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Some Superb Sanskrit ślokas

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Some Superb Sanskrit ślokas

I am starting this new thread with the sincere hope that it will enable people, not knowing Sanskrit, to gain some familiarity with that classical language and thus make them appreciate the ślokas, mantras, etc., better. This will not give the in-depth knowledge which a formal training will provide.

If the number of people knowing this ancient language increases it can be saved from being pronounced as a dead language.

Though I take all the care within my ability, there could be mistakes, because, to err is human. I, therefore, sincerely request all the learned members who know Sanskrit and who happen to read these posts to kindly post corrections, if they observe any errors.

I start with the benedictory verse of kāḷidāsa in his very famous epic poem raghuvamśam.

वागर्थाविव संपृक्तौ वागर्थ प्रतिपत्तये ।
जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

vāgarthāviva saṃpṛktau vāgartha pratipattaye |
jagataḥ pitarau vande pārvatīparameśvarau ||

வாகர்த்தாவிவ ஸம்ப்ருக்தௌ வாகர்த்த ப்ரதிபத்தயே |
ஜகதஃ பிதரௌ வந்தே பார்வதீபரமேச்வரௌ ||

Word-by-word rendering [padaccheda:] -

vāk - artha: - iva - saṃpṛktau - vāk - artha - pratipattaye |
jagataḥ - pitarau - vande - pārvatīparameśvarau ||

Word meanings -

vāg (vāc) = word, sound, expression
arthaḥ = meaning, (also means wealth, in other contexts)
iva = like, as (this is an avyaya or indeclinable)
*saṃpṛktau (saṃpṛkta) = linked, mixed, blended, united - saṃpṛc = to bring in contact with, join, unite
pratipatti: = (pratipattaye) perception, consciousness, right knowledge, observation
jagataḥ (jagat) = of the worlds, (world)
pitaraḥ (*pitarau) = parents (mātāpitākkaḷai)
(aham) vande = (I) bow down to
*pārvatīparameśvarau = pārvatī and parameśvara

* Here the two words saṃpṛktau and pitarau are adjectives qualifying pārvatīparameśvarau (பார்வதியையும் பரமேச்வரனையும்). In sanskrit the adjectives are also normally subjected to the same declension as the noun which they qualify. For example instead of saying வெந்த காய்கறிகளை, in Sanskrit we have to say, வெந்தவைகளை காய்கறிகளை.


śloka meaning -

I bow down to pārvatī and parameśvara, the parents of the worlds, united like word and meaning, for (getting) perception, right knowledge.

The same śloka can be interpreted as a benediction to śiva and viṣṇu, by spliiting the word "pārvatīparameśvara" as 'pārvatīpa' and 'rameśvara'. pārvatīpa means consort of pārvatī, rameśvara means the lord of ramā, i.e., mahālakṣmi.

This is the beauty and, at the same time, the bane of Sanskrit. While it enables, on the one hand, such magnificent द्वयार्थप्रयॊग, it causes so many different interpretations when we deal with ancient texts.

I have always admired kāḷidāsa's comparison of pārvatī & parameśvara with word and its meaning, two things which are so inseparably linked. This is not to say that there are no words without meaning; there are. For example take the sāman-like chant in the taittirīyopaniṣad which goes like this : hā vu hā vu hā vū (हा वु हा वु हा वू).
 
Sloka-2

मारारॆ तव दासोऽहम् वारियस्य जटान्तरे ।
यं प्राहुरव्ययं नित्यं तं त्रिनॆत्रं नमाम्यहम् ॥

mārāre tava dāsoऽham vāriyasya jaṭāntare |

yaṃ prāhuravyayaṃ nityaṃ taṃ trinetraṃ namāmyaham ||

மாராரெ தவ தாஸோஹம் வாரியஸ்ய ஜடாந்தரே |

யம் ப்ராஹுரவ்யயம் நித்யம் தம் த்ரிநேத்ரம் நமாம்யஹம் ||

This is a śloka composed by one tolakavi (tolakavi) a legendary person of Kerala. Nothing much is known about the poet except some of his works. The best part is his humour sense. It appears that he used to recite the above śloka when he worshipped in the local Siva temple. Since it has the sounds mārār, vāriya, yaṃprā and tantri, the mārār (a caste who were assigned the duty of playing the percussion instruments for the temple) attached to the temple, vāriyar (another caste which had its own duties like making garlands), embraan (the Tulu brahmin who used to be the priest, who used to offer teerthem & prasaadam to the public) and the tantri (usually a namboodiri who had no contact with the public but was the ultimate priest and who is considered as father to the deity invoked in the idol as per taantric procedures, because it is the tantri's "praaNa" which is bestowed into the idol), all used to feel very happy, it seems. But the actual meaning of the śloka is as follows:


मारः = cupid, कामदेव

अरि = enemy
मारारॆ = O, enemy of (शिव)
तव = your
दासॊ (दासः) = servant
अहम् = I
वारि = water
यस्य = whose (எவருடைய, எவனுடைய)
जटा = locks of hair (ஜடை)
अन्तरॆ = inside
यम् = whom (யாரை)
प्राहुः (प्र +आहुः) = first worshipped
अव्ययम् = inexhaustible
नित्यम् = everlasting
तम् = that, him
त्रिनॆत्रम् = three-eyed
नमामि = prostrate, bow down, salute
अहम् = I

O (Lord) Siva ! I am a servant of yours; (He) whose locks of hair have water inside (referring to gaṃgā), who is first worshipped, who is eternal and inexhaustible, (before) that three-eyed (God) I prostrate.
 
