरकाय।
धम्मल्लिकायै च जटाधराय
नमः शिवायै च नमः शिवाय ॥
cämpeya gaurärdha çarérakäyai
karpüra gaurärdha çarérakäya
dhammillakäyai ca jatädharäya
namaççiväyai ca namaççiväya
The above verse is from Adisankara’s ‘ardhanaari stotram’.
In the above verse Adi sankara describes both siva and pArvati who are in the ‘ardha naareeswara’ form. He compares pArvati’s white complexion to the champaka flower. And siva to the colour of the camphor. He further describes pArvati’s braided and ornamented hair decorated by flowers. And Lord siva with his matted hair.
Adisankara prostrates before Lord siva and goddess pArvati.
चाम्पेय- champaka tree,गौर- white, अर्ध – half, शरीरकायै- to the body of pArvati. कर्पूर- white, गौर- white , अर्ध- half, अर्ध – half, शरीरकाय – to the body of siva, धम्मल्लिकायै – to the goddess with the braided and ornamented hair, च – and , जटाधराय- to the Lord with matted hair. नमः – I surrender , शिवायै- to the wife of siva, च- and, नमः- I surrender, शिवाय- to Lord siva.
Ardha naareeshavara stotram is set of eight slokas describing siva and pArvati who are seen together in one form.
चाम्पेयगौरार्धशरीरकायै
कर्पूरगौरार्धशरीरकाय।
धम्मल्लिकायै च जटाधराय
नमः शिवायै च नमः शिवाय ॥
cämpeya gaurärdha çarérakäyai
karpüra gaurärdha çarérakäya
dhammillakäyai ca jatädharäya
namaççiväyai ca namaççiväya
The above verse is from Adisankara’s ‘ardhanaari stotram’.
In the above verse Adi sankara describes both siva and pArvati who are in the ‘ardha naareeswara’ form. He compares pArvati’s white complexion to the champaka flower. And siva to the colour of the camphor. He further describes pArvati’s braided and ornamented hair decorated by flowers. And Lord siva with his matted hair.
Adisankara prostrates before Lord siva and goddess pArvati.
चाम्पेय- champaka tree,गौर- white, अर्ध – half, शरीरकायै- to the body of pArvati. कर्पूर- white, गौर- white , अर्ध- half, अर्ध – half, शरीरकाय – to the body of siva, धम्मल्लिकायै – to the goddess with the braided and ornamented hair, च – and , जटाधराय- to the Lord with matted hair. नमः – I surrender , शिवायै- to the wife of siva, च- and, नमः- I surrender, शिवाय- to Lord siva.
Ardha naareeshavara stotram is set of eight slokas describing siva and pArvati who are seen together in one form.
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