Saastram speaks – 8
The following sentence is from the sixth chapter, fourth brAhmaNa and seventeenth passage of ‘BrhadAraNyaka upanishad’.
It describes, that a couple, desirous to have a female child, may cook sesame and rice together and eat it along with ghee.
अथ च इच्छेत् दुहिता मे पण्डिता जायेत सर्वमायुरियादिति तिलौदनं पाचयित्वा सर्पिष्मन्तमश्नीयताम् (6, 4 ,17)
atha ca icchet duhitā me paṇḍitā jāyeta sarvamāyuriyāditi tilaudanaṁ pācayitvā sarpiṣmantam aśnīyatām (6, 4 ,17)
We are aware of the rituals like ‘pumsavanam’ which is performed during the pregnancy period. The above ritual is also mentioned in our scriptures.
Female foeticide is a sad and heart breaking practice in our country where the scriptures quote a separate ritual to have a female child. Shamefully it prevails even in the educated group. The age old and stereotyped views are always quoted as one of the reasons for the female foeticide. I have not come across any scripture corroborating the same.
कविः -2
भर्तृहरिः
‘भर्तृहरिणा कृतं शतकत्रयं मानवजीवनस्य मार्गदर्शकः’ इति लोकोक्तिः अस्ति। तेन कृत ग्रन्थः प्रसिद्धिं अलभत, परन्तु तस्य जीवनविषये सप्रमाणयुक्तिः न लब्धा। भर्तृहरिः जन्मना राजवंशीयः, तथापि सः राज्यभोगान् त्यक्त्वा वनम् अगच्छत्, यत्र सः नीतिशतकम्, श्रृङ्गारशतकम्, वैराग्यशतकम् इति त्रीन् ग्रन्थान् अरचयत्।
शीर्षकस्य समर्थनानुसारेणैव नीतिशतके नैतिक अथवा धर्मप्रतिपादनविषयाः उक्ताः, तथा च
श्रृङ्गारशतके विषयसुखम् अधिकृत्य लिखितं कविना।
मोक्षप्राप्तिरेव मानुषजन्मनः प्रयोजनम्। संसारे विरक्तिः, ईश्वरे अनुरक्तिः, ततः ब्रह्मणि अनुध्यानेन परमं पदं लभ्यते। संसारस्य अनित्यत्वं तथा आत्मनः अमृतत्वं च रमणीयश्लोकेषु वर्णितं कविना।
Poet -2
Bhartrhari
It is very difficult to settle the dates of ancient writers generally and it is specially so with the Indian writers. The date of birth and the date of death of great poets like kalidAsa, BhavabhUti, SrIharshA etc. were not recorded in books. It is the same with the poet Bhartrhari, whose date and time are still under dispute.
Tradition weaves plenty of stories round an old, reputed personage, and the tales may be based on fact or fancy. Bhartrhari belonged to a royal family and renounced the world later on in life to become a yogi. He then retired to the forest where he is said to have composed the three satakams. They are the nIti satakam, sringAra satakam and vairAgya satakam. Satakam means hundred. So, there are hundred slokas in each text.
Among the works of the poet, nIti satakam is the collection of wise sayings, morals etc.
In the ‘mUrkha paddhati’ of nIti satakam, the poet says- ‘Those who have knowledge are affected by jealousy, those who hold high position are spoiled by arrogance, and the rest are overpowered by ignorance. Therefore, the good sayings said in this work remain absorbed in the body of its possessor. Even if there is no one to appreciate, my work will continue.
बोद्धारो मत्सरग्रस्ताः प्रभवः स्मयदूषिताः।
अबोधोपहृताश्चान्ये जीर्णमङ्गे सुभाषितम्।।
boddhāraḥ matsaragrastāḥ prabhavaḥ smayadūṣitāḥ
abodhopahatāścānye jīrṇamaṅge subhāṣitam
The verses of sringara satakam are generally sensual. The effect of moon-light, cool breezes etc. on the minds of lovers are well depicted.
The vairaagya satakam or the hundred slokas of renunciation. They are written with the full enthusiasm and determination of an ascetic who has renounced the world.
Personally I feel, a student of Sanskrit must read two books. One is Adi sankara’s ‘Bhaja Govindam’ and undoubtedly the second one is Bhartrhari’s ‘vairAgya satakam’.
‘भर्तृहरिणा कृतं शतकत्रयं मानवजीवनस्य मार्गदर्शकः’ इति लोकोक्तिः अस्ति। तेन कृत ग्रन्थः प्रसिद्धिं अलभत, परन्तु तस्य जीवनविषये सप्रमाणयुक्तिः न लब्धा। भर्तृहरिः जन्मना राजवंशीयः, तथापि सः राज्यभोगान् त्यक्त्वा वनम् अगच्छत्, यत्र सः नीतिशतकम्, श्रृङ्गारशतकम्, वैराग्यशतकम् इति त्रीन् ग्रन्थान् अरचयत्।
शीर्षकस्य समर्थनानुसारेणैव नीतिशतके नैतिक अथवा धर्मप्रतिपादनविषयाः उक्ताः, तथा च
श्रृङ्गारशतके विषयसुखम् अधिकृत्य लिखितं कविना।
मोक्षप्राप्तिरेव मानुषजन्मनः प्रयोजनम्। संसारे विरक्तिः, ईश्वरे अनुरक्तिः, ततः ब्रह्मणि अनुध्यानेन परमं पदं लभ्यते। संसारस्य अनित्यत्वं तथा आत्मनः अमृतत्वं च रमणीयश्लोकेषु वर्णितं कविना।
Poet -2
Bhartrhari
It is very difficult to settle the dates of ancient writers generally and it is specially so with the Indian writers. The date of birth and the date of death of great poets like kalidAsa, BhavabhUti, SrIharshA etc. were not recorded in books. It is the same with the poet Bhartrhari, whose date and time are still under dispute.
Tradition weaves plenty of stories round an old, reputed personage, and the tales may be based on fact or fancy. Bhartrhari belonged to a royal family and renounced the world later on in life to become a yogi. He then retired to the forest where he is said to have composed the three satakams. They are the nIti satakam, sringAra satakam and vairAgya satakam. Satakam means hundred. So, there are hundred slokas in each text.
Among the works of the poet, nIti satakam is the collection of wise sayings, morals etc.
In the ‘mUrkha paddhati’ of nIti satakam, the poet says- ‘Those who have knowledge are affected by jealousy, those who hold high position are spoiled by arrogance, and the rest are overpowered by ignorance. Therefore, the good sayings said in this work remain absorbed in the body of its possessor. Even if there is no one to appreciate, my work will continue.
बोद्धारो मत्सरग्रस्ताः प्रभवः स्मयदूषिताः।
अबोधोपहृताश्चान्ये जीर्णमङ्गे सुभाषितम्।।
boddhāraḥ matsaragrastāḥ prabhavaḥ smayadūṣitāḥ
abodhopahatāścānye jīrṇamaṅge subhāṣitam
The verses of sringara satakam are generally sensual. The effect of moon-light, cool breezes etc. on the minds of lovers are well depicted.
The vairaagya satakam or the hundred slokas of renunciation. They are written with the full enthusiasm and determination of an ascetic who has renounced the world.
Personally I feel, a student of Sanskrit must read two books. One is Adi sankara’s ‘Bhaja Govindam’ and undoubtedly the second one is Bhartrhari’s ‘vairAgya satakam’.
शास्त्रं वदति- 7
Saastram speaks -7
The following verse is from the ninth chapter of Manu smriti.
It says- Let a girl wait for three years, though she is of marriageable age. After that period she can choose a husband by herself who can be of equal caliber.
त्रीणि वर्षाण्युदीक्षेत कुमारी ऋतुमती सती।
ऊर्ध्वं तु कालात् एतस्मात् विन्देत सदृशं पतिम् ।। (9- 90)
trīṇi varṣāṇyudīkṣeta kumārī ṛtumatī satī
ūrdhvaṁ tu kālāt etasmāt vindeta sadṛśaṁ patim (9- 90)
कुमारी – A girl, ऋतुमती सती – after attaining the suitable age, त्रीणि- three, वर्षाणि- years, उदीक्षेत- wait, ऊर्ध्वं – above, एतस्मात् – that, कालात् – time or period, सदृशं- suitable or equal, पतिम्- husband, विन्देत –select or choose.
The following verse is from the ninth chapter of Manu smriti.
It says- Let a girl wait for three years, though she is of marriageable age. After that period she can choose a husband by herself who can be of equal caliber.
त्रीणि वर्षाण्युदीक्षेत कुमारी ऋतुमती सती।
ऊर्ध्वं तु कालात् एतस्मात् विन्देत सदृशं पतिम् ।। (9- 90)
trīṇi varṣāṇyudīkṣeta kumārī ṛtumatī satī
ūrdhvaṁ tu kālāt etasmāt vindeta sadṛśaṁ patim (9- 90)
कुमारी – A girl, ऋतुमती सती – after attaining the suitable age, त्रीणि- three, वर्षाणि- years, उदीक्षेत- wait, ऊर्ध्वं – above, एतस्मात् – that, कालात् – time or period, सदृशं- suitable or equal, पतिम्- husband, विन्देत –select or choose.
मञ्जुरामायणम् -1
ब्रह्मर्षिराजर्षिसमागमं तं समागतो द्रष्टुमपीह लोकः ।
शशाक दृष्टिं पतितां विधर्तुं ब्रह्मण्यहो राजनि तत्र रामे ।।
brahmarṣirājarṣisamāgamaṁ taṁ samāgato draṣṭumapīha lokaḥ|
śaśāka dṛṣṭiṁ patitāṁ vidhartuṁ brahmaṇyaho rājani tatra rāmaḥ||
द्रष्टुम् = to see
तं = that
समागमं = union
ब्रह्मर्षिराजर्षि = between brahmarshi (Viswamitra) and rajarshi ( Janaka)
इह = here (In the palace)
लोकः = people
समागतः = gathered
न शशाक = but they were unable
विधर्तुं = to remove
पतितां दृष्टिं = their sight which had fallen
तत्र =there
रामे = on Rama
ब्रह्मणि = who is brahman the supreme being
राजनि = and king
Oh alas ! The people who were gathered there (In the palace of Janaka) to see the meeting of Brahmarshi –Vishwaamitra and Rajarishi- Janaka , were not able to take their eyes off Rama who was Brahman the supreme being and Raja, a king as well.
वैराग्यशतकम् आशा - 6
निवृत्ता भोगेच्छा पुरुषबहुमानोऽपि गलितः
समानाः स्वर्याताः सपदि सुहृदो जीवितसमाः ।
शनैर्यष्ट्युत्थानं घनतिमिररुद्धे च नयने
अहो मूढः कायस्तदपि मरणापायचकितः ।।
nivṛttā bhogecchā puruṣabahumāno'pi galitaḥ
samānāḥ svaryātāḥ sapadi suhṛdo jīvitasamāḥ|
śanairyaṣṭyutthānaṁ ghanatimiraruddhe ca nayane
aho mūḍhaḥ kāyastadapi maraṇāpāyacakitaḥ||
प्राणतुल्याः सुहृदः बन्धवश्च जरावस्थायाः प्रागेव पुण्यलोकं गताः। विषयानुस्पृहा निर्गता। पुरुषाणां सम्मानः, सोऽपि गलितः। दृष्टिः तु जरया नष्टा। शरीरसंचारे तु शक्तिः नास्ति। तथापि, ज्ञानहीनः मम देहः मरणेन को अपायो जायते इति भीतः।
My friends, dear to me as life, have all taken the fast lane towards heaven before the onset of (old) age. The interest in accomplishing the worldly enjoyments has reduced and I have lost respect from my relatives. My vision is obstructed by deep blindness and the body can raise slowly only with the support of a Staff. Despite all these, my body is still scared of the very thought of death.
सुहृदो- Friends, समानाः – of equal age, जीवितसमाः – dear to me as life, सपदि- immediately (before the onset of old age), स्वर्याताः – reached the heaven, भोगेच्छा- desire for enjoyment, निवृत्ता – has gone, पुरुषबहुमानोऽपि – the respect from people, गलितः- has also gone, नयने च- and my eye sight, रुद्धे- obstructed by, घनतिमिर- deep blindness, कायः- Body , शनैः –slowly, उत्थानं- gets up, यष्टिः – with a help of a Staff or stick, तदपि- even after all these, कायः – (my) body is, मरणापायचकितः- scared of death, अहो- alas (surprising).
