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Learn to read and recite a stotram

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saidevo

Well-known member
This thread will give you short and simple stotras and shlokas that you can read, recite and teach your children. All you need is the knowledge of the Sanskrit alphabets and the willingness to read Sanskrit text, which is not at all difficult once you know the alphabets. Wherever possible, I have provided the meaning and audio files of the stotras.

We start with Ganesha. Here is a stotram called 'ganesha-stavam' that describes Ganesha as none other than the 'nirguNa brahman'.

ganeshastavam.jpg of the ganeshastavam.pdf document.

Here is a link to download the pdf file of the stotram with embedded audio. You need to become a member of the Website and it is worth.
ganeshastavam

As you play the embedded audio, run your mouse over the recited words and learn to read and pronounce them correctly. After repeating it two or three times, you should be able to chant/sing the stotram along with the teacher and then independently.

And once you are comfortable with reciting the stotram, try to explore the meaning of the words you recite, learning to match them against phrases in the meanings text.

Once you can recite the stotram correctly and know its meaning vis-a-vis the Sanskrit words and phrases, you would find yourself contemplating on its content, learning to drench in the flow of 'bhakti rasam' that teaches the 'jnAnam' to dissolve the small self in the bigger Self.

Wish you Godspeed for great times of learning ahead!
 

drsundaram

Well-known member
Sir, It was so nice of you to have given details on chanting of slokas. thank you. Please let me have some websites, if possible, which will have such slokas and chants. Thanks
Dr Sundaram
Bangalore.
 
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saidevo

Well-known member
Namaste Dr.Sundaram.

I have come across two Websites that have shlokas and stotras in devanAgari, with some entries having translations. These sites are:

Sanskrit Texts and Stotras
Sanskrit Documents List: Documents Index

However, the audio links need to be searched on the Net. One Website that has only audio files is:
»»Vedamantram - Get Free MP3s of Veda Mantras

I am in the process of collecting some audio files. I shall post them along with the text and possibly meaning in the forthcoming posts.
 
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saidevo

Well-known member
shrI guru stotram

After Ganesha, it is the Guru. This stotram, a bit long though--and we are not fainthearted--describes the Guru's divine potency. It is found in the 'guru gitA' composed by the great sage vyAsa maharshi. The audio file includes a spoken English translation of the stotram.

To give an idea of the powers of Guru:

Guru is akaNDa maNDalAkAram--not just confined to the human form.
Guru is vyAptam yena charAcharam--pervading the entire universe.

Guru opens our eyes with the sharp needle of knowledge--shAlAkaya,
and lets us see the light, dispelling the darkness--timira of ignorance.

Guru is the very form of the trimUrti: brahmA, viShNu, shiva.
Guru is the chimaya--supreme knowledge that pervades the three worlds.

Guru is the sUrya--Sun for the ambuja--Lotus, of VedAnta.
He is of padAmbuja--lotus feet made radiant by the ratna--jewels of shRuti--Vedas.

Guru is chaitanya--supreme knowledge, shAsvata--eternal, and shanta--peace.

Guru is ArUDha--rooted in jnAnashakti--the power of knowledge.
He is vibhUShita--decorated with the mAlA--garland of tattvam--Truth.

Guru pradAnena--teaches AtmajnAnam--knowledge of the Self and by it
dAhina--burns up the karmabandha--bonds of karma of anekajanma--many births.

Guru shoShaNa--dries up the bhava-sindhu--water of formal existence
and jnApana--makes known sArasampada--all the wealth of the shAstras.

guroradhika--Beyond the Guru, there is no tattvam--Truth, tapa--the heat of religious penance and austerity, or tattva jnAnam--knowledge about param--the Supreme.

shrI gurave namaH--Salutations to that Guru, who is mannAtha--my Lord,
who is jagannAtha--Lord of the Universe, madguru--my Guru,
who is jagadguru--Teacher of the World, madAtmA--the Self in me,
sarvabhUtAtmA--the Self in all Beings.

Salutations to that Guru who is Adir anAdishcha--the beginning and the beginningless; who is paradaivatam--of Supreme Divinity; guro parataram nAsti--there is none superior to the Guru.

(O Guru!) You are--
tvameva mAtA--my mother, cha pitA--and father,
tvameva bandhu--my kinsman, cha sakhA--and friend,
tvameva vidyA--my knowledge, draviNaM tvameva--my wealth too,
tvameva sarvam--my everything, mama devadeva--O my God of gods!

Here are the links to this enlightening stotram:
pdf file:
http://www.chinmayauk.org/Resources/Invocations/Shree Guru Stotram.pdf

audio file:
http://www.clickcaster.com/users/guruji/assets/guru-stotram-w-meaning.mp3

audio-embedded pdf file:
gurustotram-ae

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drsundaram

Well-known member
your reply

Namaste Dr.Sundaram.

I have come across two Websites that have shlokas and stotras in devanAgari, with some entries having translations. These sites are:

Sanskrit Texts and Stotras
Sanskrit Documents List: Documents Index

However, the audio links need to be searched on the Net. One Website that has only audio files is:
»»Vedamantram - Get Free MP3s of Veda Mantras

I am in the process of collecting some audio files. I shall post them along with the text and possibly meaning in the forthcoming posts.
thank you sir. I will check the links given. Kind regards
 
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saidevo

Well-known member
shrI guru stotram: a clarification

Although I mentioned that this stotram is from the 'guru gitA' traiditionally attributed to sage vyAsa, it seems that the stotram is culled out from various sources and that the name of the compiler is uncertain.

Some of the sources of parts of the stotram are:

• The verse "gurur brahmA gurur viShNu" appears as verse no.58 in the 'guru gitA' attributed to sage vyAsa (http://www.sanskritdocuments.org/all_pdf/gurugiitaa.pdf).

• The verse "gurur brahmA gurur viShNu" appears as verse no.32 in the 'guru gitA' in the skanda purANam (GURU GITA TRANS).

