shlokArtha shAbdika vyAkhyAnam: Linguistic interpretation of shlokas

[saidevo]

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The purport of this thread is for us to arrive at a linguistic interpretation of some popular saMskRta shlokas, and learn the linguistic nuances of Sanskrit in the process. Following the Hindu sampradAyam--tradition, we start with a GaNesha shlokam:

[Since I am much less literate in Sanskrit than some members here, I would welcome their feedback at enhancements and corrections to my efforts here.]

shlokaH

शुक्लाम्बरधरं विष्णुम् शशिवर्णं चतुर्भुजम् ।
प्रसन्नवदनं ध्यायेत् सर्व विघ्नोपशान्तये ॥

shuklAmbaradharaM viShNum shashivarNaM chaturbhujam |
prasannavadanaM dhyAyet sarva vighnopashAntaye ||

shAbdika vyAkhyAnam

• shuklAmbaradharaM--shukla ambara dharaM
shukla + ambara becomes shuklAmbara in saMdhi.

The type of saMdhi involved here is svarNa-dhIrgha-saMdhi, which states:
If a simple vowel, short or long, be followed by a similar vowel, short or long, the substitute for them both is a similar long vowel. The vowels involved in this saMdhi are:
अ आ इ ई उ ऊ ऋ ॠ ऌ
a A i I u U Ru RU ~Lu

• dharaM is the second case (accusative) of the word dhara, which means 'having, holding, bearing'. [Note that the first (nominative) case of the word is dhara and not dharaH which has a different meaning--find out the meaning for yourself!]

• viShNum is the second case of viShNuH.
• varNaM is the second case of varNaH.

• shashivarNaM is obviously sashi + varNam, but then the word that denotes the white color of moon or camphor is sashin. Anyone who knows the type of saMdhi involved here might explain it..

• In chaturbhujam, no saMdhi is involved, since the word chatur is gramatically, संख्या विशेषणम्: नित्य बहु-वचनं--saMkhyA visheShaNam: nitya bahu-vachanaM--numerical adjective which is always plural.

• Notice that bhujam is the second case of bhujaH, but it is written as bhujam and not bhujaM (with an anusvAram). This is because the word occurs at the end of a line. The saMdhi involved is anusvAra-saMdhi which states, The end of a word म--ma is changed to anusvAra when followed by a constant.

• prasanna-vadanam has no saMdhi, since the words prasanna and vadanam are visheShaNe--adjectives, which are not inflected.

 

[saidevo]

• It seems the grammar involved in the word dhyAyet is hard to crack. I understand it is derived from the verb ध्यै--dhyai--'to mediate upon' and the meaning of the word dhyAyet is 'should be meditated upon'. members who know better might explain the grammer involved here.

• sarva is a nominative plural meaning "all".

• vighnaH + upashAntaye becomes vighnopashAntaye in saMdhi. The saMdhi involved here is one of visarga-saMdhi.
upashAntaye is the fourth (dative) case inflection of the word upashAntiH. With the inflection it means, "for allaying/allevation".

Finally, let us notice the spaces between word and syllable boundaries in the text of this shlokam. I would like the opinion of members as to why words are conjoined as in prasannavadanaM and why words like dhyAyet and sarva stands by themselves.

 

[sarma-61]

"prasanna" is adjective and "vadanam" is the dviteeyA vibhakti of vadanaH (face). prasanna vadanam means ப்ரஸன்னமான வதனத்தை (முகத்தை) உடையவனை; hence the ViSEShaNa poorvapada karmadhArayan samaasa. "dhyAyEt" is the prathama purusha, Ekavacana vidhiling used here as lot lakaara(imperative mood in English) meaning ப்ரசன்ன வதனத்தை உடையவனை த்யானம் செய்‍ ஸர்வ விக்கினங்களும் நீங்க.