समानाः स्वर्याताः सपदि सुहृदो जीवितसमाः ।
शनैर्यष्ट्युत्थानं घनतिमिररुद्धे च नयने
अहो मूढः कायस्तदपि मरणापायचकितः ।।
nivṛttā bhogecchā puruṣabahumāno'pi galitaḥ
samānāḥ svaryātāḥ sapadi suhṛdo jīvitasamāḥ|
śanairyaṣṭyutthānaṁ ghanatimiraruddhe ca nayane
aho mūḍhaḥ kāyastadapi maraṇāpāyacakitaḥ||
प्राणतुल्याः सुहृदः बन्धवश्च जरावस्थायाः प्रागेव पुण्यलोकं गताः। विषयानुस्पृहा निर्गता। पुरुषाणां सम्मानः, सोऽपि गलितः। दृष्टिः तु जरया नष्टा। शरीरसंचारे तु शक्तिः नास्ति। तथापि, ज्ञानहीनः मम देहः मरणेन को अपायो जायते इति भीतः।
My friends, dear to me as life, have all taken the fast lane towards heaven before the onset of (old) age. The interest in accomplishing the worldly enjoyments has reduced and I have lost respect from my relatives. My vision is obstructed by deep blindness and the body can raise slowly only with the support of a Staff. Despite all these, my body is still scared of the very thought of death.
सुहृदो- Friends, समानाः – of equal age, जीवितसमाः – dear to me as life, सपदि- immediately (before the onset of old age), स्वर्याताः – reached the heaven, भोगेच्छा- desire for enjoyment, निवृत्ता – has gone, पुरुषबहुमानोऽपि – the respect from people, गलितः- has also gone, नयने च- and my eye sight, रुद्धे- obstructed by, घनतिमिर- deep blindness, कायः- Body , शनैः –slowly, उत्थानं- gets up, यष्टिः – with a help of a Staff or stick, तदपि- even after all these, कायः – (my) body is, मरणापायचकितः- scared of death, अहो- alas (surprising).
श्लोकोऽयं मह्यं रोचते - 12
ऐ
ऐश्वर्यम् इन्दुमौलेः ऐकात्म्यप्रकृति काञ्चिमध्यगतम्।
ऐन्दवकिशोरशेखरम् ऐदंपर्यं चकास्ति निगमानाम्॥
aiśvaryam indumauleḥ aikātmyaprakṛti kāñcimadhyagatam|
aindavakiśoraśekharam aidaṁparyam cakāsti nigamānām||
इन्दुमौलेः ऐश्वर्यम् – She is the form of Shiva’s (who has the moon on his head) supremacy
ऐकात्म्यप्रकृति – She is the shakti who is present as united with Shiva
ऐन्दवकिशोरशेखरं – She has the crescent moon on her forehead
निगमानाम् ऐदंपर्यं – She is the essence of Vedas
काञ्चिमध्यगतम् चकास्ति – She shines in the middle of kAnchi
This sloka is the 7th sloka in the AryAshataka of mUkapanchashati written by mUka kavi.
Shiva does not act without Shakti nor does Shakti act without the presence of Shiva. Shiva’s Ishvaratva or aishvarya or supremacy is dependent on the presence of Shakti within. This anyonya bhAva is beautifully represented by a physical resemblance too – both, Shiva and Shakti have a crescent moon on their head. Kavi describes kAmAkShI as the purport of Vedas residing in the city of kAnchi.
ऐश्वर्यम् इन्दुमौलेः ऐकात्म्यप्रकृति काञ्चिमध्यगतम्।
ऐन्दवकिशोरशेखरम् ऐदंपर्यं चकास्ति निगमानाम्॥
aiśvaryam indumauleḥ aikātmyaprakṛti kāñcimadhyagatam|
aindavakiśoraśekharam aidaṁparyam cakāsti nigamānām||
इन्दुमौलेः ऐश्वर्यम् – She is the form of Shiva’s (who has the moon on his head) supremacy
ऐकात्म्यप्रकृति – She is the shakti who is present as united with Shiva
ऐन्दवकिशोरशेखरं – She has the crescent moon on her forehead
निगमानाम् ऐदंपर्यं – She is the essence of Vedas
काञ्चिमध्यगतम् चकास्ति – She shines in the middle of kAnchi
This sloka is the 7th sloka in the AryAshataka of mUkapanchashati written by mUka kavi.
Shiva does not act without Shakti nor does Shakti act without the presence of Shiva. Shiva’s Ishvaratva or aishvarya or supremacy is dependent on the presence of Shakti within. This anyonya bhAva is beautifully represented by a physical resemblance too – both, Shiva and Shakti have a crescent moon on their head. Kavi describes kAmAkShI as the purport of Vedas residing in the city of kAnchi.
शास्त्रं वदति – 6
Saastram speaks -6
The following verse is from the ninth chapter of Manu smriti.
It says - A girl can remain in her father’s place or stay alone for her life time, if she did not get a suitable husband. The father should not give her to a man, who is devoid of good qualities.
काममामरणात् तिष्ठेत् कन्या ऋतुमत्यपि ।
न चैवैनां प्रयच्छेत्तु गुणहीनाय कर्हिचित् ।। (9- 89)
kāmamāmaraṇāt tiṣṭhet kanyā ṛtumatyapi
na caivaināṁ prayacchettu guṇahīnāya karhicit (9- 89)
कन्या – A Girl , ऋतुमत्यपि – Even after coming to a marriageable age, कामम् – according to her wish , आमरणात्- till the end of her life , तिष्ठेत् – remain.
च – and, न कर्हिचित् - never to , प्रयच्छेत्- give, एनां – her, गुणहीनाय – to a person devoid of good qualities,
The following verse is from the ninth chapter of Manu smriti.
It says - A girl can remain in her father’s place or stay alone for her life time, if she did not get a suitable husband. The father should not give her to a man, who is devoid of good qualities.
काममामरणात् तिष्ठेत् कन्या ऋतुमत्यपि ।
न चैवैनां प्रयच्छेत्तु गुणहीनाय कर्हिचित् ।। (9- 89)
kāmamāmaraṇāt tiṣṭhet kanyā ṛtumatyapi
na caivaināṁ prayacchettu guṇahīnāya karhicit (9- 89)
कन्या – A Girl , ऋतुमत्यपि – Even after coming to a marriageable age, कामम् – according to her wish , आमरणात्- till the end of her life , तिष्ठेत् – remain.
च – and, न कर्हिचित् - never to , प्रयच्छेत्- give, एनां – her, गुणहीनाय – to a person devoid of good qualities,
Sanskrit and computer?
कलाशालायां यदा वयं पठन्त्यः आस्म, तदा प्रसिद्धतया संस्कृतजनैः एवमुक्तमासीत् संस्कृतं गणकयन्त्राय उचिता भाषा इति। अनया चिन्तया भृशं प्रभाविता अहं पठनात् परं हैदराबाद् नगरम् अगच्छम्। तत्र 15 दिनानि यावत् उषित्वा CALTS विभागे विषये किञ्चित् अपठम्। तत्तु प्रायः 1% एव भवेत् यतः तेषां कार्यं बहोः कालात् प्रचलन्नस्ति। नैजस्थितिहेतोः (due to personal reasons) तस्मिन् विभागे संशोधनं कर्तुम् अक्षमा अभवम्। ततः परं मम दृष्टिः व्याकरणे आसीत्। न केवलं शब्दानां रूपनिष्पत्तिः ज्ञातव्या, परन्तु सम्पूर्णव्याकरणशास्त्रस्य स्वरूपं ज्ञातव्यमिति आशा उत्पन्ना।
In my college days, I was completely taken by the idea which was floating around that Sanskrit is the most compatible language for computers because its grammar is very structured. This link, though 41/2 years old, gives a very beautiful look at why Sanskrit was ever considered as a computer language. There are further discussions on this topic to say whether Sanskrit can actually be used as a programming language though it seems to be a far cry from reality. Yes, it can be used for a few tasks but a programming language?
We as students of Sanskrit should face reality and try to highlight only points that can be relevant and viable to the modern world. Anything beyond that is a classic case of pulling wool over one’s eyes. Medicinal info, psychological aspects, management strategies, linguistics, arts and above all, philosophy of life are some of the areas I would personally choose to talk about.
In my college days, I was completely taken by the idea which was floating around that Sanskrit is the most compatible language for computers because its grammar is very structured. This link, though 41/2 years old, gives a very beautiful look at why Sanskrit was ever considered as a computer language. There are further discussions on this topic to say whether Sanskrit can actually be used as a programming language though it seems to be a far cry from reality. Yes, it can be used for a few tasks but a programming language?
We as students of Sanskrit should face reality and try to highlight only points that can be relevant and viable to the modern world. Anything beyond that is a classic case of pulling wool over one’s eyes. Medicinal info, psychological aspects, management strategies, linguistics, arts and above all, philosophy of life are some of the areas I would personally choose to talk about.
कविः -1
(मूककविः)
मूककविः मूकपञ्चशती इति ग्रन्थस्य रचयिता। अस्य कवेः जन्मादि विषये युक्तिपूर्वकाः विषयाः न लब्धाः। कश्चित् मूकः काञ्चीपुरे कामाक्षीं ववन्दे। एकदा देव्याः कामाक्ष्याः अनुग्रहेण सः वक्तुम् आरभत। ततः, देव्याः नमस्काररूपेण मूकपञ्चशती इति पञ्चशतं श्लोकयुक्तम् इदं ग्रन्थम् अरचयत् सः कविः। सः प्रथमं मूकः आसीत् तस्मात् तेन नाम्ना एव प्रसिद्धिम् अलभत।
अयमेव मूककविः काञ्चीकामकोटिपीठाचार्येषु एकः आसीत्। सः मूकशङ्करः इति नाम्ना अपि प्रकीर्तितः। तस्य आचार्यपीठारोहणं 398 A.D. मध्ये आसीत्। ततः 437 A.D. मध्ये सः शिवलोकपदवीम् अलभत इति तस्य जीवनविषये अभिप्रायो वर्तते।
तेन कृत मूकपञ्चशती ग्रन्थे पञ्च भागाः सन्ति, तथा च प्रति भागे शतश्लोकाः वर्तन्ते। ते भागाः आर्याशतकम्, पादारविन्दशतकम्, मन्दस्मितशतकम्, कटाक्षशतकम्, स्तुतिशतकम् च। प्रतिभागस्य वर्तमानानां श्लोकानां वृत्तानि भिन्नानि भवन्ति। अस्मिन् ग्रन्थे, कामाक्षीम्, एकाम्रनाथं, कामकोटिपीठं, काञ्चीपुरं तथा कम्पानदीं च अवर्णयत् कविः।
Poet -1
Mooka Kavi
Our ancients gave less prominence in mentioning about their biographical background. Reason could be the humility that those great men had of themselves. But still, we are eager to know the origin and lineage of those great men. ‘Mooka kavi’ is one among them who has not mentioned anything about his own self in his work. He is second only to Adi Sankara in composing slokas on the goddess kAmAkshI.
There are no authentic proof available on the date and life of ‘Mooka kavi’. There lived a man in kAnchIpuram, who was speech impaired from birth. He was regularly visiting ‘kAmAkshi’ temple and was prostrating before the goddess. One day He saw the lips of the goddess and after that he started to speak and wrote a work called ‘mooka pancha sati’ or five hundred slokas in praise of the goddess. The word ‘mooka’ means ‘a person who cannot speak’ in Sanskrit, hence his name remained as ‘mooka kavi’.
This ‘mooka kavi’ was one of the AchAryAs of the kAnchI kAmakotI peetam and was called as mooka sankara. The date of his becoming the AchArya is approximately stated as 398 A.D. and he attained siddhi at 437 A.D.
His work ‘mooka panca sati’ has five sections; they are, AryA satakam, pAdAravinda satakam, manda smita satakam, katAksha satakam and stuti satakam. Each section consists of hundred slokas. The metre or the vrittam in which these slokas were written is different in each section. In this text, the poet describes goddess kAmAkshi, kAmakoti peetam, EkamranAtha, kAnchIpuram and the river kampA. Some Slokas have similarity with the text ‘soundarya laharI’ of Adi Sankara.