• However, the 'guru gitA', quoted to be from the same skanda purANam and published at Asaram Bapu Ji - HariOmGroup - || Shri Guru Gita || does not contain this famous verse. Instead, it states the same meaning in a differnt form, in verse no.211, which verse is also found in the versions mentioned above:

gurureko jagatsarva brahmaviShNushivAtmakam |
guruH parataram nAsti tasmAt saMpUjayed gurum ||

"The entire creation consisting of Brahma, Vishnu, and Shiva is all Guru only. There is nothing greater than the Guru. Therefore one should worship the Guru. (211)"

We have often heard that the word 'guru' means 'one who dispells the darkness of ignorance'. Verse 33 of this version of 'guru gitA' mentions it, but this verse is also found in the other versions:

gukArashvAndhakAro hi rukArasteja uchyate |
ajjnAnagrAsakaM brahma gurureva na saMshayaH ||

"The syllable 'Gu' is the darkness and the syllable 'Ru' is said to be light. There is no doubt that the Guru is indeed the Supreme Knowledge that dispels (the darkness of) ignorance. (33)"

• Another famouse verse, 'tvameva mAtA' included in this stotram, is from verse no.28 of the 'prapanna gitA'--also known as 'pANDava gitA' (http://www.sanskritdocuments.org/all_pdf/pandavagita.pdf).

• The Website srividya.org mentions that the 'guru stotram' is a "collection of hymns from the VishvasArAtantra' (Lalita Issue I : Gurustotram).

However, all this frustrating, fruitless (re)search, which is often caused by our ego rather than a genunine spirit of inquiry, does not in any way diminish the glory of the 'guru stotram'. Perhaps what our elders say--that we should not look for the 'rishi mUlam, nadI mUlam'--also applies the sources of our shlokas and stotras.

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saidevo

Well-known member
ardhanArIshvara stotram

From Guru, we move on to the AdiGuru, dakShiNAmUrti, who is perceived by us in the form of ardhanArIshvara.

The 'ardhanArIshvara stotram' composed by Adi shankarAchArya bhagavadpAda is recited in a 'gambhIra dhvani' by shrI mArEpalli nAga vEnkaTa shAstri. The clarity of expression and the majesty of his voice are sure to inspire awe towards God shivA-shivaH and bring tears to eyes, as we try to read and contemplate on the meanings of the lines of the stotram.

Don't miss to check out, listen to and learn this great stotram.

Here are the links to this enlightening stotram:
pdf file:
http://www.sanskritdocuments.org/all_pdf/ardhanAri.pdf

audio file:
http://www.vedamantram.com/audio/Ardhanaareesvara.mp3

meaning and audio-embedded pdf file:
ardhanAri-ae

*****

ardhanArIshvara stotram: meaning

chAmpeya gaurArdha sharIrakAyai karpUra gaurArdha sharIrakAya |
dhammillakAyai cha jaTAdharAya namaH shivAyai cha namaH shivAya || 1 ||

gaura--shines, ardha--in one half, chAmpeya--golden yellow,
like 'chAmpeya' flower (Mesua ferrea);
while the other half shines bright white like karpUram--camphor;

One side of the head is dhammilla--ornate with braided hair;
the other sports jaTAmakuTam--unkempt crest;
I bow to this shivA (pArvatI) and shivaH, in the form of ardhanArIshvara.

******

kastUrikA kungkuma charchitAyai chitArajaH punjavi charchitAya |
kRitasmarAyai vikRitasmarAya namaH shivAyai cha namaH shivAya || 2 ||

ambAL on the left half is charchita--smeared with kastUri--musk
and kungkumam--vermilion;
while shiva on the right is punjavi charchita--smeared with heaps of
chitAraja--ashes from the funeral pyre;

In one half she is kRitasmarAya--pleasing to reflect on;
in the other he is vikRitasmarAya--ugly, deformed, transformed.
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

jhaNat-kvaNat-kangkaNa nUpurAyai pAdAbjarAjat-phaNi nUpurAya |
hemAngadAyai bhujAngadAya namaH shivAyai cha namaH shivAya || 3 ||

ambAL on the left side wears kangkaNa--bangles/bracelets on her wrists
and nUpura--anklets on her feet; they jhaNat-kvaNat--jingle as she moves;
shiva on the right wears on his pAda-abja--lotus feet, phaNina--a hooded
serpent for his nUpura--anklets.

hemAnga--of gold-worn parts on the left;
bhujAnga--of snake-worn parts on the right.
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

vishAla nIlotpala lochanAyai vikAsi pangkeruha lochanAya |
samekShaNAyai viShamekShaNAya namaH shivAyai cha namaH shivAya || 4 ||

ambAL on the left has nIlotpala--blue lotus, lochana--eyes;
shiva on the right has pangkeruha vikAsi--blossomed in mud, lochana--eyes.

ambAL is sama-IkShaNa--pleasing and harmonious to look at;
shiva is viShama-IkShaNa--poisonous and dissimilar to look at.
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

mandAra-mAlA kalitA lakAyai kapAla-mAlAnggita kandharAya |
divyAmbarAyai cha digambarAya namaH shivAyai cha namaH shivAya || 5 ||

ambAL is kalita--adorned with, mandAra mAlA--garland of hibuscus flowers
on her laka--forehead;
shiva has a kapAla-mAlA-anggita-kandha--a garland of skulls worn neck.

She is dressed divyAmbara--in divine, royal clothes;
He is digambara--practically naked, dig ambara--having only the directions for his clothing.
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

aMbhodhara shyAmala kuntalAyai taTit prabhAt Amra jaTAdharAya |
nirIshvarAyai nikhileshvarAya namaH shivAyai cha namaH shivAya || 6 ||

She has kuntala--locks of hair, that look like aMbhodhara--clouds that are
shyAmala--dark with water;
His jaTa--twisted locks of hair, are taTit--raised like the banks of a river,
and prabhAt--shining, like Amra--the ripe mango fruits of golden hue.

She is nirIshvara--godless, that is with no God above her;
He is nikhileshvara--the immanent God of everything.
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

prapancha sRiShTy-unmukha lAsyakAyai samasta saMhAraka tANDavAya |
jagaj jananyai jagadeka pitre namaH shivAyai cha namaH shivAya || 7 ||

She performs her lAsyaka--dance in dramatic delight, at the prapancha--universal
sRiShti--creation, that is unmukha--springing up, at her dance;
He performs tANDava--a frantic dance, which is saMhAraka--destructive,
of samasta--everything, and the universe subsides back in it.