 

[vsubbu48]

The purport of this thread is for us to arrive at a linguistic interpretation of some popular saMskRta shlokas, and learn the linguistic nuances of Sanskrit in the process. Following the Hindu sampradAyam--tradition, we start with a GaNesha shlokam:

There is some confusion here. Generally Vaishnavas consider this slokam as in praise of Vishnu, though the popular belief is that it is praise of Ganesha. Which is correct?

 

[saidevo]

namaste shrI V.Subbu.

Thanks to shrI Sarma for the explanation of grammar in 'dhyAyet', in post #3.

IMO, the shloka refers to GaNesha and not ViShNu for reason elucidated in the posts here:
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam.html#post48639
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam-2.html#post48808

Further, IMO:

In the itihAsa-purANa tradition, only GaNesha is deemed to be the deity who causes and removes vighnas--hurdles.

It is customary to place the reference to the deity in a shloka adjacent or in the same line where the chief verb is located. Some examples:

• prasannavadanaM dhyAyet--shloka starting with shuklAmbaradharaM viShNuM.

• namAmi vighneshvara pAda pangkajam--shloka starting with gajAnanaM bhUtagaNAdi sevitaM.

• vande viShNum bhavabhayaharaM--shloka starting with shAntAkAraM bhujagashayanaM.

• tatpraNamAmi sadAshiva-linggam--in linggAShTakam.

• AdilakShmI sadA pAlaya mAm--in AShTalakShmI stotram.

• mAthangga-kanyAM manasA smarAmi--in shyAmalA daNDakam.

• gatistvaM gatistvaM tvamekA bhavAnI--bhavAnyAShTakam.

• kRShNam vande jagadgurum--in kRShNAShTakam.

 

[renuka]

• shashivarNaM is obviously sashi + varNam, but then the word that denotes the white color of moon or camphor is sashin. Anyone who knows the type of saMdhi involved here might explain it..

Dear Saidevoji,

shashi + varNaM is not a Sandhi..it should be a SamAsa but I cant remember which type of SamAsa.

I think it is Bahuvrihi SamAsa describing:One whose color is like the moon

 

[renuka]

• It seems the grammar involved in the word dhyAyet is hard to crack. I understand it is derived from the verb ध्यै--dhyai--'to mediate upon' and the meaning of the worddhyAyet is 'should be meditated upon'. members who know better might explain the grammer involved here.

Dear SaiDevo Ji,

dhyAyet is a [TABLE="class: wikitable, width: 1"]
[TR]
[TD]vidhiliṅ Potential mood[/TD]
[TD]Vidhi (duty), nimantraṇa (invitation), āmantraṇa (permission), adhīṣṭa (attend honorary office), sampraśna (courteous enquiry), prārthana (prayer) and others.[/TD]
[/TR]
[/TABLE]
Contents of Sanskrit Grammar - Hindupedia, the Hindu Encyclopedia


Your next query:

Finally, let us notice the spaces between word and syllable boundaries in the text of this shlokam. I would like the opinion of members as to why words are conjoined as in prasannavadanaM and why words like dhyAyet and sarva stands by themselves.

I think thats got something to do with the Chandas(metre) of the shloka.
If I am not wrong I think this shloka is in Anusthup Chanda(I stand corrected cos my knowledge of Chandas is still very superficial)

 

[saidevo]

namaste smt.ReNukA.

• You are right: sashivarNam is a samAsa--compound word, that splits to sashin + varNaM (similar to sashikalA). Since it involves equating two nouns as in rAjarShiH--(i]rAjA + riShiH[/i] or narasiMha--naraH + siMhaH, it could be a case of karma-dhAraya samAsa, according to the book 'devavANIpraveshikA (dvp)'.

[Another useful book for quickref is 'prauDhashAlA-saMskRuta-vyAkaraNam'--Hight School Sanskrit Grammar by GR Srinivasa Deshikachar and Mrs.Prabha Sridhar, published by Prism Books Pvt.Ltd--available at Indological Book Centre, Mylapore.]