मूककविः मूकपञ्चशती इति ग्रन्थस्य रचयिता। अस्य कवेः जन्मादि विषये युक्तिपूर्वकाः विषयाः न लब्धाः। कश्चित् मूकः काञ्चीपुरे कामाक्षीं ववन्दे। एकदा देव्याः कामाक्ष्याः अनुग्रहेण सः वक्तुम् आरभत। ततः, देव्याः नमस्काररूपेण मूकपञ्चशती इति पञ्चशतं श्लोकयुक्तम् इदं ग्रन्थम् अरचयत् सः कविः। सः प्रथमं मूकः आसीत् तस्मात् तेन नाम्ना एव प्रसिद्धिम् अलभत।
अयमेव मूककविः काञ्चीकामकोटिपीठाचार्येषु एकः आसीत्। सः मूकशङ्करः इति नाम्ना अपि प्रकीर्तितः। तस्य आचार्यपीठारोहणं 398 A.D. मध्ये आसीत्। ततः 437 A.D. मध्ये सः शिवलोकपदवीम् अलभत इति तस्य जीवनविषये अभिप्रायो वर्तते।
तेन कृत मूकपञ्चशती ग्रन्थे पञ्च भागाः सन्ति, तथा च प्रति भागे शतश्लोकाः वर्तन्ते। ते भागाः आर्याशतकम्, पादारविन्दशतकम्, मन्दस्मितशतकम्, कटाक्षशतकम्, स्तुतिशतकम् च। प्रतिभागस्य वर्तमानानां श्लोकानां वृत्तानि भिन्नानि भवन्ति। अस्मिन् ग्रन्थे, कामाक्षीम्, एकाम्रनाथं, कामकोटिपीठं, काञ्चीपुरं तथा कम्पानदीं च अवर्णयत् कविः।
Poet -1
Mooka Kavi
Our ancients gave less prominence in mentioning about their biographical background. Reason could be the humility that those great men had of themselves. But still, we are eager to know the origin and lineage of those great men. ‘Mooka kavi’ is one among them who has not mentioned anything about his own self in his work. He is second only to Adi Sankara in composing slokas on the goddess kAmAkshI.
There are no authentic proof available on the date and life of ‘Mooka kavi’. There lived a man in kAnchIpuram, who was speech impaired from birth. He was regularly visiting ‘kAmAkshi’ temple and was prostrating before the goddess. One day He saw the lips of the goddess and after that he started to speak and wrote a work called ‘mooka pancha sati’ or five hundred slokas in praise of the goddess. The word ‘mooka’ means ‘a person who cannot speak’ in Sanskrit, hence his name remained as ‘mooka kavi’.
This ‘mooka kavi’ was one of the AchAryAs of the kAnchI kAmakotI peetam and was called as mooka sankara. The date of his becoming the AchArya is approximately stated as 398 A.D. and he attained siddhi at 437 A.D.
His work ‘mooka panca sati’ has five sections; they are, AryA satakam, pAdAravinda satakam, manda smita satakam, katAksha satakam and stuti satakam. Each section consists of hundred slokas. The metre or the vrittam in which these slokas were written is different in each section. In this text, the poet describes goddess kAmAkshi, kAmakoti peetam, EkamranAtha, kAnchIpuram and the river kampA. Some Slokas have similarity with the text ‘soundarya laharI’ of Adi Sankara.
शास्त्रं वदति-5
saastram speaks- 5
यत्किञ्चित् धवलं पुष्पं यत्किञ्चिदनुलेपनम्।
अलक्ष्मीपरिहाराय नित्यं कुरु युधिष्ठिर।।
yatkiñcit dhavalaṁ puṣpaṁ yatkiñcidanulepanam|
alakṣmīparihārāya nityaṁ kuru yudhiṣṭhira||
युधिष्ठिर = Oh yudhistira यत्किञ्चित् = little धवलं पुष्पं = bright flower (preferably white) यत्किञ्चित् = little अनुलेपनम् = perfume अलक्ष्मीपरिहाराय = to avoid poverty or the inauspicious नित्यं = daily कुरु = do (wear)
This sloka is an advice given by Bhishma pitAmaha to Yudhishtira in Mahabharatam.
A person who wants to maintain his financial status must wear a white flower and mild perfume daily. It is an age old practise for even men to wear flowers. Kings, in particular, used to have garland or flower crown and sandal paste applied over their body.
यत्किञ्चित् धवलं पुष्पं यत्किञ्चिदनुलेपनम्।
अलक्ष्मीपरिहाराय नित्यं कुरु युधिष्ठिर।।
yatkiñcit dhavalaṁ puṣpaṁ yatkiñcidanulepanam|
alakṣmīparihārāya nityaṁ kuru yudhiṣṭhira||
युधिष्ठिर = Oh yudhistira यत्किञ्चित् = little धवलं पुष्पं = bright flower (preferably white) यत्किञ्चित् = little अनुलेपनम् = perfume अलक्ष्मीपरिहाराय = to avoid poverty or the inauspicious नित्यं = daily कुरु = do (wear)
This sloka is an advice given by Bhishma pitAmaha to Yudhishtira in Mahabharatam.
A person who wants to maintain his financial status must wear a white flower and mild perfume daily. It is an age old practise for even men to wear flowers. Kings, in particular, used to have garland or flower crown and sandal paste applied over their body.
नारायणीयम् - Narayaniyam - parts 4 & 5
Narayaniyam - part 4
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शास्त्रं वदति -4
Saastram speaks -4
A person who learns veda should have a disciplined life. Dedication is needed to maintain the purity of veda. The following verse says that how a learner of veda should be -
शिखां पुण्ड्रञ्च सूत्रञ्च समयाचारमेव च ।
पूर्वैराचरितं कुर्यात् अन्यथा पतितो भवेत् ।।
śikhāṁ puṇḍrañca sūtrañca samayācārameva ca
pūrvairācaritaṁ kuryāt anyathā patito bhavet
शिखां - A Lock of hair, पुण्ड्रञ्च- sandal paste or vibhUti should be applied always on the forehead, सूत्रञ्च- sacred thread, च – and, समयाचारमेव – conventional practice, कुर्यात् – must do or follow, पूर्वैराचरितं – our ancestors, अन्यथा – otherwise, पतितो भवेत् – will fail.
p.s. this sloka is taken from the book ‘AchArya’s call’. This book has the discourses of kAnchi mahAswAmigal
A person who learns veda should have a disciplined life. Dedication is needed to maintain the purity of veda. The following verse says that how a learner of veda should be -
शिखां पुण्ड्रञ्च सूत्रञ्च समयाचारमेव च ।
पूर्वैराचरितं कुर्यात् अन्यथा पतितो भवेत् ।।
śikhāṁ puṇḍrañca sūtrañca samayācārameva ca
pūrvairācaritaṁ kuryāt anyathā patito bhavet
शिखां - A Lock of hair, पुण्ड्रञ्च- sandal paste or vibhUti should be applied always on the forehead, सूत्रञ्च- sacred thread, च – and, समयाचारमेव – conventional practice, कुर्यात् – must do or follow, पूर्वैराचरितं – our ancestors, अन्यथा – otherwise, पतितो भवेत् – will fail.
p.s. this sloka is taken from the book ‘AchArya’s call’. This book has the discourses of kAnchi mahAswAmigal
श्लोकोऽयं मह्यं रोचते - 11
ए
एकैकस्यापि उपकारस्य प्राणान् दास्यामि ते कपे।
शेषस्य उपकाराणां भवाम ऋणिनो वयम् ।।
ekaikasyāpi upakārasya prāṇān dāsyāmi te kape
śeṣasya upakārāṇāṁ bhavāma ṛṇino vayam
The above verse is from ‘vAlmIki rAmAyaNam’.
The context is – The battle between rAMa and rAvaNa was over, rAma with his family and friends reached ayodhyA.
During the coronation ceremony rAma said this to HanumAn, ‘Hanuman, you have not only saved the life of sItA, but you have guarded the pride and respect of raghukula. The help rendered by you to raghukula cannot be re-paid even if I give my life. The whole family owes lot of gratitude to you.’
कपे – Hanuman,एकैकस्यापि- for every, उपकारस्य- help done by you,
दास्यामि – (I) give my, प्राणान्- Life, शेषस्य-for the remaining, उपकाराणां- of the help, वयम्- we (The whole of Raghukula), भवाम- will, ऋणिनो- owe gratitude, ते- to you.
Personal note: We might have heard this sloka at least hundred times from our Professor Dr. N. Veezhinathan. We owe a lot to our gurus.
एकैकस्यापि उपकारस्य प्राणान् दास्यामि ते कपे।
शेषस्य उपकाराणां भवाम ऋणिनो वयम् ।।
ekaikasyāpi upakārasya prāṇān dāsyāmi te kape
śeṣasya upakārāṇāṁ bhavāma ṛṇino vayam
The above verse is from ‘vAlmIki rAmAyaNam’.
The context is – The battle between rAMa and rAvaNa was over, rAma with his family and friends reached ayodhyA.
During the coronation ceremony rAma said this to HanumAn, ‘Hanuman, you have not only saved the life of sItA, but you have guarded the pride and respect of raghukula. The help rendered by you to raghukula cannot be re-paid even if I give my life. The whole family owes lot of gratitude to you.’
कपे – Hanuman,एकैकस्यापि- for every, उपकारस्य- help done by you,
दास्यामि – (I) give my, प्राणान्- Life, शेषस्य-for the remaining, उपकाराणां- of the help, वयम्- we (The whole of Raghukula), भवाम- will, ऋणिनो- owe gratitude, ते- to you.
Personal note: We might have heard this sloka at least hundred times from our Professor Dr. N. Veezhinathan. We owe a lot to our gurus.
वैराग्यशतकम् आशा - 5
वलीभिः मुखमाक्रान्तं पलितेन अङ्कितं शिरः।
गात्राणि शिथिलायन्ते तृष्णा एका तरुणायते।।
valībhiḥ mukhamākrāntaṁ palitena aṅkitaṁ śiraḥ|
gātrāṇi śithilāyante tṛṣṇaikā taruṇāyate||
जरया मुखं तु वैरूप्यं प्राप्तम्। केशादयः धवला जाता। गात्राणि तु शिथिलानि अभवन्। जरया प्रतिक्षणं सर्वाणि अङ्गानि क्षीयन्ते परन्तु तृष्णा एका तु बलिष्ठा भवति तथा वर्धते च।
The face is fully covered with wrinkles, the hair is completely grey, the limbs became weak. Body is ageing but there seems to be no abating of desire.
मुखम् – Face ; आक्रान्तम् – attacked ; वलीभिः– wrinkles; शिरः – head ; पलितेन – grey hair ; अङ्कितं – painted ; गात्राणि – limbs ; शिथिलायन्ते – weak; तृष्णा – desire ; एका – only one ; तरुणायते – young or rejuvenating.
गात्राणि शिथिलायन्ते तृष्णा एका तरुणायते।।
valībhiḥ mukhamākrāntaṁ palitena aṅkitaṁ śiraḥ|
gātrāṇi śithilāyante tṛṣṇaikā taruṇāyate||
जरया मुखं तु वैरूप्यं प्राप्तम्। केशादयः धवला जाता। गात्राणि तु शिथिलानि अभवन्। जरया प्रतिक्षणं सर्वाणि अङ्गानि क्षीयन्ते परन्तु तृष्णा एका तु बलिष्ठा भवति तथा वर्धते च।
The face is fully covered with wrinkles, the hair is completely grey, the limbs became weak. Body is ageing but there seems to be no abating of desire.
मुखम् – Face ; आक्रान्तम् – attacked ; वलीभिः– wrinkles; शिरः – head ; पलितेन – grey hair ; अङ्कितं – painted ; गात्राणि – limbs ; शिथिलायन्ते – weak; तृष्णा – desire ; एका – only one ; तरुणायते – young or rejuvenating.
शास्त्रं वदति -3
Saastram speaks- 3
Vedas are passed on from generations through guru-shishya parampara. Infact Vedas were never intended to be written down and read. It is learnt from the mouth of the guru and the students repeating after him. It is called as BhagavatI shruti (भगवती श्रुतिः) गुरुमुखात् श्रूयते इति श्रुतिः - It is called as shruti as it is heard from a guru. The following verse says the improper ways of learning Vedas.
गीती शीघ्री शिरःकम्पी तथा लिखितपाठकः।
अनर्थज्ञः अल्पकण्ठश्च षडेते पाठकाधमाः।।
gītī śīghrī śiraḥkampī tathā likhitapāṭhakaḥ
anarthajñaḥ alpakaṇṭhaśca ṣaḍete pāṭhakādhamāḥ
गीती -Reciting Vedas musically, शीघ्री - reciting very fast, शिरः कम्पी -Shaking the heads while reciting, लिखितपाठकः - learning from books, अनर्थज्ञः - reciting without knowing the meaning, अल्पकण्ठः - recites with a poor or a bad tone.
These are the six types of learners of Vedas who are considered as inferior scholars.
p.s. this sloka is taken from the book ‘AchArya’s call’. This book has the discourses of kAnchi mahAswAmigal.
Vedas are passed on from generations through guru-shishya parampara. Infact Vedas were never intended to be written down and read. It is learnt from the mouth of the guru and the students repeating after him. It is called as BhagavatI shruti (भगवती श्रुतिः) गुरुमुखात् श्रूयते इति श्रुतिः - It is called as shruti as it is heard from a guru. The following verse says the improper ways of learning Vedas.