She is janani--mother, of the jagat--world, so jagajjanani;
He is jagadeka pitRu--the sole father of the world;
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

pradIpta ratno-jjvala kuNDalAyai sphuran mahApannaga bhUShaNAya |
shivAnvitAyai cha shivAnvitAya namaH shivAyai cha namaH shivAya || 8 ||

Her kuNDala--ear rings are, pradIpta--sparkling, studded with
ujjvala--blazing, ratna--precious stones;
His bhUshaNam--ornament, is only sphuran--trembling, mahApanaga--great serpents.

She is anvita--inherent, shivam--auspiciousness, happiness;
He is anvita--inherent, shivam--auspiciousness, happiness too.
I bow to this shivA and shivaH, in the form of ardhanArIshvara.

******

etat-paThed aShThakam iShTadaM yo bhaktyA sa mAnyo bhuvi dIrghajIvI |
prApnoti saubhAgyam anantakAlaM bhUyAt sadA tasya samasta siddhiH || 9 ||

This final verse is the phala shruti of this stotram.

etatpaThed--one who reads this, aShThakam--hymn of eight verses,
yo bhaktyA--with devotion, will obtain, sa mAnyo iShTadaM--all honour
and respect desired, bhuvi dIrghajIvI--will live long in the world,
and prApnoti--attain, saubhAgyam--fortune and prosperity,
and bhUyAt--when one repeatedly chants this stotram will attain
sadA tasya--perpetual, samasta siddhiH--all powers and perfection.

******

iti shrImat paramahaMsa parivrAjakAchAryasya
shrIgovinda bhagavat pUjyapAda shiShyasya |
shrImach-ChaMkara bhagavataH kRitau ardhanArIshvara stotram saMpUrNam ||

Thus concludes the ardhanArIshvara stotram, composed by shrI Adi shaMkarAchArya,
disciple of shrI govinda bhagavatpAda.

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saidevo

Well-known member
vengkaTAchala nilayam: purandaradAsa kRuti on VengkaTeshvara

mahAviShNu is popularly worshipped by Hindus in the form of shrI vengkaTeshvara, the powerful and awe-inspiring God of the seven hills at tirupati; he is also known by the names vengkaTAchalapati and shrInivAsa perumAL.

Here is a famous krithi on vengkaTeshvara by the famous kannaDa bhakti sage purandaradAsa, composed in Sanskrit, in the rAga sindhu bhairavI.

pallavi:*
vengkaTAchala nilayam vaikuNThapura vAsam
pangkaja nEtram parama pavitram
shangkha chakradhara chinmaya rUpam -- (vengkaTAcala)

anupallavi:*
ambujOdbhava vinutam agaNita guNa nAmam
tumburu nArada gAnavilOlam -- (vengkaTAcala)

charaNam:*
makara kuNDaladhara madanagOpAlam
bhakta pOShaka shrI purandaraviTThalam -- (vengkaTAcala)

**********

pallavi:*
vengkaTAchala nilayam--staioned in the vengkaTa achalam--mountain
vaikuNThapura vAsam--resident of the divine city of vaikuNTham

(vengkaTAchalam is perumAL's station on earth, vaikuNTham in heaven, and he is simultaneously resident in both places).

pangkaja nEtram--of lotus eyes
parama pavitram--of supreme purifying power

shangkha chakra-dhara--holding the conch and the disc
chinmaya rUpam--manifestation of pure thoughts
--(vengkaTAchala nilayam)

anupallavi:
ambujOdbhava--one (reference to nArada) who is
ambuja-udbhava--born of the lotus (sprung from your navel: brahmA)
vinutam--who plays on a musical instrument by striking its cords
and sings on

agaNita--your indescribable, guNa nAmam--divine qualities
tumburu nArada--sage nArada who plays on his tumburu--lute
gAnavilOlam: gAna--singing eulogies on you,
and vilola--wanders in all the three worlds
--(vengkaTAchala nilayam)

charaNam:**
makara kuNDala-dhara: dhara--wearing, kuNDalam--ear-ring,
shaped like the makaram--shark

madana--enchanting, gOpAlam--cowherd
bhakta pOShaka--who nourishes devotees
shrI purandaraviTThalam--God worshipped in Pandharpur,
commonly known as vithoba, a form of kRuShNA or viShNu
--(vengkaTAchala nilayam)

Let us learn, listening to this kRuti and having darshan of vengkateshvara, in a colorful, audio-embedded pdf document presented by ahobilavalli.org:
http://www.ahobilavalli.org/purandara.pdf

Note: Sanskrit kRutis and stotras should be recited and sung with perfect pronunciation, lest the singer--and the listener--should incur any bad effects of the meanings that might arise due to wrong pronunciation.

It seems that some artists who sing this kRuti pronounce the Sanskrit words and phrases wrongly, slurring over the words. As examples:

• the name vengkaTA-chalapati is wrongly sung as vengkaTA-jalapati, making him the Lord of waters, which he is, but not at the vengkaTa hills.

• vaikuNTha is sung as vaikuntha or vaikunta (kuntaH--lance, spear).

• the words 'parama' and 'pavitra' are sung like English words, slurring at the 'r' and 't'.
 

gjhaveri1

Member
With your permission, can you please let me know if there is any specific process or rituals or steps in which the Atharva Veda need to be practiced? They are very sacred and would like to know the correct way to proceed with them.
 
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saidevo

Well-known member
namaste gjhaveri1.

With your permission, can you please let me know if there is any specific process or rituals or steps in which the Atharva Veda need to be practiced? They are very sacred and would like to know the correct way to proceed with them.

I am really embarrassed if my humble translations give some people a larger-than-life image about me. Let me reiterate that I am an ordinary, laukika brAhmaNa with absolutely no sign of scholarship in shAstras or samskRtam.

Even as a child shows its work to its parents, and a boy shows his work to his teacher--not for appreciation but for possible corrections--I present my humble work here. I request members NOT to set me apart as more enlightened than anyone here, please.
 
