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.

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.

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.

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.

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.

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.

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.

श्लोकोऽयं मह्यं रोचते – 46

च
चक्षुर्विमोहयति चन्द्रविभूषणस्य कामाक्षि तावककटाक्षतमःप्ररोहः ।
प्रत्यङ्मुखं तु नयनं स्तिमितं मुनीनां प्राकाश्यमेव नयतीति परं विचित्रम् ॥

The above is the fifty ninth verse in the kataaksha satakam of mooka pancha sati of mUka kavi.

O! mother kAmakshi, the beauty of your katAksha or eye sight, dims the eye sight of the lord who has the moon on his head and who is enchanted by your grace. Oh Devi! , It is really surprising that the same eye sight of yours removes the ignorance in the form of darkness present in the minds of the rishis and munis and directs them in the path of liberation or moksa.

कामाक्षि- O Devi kAmAkshi, तावक - your, कटाक्ष- eye sight, तमःप्ररोहः- which is black and emits the darkness , विमोहयति – fascinates or dims, चक्षुः – eyesight , चन्द्रविभूषणस्य- Lord siva who has the moon on his head.

स्तिमितं- closed , प्रत्यङ्मुखं मुनीनां-rishis who always think about the inner self and meditate upon the goddess, नयनं तु – the eyes , नयतीति- leads them in the path of , प्राकाश्यमेव – brightness in the form of moksa or liberation , परं विचित्रम् - It is really surprising.

कविः – 8

माघः – 8
एकदा वृद्धो विद्वान् पृष्ठः - “कान् ग्रन्थान् पठित्वा एतादृशं ज्ञानं प्रप्यते भवता” इति । सोऽपि विद्वान् “मेघे माघे गतं वयः” इति प्रत्यवदत्। अर्थात् कालिदासस्य मेघदूतखण्डकाव्यं तथा माघस्य शिशुपालवधमहाकाव्यं च पठनेन तस्य सम्पूर्णवयः समाप्तम्। तस्य ज्ञानं च तावेव ग्रन्थौ पठित्वा वर्धितम्।
कालिदाससदृशं हि गण्यते माघः पण्डितैः। अस्ति च अपरा उक्तिः माघस्य प्रशस्तिप्रकटने।

उपमा कालिदासस्य भारवेरर्थगौरवम् ।
दण्डिनः पदलालित्यं माघे सन्ति त्रयो गुणाः ।

कालिदासस्य उपमाप्रयोगे कौशलं, भारवेः अर्थगौरवं तथा कवेः दण्डिनः पदलालित्यं च इति एते त्रयः विद्यन्ते माघे इति श्लोकार्थः । ये अपरिमितागणितगुणाः कालिदासभारविदण्डिषु विद्यन्ते ते सर्वे गुणाः एकत्र सन्ति माघे।

कविकुलकमलदिवाकरमहाकविमाघस्य पितुः नाम दत्तकः आसीत्। पितामहस्य नाम सुप्रभदेवः तथा च अयं राज्ञः श्रीवर्मलस्य धर्मसचिवः आसीत् । महाकविमाघस्य जन्म गुजरातप्रदेशस्य ‘श्रीमाल’ इति नगरे अभवत्। महाकविमाघस्य स्वचरितकविवंशवर्णनात् एतत् हि ज्ञायते ।
अनेन कविना प्रणीतं शिशुपालवधं नाम महाकाव्यं महाभारतस्य सभापर्वताधारेण अस्ति। इदं विंशस्सर्गयुक्तं महाकाव्यम् । युधिष्ठिरेण कृते राजसूययज्ञे कस्य प्रथमपूजा कर्तव्या इति चर्चायां, सहदेवेन भगवतः श्रीकृष्णस्यैव प्रथमपूजा इति उच्यते । एतत् तु सर्वैः सभाङ्गनैः अङ्गीक्रियते। परन्तु तत्रत्यः शिशुपालः एतन्नाङ्गीकरोत्। सः शिशुपालः भगवन्तं श्रीकृष्णं निन्दितवान् । सभायामुपस्थिताः सर्वे ताः निन्दाः असहमानाः स्वीयान् अस्त्रान् स्वीकुर्वन्। एतान् सर्वान् दृष्ट्वा अन्ते भगवान् श्रीकृष्णः स्वयं शिशुपालं हन्ति।

Poet – 8
Maagha

SisuipAlavadha, the one among the mahakavyas, was written by the poet maagha. He was born in the city srimaala in Gujarat. He is the son of Dattaka and grandson of Suprabhadeva, who served as the minister in the court of the king sri Varmala. These are the details available on the life and ancestory of maagha.
The mahaakaavyam sisupaalavadha consists of twenty acts and the plot was taken from the ‘sabhaa parvata’ of ‘mahabhaarata’. During the Raajasooya sacrifice, king Yudhishtra and others decided to honour Lord Krishna first. But, Sisupaala disagreed and started abusing lord Krishna. At the end Lord Krishna killed Sisupaala with his weapon chakra. This is the story of the mahaakaavyam.