• From the link below, it is understood that the verbal form 'dhyAyet' is derived from 'dhyai' as chintAyAma, bhvAdiguNa, parasmai(pada), vidhiling:
Sanskrit verb generator at J.N.U. New Delhi
Sanskrit verb generator at J.N.U. New Delhi

There is a corresponding Sanskrit Subanta Generator at:
संसà¥￾कृत शबà¥￾दरूप-निरà¥￾माण में आपका सà¥￾वागत है - at J.N.U. New Delhi

Because it is parasmaipada, it seems the mood/mode is optative (exhortation, prescription) rather than imperative (injunction, command), as the following examples from the book 'dvp' indicate:

rAmo vanaM gachChati | (Indicative: RAma goes to the forest.)
hey rAma vanaM gachCha | (Imperative: RAma! Go to the forest.)
rAmo vanaM gachChet | (Optative: RAma should go to the forest.)

• You might be right about the metre that dictates the way the words in the shloka are written.

 

[renuka]

Dear SaidevoJi,

I realized that I made a mistake in the Moods and wrote Dhayet as Imperative Mood earlier and I was sleeping just now and suddenly realized that "OMG its Potential Mood(Vidhi lin)" and woke up from sleep just to make the corrections and edited my posts.

Good night.

 

[vsubbu48]

namaste shrI V.Subbu.

Thanks to shrI Sarma for the explanation of grammar in 'dhyAyet', in post #3.

IMO, the shloka refers to GaNesha and not ViShNu for reason elucidated in the posts here:
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam.html#post48639
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam-2.html#post48808

Further, IMO:

In the itihAsa-purANa tradition, only GaNesha is deemed to be the deity who causes and removes vighnas--hurdles. Unquote

Thanks for the nice explanation.

 

[sarma-61]

śukḷāṃbaradharaṃ viṣṇuṃ śaśivarṇaṃ caturbhujam |
prasannavadanaṃ dhyāyet sarvavighnopaśantaye ||

Here, the word "viṣṇuṃ" can be taken as either "viṣṇuvai" or as "eṅkum viyāpittiruppavaṉai". If we take the former, we get a prayer extolling Lord Vishnu and this is the interpretation I think Vaishnavites take and they believe that this is a prayer about Vishvaxena who is the Vaishnavas' counterpart of Ganapathy of the smartas.

If we adopt the latter meaning, it will denote any of the Gods in the Hindu pantheon.

My only doubt is how an elephant-faced deity can be described as "prasannavadanam"! May be people who are connoisseurs of elephants, can judge when an elephant is in a pleased mood.

This śloka is in anuṣṭubh chandaḥ. There should be 8 aksharas in each of the four pādas. Whether we write dhyāyetsarva or dhāyet sarva, it does not matter because the third pāda ends with the word dhyāyet and the next one begins with sarva.


We have also to read the second śloka along vith this:

yasya dviradavaktrādyāḥ pāriṣadyāḥ paraśśatam |
vighnaṃ nighnanti satataṃ viṣvaksenaṃ tamāśraye ||

This means -

"By whose grace vighnesvara and hundreds of others in the pantheon, destroy obstacles, to that Vishvaxena I prostrate."

(This is only a rough meaning; we may analyze this sloka also in minute detail.)

 

[sarma-61]

namaste shrI V.Subbu.

Thanks to shrI Sarma for the explanation of grammar in 'dhyAyet', in post #3.

IMO, the shloka refers to GaNesha and not ViShNu for reason elucidated in the posts here:
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam.html#post48639
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam-2.html#post48808

Further, IMO:

In the itihAsa-purANa tradition, only GaNesha is deemed to be the deity who causes and removes vighnas--hurdles. Unquote

Thanks for the nice explanation.

Shri subbu sir,

I hope you have, by now, read my posting #11 . As will be seen, since we smārtas also diligently recite the second śloka commencing yasyadviradavaktrādyāḥ...etc., it looks (to me at least) that all of us are indirectly and/or ignorantly confirming the vaiṣṇav interpretation. Since dviradavaktrādyāḥ (one who has a face with two teeth and others, indicated by the -ādyāḥ) perform the vighnaṃ nighnanti function only in their capacity as one among the hundreds of retinue (pārṣadyaḥ) of viṣvaksena, this second verse ends saying viṣvaksenaṃ āśraye (seek the shelter of viṣvaksena).

imho, the use of yasya and taṃ does not seem to go well. But knowledgeable members may shed further light on this point.