गीती शीघ्री शिरःकम्पी तथा लिखितपाठकः।
अनर्थज्ञः अल्पकण्ठश्च षडेते पाठकाधमाः।।
gītī śīghrī śiraḥkampī tathā likhitapāṭhakaḥ
anarthajñaḥ alpakaṇṭhaśca ṣaḍete pāṭhakādhamāḥ
गीती -Reciting Vedas musically, शीघ्री - reciting very fast, शिरः कम्पी -Shaking the heads while reciting, लिखितपाठकः - learning from books, अनर्थज्ञः - reciting without knowing the meaning, अल्पकण्ठः - recites with a poor or a bad tone.
These are the six types of learners of Vedas who are considered as inferior scholars.
p.s. this sloka is taken from the book ‘AchArya’s call’. This book has the discourses of kAnchi mahAswAmigal.
वैराग्यशतकम् - आशा - 4
भ्रान्तं देशम् अनेकदुर्गविषमं प्राप्तं न किञ्चित् फलम्
त्यक्त्वा जातिकुलाभिमानम् उचितं सेवा कृता निष्फला।
भुक्तं मानविवर्जितं परगृहेष्वाशङ्कया काकवत्
तृष्णे जृम्भसि पापकर्मपिशुने नाद्यापि सन्तुष्यसि॥
bhrāntaṁ deśam avekadurgaviṣamaṁ prāptaṁ na kiñcit phalam
tyaktvā jātikulābhimānam ucitaṁ sevā kṛtā niṣphalā|
bhuktaṁ mānavivarjitaṁ paragṛheṣvāśaṅkayā kākavat
tṛṣṇe jṛmbhasi pāpakarmapiśune nādyāpi santuṣyasī||
Going to many difficult and dangerous places have not given any result. Not considering my lineage I had served people without any proper result. I forsook my self respect and have eated at others' homes like a crow. And still, Oh Desire! You are not satisfied. Instead you keep growing prodding me to do more wicked acts.
आशायाः स्वरूपं कार्यं च निरूपयति कविः। सा अस्मान् दुष्टकर्माणि कर्तुम् उत्साहयति। यावत् आशायाः पृष्ठतः गच्छामः तावती बृहती वर्धते सा।
भ्रान्तं - roamed
अनेकदुर्गविषमम् - various difficult and dangerous
देशं - places
प्राप्तं - obtained
न किञ्चित् - not even a little
फलम् - result/
त्यक्त्वा - after giving up (not considering)
उचितं - proper
जाति-कुल-अभिमानम् - pride in caste and lineage
निष्फला - fruitless
सेवा - service
कृता - was done
काकवत् - like a crow
आशङ्कया - hankering after gain
परगृहेषु - in others' homes
मानविवर्जितं - without self respect
भुक्तं - I had eaten
तृष्णे - desire
पापकर्मपिशुने - that induces evil acts
जृम्भसि - increases
न सन्तुष्यसि - and does not get satisfied
अद्यापि - even now.
Source
त्यक्त्वा जातिकुलाभिमानम् उचितं सेवा कृता निष्फला।
भुक्तं मानविवर्जितं परगृहेष्वाशङ्कया काकवत्
तृष्णे जृम्भसि पापकर्मपिशुने नाद्यापि सन्तुष्यसि॥
bhrāntaṁ deśam avekadurgaviṣamaṁ prāptaṁ na kiñcit phalam
tyaktvā jātikulābhimānam ucitaṁ sevā kṛtā niṣphalā|
bhuktaṁ mānavivarjitaṁ paragṛheṣvāśaṅkayā kākavat
tṛṣṇe jṛmbhasi pāpakarmapiśune nādyāpi santuṣyasī||
Going to many difficult and dangerous places have not given any result. Not considering my lineage I had served people without any proper result. I forsook my self respect and have eated at others' homes like a crow. And still, Oh Desire! You are not satisfied. Instead you keep growing prodding me to do more wicked acts.
आशायाः स्वरूपं कार्यं च निरूपयति कविः। सा अस्मान् दुष्टकर्माणि कर्तुम् उत्साहयति। यावत् आशायाः पृष्ठतः गच्छामः तावती बृहती वर्धते सा।
भ्रान्तं - roamed
अनेकदुर्गविषमम् - various difficult and dangerous
देशं - places
प्राप्तं - obtained
न किञ्चित् - not even a little
फलम् - result/
त्यक्त्वा - after giving up (not considering)
उचितं - proper
जाति-कुल-अभिमानम् - pride in caste and lineage
निष्फला - fruitless
सेवा - service
कृता - was done
काकवत् - like a crow
आशङ्कया - hankering after gain
परगृहेषु - in others' homes
मानविवर्जितं - without self respect
भुक्तं - I had eaten
तृष्णे - desire
पापकर्मपिशुने - that induces evil acts
जृम्भसि - increases
न सन्तुष्यसि - and does not get satisfied
अद्यापि - even now.
Source
नारायणीयम् - Narayaniyam - parts 2 & 3
Parts 2 & 3 have been posted here because it is continuous.
Part 2
Part 3
Part 2
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Part 3
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मञ्जुरामायणम् एकम् अवलोकनम्
The work manju rAmayaNam has been written by the 20th century poet Sri Srinidhi swami.
This Manju RAmAyaNa consists of 242 slokas in four parts (kandas) in different vruttas. This work was written by the author for a competition, wherein he had to write the story of rAmayaNa within 250 slokas. By doing so, he won the prize from King of Mysore.
कृतिर्नवीनापि ममातिलघ्वी कृतीश्वराणां नियतं मुदे स्यात् ।
लिखन्ति बालाः कुटिलां हि रेखां तथापि मोदाय पितुर्भवन्ति ।।
kṛtirnavīnāpi mamātilaghvī kṛtīśvarāṇāṁ niyataṁ mude syāt|
likhanti bālāḥ kuṭilāṁ hi rekhāṁ tathāpi modāya piturbhavanti||
My work maybe small and new, yet I am sure it will make the great poets happy, just like how a father feels very happy even when the child writes in a crooked manner.
On a personal note: I too begin my contribution to this blog like a child in the midst of the scholars.
This Manju RAmAyaNa consists of 242 slokas in four parts (kandas) in different vruttas. This work was written by the author for a competition, wherein he had to write the story of rAmayaNa within 250 slokas. By doing so, he won the prize from King of Mysore.
कृतिर्नवीनापि ममातिलघ्वी कृतीश्वराणां नियतं मुदे स्यात् ।
लिखन्ति बालाः कुटिलां हि रेखां तथापि मोदाय पितुर्भवन्ति ।।
kṛtirnavīnāpi mamātilaghvī kṛtīśvarāṇāṁ niyataṁ mude syāt|
likhanti bālāḥ kuṭilāṁ hi rekhāṁ tathāpi modāya piturbhavanti||
My work maybe small and new, yet I am sure it will make the great poets happy, just like how a father feels very happy even when the child writes in a crooked manner.
On a personal note: I too begin my contribution to this blog like a child in the midst of the scholars.
शास्त्रं वदति – 2
नह्यपृष्ठ्वा कस्यचित् ब्रूयात् न चान्यायेन पृच्छतः ।
जानन् अपि च मेधावी जडवल्लोकम् आचरेत्।।
nahyapṛṣṭhvā kasyacit brūyāt na ca anyāyena pṛcchataḥ|
jānannapi ca medhāvī jaḍavallokam ācaret||
प्रश्नः त्वाम् उद्दिश्य भवति चेत् तदैव तस्य उत्तरं यच्छ। यः अहङ्कारेण पृच्छति तस्य उत्तरमपि मा कुरु। सर्वान् विषयान् ज्ञात्वा त्वं मूर्खः अथवा मूढः इव अस्मिन् लोके व्यवहारं कुरु। तव कापि हानिः नास्ति।
Saastram speaks -2
A Person knowing everything, need not answer a question without being asked, need not answer if the question is asked with arrogance and moreover need not bother about the society which calls him an ignorant. It is better for him to remain silent rather than answering these people.
But, we cannot follow this example when it is between two concerned individuals like Father and Son.
जानन् अपि च मेधावी जडवल्लोकम् आचरेत्।।
nahyapṛṣṭhvā kasyacit brūyāt na ca anyāyena pṛcchataḥ|
jānannapi ca medhāvī jaḍavallokam ācaret||
प्रश्नः त्वाम् उद्दिश्य भवति चेत् तदैव तस्य उत्तरं यच्छ। यः अहङ्कारेण पृच्छति तस्य उत्तरमपि मा कुरु। सर्वान् विषयान् ज्ञात्वा त्वं मूर्खः अथवा मूढः इव अस्मिन् लोके व्यवहारं कुरु। तव कापि हानिः नास्ति।
Saastram speaks -2
A Person knowing everything, need not answer a question without being asked, need not answer if the question is asked with arrogance and moreover need not bother about the society which calls him an ignorant. It is better for him to remain silent rather than answering these people.
But, we cannot follow this example when it is between two concerned individuals like Father and Son.
श्लोकोऽयं मह्यं रोचते - 10
ऋ
ऋजु पश्यति यः सर्वं चक्षुषानुपिबन्निव।
आसीनमपि तूष्णीकम् अनुरज्यन्ति तं प्रजाः॥
ṛju paśyati yaḥ sarvaṁ cakṣuṣānupibanniva|
āsīnamapi tūṣṇīkam anurajyanti taṁ prajāḥ||
People become devoted to that person who looks at every thing with straight vision, as if drinking continuously with an eye, even if he sits in silence.
चक्षुषा अनुपिबन्निव – as if drinking continuously with an eye. He observes everything with such attention, that, it seems as if he drinks continuously with his eye.
प्रजाः – people
अनुरज्यन्ति – become devoted
तं – to him
यः – he who
पश्यति - sees
सर्वं – everything
ऋजु – with a straight vision
आसीनम् अपि – even when seated
तूष्णीकं – silent
{Taken from mahAbhArata/udyogaparva/prajAgaraparva/viduranIti/adhyAya 34/sl 22}
ऋजु पश्यति यः सर्वं चक्षुषानुपिबन्निव।
आसीनमपि तूष्णीकम् अनुरज्यन्ति तं प्रजाः॥
ṛju paśyati yaḥ sarvaṁ cakṣuṣānupibanniva|
āsīnamapi tūṣṇīkam anurajyanti taṁ prajāḥ||
People become devoted to that person who looks at every thing with straight vision, as if drinking continuously with an eye, even if he sits in silence.
चक्षुषा अनुपिबन्निव – as if drinking continuously with an eye. He observes everything with such attention, that, it seems as if he drinks continuously with his eye.
प्रजाः – people
अनुरज्यन्ति – become devoted
तं – to him
यः – he who
पश्यति - sees
सर्वं – everything
ऋजु – with a straight vision
आसीनम् अपि – even when seated
तूष्णीकं – silent
{Taken from mahAbhArata/udyogaparva/prajAgaraparva/viduranIti/adhyAya 34/sl 22}
श्लोकोऽयं मह्यं रोचते – 9
ऊ
ऊरू करेण परिघट्टयतःसलीलं
दुर्योधनस्य पुरतोऽपहृताम्बरा या ।
दुःशासनेन कचकर्षणाभिमौलिः
सा द्रौपदी कथयत कः पुनः प्रदेशे ।। (वेणी संहारः – 6 – 35)
ūrū kareṇa parighaṭṭayataḥ salīlaṁ
duryodhanasya purato'pahṛtāmbarā yā
duḥśāsanena kacakarṣaṇābhimauliḥ
sā draupadī kathayata kaḥ punaḥ pradeśe (veṇīsaṁhāraḥ - 6 - 35)
The above verse is from the sixth or the last act of the drama ‘veNI samhAra’ of ‘Bhatta nArAyaNa’.
The plot is mainly taken from mahAbhArata. The play starts from the return of pAndavAs to Indraprastha after their 13 years of exile and Yudhishtira’s accession to throne after the Great War.
The title of the drama can be interpreted in three ways.वेण्याः संहारः – the tying up of the hair. (veNI means hair), वेण्या संहारं – Draupadi’s being dragged into the public, वेण्या हेतुभूतया संहारः – The veNI being the cause for the destruction of the kauravas.
In the above verse- BhIma, after killing Duryodhana and Dussasana, comes in search of Draupadi. He says, “Draupadi who was stripped of her garments in the presence of Duryodhana, while he lustily rubbed his thigh, and whose braid was loosened by Dussasana as he pulled her by the hair – Tell me in what place that same Draupadi is!”.
Arrogance and anger are the root-causes of the mahAbhArata war. It was the arrogance of Draupadi that made her laugh at Duryodhana, when the latter fell down. Taking revenge, Duryodhana and his brother insulted her which ended up in the kurukshetra war. Arrogance and anger can pull down a person to the level of an animal.