Here is a famous quote on Maagha -

उपमा कालिदासस्य भारवेरर्थगौरवम् ।
दण्डिनः पदलालित्यं माघे सन्ति त्रयो गुणाः॥

“Kalidasa is famous for his upama or similes, Bhaaravi for the word-meanings, Dandi rules with his usage of words in the poetry and Maagha has all the three virtues!”

श्लोकोऽयं मह्यं रोचते – 45

घो
घोणोन्नतं मुखमपाङ्गविशालनेत्रं नैतद्धि भाजनमकारणदूषणानाम् ।
नागेषु गोषु तुरगेषु तथा नरेषु नह्याकृतिः सुसदृशं विजहाति वृत्तम् ॥

The above is the sixteenth sloka from the ninth act of sudraka’s mrchchakatikam.

The context here is: Charudatta was wrongly implicated for the murder of Vasantasena.

At this context the judge says the following….

“Faces with huge nose, large eyes stretching till the ears are less likely to commit crimes. Animals which belong to the above category are elephants, cows, buffalos and horses.
The author expresses that the murder of vasantasena cannot be committed by charudatta who ascribes to the above features".
Face reflects one's mind.

घोणोन्नतम्- Huge nose, अपाङ्गविशालनेत्रम् – eyes stretching till the ears, एतत् मुखम् – a face with above said features, अकारणदूषणानाम्- committing sin without a reason, भाजनम् न हि – is not fit to do a mistake, तथा- as, नागेषु- among elephants,गोषु- cows, तुरगेषु- horses and , नरेषु –men, सुसदृशं- according to, आकृतिः – one’s form, वृत्तम्- behaviour, न-do not, विजहाति- leave .

कविः – 7

भारविः
संस्कृतसाहित्ये महाकविकालिदासस्यानन्तरं महाकवेः भारवेः द्वितीयं स्थानं वर्तते। अयं कविः दाक्षिणात्यब्राह्मणो आसीत्। महाकविदण्डिना रचित अवन्तिसुन्दरिकथानुसारेण अयं कविः दक्षिणस्य अचलपुरग्रामनिवासिनः पण्डितः नारायणस्वामिनः पुत्रः आसीत्। अस्यैव अन्यनाम दामोदरः तथा च अयं चालुक्यवंशस्य राजा विष्णुवर्धनस्य सभायामासीत् इत्यपि श्रूयते। कवेः भारवेः व्यक्तिगतजीवनस्य विषये एतदेव ज्ञायते।
भारविना रचितं किरातार्जुनीयम् महाकाव्येषु एकमस्ति। अष्टादशसर्गयुक्तस्य अस्य काव्यस्य कथावस्तु महाभारतस्य कथाधारेण भवति। अस्य काव्यस्य प्रतिसर्गस्य आरम्भं ‘श्री’ इति पदेन भवति, तथा च प्रतिसर्गस्य अन्तं ‘लक्ष्मी’ पदेन भवति।
अर्जुनः एव अस्य काव्यस्य नायकः भवति। कुरुक्षेत्रयुद्धात् पूर्वं अर्जुनः पाशुपतास्त्रार्थं शिवं ध्यात्वा तपः करोति। तदा भगवान् शिवः किरातरूपेण आगत्य अर्जुनं परीक्ष्य तं पाशुपतास्त्रं ददाति। अयमेव अस्य काव्यस्य सारांशः।
भारवेः शैल्यां शब्दप्रयोगाः कठिनाः परन्तु यदि विभज्य अर्थो ज्ञायते तर्हि अतिसरलः इव दृश्यते। तस्मादेव अस्य कवेः वचः नारिकेलफलसममिव विद्वांसः वदन्ति।