 

[renuka]

Shri subbu sir,

I hope you have, by now, read my posting #11 . As will be seen, since we smārtas also diligently recite the second śloka commencing yasyadviradavaktrādyāḥ...etc., it looks (to me at least) that all of us are indirectly and/or ignorantly confirming the vaiṣṇav interpretation. Since dviradavaktrādyāḥ (one who has a face with two teeth and others, indicated by the -ādyāḥ) perform the vighnaṃ nighnanti function only in their capacity as one among the hundreds of retinue (pārṣadyaḥ) of viṣvaksena, this second verse ends saying viṣvaksenaṃ āśraye (seek the shelter of viṣvaksena).

imho, the use of yasya and taṃ does not seem to go well. But knowledgeable members may shed further light on this point.

Dear Sarmaji,

I feel the other learned member who can contribute as detail as you used to be Sangom Ji but anyway thank you for all detail explanation that reminds us so much of Sangom Ji whom we all miss so much.

 

[saidevo]

namaste everyone.

shrI Sarma in post #11:
My only doubt is how an elephant-faced deity can be described as "prasannavadanam"! May be people who are connoisseurs of elephants, can judge when an elephant is in a pleased mood.

• The elephant is generally thought to be the prettiest of all animals, with a face that pleases the onlooker, especially children. GaNesha, as his very name PiLLaiyAr denotes, is considered to be Kuzhandai-svAmi (child deity). GaNesha wears the elephant face to indicate that he is the symbol of AUM the praNava. A deity who is praNava is always in blissful state which is expressed through his/her prasanna-vadanam--pleasing face.

• It is not my contention to deny ViShNu as a deity adored in the shuklAmbaradharaM viShNum shlokam. My contention is only to diasgree with the view that the verse does not refer to GaNesha at all.

• We can say that the greatness of the verse is in its reference to both the deities, so it can be a common dhyAna shloka for Hindus of all traditions.

• VyAsa, compiler of the mahAbhAratam on BrahmA's advice sought GaNesha's help in writing the verses of the epic. BhIShma-pitAmaha taught viShNu sahasranAmam to Dharmaputra. PurANas relate MahAViShNu as the uncle of GaNesha and SubrahmaNya. There is also a legend of ViShNu himself doing dorbhikaraNam before GaNesha. Thus, ViShNu and GaNesha are not alien to each other, so it would only be natural to consider Ganesha, Vishvaksena and VyAsa as the deity of adoration in the first three prayer verses of VSN. After all, if ViShNu is sarva-vyApin--all pervading, these three deities are only his forms and vice versa.

• Here is how poet KALamEgham relates the deities GaNesha and Vishvaksena:
Ganesh Way: As Vishwaksena in Vaishnav Temples

 

[sarma-61]

Shri Saidevo sir,

I am also not against the slokam pointing at any of the divinities in our large Hindu Pantheon; after all, for we mortals, what is important is removal of obstacles and we are usually prepared to pay our obeisance to any of these divinities.

I will request you to explain how the two words "yasya"and "tam vishvaksenam" can be justified grammatically. May be we will learn a lot more of Sanskrit Vyakarana in the process.

 

[saidevo]

namaste shrI Sarma and others.

With reference to your post #15, I understand that yasya--one whose, normally goes with tasya--his, but on searching I found a shloka in bhagavad-gItA where yasya-tam are paired:

yasya sarve samArambhAH kAmasangkalpa-varjitAH |
jnAnAgnidagdha-karmaNAM tam-AhuH paNditaM budhAH || 4.19 ||

4.19 The wise call him learned whose actions are all devoid of desires and their thougts, [kAma-saMkalpa is variously translated as 'desires and purposes', 'plans and desires for results', 'hankering for desires', etc. But ShankarAchArya shows saMkalpa as the cause of kAma.-Tr.] and whose actions have been burnt away by the fire of wisdom.
--shankara-bhAShyam, Tr.svAmi GambhIrAnanda

 

[sarma-61]

namaste shrI Sarma and others.