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saidevo

Well-known member
Adi Shankara BhagavadpAdA's 'GaNesha pancharatnam'
Introduction

Shankara composed this stotra--hymn, on GaNesha in a metre called pancha-chAmaram, which has four quarters of sixteen syllables each, and has a scheme of short-long-short-long syllables (laghu-guru-laghu-guru in prosody parlance), with an usual internal alliteration or rhyme. This 'tadhIm-tadhIm' movement endows the lyric with a brisk, marching gait, as that of an elephant, for example.

In accordance with the RgVedic statement 'ekam sad viprA bahudhA vadanti', which states that it is the same 'brahma tatvam' that is manifest as several mUrtis--images, Shankara, in each of his stotras, describes the devatA-mUrti he adores, as the paramAtma svarUpam--Brahman in nature, which is the jagatkAraNam--cause behind this universe.

pada-pATham: lyric and meaning

shrIgaNeshAya namaH ||
I bow to shrI GaNesha.

shloka 01
mudAkarAtta modakaM sadA vimukti sAdhakaM
kalAdharA vataMsakaM vilAsi loka rakShakam |

He is joyful--mudA, with a modakaM--sweet rice cake, karAtta--borne in hand;
He is always--sadA, the sAdhaka--efficient means, for attaining vimukti--deliverance;
He wears on the head the cresent moon--kalAdharA, vataMsakaM--as ornament;
He sportively--vilAsi, does lokarakShakam--protection of the world.

Note:
01. modaKaM is GaNesha's favourite dish. It is visheSha--special, to offer them to him in the 'sangkaTahara chaturthI vrata pUjA', which is observed on the chaturthI--fourth day, after each full moon.

02. Special fruits offered to GaNesha are: kapittha--wood apple (Feronia Elephantum) and jaMbu-phala--rose apple (Eugenia Jambolana). It is visheSha to offer them on the day of the annual GaNesha chaturthI, which is occurs this year on Sep.11, 2010. GaNesha also wears a garland of erukku (Tamizh)--milkweed flowers on that day. And, as everyone knows, GaNesha is satisfied with the offer of even a blade of the arugampul (Tamil)--dUrvA grass.

Here is a list of medicinal food and plant names in many Indian languages.
http://www.sakthifoundation.org/glossary.pdf

03. Besides his tilaka, the GaNesha purANam prescribes him a crescent moon on the forehead, worn as an ornament.

04. Note how Shankara describes GaNesha as protecting the world vilAsi--sportively. Is he not the vighneshvara, who causes and removes vighnams--hurdles/obstacles? It's all his lIlA--sport, to test and then adopt his devotees.

*****

anAyakaika nAyakaM vinAshitebha daityakaM
natAshubhAshu nAshakaM namAmi taM vinAyakam || 1 ||

He is-anAyaka--has no ruler above him; he is ekanAyakaM--himself the sole ruler;
He is one who vinAshita--destroyed, the ibha-daitya--elephant-faced demon,
called GajamukhAsura;
All that is nata--crooked, and ashubha--inauspicious, he Ashu--quickly,
nAshakaM--destroys;
I bow to--namAmi, taM--that, vinAyaka--destroyer of obstacles.

Note:
01. In the spirit of advaita, Shankara describes GaNesha as anAyaka and eka-nAyaka.
02. He is quick in removing obstacles, all that is crooked and inauspicious.

**********

shloka 02

natetarAti bhIkaraM navoditArka bhAsvaraM
namat surAri nirjaraM natAdhikApa duddharam |

He is ati-bhIkara--very terrible (causing fear) to the nata-itara--crooked
and other such people;
He is bhAskaraM--shining, as the nava--newly, udita--risen, arka--sun;
He is one who is namat--venerated by, surAri--Asuras--demons (enemies of Gods),
and nirjara--immortal Devas--Gods (who nir--never, jara--get old);
He is the nata--flowing down, adhika--bounteous, Apa-duddharam--waterfall.

Note:
01. Some people translate 'natetarAti bhIkaraM' as 'one who is very terrible to those who are not his devotees'.

02. There is actually a waterfall named 'duddhara' in Amarkantak, a pilgrim center in Anuppur district of Madhya Pradesh.
(Tourist Attraction in Amarkantak - Madhya Pradesh Tourist Attractions - Tours To Madhya Pradesh)

*****

sureshvaraM nidhIshvaraM gajeshvaraM gaNeshvaraM
maheshvaraM tamAshraye parAtparaM nirantaram || 2 ||

He is the Ishvara--Lord, of Devas--sureshvara, Ishavara of nidhis--all the
treasures of Kubera, and LakShmI;
gajeshvaraM--elephant-faced God (also Ishvara of gajas--elephants),
gaNeshvaraM--Ishvara of Shiva-gaNas--Shiva's army of demons;
He is maheshvaram--the very Maheshvara--Great Lord (an attribute of Shiva),
parAtpara--superior to the best, nirantara--with no interval in time or space,
that is, all-pervading and eternal;
tam--such a God, Ashraye--I adore and seek refuge in.

Note:
01. nidhIshvara--nidhi refers to the teasures and wealth of Kubera and LakShmI. It also refers to all the aishvarya--the aShTamA-siddhis, the eight powers of vision, audition, cognition, discrimination, omniscience, swiftness of thought, power of assuming forms at will, and the faculty of expatiation (MWD).

Hindus normally worship GaNesha with LakShmI and SarasvatI. It is common to find a picture of GaNesha with LakShmI at his right and SarasvatI at his left in their pUjA rooms. This is the image typically used in the bhUmi-pUjA of a plot where a new house is to be constructed.

02. PApanAsham Sivan has authored a song on Shiva in Tamizh, that starts with the words 'parAtparA, parameshvara!'. For the lyric and its translation, check
Parathpara Parameshwara | Vedanta Spiritual Library

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shloka 03

samastaloka shaMkaraM nirastadaitya ku~njaraM
daretarodaraM varaM varebhavaktram akSharam |

He is one who who brings saMkaraM--complete happiness, samastaloka--to all worlds;
One who nirasta--destroyed, daitya--the Asura (demon), kunjaraM--with the elephant face;
He has an udara--a belly, which is dara-itara--not small--so huge; he is varaM--excellent;
He has a varaM--most excellent, ibha-vaktram--elephant-face; and he is
akSharam--imperishable.