ऊरू करेण परिघट्टयतःसलीलं
दुर्योधनस्य पुरतोऽपहृताम्बरा या ।
दुःशासनेन कचकर्षणाभिमौलिः
सा द्रौपदी कथयत कः पुनः प्रदेशे ।। (वेणी संहारः – 6 – 35)
ūrū kareṇa parighaṭṭayataḥ salīlaṁ
duryodhanasya purato'pahṛtāmbarā yā
duḥśāsanena kacakarṣaṇābhimauliḥ
sā draupadī kathayata kaḥ punaḥ pradeśe (veṇīsaṁhāraḥ - 6 - 35)
The above verse is from the sixth or the last act of the drama ‘veNI samhAra’ of ‘Bhatta nArAyaNa’.
The plot is mainly taken from mahAbhArata. The play starts from the return of pAndavAs to Indraprastha after their 13 years of exile and Yudhishtira’s accession to throne after the Great War.
The title of the drama can be interpreted in three ways.वेण्याः संहारः – the tying up of the hair. (veNI means hair), वेण्या संहारं – Draupadi’s being dragged into the public, वेण्या हेतुभूतया संहारः – The veNI being the cause for the destruction of the kauravas.
In the above verse- BhIma, after killing Duryodhana and Dussasana, comes in search of Draupadi. He says, “Draupadi who was stripped of her garments in the presence of Duryodhana, while he lustily rubbed his thigh, and whose braid was loosened by Dussasana as he pulled her by the hair – Tell me in what place that same Draupadi is!”.
Arrogance and anger are the root-causes of the mahAbhArata war. It was the arrogance of Draupadi that made her laugh at Duryodhana, when the latter fell down. Taking revenge, Duryodhana and his brother insulted her which ended up in the kurukshetra war. Arrogance and anger can pull down a person to the level of an animal.
नारायणीयम् (Narayaniyam )
With the beginning of the uttarAyaNa, the day of the devas start. This signifies good beginnings for any work. Keeping with that, I would like to post a series on nArAyaNIyam. There are five audio files in total and I will be uploading one/two every week for the next few weeks.
(Audio for the first few minutes may not be so good. I had given this lecture on Vaikunta ekadashi in the year 2003 in Nashville. Thanks to Dr. Sankaran Mahadevan for encouraging me to give this lecture.)
(Audio for the first few minutes may not be so good. I had given this lecture on Vaikunta ekadashi in the year 2003 in Nashville. Thanks to Dr. Sankaran Mahadevan for encouraging me to give this lecture.)
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श्लोकोऽयं मह्यं रोचते – 8
उ
उपलशकलमेतत् भेदकं गोमयानाम्
वटुभिरुपहृतानां बर्हिषां स्तूपमेतत् ।
शरणमपि समिद्भिः शुष्यमाणाभिराभिः
विनमितपटलान्तं दृश्यते जीर्णकुड्यम् ।। (मुद्राराक्षसम् – 3 -15)
upalaśakalametat bhedakaṁ gomayā
vaṭubhirupahṛtānāṁ barhiṣāṁ stūpametat
śaraṇamapi samidbhiḥ śuṣyamāṇābhirābhiḥ
vinimitapaṭalāntaṁ dṛśyate jīrṇakuḍyam (mudrārākṣasam - 3 - 15)
The above verse is from the third act of the drama ‘mudrA rAkshasam’ written by ‘vishAkha Datta’.
The main plot of the play is: chANakya uprooted nanda dynasty and made chandragupta as the emperor.
In the above verse a servant was surprised, seeing the simple way of chAnakya’s living. He, standing in front of chAnakya’s house describes:-“Here is a piece of stone for breaking the cow-dung cakes; which is to be offered at the sacrificial fire; here is the bundle of darbha grass brought by his disciples, and the house too, with its dilapidated walls appears to have the skirts of its roof bent down by the holy sticks exposed for drying”.
It is really difficult to imagine a simple style of living for a person like chAnakya, who is almost as powerful as an emperor. The above verse stands as an example for the simple life style of our ancients. The reason could be the non-possession of anything more than is required for the basic need has made it possible for the ancients to lead a simple or a plain life style.
उपलशकलमेतत् भेदकं गोमयानाम्
वटुभिरुपहृतानां बर्हिषां स्तूपमेतत् ।
शरणमपि समिद्भिः शुष्यमाणाभिराभिः
विनमितपटलान्तं दृश्यते जीर्णकुड्यम् ।। (मुद्राराक्षसम् – 3 -15)
upalaśakalametat bhedakaṁ gomayā
vaṭubhirupahṛtānāṁ barhiṣāṁ stūpametat
śaraṇamapi samidbhiḥ śuṣyamāṇābhirābhiḥ
vinimitapaṭalāntaṁ dṛśyate jīrṇakuḍyam (mudrārākṣasam - 3 - 15)
The above verse is from the third act of the drama ‘mudrA rAkshasam’ written by ‘vishAkha Datta’.
The main plot of the play is: chANakya uprooted nanda dynasty and made chandragupta as the emperor.
In the above verse a servant was surprised, seeing the simple way of chAnakya’s living. He, standing in front of chAnakya’s house describes:-“Here is a piece of stone for breaking the cow-dung cakes; which is to be offered at the sacrificial fire; here is the bundle of darbha grass brought by his disciples, and the house too, with its dilapidated walls appears to have the skirts of its roof bent down by the holy sticks exposed for drying”.
It is really difficult to imagine a simple style of living for a person like chAnakya, who is almost as powerful as an emperor. The above verse stands as an example for the simple life style of our ancients. The reason could be the non-possession of anything more than is required for the basic need has made it possible for the ancients to lead a simple or a plain life style.
श्लोकोऽयं मह्यं रोचते - 7
ई
ईक्षणं द्विगुणं प्रोक्तं भाषणस्येति वेधसा।
अक्षिणी द्वे मनुष्याणां जिह्वा त्वेकैव निर्मिता॥
īkṣaṇaṁ dviguṇaṁ proktaṁ bhāṣaṇasyeti vedhasā|
akṣiṇī dve manuṣyāṇāṁ jihvā tvekaiva nirmitā||
Reading twice has been advised before speaking. That is the reason why Brahma has made two eyes for men and only one tongue.
A very simple sloka, yet it is a lesson that is essential for one’s life. Think before you speak.
ईक्षणं द्विगुणं प्रोक्तं भाषणस्येति वेधसा।
अक्षिणी द्वे मनुष्याणां जिह्वा त्वेकैव निर्मिता॥
īkṣaṇaṁ dviguṇaṁ proktaṁ bhāṣaṇasyeti vedhasā|
akṣiṇī dve manuṣyāṇāṁ jihvā tvekaiva nirmitā||
Reading twice has been advised before speaking. That is the reason why Brahma has made two eyes for men and only one tongue.
A very simple sloka, yet it is a lesson that is essential for one’s life. Think before you speak.
श्लोकोऽयं मह्यं रोचते – 6
इ
इदमुपनतमेवं रूपमक्लिष्टकान्ति प्रथमपरिगृहीतं स्यान्न वेत्यव्यवस्यन् ।
भ्रमर इव विभाति कुन्दमन्तस्तुषारं न च खलु परिभोक्तुं नैव शक्नोमि हातुम् ।।
( अभिज्ञान शाकुन्तलम् – 5- 19)
idamupanatamevaṁ rūpamakliṣṭakānti prathamaparigṛhītaṁ syānna vetyavyavasyan
bhramara iva vibhāti kundamantastuṣāraṁ na ca khalu paribhoktuṁ naiva śaknomi hātum
(abhijñānasakuntalam - 5 -19)
The above verse is from the fifth act of the drama ‘Abhignaana Shaakuntalam’ written by Kalidaasa. King Dushyanta fell in love with Shakuntala, the daughter of rishi Kanva. Story goes that they married secretly by exchanging rings (gandharva vivaaham) .After this Dushyanta left for his kingdom. Due to the curse of sage Durvaasa, Dushyanta completely forgets Sakuntala and the relationship he had with her.
The context here is: Sakuntala meets Dushyanta in his court. But Dushyanta is unable to recognize her, as a result of the curse. He is caught in a dilemma which is explained beautifully in the above verse.
“Should I accept or reject this ravishing beauty. If I reject assuming she is not my wife and if it happens to be that she is or if I accept her and she happens to be someone else’s, I would be committing a sin either way.”
Kalidasa’s thought process and ability to empathize with Dushyanta’s character is a masterpiece. He goes on with a simile comparing Dushyanta’s state of mind to a Bee which is enthralled to see dew drops inside a flower but in a dilemma to break the dew to get honey.
For researchers going through this text and interested in identifying the character of Kalidasa, there is no better example. Over the years there have been articles, movies which do portray him as a flirt. The comparisons are unjustified if one can see his thoughts in the above writings.
इदमुपनतमेवं रूपमक्लिष्टकान्ति प्रथमपरिगृहीतं स्यान्न वेत्यव्यवस्यन् ।
भ्रमर इव विभाति कुन्दमन्तस्तुषारं न च खलु परिभोक्तुं नैव शक्नोमि हातुम् ।।
( अभिज्ञान शाकुन्तलम् – 5- 19)
idamupanatamevaṁ rūpamakliṣṭakānti prathamaparigṛhītaṁ syānna vetyavyavasyan
bhramara iva vibhāti kundamantastuṣāraṁ na ca khalu paribhoktuṁ naiva śaknomi hātum
(abhijñānasakuntalam - 5 -19)
The above verse is from the fifth act of the drama ‘Abhignaana Shaakuntalam’ written by Kalidaasa. King Dushyanta fell in love with Shakuntala, the daughter of rishi Kanva. Story goes that they married secretly by exchanging rings (gandharva vivaaham) .After this Dushyanta left for his kingdom. Due to the curse of sage Durvaasa, Dushyanta completely forgets Sakuntala and the relationship he had with her.
The context here is: Sakuntala meets Dushyanta in his court. But Dushyanta is unable to recognize her, as a result of the curse. He is caught in a dilemma which is explained beautifully in the above verse.
“Should I accept or reject this ravishing beauty. If I reject assuming she is not my wife and if it happens to be that she is or if I accept her and she happens to be someone else’s, I would be committing a sin either way.”
Kalidasa’s thought process and ability to empathize with Dushyanta’s character is a masterpiece. He goes on with a simile comparing Dushyanta’s state of mind to a Bee which is enthralled to see dew drops inside a flower but in a dilemma to break the dew to get honey.
For researchers going through this text and interested in identifying the character of Kalidasa, there is no better example. Over the years there have been articles, movies which do portray him as a flirt. The comparisons are unjustified if one can see his thoughts in the above writings.
वैराग्यशतकम् - आशा - 3
The mangala sloka for this text is a very beautiful sloka that connects a lot of elements in one. Mangala sloka is written to remove any obstacles that may arise during the process of writing the work. It may be in the form of prayer or may include purpose of the work or characters in the work.
हरः विजयते – Siva remains victorious योगिनां चेतस्सद्मनि – in the minds of Yogis ज्ञानप्रदीपो – as the fire of knowledge. His matted hair (शिखा) is भास्वर shining with चारु the beautiful चन्द्रकलिका crescent moon चूडोत्तंसित placed at the crown. He shines (स्फुरन्) as the foremost of spiritual felicity (श्रेयोदशाग्रे) because He destroyed विलोलकाम the fickle manmatha लीला in a sportive manner. Manmatha is equated to a moth शलभ which comes of its own accord and falls into the fire thereby dies. अपार मोह Never-ending ignorance that is अन्तःस्फूर्जत् present inside, like तिमिर darkness and प्राग्भारम् stands in front thereby blinding our eye of reasoning, is removed उच्छाटयन् by Lord Siva.
Poets tend to equate ignorance with darkness and that it is destroyed by the sun of knowledge. Siva has all three forms of light in him – moon, sun and agni. Moon on his head, He is like the sun in expelling darkness and has the fire in His third eye that burnt Manmatha.
Siva can dwell only in the minds of yogis. Why? Their minds are pure and without any desire or illusion. Why is it that Yogis think of Siva? The poet gives the reason as “He is the one who burnt Manmatha” and hence is the best person to remove the unnecessary thoughts that are present in minds and give the knowledge. Thus, all we need to do is meditate upon Lord Siva’s feet and the desires of their own accord would get destroyed by the fire of knowledge.