With reference to your post #15, I understand that yasya--one whose, normally goes with tasya--his, but on searching I found a shloka in bhagavad-gItA where yasya-tam are paired:

yasya sarve samArambhAH kAmasangkalpa-varjitAH |
jnAnAgnidagdha-karmaNAM tam-AhuH paNditaM budhAH || 4.19 ||

4.19 The wise call him learned whose actions are all devoid of desires and their thougts, [kAma-saMkalpa is variously translated as 'desires and purposes', 'plans and desires for results', 'hankering for desires', etc. But ShankarAchArya shows saMkalpa as the cause of kAma.-Tr.] and whose actions have been burnt away by the fire of wisdom.
--shankara-bhAShyam, Tr.svAmi GambhIrAnanda

Thank you Shri Saidevo sir, for the trouble you have taken. I suppose, then, that this yasya and tam usage is standard in sanskrit.

 

[Nara]

....IMO, the shloka refers to GaNesha and not ViShNu for reason elucidated in the posts here:
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam-2.html#post48808

The above cited link includes this sentence, "Sashi varnam could not mean Vishnu because the word contains the alphabet 'Shi' which is 'said' to be anathema to Vaishnavites." This is perhaps what my brother Saidevo is relying on to conclude the verse may also refer to Vinayaka.

First, from what little I know of Sri Vaishnavas, I don't understand why "Shi" is said to be anathema to SVs? Perhaps Iyyarooraan may explain further.

Sarma-61 has already given his very persuasive perspective, to which I would like to add respected Sangom sir's views which can be found here.

Of course, I don't have a stake in this controversy, but, let me present here that according to SVs, Lord Vishnu is not associated with just one color, shyamala, though that is the varnam most often associated with vibhava avatara of Sriman Narayana.

Swami Sri Desikan describes Sriman Naryana's avatara, Hayagreevar, as one like a spatikam - ஜ்ஞாநாநந்த்மயம் தேவம் நிர்மல ஸ்படிகாக்ருதிம் (Hayagreeva Stotram #1).

Thirumangai Azhvar in Thirunedunthaandagam, verse #3 describes Sriman Narayana taking one color each Yuga.

திருவடிவில் கருநெடுமால் சேயன் என்றும்
திரேதைக்கண் வளையுருவாய் திகழ்ந்தான் என்றும்
பெருவடிவில் கடலமுதம் கொண்ட காலம்
பெருமானை கருநீல வண்ணன் தன்னை
ஒருவடிவதோர் உருவென்று உணரலாகாது
ஊழிதோறூழி நின்று ஏத்தல் அல்லால்
கருவடிவில் செங்கண்ண வண்ணன் தன்னைக்
கட்டுரையே யாரொருவர் காண்கிற்பாரே.

In the above சேயன் means one who is red (சிகப்பு) in color. வளையுரு refers to color of conch, i.e. white.

Just thought I will share what occupies my head, do with it what you will.

Cheers!

 

[saidevo]

namaste Nara.

I am glad with your explanation in post #18.

• When MahAViShNu is associated with the intrinsic white color of sattva-guNa, and the PurANas he is adored in are known as sAttva-purANas, why should not he appear in any color? If colors are associated with guNas, it is plain that ViShNu being sarva-vyApin--omnipresent, takes the color of the form he represents.

As regards shrI Sangom's post here on prasanna-vadanam:
http://www.tamilbrahmins.com/general-discussions/4392-shuklam-baratharam-2.html#post48765

• By his own interpretation, if sanna means 'sunk down, depressed, shrunk, contracted' and pra means 'forward, extended', what is more prasanna--extended and drooping, than an elephant's trunk, which it normally keeps tucked between its legs?