नारिकेलफलसन्निभं वचो भारवेः सपदि यद्विभज्यते।
स्वादयन्तु रसगर्भनिर्भरं सारमस्य यथेप्सितम्॥
Poet – 7
Bhaaravi
see the link below
http://en.wikipedia.org/wiki/Bharavi

श्लोकोऽयं मह्यं रोचते – 44

घृ
घृतक्षीरद्राक्षामधुमधुरिमा कैरपि पदैः
विशिष्यानाख्येयो भवति रसनामात्रविशेषः ।
तथा ते सौन्दर्यं परमशिवदृङ्मात्रविशेषः
कथंकारं ब्रूमः सकलनिगमागोचरगुणे ।।

Tha above sloka is from Adi sankara’s Ananda lahari

Like words cannot describe the pleasant taste of ghee, milk, raisins and honey,Whose sweet taste can only be enjoyed by the tongue,Oh Goddess, how can we the ordinary people describe your beauty?that can be seen only by God Shiva.

घृत- ghee, क्षीर – milk, द्राक्षा- raisins, मधु- honey, मधुरिमा- taste or sweetness,
कैरपि पदैः विशिष्य – by any words, अनाख्येयो भवति – inexplicable, रसना – tongue ,मात्रविशेषः – only knows the taste.
तथा – Likewise, Oh Devi ,सकलनिगमागोचरगुणे- whose qualities can be understood only by the Vedas, ते- your, सौन्दर्यं- beauty, कथंकारं – how do , ब्रूमः – we say,
परमविशिवदृङ्मात्रविशेषः – as the beauty of the goddess can be seen only by the eyes of Lord siva.

If Adisankara himself cannot describe the beauty of goddess, then where are we meaner mortals?
Adi sankara in the beginning verse of ‘soundarya lahari’ says that one should have done some merit even to chant the name the goddess.
प्रणन्तुं स्तोतुं वा कथमकृतपुण्यः प्रभवति ।

शास्त्रं वदति- 21

Saastram speaks - 21

दिवसेनैव तत् कुर्यात् येन रात्रौ सुखं वसेत् ।
अष्टमासेन तत् कुर्यात् येन वर्षाः सुखं वसेत् ।। 57 विदुरनीतिः

The above sloka is from vidura nIti.

Do that during the day by which you can be happy in the night. Do that during the eight months of the year which may enable you to spend the year happily or the rainy season happily.

दिवसेनैव- during the day, तत् कुर्यात् – to that, येन- by which, रात्रौ – during the night, सुखं- happily, वसेत् – live, अष्टमासेन- in the eight months, तत् कुर्यात्- do that, येन- by which, सुखं- happily, वसेत्- live, वर्षाः- whole year or the rainy season.

मञ्जुरामायणम् -6

जनबाष्पजलाश्रयप्रिया वरशृङ्गद्वयभीमदर्शना ।
मलिना मतिमान्द्यपीवरा महिषी सत्यमियं महीपतेः ।।

janabāṣpajalāśrayapriyā varaśṛṅgadvayabhīmadarśanā|
malinā matimāndyapīvarā mahiṣī satyamiyaṁ mahīpateḥ||


Kaikeyi is compared to buffalo in this sloka. The poet plays on the
word 'mahiShI' which means both a she-buffalo and queen.

(the meaning given within parantheses are attributes to she-buffalo)

मतिमान्द्यपीवरा = full of dull intellect (fat and brainless)
जनबाष्पजलाश्रयप्रिया = desirous of the pool of water formed by
people’s tears (loves to wallow in water)
वरशृङ्गद्वयभीमदर्शना = looking fierce due to her 2 boons (looking
fierce with 2 horns)
महीपतेः महिषी = The king's wife (Buffalo)
सत्यमियं = She is truly
मलिना = dirty.

श्लोकोऽयं मह्यं रोचते – 43

घा
घातितार्कसुतकर्णदयालुर्जैत्रितेन्दुकुलपार्थकृतार्थः।
अर्धदुःखसुखमभ्यनयस्त्वं सास्रुभानुविहसद्विधुनेत्रः ॥ (21, 83)

ghätitärkasutakarëadayäluù jetritendukulapärthakrtärthaù

ardhadukkhasukhamabhyanayastvam säsrubhänuvihasadvidhunetraù

हे विष्णो ! सूर्यचन्द्रयोः तव नेत्रत्वात् तथा कर्णस्य च सूर्यपुत्रत्वात् तन्नाशे सूर्यस्य शोको अभवत्। अर्जुनस्य चन्द्रवंशस्थत्वात् तस्य विजये चन्द्रः सुखमन्वभवत्। ताभ्याम् अर्धसुखमर्धदुःखाभिनयात् त्वम् अद्भुतरूपोऽसि।

The above sloka is from naishadIya charitam of srI Harsha.