Note:
01. varebhavaktram akSharam--is also translated as vara-akShara-ibhavaktra--granting unalterable boons through his elephant-face/mouth.

*****

kR^ipAkaraM kShamAkaraM mudAkaraM yashaskaraM
manaskaraM namaskR^itAM namaskaromi bhAsvaram || 3 ||

He is full of compassion--kRpAkara, kShamAkara--one who is patient and forgiving
with his devotees,
mudAkaraM--one who keeps them happy, yashaskaraM--one who brings them fame;
manaskaraM--makes them well-disposed in mind, so namaskRtAM--I worship,
and namaskaromi--and bow to, that bhAsvaram--shining God.

Note:
01. In the second line, manaskaraM is neatly reversed as namaskaromi, implying that namaskAram is not just an act of prostrating with the body, but also with speech and mind.

**********

shloka 04

aki~nchanArti mArjanaM chirantanokti bhAjanaM
purAripUrva nandanaM surArigarva charvaNam |

He is one who does mArjanaM--wiping away, of the Arti--afflictions,
of the akinchana--destitute;
He is the bhAjanaM--representative/abode of, the ukta--divine word (AUM),
which is-chiranta--exists from ancient times;
He is the nandanaM--son, of the purAri--One who destroyed
the tripura--triple cities, in pUrva--former times;
He destroys--charvaNa (as if by chewing away), the garva--pride and arrogance,
of the surAri--enemy of the Devas, that is, the Asuras.

Note:
01. GaNesha is the very form of the praNava mantra AUM, which is the first manifestation of the NirguNa Brahmam. In the form of AUM, the primal sound which is the mUla-kAraNa--root cause, of the Creation, Brahman is known as shabda-brahman or nAda-brahman.

*****

prapa~nchanAsha bhIShaNaM dhana~njayAdi bhUShaNaM
kapoladAna vAraNaM bhaje purANa vAraNam || 4 ||

At the time of prapancha-nAshanam--dissolution of the Universe, he is the
bhIShaNaM--the Terrible One (Rudra);
He has as bhUShaNaM--decorations, dhanaMjaya Adi--Dhananjaya and other serpants;
He is the vAraNam--elephant, who is kapoladAna--filled with the rut-fluid in the cheeks.
Such a purANa vAraNam--ancient, primordial elephant, bhaje--I adore.

Note:
01. In the iconography of GaNesha, the snake represents the kuNDalini shakti that everyone of us have, which is dormant at the mUlAdhAra chakra, whose adhipati--Lord, is GaNesha.

**********

shloka 05

nitAnta kAnta dantakAntima ntakAntak AtmajaM
achintyarUpam antahInam antarAya kR^intanam |

He is one who has nitAnta--excessively, kAnta--bright, danta kAntiM--radiant tusks;
He is the Atmaja--son, of One (Shiva) who was antaka--Yama (destroyer),
to antaka--Yama himself;
He is achintya rUpaM--one whose true form is beyond comprehension,
one who is antahInaM--eternal/endless, and
one who does-kRntana--cuts off, antarAya--obstacles.

Note:
01. The story of Shiva kicking Yama to death and then resurrecting him is found in the MArkANDeya purANam. Thus, Shiva is referred to as the Yama's Yama--antakAntaka.

02. Shankara uses many phrases to describe GaNesha's powers of destroying obstacles to spiritual progress: here he uses kRntana--cuts off. In shloka 1 he uses, Ashu nAshanaM--quickly destroys. In shloka 4 he uses the term charvaNa--chewing away, to remove the Asura's garva--pride and arrogance. These terms are typically associated with the acts of an elephant.

*****

hR^idantare nirantaraM vasantameva yoginAM
tamekadantameva taM vichintayAmi santatam || 5 ||

He is one who is nirantaraM--for ever, vasanta--resident, in the
hRdantantare eva--middle of the heart, of yoginAM--yogis;
That--taM, eka dantam eva--one-tusked deity alone, santatam--at all times,
vichintayAmi--I think about and meditate on.

Note:
01. In shloka 2, Shankara describes GaNesha as 'parAtparam nirantaram'--ParamAtman who pervades all space and time leaving no intervals. In the same way, he occupies the Yogis' hearts, shining as a flame in the middle, and filling the entire hrDaya AkAsha--inner space, with its light.

02. GaNesha is eka-danta--one-tusked, because his other tusk was broken. As for the legends relating to his broken tusk, check these links:
How did Lord Ganesha lose his tusk? - Yahoo! Answers India
NEPALESE AND TIBETAN ARTS BLOG: Ganesha's broken tusk

**********

shloka 06: phalashruti: Benefits of chanting

mahAgaNesha pa~ncharatnam AdareNa yo.anvahaM
prajalpati prabhAtake hR^idi smaran gaNeshvaram |
arogatAm adoShatAM susAhitIM suputratAM
samAhitAyur aShTabhUtim abhyupaiti so.achirAt || 6 ||

One--yaH, who anvahaM--every day, prabhAtake--in the morning time, hRdi--in the mind,
smaran--remembers, gaNeshvaraM--GaNesha, and AdareNa--with devotion,
prajalpati--recites, the 'mahA gaNesha pancharatnam' stotra--hymn, saH--he...

would get--abhyupaiti, achirAt--soon, arogatAM--health free of diseases,
adoShatAM--life without faults, susAhitIM--skills and expertise in education,
suputratAM--good children, samAhitAyur--long and complete life, and
aShTabhUtiM--the eight aishvaryas (referred to above in note to shloka 2).

Note:
01. The overall effect of movement in the stotra in the pancha-chAmaram metre, is the majestic movement of an elephant, gently shaking its head left and right.

**********

iti shrIsha~NkarabhagavataH kR^itau shrIgaNeshapa~ncharatnastotraM
sampUrNam ||

Thus ends the shrI GaNesha pancharatna stotram composed by
shrI Shankara Bhagavata.