• Like PiLLaiyar, PerumAL too has prasanna-vadanam in his form as HayagrIva, although the horse face in this form is more pra than sanna!

• In combination, the term prasanna in association with its auspicious meanings 'clear, bright, gracious' is derived from the meaning 'resting, motionless' for sanna, which is pra--extended and expressed in the face--vadanam. Motionless rest is associated with peace and equanimity, which finds expression as Ananda--bliss in the face.

• Let us also remember that both PerumAL and PiLLaiyar have prasanna associated with their names in their famous forms Prasanna VenkaTAchalapathi at GuNashIlam and Prasanna VinAyaka opposite Goddess AkhilANDeshvarI at Tiruvaikkaval. In the present instance, when the verb dhyAyet is associated with the attribute prasanna-vadanam of the deity, why we should we relate it only to ViShNu and deny it for VinAyaka?

Incidentally, I am rather surprised at this statement from shrI Sangom:

I could not find the words 'sadAdAna', and 'sadAna' in sadAmada and sadAmatta, the word 'sadA" indicates "always" and not to elephant. sadAmada or sadAmatta do not refer to elephants alone, they will apply to any animal in rut. I also could not find the meaning 'caparisoning an elephant' for the word 'sajjana' (actually the word sajjana in Sanskrit will mean good people, as we see in Bhajagovindam 'sajjana sangatirEka').

• The term sadAdAna is found in MWD with the meaning 'an elephant in rut'.

• madam, matta are usually associated with an elephant in rut. So, sadAmada, sadAmatta has clear references to elephant (MWD).

• sajjana does have the meaning given by shrI Sangom, but it also means 'caparisoning an elephant' as per MWD.

 

[saidevo]

002. karAgre vasate lakShmI

Let us try to analyse this prayer verse:

shlokam: verse

कराग्रे वसते लक्ष्मी करमध्ये सरस्वती ।
करमूले तु गौरी स्यात् प्रभाते करदर्शनम् ॥

कराग्रे वसते लक्ष्मी करमध्ये सरस्वती ।
करमूले स्थिता गौरी प्रभाते करदर्शनम् ॥

अन्वय
करः अग्र वस लक्ष्मी करः मध्यः/मध्यं सरस्वती ।
करः मूलं तु गौरी अस प्रभातं करः दर्शनं ॥
करः मूलं ष्ठा/स्था गौरी प्रभातं करः दर्शनं ॥

karAgre vasate lakShmI karamadhye sarasvatI |
karamUle tu gaurI syAt prabhAte karadarshanam ||

karAgre vasate lakShmI karamadhye sarasvatI |
karamUle sthitA gaurI prabhAte karadarshanam ||

anvaya: association of words

karaH agra vasa lakShmI karaH madhyaH/madhyaM sarasvatI |
karaH mUlaM tu gaurI asa prabhAtaM karaH darshanaM ||
karaH mUlaM ShThA/sthA gaurI prabhAtaM karaH darshanaM ||

vyAkaraNam: grammar

agra -> agre--seventh (locative) case (in/on/at).
kara + agre -> karAgre--svarNa-dIrgha-saMdhi--(on the front of hand).

vasa--dhAtu--root (lives/resides), becomes vasate--present tense, third person, Atmanepada--activity for self.

karaH + madhyaH/madhyaM -> karamadhye--seventh (locative) case (on the middle of hand, palm).

karaH + mUlaM -> karamUle--seventh (locative) case (on the base/root of hand).
tu--an indeclinable, adversative particle (but, on the other contray, on the other hand).
asa--dhAtu--root (reside, be at), becomes syAt--vidhilingh--potential mood, parasmaipada--activity for third others.
prabhAtaM -> prabhAte--seventh (locative) case (at daybreak).

sArArtham: synoptic meaning

karAgre vasate lakShmI karamadhye sarasvatI |
karamUle tu gaurI syAt prabhAte karadarshanam ||

"On the front part of the hand resides LakShmI, on the middle SarasvatI;
on the base, however, is GaurI, so at daybreak look at your hands."