चूडोत्तंसितचारुचन्द्रकलिकाचञ्चच्छिखाभास्वरः
लीलादग्धविलोलकामशलभः श्रेयोदशाग्रे स्फुरन्।
अन्तःस्फूर्जदपारमोहतिमिप्राग्भारम् उच्छाटयन्
चेतस्सद्मनि योगिनां विजयते ज्ञानप्रदीपो हरः॥
cūdottaṁsita-cāru-candra-kalikā-cañcacchikhā-bhāsvaraḥ
līlā-dagdha-vilola-kāma-śalabhaḥ śreyo daśāgre sphuran|
antaḥsphūrjadapāra-moha-timira-prāgbhāram ucchāṭayan
cetassadmani yogināṁ vijayate jñānapradīpo haraḥ||
Let me go over this sloka step by step.लीलादग्धविलोलकामशलभः श्रेयोदशाग्रे स्फुरन्।
अन्तःस्फूर्जदपारमोहतिमिप्राग्भारम् उच्छाटयन्
चेतस्सद्मनि योगिनां विजयते ज्ञानप्रदीपो हरः॥
cūdottaṁsita-cāru-candra-kalikā-cañcacchikhā-bhāsvaraḥ
līlā-dagdha-vilola-kāma-śalabhaḥ śreyo daśāgre sphuran|
antaḥsphūrjadapāra-moha-timira-prāgbhāram ucchāṭayan
cetassadmani yogināṁ vijayate jñānapradīpo haraḥ||
हरः विजयते – Siva remains victorious योगिनां चेतस्सद्मनि – in the minds of Yogis ज्ञानप्रदीपो – as the fire of knowledge. His matted hair (शिखा) is भास्वर shining with चारु the beautiful चन्द्रकलिका crescent moon चूडोत्तंसित placed at the crown. He shines (स्फुरन्) as the foremost of spiritual felicity (श्रेयोदशाग्रे) because He destroyed विलोलकाम the fickle manmatha लीला in a sportive manner. Manmatha is equated to a moth शलभ which comes of its own accord and falls into the fire thereby dies. अपार मोह Never-ending ignorance that is अन्तःस्फूर्जत् present inside, like तिमिर darkness and प्राग्भारम् stands in front thereby blinding our eye of reasoning, is removed उच्छाटयन् by Lord Siva.
Poets tend to equate ignorance with darkness and that it is destroyed by the sun of knowledge. Siva has all three forms of light in him – moon, sun and agni. Moon on his head, He is like the sun in expelling darkness and has the fire in His third eye that burnt Manmatha.
Siva can dwell only in the minds of yogis. Why? Their minds are pure and without any desire or illusion. Why is it that Yogis think of Siva? The poet gives the reason as “He is the one who burnt Manmatha” and hence is the best person to remove the unnecessary thoughts that are present in minds and give the knowledge. Thus, all we need to do is meditate upon Lord Siva’s feet and the desires of their own accord would get destroyed by the fire of knowledge.
शास्त्रं वदति -1
पञ्चमहापातकानि
ब्रह्महत्या सुरापानं स्तेयं गुर्वंगनागमः ।
महांति पाताकान्याहुः संसर्गश्चापि तैस्सह ।। (मनु स्मृति)
brahmahatyā surāpānaṁ steyaṁ gurvaṅganāgamaḥ
mahānti pātakānyāhuḥ saṁsargaścāpi taissaha (manusmṛti)
एतानि पञ्चमहापातकानि इति मनुस्मृत्या निर्दिष्टानि। ब्राह्मण हननम् – ब्राह्मणाः समाजस्य क्षेमाय याग-यज्ञादीन् अकुर्वन्, तस्मादेव तेषां हननं पातकमिति उक्तम्। सुरापानं, स्वर्णस्तेयं, गुरु पत्न्या सह दुराचारः च इति एते चत्वारि माहापातकानि सन्ति। एतैः चतुर्भिः सह संसर्गं पञ्चमं महापातकमिति उक्तम्।
Saastram speaks -1
Five Great sins:
These are the five great sins prescribed in Manu smrti which should not be committed by a person.
1 Brahma hatya- Killing of a (Qualified) Brahmin. (A Brahmin not only by birth). Those days Brahmins perform sacrifices for the welfare of the society. That’s why they were given respect. So killing a Brahmin was a great crime and a sin too.
2 Suraa paanam - Drinking of liquor.
3 Swarnastheyam – Stealing gold.
4 Guruvanganaagamah – Illegitimate relationship with the wife of the preceptor or Guru.
5 Taih sah samsargah – The last type of sinner will be one who has friendship with any of the above four.
ब्रह्महत्या सुरापानं स्तेयं गुर्वंगनागमः ।
महांति पाताकान्याहुः संसर्गश्चापि तैस्सह ।। (मनु स्मृति)
brahmahatyā surāpānaṁ steyaṁ gurvaṅganāgamaḥ
mahānti pātakānyāhuḥ saṁsargaścāpi taissaha (manusmṛti)
एतानि पञ्चमहापातकानि इति मनुस्मृत्या निर्दिष्टानि। ब्राह्मण हननम् – ब्राह्मणाः समाजस्य क्षेमाय याग-यज्ञादीन् अकुर्वन्, तस्मादेव तेषां हननं पातकमिति उक्तम्। सुरापानं, स्वर्णस्तेयं, गुरु पत्न्या सह दुराचारः च इति एते चत्वारि माहापातकानि सन्ति। एतैः चतुर्भिः सह संसर्गं पञ्चमं महापातकमिति उक्तम्।
Saastram speaks -1
Five Great sins:
These are the five great sins prescribed in Manu smrti which should not be committed by a person.
1 Brahma hatya- Killing of a (Qualified) Brahmin. (A Brahmin not only by birth). Those days Brahmins perform sacrifices for the welfare of the society. That’s why they were given respect. So killing a Brahmin was a great crime and a sin too.
2 Suraa paanam - Drinking of liquor.
3 Swarnastheyam – Stealing gold.
4 Guruvanganaagamah – Illegitimate relationship with the wife of the preceptor or Guru.
5 Taih sah samsargah – The last type of sinner will be one who has friendship with any of the above four.
‘Maatr Panchakam’ – Conclusion
‘A wicked son may be born, but not a wicked mother.’
’ कुपुत्रो जायेत, क्वचित् कुमाता न भवति’।
kuputro jāyeta kvacit kumātā na bhavati|
There is nothing greater and more sacred than the mother.
सन्न्यस्ताखिलकर्मापि पितुर्वन्द्यो हि मस्करी।
सर्ववन्द्येन यतिना प्रसूर्वन्द्या प्रयत्नतः।।
sannyastākhilakarmāpi piturvandyo hi maskarī|
sarvavandyena yatinā prasūrvandyā prayatnataḥ||
‘The father of a sanyaasin can prostrate before his son. But the ascetic who is revered or worshipped by all should bow before his mother.’
But do the elevated souls like Adi Sankara need to do their karma?
यत् यत् आचरति श्रेष्ठः तत् तदेव इतरो जनः ।
सः यत् प्रमाणं कुरुते लोकस्तदनुवर्तते।।
yat yat ācarati śreṣṭhaḥ tat tadeva itare janaḥ|
saḥ yat pramāṇaṁ kurute lokastadanuvartate||
‘Whatever is done by the elevated souls or the great men is followed by the common people. Hence, they perform the duties till their body leaves this world in order to show a path for others, though they are not bound by it’.
’ कुपुत्रो जायेत, क्वचित् कुमाता न भवति’।
kuputro jāyeta kvacit kumātā na bhavati|
There is nothing greater and more sacred than the mother.
सन्न्यस्ताखिलकर्मापि पितुर्वन्द्यो हि मस्करी।
सर्ववन्द्येन यतिना प्रसूर्वन्द्या प्रयत्नतः।।
sannyastākhilakarmāpi piturvandyo hi maskarī|
sarvavandyena yatinā prasūrvandyā prayatnataḥ||
‘The father of a sanyaasin can prostrate before his son. But the ascetic who is revered or worshipped by all should bow before his mother.’
But do the elevated souls like Adi Sankara need to do their karma?
यत् यत् आचरति श्रेष्ठः तत् तदेव इतरो जनः ।
सः यत् प्रमाणं कुरुते लोकस्तदनुवर्तते।।
yat yat ācarati śreṣṭhaḥ tat tadeva itare janaḥ|
saḥ yat pramāṇaṁ kurute lokastadanuvartate||
‘Whatever is done by the elevated souls or the great men is followed by the common people. Hence, they perform the duties till their body leaves this world in order to show a path for others, though they are not bound by it’.
मातृपञ्चकम् – 5
अम्बेति तातेति शिवेति तस्मिन् प्रसूति काले कियदवोच उच्चैः ।
कृष्णेति गोविन्देति हरे मुकुन्देति अहो जनन्यै रचितोऽयम् अञ्जलिः ।।
ambeti tāteti śiveti tasmin prasūtikāle kiyadavoca uccaiḥ|
kṛṣṇeti govideti hare mukundeti aho jananyai racito'yam añjaliḥ||
‘हे मातः प्रसववेदनया पीडितया त्वया अम्ब, तात, शिव, कृष्ण, हर, गोविन्द इत्यादि उच्चैः उक्तम्। हे जननी मम नमस्कारान् तुभ्यं समर्पयामि’ ।
‘Maatr Panchakam Sloka’ - 5
‘O Mother, At the time of delivery you cried aloud due to the labour pain calling O father, O Shiva, O Krishna, O Govinda, O Hara, O Mukunda. O Mother! I submit my salutations with folded hands.’
Thus, Sankara expressed his feelings he had for his mother.
कृष्णेति गोविन्देति हरे मुकुन्देति अहो जनन्यै रचितोऽयम् अञ्जलिः ।।
ambeti tāteti śiveti tasmin prasūtikāle kiyadavoca uccaiḥ|
kṛṣṇeti govideti hare mukundeti aho jananyai racito'yam añjaliḥ||
‘हे मातः प्रसववेदनया पीडितया त्वया अम्ब, तात, शिव, कृष्ण, हर, गोविन्द इत्यादि उच्चैः उक्तम्। हे जननी मम नमस्कारान् तुभ्यं समर्पयामि’ ।
‘Maatr Panchakam Sloka’ - 5
‘O Mother, At the time of delivery you cried aloud due to the labour pain calling O father, O Shiva, O Krishna, O Govinda, O Hara, O Mukunda. O Mother! I submit my salutations with folded hands.’
Thus, Sankara expressed his feelings he had for his mother.
मातृपञ्चकम् – 4
मुक्तामणिस्त्वं नयनं नमेति राजेति जीवेति चिरं सुत त्वम् ।
इति उक्तवत्याः तव वाचि मातः ददाम्यहं तण्डुलमेव शुष्कम् ।।
muktāmaṇistvaṁ nayanaṁ nameti rājeti jīveti ciraṁ suta tvam|
iti uktavatyāḥ tava vāci mātaḥ dadāmyahaṁ taṇḍulameva śuṣkam||
‘हे मातः, ‘मुक्तामणिः, नयनं, त्वं चिरं जीव’ इत्यादि प्रीतिवाचा त्वया अहम् आहूतः आसम्। तादृशी मुखे अहं शुष्कं तण्डुलमेव यच्छामि’।
Maatr Panchakam sloka - 4
‘O Mother, You were calling me with endearing words like “You are my pearl, you are my eyes, you are my prince, you are my life, you live long and so on. In return, to all these pleasing words, uttered to me, I am dropping the dry rice into your mouth.’
इति उक्तवत्याः तव वाचि मातः ददाम्यहं तण्डुलमेव शुष्कम् ।।
muktāmaṇistvaṁ nayanaṁ nameti rājeti jīveti ciraṁ suta tvam|
iti uktavatyāḥ tava vāci mātaḥ dadāmyahaṁ taṇḍulameva śuṣkam||
‘हे मातः, ‘मुक्तामणिः, नयनं, त्वं चिरं जीव’ इत्यादि प्रीतिवाचा त्वया अहम् आहूतः आसम्। तादृशी मुखे अहं शुष्कं तण्डुलमेव यच्छामि’।
Maatr Panchakam sloka - 4
‘O Mother, You were calling me with endearing words like “You are my pearl, you are my eyes, you are my prince, you are my life, you live long and so on. In return, to all these pleasing words, uttered to me, I am dropping the dry rice into your mouth.’