Lord visnu is praised in the above sloka.

Mahavisnu’s two eyes are Chandra and surya. One eye of visnu started watering in grief while the other glowed with pride. In the kurukshetra battle, when Arjuna kills karna as adviced by lord Krishna, Chandra beams with pride as Arjuna belongs to the Chandra vamsa. And
Surya weeps in grief as karna is his son.

अर्कसुतः-son of surya, कर्णः-karna, दयालुः-the compassionate one, घातितः- killed in the battle, इन्दुकुलपार्थः- pArtha or arjuna , who belongs to the Chandra vamsa, जैत्रितः –was given the victory, कृतार्थः- by this the purpose of Krishna avataara is fulfilled, त्वं – you lord visnu, नेत्रः- your eyes, अभ्यनयः – were showing both, अर्धसुखं- happiness,and अर्धदुःखं-sorrow, ( the eyes of lord visnu are surya nad Chandra) भानुः –the sun , सास्रुः- was with tears (as his son karna was killed in the battle), विधुः – , Chandra, विहसत् – was smiling( as arjuna got the victory), ।

The victory of Arjuna and the death of karna is a known story. But the poet has imagined and brought it out in a creatively unique point of view.

श्लोकोऽयं मह्यं रोचते - 42

घ
घनच्छन्नदृष्टिः घनच्छन्नमर्कम्
यथा निष्प्रभं मन्यते चातिमूढः।
तथा बद्धवद्भाति यो मूढदृष्टेः
स नित्योपलब्धः स्वरूपोऽहम् आत्मा॥ (हस्तामलकीयस्तोत्रम् 10)

ghanacchannadṛṣṭiḥ ghanacchannam arkam
yathā niṣprabhaṁ manyate cāti mūḍhaḥ|
tathā baddhavadbhāti yo mūḍadṛṣṭeḥ
sa nityopalabdhiḥ svarūpo'hamātmā||(hastāmalakiya stotram 10)

When the cloud covers the eyes, a fool says it is the sun that is covered by the cloud. In a similar way, the one whose vision is clouded by delusion, perceives the ever-present atman as bound.

This sloka is the perfect example of how simple the greatest truth can be. The cloud clouds our vision yet we say that it clouds the sun. Similarly, maya covers our vision and not the ever-luminous atman.

श्लोकोऽयं मह्यं रोचते – 41

गो
गोविन्दादधिकं न दैवतमिति प्रोच्चार्य हस्तावुभा-
वुद्धृत्याथ शिवस्य संनिधिगतो व्यासो मुनीनां वरः ।
यस्य स्तम्भितपाणिरानतिकृता नन्दीश्वरेणाभव-
त्तस्मिन्मे हृदयं सुखेन रमतां साम्बे परब्रह्मणि ॥

The above sloka is from Adi sankara’s dasa sloki stuti.
VyAsa, the best among the rishis, said by raising his hands that there is no god other than govinda or lord naaraayana.
Saying so he visited the abode of Lord Siva where he was welcomed by Nandeeshwara.
The hands of Sage Vyaasa which were raising to the nama of Govinda stopped doing so and automatically bowed before Lord Siva.

Adi sankara says that his mind be involved
in meditating upon the supreme entity who is always with amba pArvatI

मुनीनां वरः – Best among the munis, व्यासो –Vyasa, हस्तावुभा-वुद्धृत्य- raising both his hands, न गोविन्दात् अधिकं दैवतमिति -nobody is greater than lord naaraayana, प्रोच्चार्य- said aloud, अथ - then, संनिधिगतो – went near or to abode , शिवस्य – of lord sive, (ther)यस्य – of vyaasa, स्तम्भितपाणिः –stiff hands(hands which were raised ) नन्दीश्वरेण- by nandeesvara, आनतिकृता –bowed down ,अभवत्- did ,तस्मिन्- to that , परब्रह्मणि- supreme soul, साम्बे-who is always with pArvati, मे- my ,हृदयं-heart , सुखेन- happily , रमताम् –involve in meditation

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 ॥

श्लोकोऽयं मह्यं रोचते - 34

गि
गिरौ मन्निवासे नरा येऽधिरूढा
स्तदा पर्वते राजते तेऽधिरूढाः ।
इतीव ब्रुवन्गऩ्धशैलाधिरूढः
स देवो मुदे मे सदा षण्मुखोऽस्तु ।।

The above sloka is from Adi sankara’s ‘subrahmanya bhujangam’.