For more on this shlokam, check:
sanAtana dharma for kids - Page 2 - IndusLadies

Clarifications required
01. I understand that the term sthitA is from the root ShThA/sthA, but how is this derived?

02. How to distinguish vasate as Atmanepada and syAt as parasmaipada?

03. Corresctions are welcome.

 

[sarma-61]

Shri saidevo,

I feel the vyAkaraNam given above may not be correct. कराग्रॆ, करमध्यॆ, करमूलॆ, करदर्शनं etc., cannot be broken as suggested. e.g., कराग्रॆ will be करस्य अग्रे (at the tip of the palm, not front of the hand). Hence there is a समास there and कराग्रे will be षष्ठी तत्पुरुष.

Kindly have a relook. And let members like Smt. Renuka also give their views.

 

[Gadhisunu8]

This shloka is generally considered to be in praise of Ganesha the vighna hartA[ Destroyer o Obstacles], or who is the prathamapUjitaH[First Worshipped]

shukla + ambara+ dharam = one who wears white draperies/clothes;
viShNum = need not necessarily mean Lord viShnu-nArAyaNa for taking the derivation of the word to be vyAptam viShnuH - it could be read as one who is all pervading;
shashi-varnAm = this word has been explained well earlier;
chaturbhujam = Four Armed ;
prasanna-vadanam =Happy Faced; An Elephant face when watched in profile looks as if it is eternally smiling
dhyayet = vidhi li~N of dhyai -chintaayaam= Should be meditated upon.
sarva -vighna+ upashantaye - for the purpose of "dissolution" of all obstacles.

The word viShNu makes one have an idea that it is in praise of Vishnu. There is nothing in the shloka that says with certainty that it is Ganesha who is being referred to. This is so because every word in the shloka could be connected to ViShNu!

Now in the Vishnu Sahasranama the second shloka is:

yasya dwirada vaktrAdyAH pAriShdyAH parashshatam|
vighnaM nighnanti satatam viShwaksenam tam Ashraye||

Here Vishvaksena is considered as the Chief of the ViShnu pArShadIyas as is Ganapati= Vighneshwara- the Chief of Rudra gaNas. Here if one takes ViShvaksena to be the Protector of the Universe and dwirada vaktra = Elephant-faced God as a pArshadIya of ViShnu then one could relate this first shloka to Vinayaka. In the ShriVaiShnavaite tradition however ViShvaksena is worshipped as the "vighna harta". This is not the practice by other sampradayas. But in the Vishnu Sahasranama the word Vishvaksena occurs as a "nama" of the Lord. If that is given consideration then with dwirada vaktra as Adya(The First deity) things fit well, and Vighneshwara could be considered as being parised in the shuklambaradharam shloka!

 

[Gadhisunu8]

kara - agre = In the tip of the hand - this points to the use of the tip of the hands to count and distribute/store etc.. money;

vasate = vasa dhAtu meaning "to live" is bhvAdi gaNa pasmaipadI; vasa AchChAdane adAdi dhatu means "to cover" is Atmanepadi; the Pp-Ekavachana should be "vaste" ;
then there is one 'vasa' in churAdi gaNa that means oily/cut/thieving which is ubhayapadi;


Going by the meaning that fits here and the form that is used only bhvAdi dhAtu fits but that is again wrongly conjugated as an AP. It should have been "vasati". But that would make Chndobhanga, so plausible expalnation is the poet/bhakta has violated/sacrificed/compromised vyAkaraNa to fit Chhandas and has used the Atmanepada form.


karamadhye saraswatI = In the palm of hand lives Saraswati; It is because a book is held supported by the palms of the hands.

karamUle = In the root of the hand the reference is to the wrist where the hand is joined to the arm. sthitA = is located/placed GaurI = Parvati -Shivas cosort; the Goddess of Valour Since an efficient way to wield a weapon such as a sword or bow and arrow calls for the strength of the wrist joint.