मातृपञ्चकम् -3
न दत्तं मातस्ते मरणसमये तोयमपि वा
स्वगावा नो दत्ता मरणदिवसे श्राद्धविधिना ।
न दत्तो मातस्ते मरणसमये तारकमनुः अकाले
सम्प्राप्ते मयि कुरु दयां मातः अतुलाम् ।।
na dattaṁ mātaste maraṇasamaye toyamapi vā
svagāvā no datta maraṇadivase śrāddhavidhinā|
na datto mātaste maraṇasamaye tārakamanuḥ akāle
samprāpte mayi kuru dayāṁ mātaḥ atulam||
हे मातः तव मरणावस्थायां मया जलमपि न दत्तम्, श्राद्धकर्मणि गावः न दानरूपेण दत्ताः, प्राणगमानावसरे राममन्त्राणि न घोषितानि। विलम्बनेन आगमनाय मां क्षम्यतां, मयि दयां च कुरु।
‘Maatr Panchakam Sloka’ – 3
‘O Mother! Water was not fed when you were in the death bed, cows were not given as alms according to the shraaddha principles, mantras were not chanted at the time of your death. But Mother, Please have pity on me. Please forgive me, for I have arrived here late.’
स्वगावा नो दत्ता मरणदिवसे श्राद्धविधिना ।
न दत्तो मातस्ते मरणसमये तारकमनुः अकाले
सम्प्राप्ते मयि कुरु दयां मातः अतुलाम् ।।
na dattaṁ mātaste maraṇasamaye toyamapi vā
svagāvā no datta maraṇadivase śrāddhavidhinā|
na datto mātaste maraṇasamaye tārakamanuḥ akāle
samprāpte mayi kuru dayāṁ mātaḥ atulam||
हे मातः तव मरणावस्थायां मया जलमपि न दत्तम्, श्राद्धकर्मणि गावः न दानरूपेण दत्ताः, प्राणगमानावसरे राममन्त्राणि न घोषितानि। विलम्बनेन आगमनाय मां क्षम्यतां, मयि दयां च कुरु।
‘Maatr Panchakam Sloka’ – 3
‘O Mother! Water was not fed when you were in the death bed, cows were not given as alms according to the shraaddha principles, mantras were not chanted at the time of your death. But Mother, Please have pity on me. Please forgive me, for I have arrived here late.’
श्लोकोऽयं मह्यं रोचते - 5
आ
आरम्भगुर्वी क्षयणी क्रमेण लघ्वीपुरा वृद्धिमतीश्च पश्चात् ।
दिनस्य पूर्वार्ध-परार्ध-भिन्ना छायैव मैत्री खलसज्जनानाम् ।।
ārambhagurvī kṣayiṇī krameṇa laghvīpurā vṛddhimatīśca paścāt|
dinasya pūrvārdha-parārdha-bhinnā chāyaiva maitrī khalasajjanānām||
MEANING
Friendship with bad people(खल)will start fast and end quickly.Friendship with good people(सज्जन)will start slowly and develop gradually. This difference is described with the help of the following example – the shadow(छाया) of the day’s(दिनस्य) forenoon starts long and becomes small by noon, while the shadow in the afternoon starts small and grows longer.(पूर्व,पर)
मातृपञ्चकम् -2
गुरुकुलमुपसृत्य स्वप्नकालेऽपि तु दृष्ट्वा
यतिसमुचितवेषं प्रारुदो मां त्वमुच्चैः।
गुरुकुलमुपसृत्य सर्वं प्रारुदत्ते समक्षम्
सपदि चरणयोस्ते मातुरस्तु प्रणामः ।।
gurukulamupasṛtya svapnakāle'pi tu dṛṣṭvā
yatisamucitaveṣaṁ prārudo māṁ tvamuccaiḥ|
gurukulamupasṛtya sarvaṁ prārudatte samakṣam
sapadi caraṇayoste māturastu praṇāmaḥ||
‘हे मातः स्वप्ने यतिवेषधारिणं मां दृष्ट्वा त्वं गुरुकुलं प्रत्यधावः। तत्र गुरौ स्वक्लेशं निवेद्य उच्चैः त्वं रुरोदिथ। तव प्रीतिं दृष्ट्वा मम सहपाठिनः अपि दुःखिताः आसन्। तव चरणयोः मे प्रणामः अस्तु।‘
‘Maatr Panchakam Sloka’ -2
‘O Mother! You saw me in the dress of an ascetic in your dream. Unable to see me in that attire you immediately ran to my Preceptor and cried aloud. My classmates seeing your affection cried along with you. Mother, what else can I do other than prostrating before your feet and offering my salutations?’
यतिसमुचितवेषं प्रारुदो मां त्वमुच्चैः।
गुरुकुलमुपसृत्य सर्वं प्रारुदत्ते समक्षम्
सपदि चरणयोस्ते मातुरस्तु प्रणामः ।।
gurukulamupasṛtya svapnakāle'pi tu dṛṣṭvā
yatisamucitaveṣaṁ prārudo māṁ tvamuccaiḥ|
gurukulamupasṛtya sarvaṁ prārudatte samakṣam
sapadi caraṇayoste māturastu praṇāmaḥ||
‘हे मातः स्वप्ने यतिवेषधारिणं मां दृष्ट्वा त्वं गुरुकुलं प्रत्यधावः। तत्र गुरौ स्वक्लेशं निवेद्य उच्चैः त्वं रुरोदिथ। तव प्रीतिं दृष्ट्वा मम सहपाठिनः अपि दुःखिताः आसन्। तव चरणयोः मे प्रणामः अस्तु।‘
‘Maatr Panchakam Sloka’ -2
‘O Mother! You saw me in the dress of an ascetic in your dream. Unable to see me in that attire you immediately ran to my Preceptor and cried aloud. My classmates seeing your affection cried along with you. Mother, what else can I do other than prostrating before your feet and offering my salutations?’
मातृपञ्चकम् – 1
आस्तां तावदियं प्रसूति समये दुर्वारशूलव्यथा
नैरुच्यं तनुशोषणं मलमपि शय्या च सांवत्सरि।
एकस्यापि न गर्भभार-भरण क्लेशस्य यस्याक्षमो
दातुं निष्कृतिमुन्नतोऽपि तनयः तस्यै जनन्यै नमः ।।
āstāṁ tāvadiyaṁ prasūtisamaye durvāraśūlavyathā
nairucyaṁ tanuśoṣaṇaṁ malamapi śayyā ca sāṁvatsarī|
ekasyāpi na garbha-bhāra-bharaṇa-kleśasya yasyākṣamo
dātum niṣkṛtimunnato'pi tanayaḥ tasyai jananyai namaḥ||
‘हे मातः यदा त्वं मां प्रासूत तस्मिन् अवसरे याः पीडाः त्वया अनुभूताः तस्याः प्रतीकाररूपेण मया किं दीयते? गर्भभारस्य भरणं सुलभं किम्? अहं तां जननीं वन्दे।‘
‘Maatr Panchakam Sloka’- 1
‘O Mother! The pain experienced by you at the time of my birth, aversion towards food due to which you were emaciated during pregnancy, and bearing me for months together which had changes in your body. These miserable experiences endured by you during pregnancy and thereafter can never be compensated even by a son in a high position. My salutations to you.’
नैरुच्यं तनुशोषणं मलमपि शय्या च सांवत्सरि।
एकस्यापि न गर्भभार-भरण क्लेशस्य यस्याक्षमो
दातुं निष्कृतिमुन्नतोऽपि तनयः तस्यै जनन्यै नमः ।।
āstāṁ tāvadiyaṁ prasūtisamaye durvāraśūlavyathā
nairucyaṁ tanuśoṣaṇaṁ malamapi śayyā ca sāṁvatsarī|
ekasyāpi na garbha-bhāra-bharaṇa-kleśasya yasyākṣamo
dātum niṣkṛtimunnato'pi tanayaḥ tasyai jananyai namaḥ||
‘हे मातः यदा त्वं मां प्रासूत तस्मिन् अवसरे याः पीडाः त्वया अनुभूताः तस्याः प्रतीकाररूपेण मया किं दीयते? गर्भभारस्य भरणं सुलभं किम्? अहं तां जननीं वन्दे।‘
‘Maatr Panchakam Sloka’- 1
‘O Mother! The pain experienced by you at the time of my birth, aversion towards food due to which you were emaciated during pregnancy, and bearing me for months together which had changes in your body. These miserable experiences endured by you during pregnancy and thereafter can never be compensated even by a son in a high position. My salutations to you.’
श्लोकोऽयं मह्यं रोचते - 4
अ -
अथेप्सितं भर्तुरुपस्थितोदयं सखीजनोद्वीक्षणकौमुदीमुखम्।
निदानमिक्ष्वाकुकुलस्य सन्ततेः सुदक्षिणा दौहृदलक्षणा दधौ॥ रघुवंशः 3-1॥
athepsitaṁ bharturupasthitodayaṁ sakhījanodvīkṣaṇakaumudīmukham|
nidānamikṣvākukulasya santateḥ sudakṣiṇā daurhṛdalakṣaṇā dadhau|| raghuvaṁśaḥ 3-1 ||
दौहृदलक्षणा सुदक्षिणा, भर्तुः ईप्सितम् उपस्थितोदयं सखीजनोद्वीक्षणकौमुदीमुखम् इक्ष्वाकुकुलस्य सन्ततेः निदानं दधौ।
वस्तुतः सरलोऽयं श्लोकः - बहुवर्षेभ्यः सुदक्षिणादिलीपयोः पुत्रः न आसीत्। वसिष्ठमहर्षेः उपदेशात् कामधेनोः पुत्रीं नन्दिनीं तस्याः वत्सं च पालयित्वा, तयोः अनुग्रहेण सुदक्षिणा गर्भवती अभवत्। अस्मिन् सर्गे तस्याः दौहृदलक्षणां वर्णयति कविः।
This sloka is very dear to me because my grandfather would always ask me to recite the set of 10/12 slokas which describe the pregnant sudakshiNa. He did not know samskrutam but had a lovely voice and sang wonderfully without formal training. Apparently his teacher who taught Raghuvamsa at school would ask him to recite this. The tune he used to recite was a very beautiful one.
अथेप्सितं भर्तुरुपस्थितोदयं सखीजनोद्वीक्षणकौमुदीमुखम्।
निदानमिक्ष्वाकुकुलस्य सन्ततेः सुदक्षिणा दौहृदलक्षणा दधौ॥ रघुवंशः 3-1॥
athepsitaṁ bharturupasthitodayaṁ sakhījanodvīkṣaṇakaumudīmukham|
nidānamikṣvākukulasya santateḥ sudakṣiṇā daurhṛdalakṣaṇā dadhau|| raghuvaṁśaḥ 3-1 ||
दौहृदलक्षणा सुदक्षिणा, भर्तुः ईप्सितम् उपस्थितोदयं सखीजनोद्वीक्षणकौमुदीमुखम् इक्ष्वाकुकुलस्य सन्ततेः निदानं दधौ।
वस्तुतः सरलोऽयं श्लोकः - बहुवर्षेभ्यः सुदक्षिणादिलीपयोः पुत्रः न आसीत्। वसिष्ठमहर्षेः उपदेशात् कामधेनोः पुत्रीं नन्दिनीं तस्याः वत्सं च पालयित्वा, तयोः अनुग्रहेण सुदक्षिणा गर्भवती अभवत्। अस्मिन् सर्गे तस्याः दौहृदलक्षणां वर्णयति कविः।
This sloka is very dear to me because my grandfather would always ask me to recite the set of 10/12 slokas which describe the pregnant sudakshiNa. He did not know samskrutam but had a lovely voice and sang wonderfully without formal training. Apparently his teacher who taught Raghuvamsa at school would ask him to recite this. The tune he used to recite was a very beautiful one.
मातृपञ्चकम् प्रस्तावः
‘मातृपञ्चकम्’ इति अस्मिन् पञ्चश्लोकाः सन्ति। एते श्लोकाः श्री आदिशङ्करभगवत्पादैः लिखिताः। सः बालावस्थायाम् एव मात्रा अनुमोदितः संन्यासाश्रमे प्राविशत्। संन्यासाश्रमे प्रविष्टोऽपि सः 'तव अन्तिमसंस्कारं मया निश्चयेन क्रियते' इति मातरि न्यवेदयत्।
“ब्रह्म सत्यं जगन्मिथ्या जीवो ब्रह्मैव नापरः” इति अद्वैतसिद्धान्तप्रतिष्ठापने स्वजीवनम् अयापयत् सः। सम्पूर्णं भारतदेशं गत्वा, बहूनि पुस्तकानि विलिख्य च स्वमतस्य स्थापनम् अन्यमतानां खण्डनं च अकरोत्। सः मातुः मरणावस्थायां स्वपुरीं काल़डीं प्रत्यगच्छत्। तदा, तेन शास्त्रानुसारेणैव मातुः अन्तिमसंस्कारं कृतम्। तस्मिन् समये एव मातुः नमस्काररूपेण इमान् श्लोकान् अरचयत्। अग्रिमलेखे श्लोकाः दृश्यन्ते -
'mAtr Panchakam - Introduction'
Adi Sankara, the great Advaita philosopher, was born at Kaaladi in Kerala. He lost his father at the age of five, and, when he was eight years of age, permitted by his mother, became a sanyasin. He promised his mother that he will perform her last rites.