Lord shanmukha, standing on the top of the sugandha hills says that whenever the devotees climb this hill they will be blessed with the same merits as climbing the king of mountains (kalilash). May the six- faced lord on the sugandha mountain bless me.

गन्धशैलाधिरूढः – the god shanmukha who resides on the ‘gandha (sandal wood) mountain , इति ब्रुवन् - says thus ----- ये नरा – those men, अधिरूढाः- climb, गिरौ – the mountain, मन्निवासे – which is my abode, (by climbing my mountain they are blessed with the same merits as climbing the mount kailash), तदा-then, ते अधिरूढाः – they have climbed ,इव –like , राजते पर्वते-silvery mountain that is kaliash,.
सः देवः- that lord, षण्मुखः – shanmukha (six faced lord), सदा- always, मुदे-be happy, मे अस्तु – with me.

It is believed that Lord subrahmanya has connection with serpents. If we see snake in our dreams then elders ask us to visit subrahmanya temple. In Karnataka there is a place called kukke subrahmanya, where poojas are performed to ward off the sarpa dosa.

Kanchi maha periyavaa said the following in one of his lectures – ‘Adi sankara has sung bhujangams on many gods. But when we think of bhujangam immediately we think of ‘subrahmanya bhujangam’
Probably to prove that subrahmanya himself is the bhujangam he wrote these slokas in the ‘chandas’ ‘bhujanga prayaatam’. The word ‘bhujangam’ means snake. ‘

वैराग्यशतकम् - विषयत्यागः - 16

स्तनौ मांसग्रन्थी कनककलशावित्युपमितौ
मुखं श्लेष्मागारं तदपि च शशाङ्केन तुलितम्।
स्रवन्मूत्रक्लिन्नं करिवरशिरस्पर्धि जघनं
मुहुर्निन्द्यं रूपं कविजनविशेषैर्गुरु कृतम्॥

Poets tend to describe the human body, women in particular with eloquent similes. Bhartrhari condemns the poets and points out the true nature of a human body. He says it is a storehouse of all that is contemptible, yet poets add grandeur to them by praise.

Adi Sankara gives a more refined touch to this in his मोहमुद्गर
नारीस्तनभरनाभीदेशं दृष्ट्वा मा गा मोहावेश।
एतन्मांसवसादिविकारं मनसि विचिन्तय वारं वारम्॥

Repeatedly think of the parts that give rise to delusion as mere transformation of flesh.

Pronunciation (उच्चारणम्) - Podcast 06

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Pronunciation (उच्चारणम्) - Podcast 05

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श्लोकोऽयं मह्यं रोचते - 33

गा
गान्धर्वेण विवाहेन बह्वयो राजर्षिकन्यकाः ।
श्रूयन्ते परिणीतास्ताः पितृभिश्चाभिनन्दिताः ।। (3, 20)

The above sloka is from the third act of Abhignaana sAkuntalam of maha kavi kAlidAsa.

The context here is: Sakuntala is afflicted by love towards Dushyanta and at the same time she has the fear for elders. Dushyanta says the following words to her- “It is heard that the daughters of royal sages are married under the gAndharva form of marriage and they have also been approved by their fathers”.

बह्वयो –Many ; राजर्षिकन्यकाः – daughters of royal sages , परिणीताः – married under the , गान्धर्वेण- Gandharva form of, विवाहेन – marriage, श्रूयन्ते – heard. च – and , ताः – They are, अभिनन्दिताः – accepted , पितृभिः – by the fathers.

GAndharva is one of the eight forms of marriage recognized by the Hindu Law.

ब्राह्मो दैवस्तथैवार्षः प्राजापत्यस्तथासुरः ।
गान्धर्वो राक्षसश्चैव पैशाचश्चाष्टमोऽधमः ।।

Among these the voluntary union of the maiden and her lover is said to be the GAndharva form of marriage.

इच्छया अन्योन्यसंयोगः कन्यायश्च वरस्य च गान्धर्वः स तु विज्ञेयो ।