sthA dhatu's participle form so called ktAnta is sthita- since participle is a shabda gender applies and being a vishiShTa-linga word is used here in the feminine by addhing Tap-suffix.


prabhate karadarshanam = hence a look at ones own hands must be done the first thing at after waking up in the morning. Due to the reasons stated above one dekko of both palms is as good as having a darshan of the Three Primal Goddesses.


viduShAM vashaMvadaH
Gadhisnu8

 

[renuka]

Shri saidevo,

I feel the vyAkaraNam given above may not be correct. कराग्रॆ, करमध्यॆ, करमूलॆ, करदर्शनं etc., cannot be broken as suggested. e.g., कराग्रॆ will be करस्य अग्रे (at the tip of the palm, not front of the hand). Hence there is a समास there and कराग्रे will be षष्ठी तत्पुरुष.

Kindly have a relook. And let members like Smt. Renuka also give their views.

Dear Sarmaji,

You are correct about the षष्ठी तत्पुरुष.
कराग्रॆ, करमध्यॆ, करमूलॆ, करदर्शनं all come under षष्ठी तत्पुरुष hence its Samasa and not Sandhi as you correctly stated.

thank you very much for explaining in detail.
really helps to refresh my memory.

 

[renuka]

This shloka is generally considered to be in praise of Ganesha the vighna hartA[ Destroyer o Obstacles], or who is the prathamapUjitaH[First Worshipped]

shukla + ambara+ dharam = one wears white draperies/clothes;
viShNum = need not necessarily mean Lord viShnu-nArAyaNa for taking the derivation of the word to be vyAptam viShnuH - it could be read as one who is all pervading;
shashi-varnAm = has been explained well earlier;
chaturbhujam = Four Armed ;
prasanna-vadanam =Happy Faced;
dhyayet = vidhi li~N of dhyai -chintayaam= Should be meditated upon.
sarva -vighna+ upashantaye - for the purpose of "dissolution" of obstacles.

The word viShNu makes one have an idea that it is in praise of Vishnu. There is nothing in the shloka that says with certainty that it is Ganesha who is being referred to. This is so because every word in the shloka could be connected to ViShNu!

Now in the Vishnu Sahasranama the second shloka is:

yasya dwirada vaktrAdyAH pAriShdyAH parashshatam|
vighnaM nighnanti satatam viShwaksenam tam Ashraye||

Here Vishvaksena is considered as the Chief of the ViShnu pArShadIyas as is Ganapati= Vighneshwara- the Chief of Rudra gaNas. Here if one takes ViShvaksena to be the Protector of the Universe and dwirada vaktra = Elephant-faced God as a pArshadIya of ViShnu then one could relate this first shloka to Vinayaka. In the ShriVaiShnavaite tradition however ViShvaksena is worshipped as the "vighna harta". This is not the practice by other sampradayas. But in the Vishnu Sahasranama the word Vishvaksena occurs as a "nama" of the Lord. If that is given consideration then with dwirada vaktra as Adya(The First deity) things fit well, and Vighneshwara could be considered as being parised in the shuklambaradharam shloka!

Yes I agree with what you wrote.. mostly the word Vishnu is thought to be related to Lord Vishnu alone, when it means all pervading.

Just like the word Shiva is also thought to be only meaning Lord Shiva but can also mean auspicious as the meaning seen in Chidananda Roopah Shivoham Shivoham.

I remember once one Iyengar priest whom my family knew told me he will never listen to Atma Shatakam cos its has a line that goes Chidananda Roopah Shivoham Shivoham and he will never say that line too.

So I told him that Shivo' ham (Shivah+ Aham) just goes to mean Auspiciousness and not Lord Shiva and he said "No! why cant it be Vishno'ham?"

I told him it cant be Visno'ham cos thats wrong Visarga Sandhi rules.

Vishnuh+Aham will be Vishnuraham(according to Visarga Sandhi rules)