**********

stotra in full

mudAkarAtta modakaM sadA vimukti sAdhakaM
kalAdharA vataMsakaM vilAsi loka rakShakam |
anAyakaika nAyakaM vinAshitebha daityakaM
natAshubhAshu nAshakaM namAmi taM vinAyakam || 1 ||

natetarAti bhIkaraM navoditArka bhAsvaraM
namat surAri nirjaraM natAdhikApa duddharam |
sureshvaraM nidhIshvaraM gajeshvaraM gaNeshvaraM
maheshvaraM tamAshraye parAtparaM nirantaram || 2 ||

samastaloka shaMkaraM nirastadaitya ku~njaraM
daretarodaraM varaM varebhavaktram akSharam |
kR^ipAkaraM kShamAkaraM mudAkaraM yashaskaraM
manaskaraM namaskR^itAM namaskaromi bhAsvaram || 3 ||

aki~nchanArti mArjanaM chirantanokti bhAjanaM
purAripUrva nandanaM surArigarva charvaNam |
prapa~nchanAsha bhIShaNaM dhana~njayAdi bhUShaNaM
kapoladAna vAraNaM bhaje purANa vAraNam || 4 ||

nitAntakAnta dantakAntim antakAntak AtmajaM
achintyarUpam antahInam antarAy kR^intanam |
hR^idantare nirantaraM vasantameva yoginAM
tamekadantam eva taM vichintayAmi santatam || 5 ||

mahAgaNesha pa~ncharatnam AdareNa yo.anvahaM
prajalpati prabhAtake hR^idi smaran gaNeshvaram |
arogatAm adoShatAM susAhitIM suputratAM
samAhitAyur aShTabhUtim abhyupaiti so.achirAt || 6 ||

**********

iti shrIsha~NkarabhagavataH kR^itau
shrIgaNeshapa~ncharatnastotraM
sampUrNam ||

**********

Audio visual aids to learn the stotra by heart

With the text in SaMskRtam (better) or its transliteration in hand, and an audio/video rendtion of it to listen to, one can easily get to know the stotra by heart. Here are some links:

01. Sanskrit Text:
http://sanskrit.gde.to/all_pdf/ganesha5.pdf

02. Chanting the traditional way by shrI mArEpalli nAga vE.nkaTa shAstri:
http://www.vedamantram.com/audio/gaNesha-pancharatnam.mp3

03. Chanting by Smt.M.S. Subbulakshmi:
YouTube - Ganesha Pancharatna Sthothram

04. Set to modern music and chanted by Uma Mohan and Ghayathri Devi:
YouTube - Ganesha Pancharatnam

**********

Sources:
01.The Tamizh book titled 'shrI jagadguru granthamAlA', vol.1
published by the Smt.LingammAl RAmarAju ShAstrapratiShThA Trust, RAjapALayam, TamizhnADu.

02. Internet, specially this link among others:
rasikas.org - View topic - Meaning/translation of Ganesha Pancharatnam
 

sangom

Well-known member
Dear Shri Saideo,

Though your intention in presenting the Ganesa Pancharatna with word meaning and translation, is a good one, you have either depended upon sources of doubtful scholarship or have not reproduced the contents of your sources correctly. Since you state that you are " an ordinary, laukika brAhmaNa with absolutely no sign of scholarship in shAstras or samskRtam" who is trying to present his work for corrections, I make bold to write my observations. Please note that I am also an ordinary person like you but I do have a smattering of Sanskrit and try to read as much as I can about our scriptures, not in the conformist way of swallowing whatever is
dished out to the blindly devout, but with the viewpoint of a disinterested person.

First, the usual claim and belief among people that this, as also innumerable other slokas and stotras ending with the usual "iti SRee Sankara bhagavatpAda virachitam ... stOtRam sampURNam", are the compositions of Adi Sankara, is not agreed to by some scholars. According to them Sankara was so totally immersed in and working for the spread of advaita that he did not (and could not have) spent time for composing such stOtRams in praise of various deities. Even though Sankara acknowledged the concept of ISvara as something unavoidable, he recognised only vAsudEva or nArAyaNa, as may be gleaned from the fact that he begins his SAreeraka bhAshya (bhAshya on the brahma sUtRas) with the simple invocation of "Om namO vAsudEvAya". His bhAshya on the br^hadAraNyakOpanishad has the invocation, "Om namO brahmAdibhyO brahmavidyA sampradAya kartr^bhyO vamSa R^shibhyO namO gurubhyaH". His Gita bhAshya upOdghAta (prolegomena) commences with the SlOka, "Om nArAyaNaH paraO/vyaktAdaNDamavyakta sambhavam | aNDasyAntastvimE lOkAH saptadveepA cha mEdinee ||". It will thus be seen that Sankara did not recognize vinAyaka as one to be prayed to in the beginning of any enterprise, which perhaps is a later custom.

Please also see, for Kanchi Acharya's views about Sankara's views on nArAyaNa :

Namo Namah part1 of 4: by Sri Chandrasekharendra Saraswathi MahaSwamiji : kamakoti.org

It is also relevant to note that vinAyaka was considered as a "dushTagraha" even at the time of some of the gr^hyasUtRas.

It is therefore quite probable that most of the stOtRas attributed to Adi Sankara were compositions of later-day people who attached the "SRee Sankara bhagavatpAda virachitam" insignia so as to gain acceptance for these stOtRas.