Sankara experienced the ultimate reality and taught the truth of Vedanta which is not sectarian but universal. He said that ‘Moksa’ or ‘liberation’ is not an after death experience. Due to ‘avidyaa’ or ‘ignorance’ one does not realize the ultimate soul. And when ‘avidyaa’ is made to disappear the self-luminous nature of the 'Self' shines.
Sankara traveled all over the country for universal salvation. At the demise of his mother he reached Kaaladi. People over there opposed and said that, ‘Philosophy is not a way of life; but it is only a way of thought for Sankara’.
But, Saastra permits an ascetic to perform only the duty of lighting the pyre, if he is the only
son for his parents. Thus, Sankara fulfilled his promise without deluding the Saastra.
At this context Sankara offering salutations to his mother, wrote 'mAtr panchakam' or five slokas in praise of mother.
Slokas from the next post........
“ब्रह्म सत्यं जगन्मिथ्या जीवो ब्रह्मैव नापरः” इति अद्वैतसिद्धान्तप्रतिष्ठापने स्वजीवनम् अयापयत् सः। सम्पूर्णं भारतदेशं गत्वा, बहूनि पुस्तकानि विलिख्य च स्वमतस्य स्थापनम् अन्यमतानां खण्डनं च अकरोत्। सः मातुः मरणावस्थायां स्वपुरीं काल़डीं प्रत्यगच्छत्। तदा, तेन शास्त्रानुसारेणैव मातुः अन्तिमसंस्कारं कृतम्। तस्मिन् समये एव मातुः नमस्काररूपेण इमान् श्लोकान् अरचयत्। अग्रिमलेखे श्लोकाः दृश्यन्ते -
'mAtr Panchakam - Introduction'
Adi Sankara, the great Advaita philosopher, was born at Kaaladi in Kerala. He lost his father at the age of five, and, when he was eight years of age, permitted by his mother, became a sanyasin. He promised his mother that he will perform her last rites.
Sankara experienced the ultimate reality and taught the truth of Vedanta which is not sectarian but universal. He said that ‘Moksa’ or ‘liberation’ is not an after death experience. Due to ‘avidyaa’ or ‘ignorance’ one does not realize the ultimate soul. And when ‘avidyaa’ is made to disappear the self-luminous nature of the 'Self' shines.
Sankara traveled all over the country for universal salvation. At the demise of his mother he reached Kaaladi. People over there opposed and said that, ‘Philosophy is not a way of life; but it is only a way of thought for Sankara’.
But, Saastra permits an ascetic to perform only the duty of lighting the pyre, if he is the only
son for his parents. Thus, Sankara fulfilled his promise without deluding the Saastra.
At this context Sankara offering salutations to his mother, wrote 'mAtr panchakam' or five slokas in praise of mother.
Slokas from the next post........
वैराग्यशतकम् - आशा - 2
भोगा न भुक्ता वयमेव भुक्ताः
तपो न तप्तं वयमेव तप्ताः।
कालो न यातो वयमेव याताः
तृष्णा न जीर्णा वयमेव जीर्णाः॥
bhogā na bhuktā vayameva bhuktāḥ
tapo na taptaṁ vayameva taptāḥ|
kālo na yātaḥ vayameva yātāḥ
tṛṣṇā na jīrṇā vayameva jīrṇāḥ||
तपो न तप्तं वयमेव तप्ताः।
कालो न यातो वयमेव याताः
तृष्णा न जीर्णा वयमेव जीर्णाः॥
bhogā na bhuktā vayameva bhuktāḥ
tapo na taptaṁ vayameva taptāḥ|
kālo na yātaḥ vayameva yātāḥ
tṛṣṇā na jīrṇā vayameva jīrṇāḥ||
Pleasures have not been enjoyed (भोगा न भुक्ता), instead we are the ones who have been consumed by desires (वयमेव भुक्ताः). In our efforts to enjoy the worldly pleasures, we end up running behind incessantly.
Penance was not performed (तपो न तप्तं), instead we have been constantly troubled by आधिभौतिक, आधिदैविक and आध्यात्म sorrows (वयमेव तप्ताः). Practising penance is an extremely difficult process that requires conquering sorrows and the concentration of mind.
We often use the expression "Time flies". No, कालो न यातः Time does not fly. We are the ones who have become old without using the time on hand for useful things (वयमेव याता).
Ultimately our desires have not ceased (तृष्णा न जीर्णा), but we have become weak and feeble trying to fulfill the numerous desires in our life (वयमेव जीर्णाः).
Penance was not performed (तपो न तप्तं), instead we have been constantly troubled by आधिभौतिक, आधिदैविक and आध्यात्म sorrows (वयमेव तप्ताः). Practising penance is an extremely difficult process that requires conquering sorrows and the concentration of mind.
We often use the expression "Time flies". No, कालो न यातः Time does not fly. We are the ones who have become old without using the time on hand for useful things (वयमेव याता).
Ultimately our desires have not ceased (तृष्णा न जीर्णा), but we have become weak and feeble trying to fulfill the numerous desires in our life (वयमेव जीर्णाः).
श्लोकोऽयं मह्यं रोचते – 3
प्राप्तव्यम् अर्थं लभते मनुष्यः देवोऽपि तं लङ्घयितुं न समर्थः ।
तस्मात् न शोचनीयो न विस्मयो मे यदस्मदीयं न हि तत् परेषाम् ।।
prāptavyam arthaṁ labhate manuṣyaḥ devo'pi taṁ laṅghayituṁ na samarthaḥ|
tasmāt na śocanīyo na vismayo me yadasmadīyaṁ na hi tat pareṣām||
अयं श्लोकः ‘पञ्चतन्त्रम्’ इति ग्रन्थे वर्तते। अस्मभ्यं यत् विहितं तत् अस्माभिः लभ्यते एव। ललाटे यः विधिः लिखितः, तं विधिं परिणमितुम् अथवा रोद्धुं ब्रह्मादि देवाः अपि न शक्नुवन्ति । तस्मात् मया दुःखम् अथवा आश्चर्यं न अनुभूयते, यतः, यत् अस्माकं तत् कदापि अन्येषां न भवेत्।
Even the gods cannot obstruct the things that are destined to a Human. Hence, do not be worried or shocked. The things that are destined to us will never reach others.
तस्मात् न शोचनीयो न विस्मयो मे यदस्मदीयं न हि तत् परेषाम् ।।
prāptavyam arthaṁ labhate manuṣyaḥ devo'pi taṁ laṅghayituṁ na samarthaḥ|
tasmāt na śocanīyo na vismayo me yadasmadīyaṁ na hi tat pareṣām||
अयं श्लोकः ‘पञ्चतन्त्रम्’ इति ग्रन्थे वर्तते। अस्मभ्यं यत् विहितं तत् अस्माभिः लभ्यते एव। ललाटे यः विधिः लिखितः, तं विधिं परिणमितुम् अथवा रोद्धुं ब्रह्मादि देवाः अपि न शक्नुवन्ति । तस्मात् मया दुःखम् अथवा आश्चर्यं न अनुभूयते, यतः, यत् अस्माकं तत् कदापि अन्येषां न भवेत्।
Even the gods cannot obstruct the things that are destined to a Human. Hence, do not be worried or shocked. The things that are destined to us will never reach others.
श्लोकोऽयं मह्यं रोचते -2
यो मे गर्भगतस्यापि वृत्तिं कल्पितवान् प्रभुः।
शेषवृत्ति प्रधानाय सुप्तः किं वा मृतोऽथवा ।।
yo me garbhagatasyāpi vṛttiṁ kalpitavān prabhuḥ|
śeṣavṛtti pradhānāya suptaḥ kiṁ vā mṛto'thavā||
यदा अहं मम मातुः गर्भे अवसम्, तत्क्षणात्, सः देवः एव माम् अरक्षत्। अधुना सः किं न रक्षति माम् ? “मम, इच्छाः पूरयतु, पीडाः दूरीकरोतु’ इति प्रतिवारं किं प्रार्थना कर्तव्या? देवः श्रीरङ्गपुरे शयनाकारे वर्तते इति कारणात् सः स्वपिति इति मा चिन्तय। सः सदा सर्वदा अस्मान् रक्षति इति विषये न कोऽपि संशयः।
God protected us when we were in our mother's womb. For the remaining period of our life he is neither asleep nor dead .When in mother's womb we neither knew God nor Worship but still He protected us and decided on our destiny. Now, it doesn't warrant us to ask for things and plead for protection. He was guarding us without our knowledge, will he not continue do so?
शेषवृत्ति प्रधानाय सुप्तः किं वा मृतोऽथवा ।।
yo me garbhagatasyāpi vṛttiṁ kalpitavān prabhuḥ|
śeṣavṛtti pradhānāya suptaḥ kiṁ vā mṛto'thavā||
यदा अहं मम मातुः गर्भे अवसम्, तत्क्षणात्, सः देवः एव माम् अरक्षत्। अधुना सः किं न रक्षति माम् ? “मम, इच्छाः पूरयतु, पीडाः दूरीकरोतु’ इति प्रतिवारं किं प्रार्थना कर्तव्या? देवः श्रीरङ्गपुरे शयनाकारे वर्तते इति कारणात् सः स्वपिति इति मा चिन्तय। सः सदा सर्वदा अस्मान् रक्षति इति विषये न कोऽपि संशयः।
God protected us when we were in our mother's womb. For the remaining period of our life he is neither asleep nor dead .When in mother's womb we neither knew God nor Worship but still He protected us and decided on our destiny. Now, it doesn't warrant us to ask for things and plead for protection. He was guarding us without our knowledge, will he not continue do so?
श्लोकोऽयं मह्यं रोचते – 1
गतोऽपि वयसि ग्राह्या विद्या सर्वात्मना बुधैः ।
यद्यपि न स्यात् फलदा सुलभा सा अन्यजन्मनि ।।
gato'pi vayasi grāhyā vidyā sarvātmanā budhaiḥ|
yadyapi na syāt phaladā sulabhā sā anyajanmani||
वृद्धावस्थायामपि पठनम् अथवा नूतनविषयग्रहणं कर्तव्यम् एव । पठने अथवा विद्याभ्यासे का प्रयोजना ? परीक्षा तु न लेखनीया अतः किमर्थं पठनम् इति मा चिन्तय। अधुना ज्ञानेन प्रयोजनं न स्यात् परन्तु जन्मान्तरे उपयुज्यते।
‘शरीरस्यैव नाशः न तु आत्मनः, तस्मात् आत्मने पुनर्जन्म अस्ति’ इति अस्माकं सनातनधर्मे उक्तम् । सहस्रवर्षेभ्यानन्तरं यदि मानुषजन्म लभ्यते, तर्हि, तदा इदमेव ज्ञानं भाति। अद्यतनकाले वयं बालावस्थायां ज्ञानवृद्धान् (child prodigy) पश्यन्ती स्मः। तत् जन्मान्तरवासना बलेन एव इति न कोऽपि सन्देहः। तस्मात् सर्वैः वयसि गतोपि विद्या ग्राह्या ।
Irrespective of one’s age one should never stop learning. Even if that knowledge is not useful in current birth it would be useful in the subsequent ones.
यद्यपि न स्यात् फलदा सुलभा सा अन्यजन्मनि ।।
gato'pi vayasi grāhyā vidyā sarvātmanā budhaiḥ|
yadyapi na syāt phaladā sulabhā sā anyajanmani||
वृद्धावस्थायामपि पठनम् अथवा नूतनविषयग्रहणं कर्तव्यम् एव । पठने अथवा विद्याभ्यासे का प्रयोजना ? परीक्षा तु न लेखनीया अतः किमर्थं पठनम् इति मा चिन्तय। अधुना ज्ञानेन प्रयोजनं न स्यात् परन्तु जन्मान्तरे उपयुज्यते।
‘शरीरस्यैव नाशः न तु आत्मनः, तस्मात् आत्मने पुनर्जन्म अस्ति’ इति अस्माकं सनातनधर्मे उक्तम् । सहस्रवर्षेभ्यानन्तरं यदि मानुषजन्म लभ्यते, तर्हि, तदा इदमेव ज्ञानं भाति। अद्यतनकाले वयं बालावस्थायां ज्ञानवृद्धान् (child prodigy) पश्यन्ती स्मः। तत् जन्मान्तरवासना बलेन एव इति न कोऽपि सन्देहः। तस्मात् सर्वैः वयसि गतोपि विद्या ग्राह्या ।
Irrespective of one’s age one should never stop learning. Even if that knowledge is not useful in current birth it would be useful in the subsequent ones.
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