IMO, there are some aspects in the word meanings / translation given in the post, which may be improved as indicated below:

1. The five slOkas are composed in the format, "I bow to, prostrate before, that vinAyaka, who is.....([FONT=&quot]तम् विनायकम् अहम् नमामि )" [/FONT]and similar refrains. The other words are all adjectives, taking the dviteeyA vibhakti, like say கையில் மோதகத்தை வைத்துக்கொண்டிருப்பவனும், etc. Accordingly, a better and more convincing presentation would be as follows:-

tam vinAyakam namAmi - I bow unto that vinAyaka (அந்த வினாயகரை பணிகின்றேன், நமஸ்காரம் செய்கின்றேன்)

[which vinAyaka? (எந்த வினாயகரை?)]
mudA kara Atta ([FONT=&quot]मुदा कर आत्त) - [/FONT]one who with pleasure, joy, gladness, holds mOdaka in his hand (சந்தோஷத்துடன் கையில் மோதகத்தை வைத்துக்கொண்டிருப்பவனும்)

sadA vimukti sAdhakam ([FONT=&quot]सदा विमुक्ति साधकम्) - [/FONT]the one who is ever capable of deliverance (of his devotees) (எப்பொழுதும் (பக்தர்களுக்கு) மோக்ஷத்தை, முக்தியை அளிக்க வல்லவனும்)

kalAdhara avatamsakam ([FONT=&quot]कलाधर अवतम्सकम्) - [/FONT]the one who has (wears) a crest of the crescent moon (சந்திரனின் கலையை முடியில் அணிந்திருப்பவனும்)

vilAsi lOkarakshakam ([FONT=&quot]विलासि लॊक रक्षकम्) - [/FONT]who shines forth, is beaming, radiant as the protector of the world (people) (உலகத்தில் எல்லார்க்கும் (உலகத்தை) ரக்ஷிப்பவனாக விளங்குபவனும்)

anAyaka Eka nAyakam ([FONT=&quot]अनायक एक नायकम्) - [/FONT]The only leader to lead those who do not have any one to lead them (people who have no one to look forward to, for removal of their distress) (வாழ்க்கையில் திண்டாடுபவர்களுக்கு தலைவனாக இருந்து அவர்களுக்கு நல்வழி காட்டுகிறவனும்)

vinASita ibha daityakam ([FONT=&quot]विनाशित इभ दैत्यकम्) - [/FONT]One who destroyed the elephant-faced demon (யானை முகமுடைய அசுரனை கொன்றவனும்)

(Note: The meaning here will correspond to "ibha daitya vinASakam", but for the sake of the metre, a slight change has been made and the word "daityakam" which has no meaning, as such, is used. But it can be interpreted to mean 'one who made, made it happen, the killed asura with an elephant's face'. A very contrived way of saying, but the metre requires it!)

nata aSubha ASu nASakam ([FONT=&quot]नत अशुभ आशु नाशकम्) - [/FONT]one who speedily destroys, removes, all inauspicious things for those who bow to him (பணிவோர்க்கு அப்பொழுதே இடர்களை தீர்ப்பவனும்)

(Note: The word "nata" means crooked also, but in this context if we take that meaning we will get 'crooked inauspicious'; the same word 'nata' has been used in the next stanza 'natEtarAdi' and the usual meaning taken in Slokas is of those who bow before the particular deity described.)

Thus the meaning of the first SlOka will be as under:

I bow unto that vinAyaka, who with pleasure, joy, gladness, holds mOdaka in his hand, who is ever capable of deliverance (of his devotees), who has (wears) a crest of the crescent moon, who shines forth as the protector of the world (people), who is the only
leader to lead those who do not have any one to lead them (people who have no one to look forward to, for removal of their distress), one who destroyed the elephant-faced demon and who speedily destroys, removes, all inauspicious things for those who
bow to him.

சந்தோஷத்துடன் கையில் மோதகத்தை வைத்துக்கொண்டிருப்பவனும், எப்பொழுதும் (பக்தர்களுக்கு) மோக்ஷத்தை, முக்தியை, அளிக்க வல்லவனும்
சந்திரனின் கலையை முடியில் அணிந்திருப்பவனும், உலகத்தில் எல்லார்க்கும் (உலகத்தை) ரக்ஷிப்பவனாக விளங்குபவனும், வாழ்க்கையில்
திண்டாடுபவர்களுக்கு தலைவனாக இருந்து அவர்களுக்கு நல்வழி காட்டுகிறவனும், யானை முகமுடைய அசுரனை கொன்றவனும், பணிவோர்க்கு
அப்பொழுதே இடர்களை தீர்ப்பவனும் ஆன அந்த வினாயகரை பணிகின்றேன், நமஸ்காரம் செய்கின்றேன்.

Since rewriting the other stanzas in the same fashion will make the post very long, I give below only those portions where changes can be made.

Stanza-2:

nata - those who prostrate before

nata itara - other than those who prostrate, bow down

namat surAri nirjaram - here the word 'nirjaram' seems to be out of place. Some people have tried to white wash it by saying that this word indicates 'jarjaram' - worn out, broken, hurt; if we take 'nirjara' as qualifying the noun 'sura' it will read 'namat nirjara surArim', meaning "before whom the foes of the devas bow down". This is not an accepted praise of a Deva especially when the first stanza talks about 'vinASitEbha daityakam'. IMO, the correct wording might have been 'surAdi nirjaram' which will mean Devas and others who do not age, but all the books carry 'nirjaram' version only.

nata - those who bow down

adhika - more

Apad - from accident, misfortune, distress

uddharam – extricate

Note: You have given a very strange explanation for these words, 'Apa-water', 'Apa-duddharam--waterfall' and that there is a waterfall called 'duddhara' in Amarkantak, a pilgrim center in Anuppur district of Madhya Pradesh. Did you consider what relevance it has in the context of this SlOka? If you have copied from your cited sources, I admire that source for its audacity in giving such a meaning!

parAtparam - higher than the highest

Stanza-3:

nirasta - killed by throwing off

manaskaram namaskritAm - makes the mind, of people who prostrate, well disposed

Stanza-4:

chirantana - old, ancient, the ancients

bhAjana - the person who is the receptacle of, the person about whom (the old sayings were)

pUrva - first

Stanza-5:

The first half of this SlOka should properly have been given as-

nitAnta kAnta dantakAntim antakAntakAtmajaM
achintyarUpam antahInam antarAya kR^ntanam |

phalaSRuti:

ashTabhUtim samAhita AyuH abhyupaiti - will be endowed with a life having the eight 'aiswaryas' or riches.
 
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saidevo

Well-known member
namaste shrI Sangom.

01. While I welcome your corrections, I find that what you have given is not much different from what I have arrived at, except in the following cases, and I am glad to accept your corrections with some of them:

• natAshubhAshu nAshakaM: one who speedily destroys, removes, all inauspicious things for those who bow to him;

• namat surAri nirjaram - It is only surAri--not surAdi, as per the text at:
Ganesha Pancharatnam | Sringeri Sharada Peetham

MWD gives the meaning 'an enemy of gods' for 'surAri', quoting the kAvyas, and the meaning 'of a demon causing diseases' quoting HarivaMsham.

Thus, surAri refers to the Asuras and nirjaram--never getting old, refers to the Devas, so nirjaram does not qualify surAri.

GaNesha killed GajamukhAsura, the ibha-daitya, but there is nothing wrong in saying that the Asuras in general worshipped GaNesha, along with the Devas.

• natAdhikApa duddharam - extricates those who bow down to him more, from accident, misfortune, distree;

My mistake in interpreting it as duddharam and not as uddharam was due to improper dissection of the phrases. I found the meaning 'rope ladder' for 'duddharam', someone saying that the devotees are pulled up from the bhava-sAgara (so Apah), and I mistakenly extended the term to mean a waterfall, since I found one with the same name in the source I have quoted. I accept your correction gladly.

*****

02. I am not prepared to discuss your opinions that Shankara adored only NArAyaNa, that GaNesha is seen as a dushTagraha and that the stotras attributed to Shankara may not have been composed by him. There are always two sides to such discussions, like the two sides of a coin, where neither side sees the other.

GaNesha pancharatnam is a very popular shloka which every smArta should know by heart. My attempted contribution was only a small effort in this direction. I believe it to be one of the many compositions of Shankara, and as such, would like to get to the right meanings of its terms and phrases, so in this direction I welcome your interpretations, for which I thank you.

Perhaps it is better for me to continue to keep my silence, since I find that many people here in TBF have a propensity and flair to make a debate out of everything traditional, cluttering a thread that seeks to learn with controversial opinions, in the name of progressive scholarship.
 

sangom

Well-known member
namaste shrI Sangom.

01. While I welcome your corrections, I find that what you have given is not much different from what I have arrived at, except in the following cases, and I am glad to accept your corrections with some of them:

Thank you, Shri Saidevo.

• namat surAri nirjaram - It is only surAri--not surAdi, as per the text at:
Ganesha Pancharatnam | Sringeri Sharada Peetham

MWD gives the meaning 'an enemy of gods' for 'surAri', quoting the kAvyas, and the meaning 'of a demon causing diseases' quoting HarivaMsham. Thus, surAri refers to the Asuras and nirjaram--never getting old, refers to the Devas, so nirjaram does not qualify surAri.

GaNesha killed GajamukhAsura, the ibha-daitya, but there is nothing wrong in saying that the Asuras in general worshipped GaNesha, along with the Devas.

I think you missed my statement that though I feel "surAdi" should be the most appropriate word, I find that was not being used in any of the books.

But as regards the view that our deities (Gods) have been extolled in SlOkas as being the object of worship of asuras, I am rather doubtful. If you can cite some more instances where similar ideas have been expressed, I will be grateful.

• natAdhikApa duddharam - extricates those who bow down to him more, from accident, misfortune, distree;
My mistake in interpreting it as duddharam and not as uddharam was due to improper dissection of the phrases. I found the meaning 'rope ladder' for 'duddharam', someone saying that the devotees are pulled up from the bhava-sAgara (so Apah), and I mistakenly extended the term to mean a waterfall, since I found one with the same name in the source I have quoted. I accept your correction gladly.

What I notice is that even now you are quoting the words as "natAdhikApa duddharam", instead of "natAdhikApad uddharam" or even more correctly as "natAdhikApaduddharam". This tendency of not striving for accuracy and perfection is something I find in most of us though, on the other hand, we hold all these SlOkas as most sacred and sacrosanct. Thus our attitude to even the most sacred matters is one of indifference.

02. I am not prepared to discuss your opinions that Shankara adored only NArAyaNa, that GaNesha is seen as a dushTagraha and that the stotras attributed to Shankara may not have been composed by him. There are always two sides to such discussions, like the two sides of a coin, where neither side sees the other.

It is fine if you don't want to discuss any of these points because my objective was not to impose my view on you and prove it, nor to change your views. My purpose was that people reading these posts will at least read both sides of the coin, as you rightly say, and that is all I want.

GaNesha pancharatnam is a very popular shloka which every smArta should know by heart. My attempted contribution was only a small effort in this direction. I believe it to be one of the many compositions of Shankara, and as such, would like to get to the right meanings of its terms and phrases, so in this direction I welcome your interpretations, for which I thank you.

So nice of you, Sir, but can you prove that our Sastras lay down that every smarta should know this Pancharatnam (or for that matter, any Sloka) by heart or otherwise, in the same way Sandhyavandanam is mandatory? I don't think so. If you can cite any authority from our Dharma Sastras I will agree with you.

Perhaps it is better for me to continue to keep my silence, since I find that many people here in TBF have a propensity and flair to make a debate out of everything traditional, cluttering a thread that seeks to learn with controversial opinions, in the name of progressive scholarship.

Why do you want to resort to innuendo when it is as clear as daylight that the remarks are directed at me? Why not you state directly? You stated in your original post, as if in all humility, that you welcome corrections and I had also made it amply clear in my post that I was giving my comments just because of that statement. But when I comment, I take it that I can give all genuine comments - so long as these are parliamentary - and not as you would wish them to be. Just as you find that "many people here in TBF have a propensity and flair to make a debate out of everything traditional, cluttering a thread that seeks to learn with controversial opinions, in the name of progressive scholarship", I also find that there are people who cannot withstand any argument, not even observation, which goes against their fondly held (blind) beliefs and shrink like "touch-me-not" the moment some valid comment or argument is made. It makes me think that such people's faith in God is so fragile that it starts becoming shaky if some comments are brought to their notice.

Whether you opt to remain silent or not is your decision. But if I find some erroneous interpretation or presentation, I will continue to make my observations in future also, (till I am banned from TBF) so that people at large are not given wrong meanings.
 
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