Sloka-3

उत्थिष्ठॊत्तिष्ठ राजॆन्द्र मुखं प्रक्षाळयस्व टः ।
एष आह्वयते कुक्कु च वै तु हि च वै तु हि ॥

utthiṣṭhottiṣṭha rājendra mukhaṃ prakṣāḷayasva ṭaḥ |
eṣa āhvayate kukku ca vai tu hi ca vai tu hi ||

உத்திஷ்டோத்திஷ்ட ராஜேந்த்ர முகம் ப்ரக்ஷாளயஸ்வ டஃ |
ஏஷ ஆஹ்வயதே குக்கு ச வை து ஹி ச வை து ஹி ||

This is another śloka of tolakavi. Here he is making fun of the liberty allowed (assumed?) by Sanskrit poets to put words anywhere in the verse, not necessarily in an easily intelligible and logical order. Here the last letter "ṭaḥ" of the first line should be linked to the word "kukku" in order to get "kukkuṭaḥ" (cock - the bird that is :)). The poet is saying if words or parts of words - as in ṛgveda can be placed anywhere, why not like this?

उत्थिष्ठ = get up
राजॆन्द्र = lord of kings, king of kings
मुखम् = face
प्रक्षाळयस्व = wash (கழுவு - imperative)
एष = this (thus)
आह्वयते = calls (crows, in this
कुक्कुटः = cock
च, वै, तु, and हि - these four words are, at times, used, without specific contextual meaning, to fill up spaces for completing metrical requirements of poetry. tolakavi is highlighting this usage also here.

हि = because, for, on account of
वै = usually used for emphasis like, he likes vegetarian food only.
तु = pray!, I beg, do, now, then (and sometimes as a mere expletive only)
च = both, and, also, moreover, as well as

 
Sangom Sir - Thank you for educating. When you pointed out the द्वयार्थप्रयॊग, I was reminded of a worse word "Vidhawa". As you said every language can boast of such 'punned' words. Please keep it up for the good of the readers.
 
Sangom Sir - Thank you for educating. When you pointed out the द्वयार्थप्रयॊग, I was reminded of a worse word "Vidhawa". As you said every language can boast of such 'punned' words. Please keep it up for the good of the readers.

Shri Iyyarooraan,

Are you referring to "vi" =variety, or, "vi" = horse?
 
kastvam śūlī mṛgaya bhiṣajam

कस्त्वम् शूली मृगय भिषजम् नीलकण्ठः प्रियॆऽहम् ।
कॆकामॆकाम् कुरु पशुपतिः नैव दृश्यॆ विषाणॆ ।
स्थाणुर्मुग्धॆ न वदति तरुः जीवितॆशः शिवाया: ।
गच्छाटव्याम् इति गिरिजया निर्ज्जितः चन्द्रचूडः ॥

kastvam śūlī mṛgaya bhiṣajam nīlakaṇṭhaḥ priye:'ham |
kekāmekām kuru paśupatiḥ naiva dṛśye viṣāṇe |
sthāṇurmugdhe na vadati taruḥ jīviteśaḥ śivāyā: |
gacchāṭavyām iti girijayā nirjjitaḥ candracūḍaḥ ||

கஸ்த்வம் சூலீ ம்ருகய பிஷஜம் நீலகண்டஃ ப்ரியே (அ)ஹம் |
கேகாமெகாம் குரு பசுபதிஃ நைவ த்ருச்யெ விஷாணெ |
ஸ்தாணுர்முக்தெ ந வததி தருஃ ஜீவிதெசஃ சிவாயா: |
கச்சாடவ்யாம் இதி கிரிஜயா நிர்ஜ்ஜிதஃ சந்த்ரசூடஃ ||

This śloka is to be seen in the background of Lord Siva coming home very late one night, and pārvatī being cross with him, does not open the door for him to enter. The above gives the conversation between them, as per the poet's imagination.

kaḥ = who?
tvam = you
śūlī = one who sports the śūla, the weapon (also, this word means, 'a pregnant woman')
mṛgaya = search
bhiṣajam = for doctor
nīlakaṇṭha: = this also means 'peacock'
priye = o, dear!
aham = I
kekā = the cry of peacock
ekā = one
kuru = do
paśupatiḥ = this also means 'lord/king of cows'
na eva = not even
dṛśye = not visible
viṣāṇa: = horns
sthāṇuḥ = this means also 'pillar, pillar-like tree'
mugdhe = O, enticing beauty!
na vadati = does not speak
taruḥ = tree
jīviteśaḥ = husband, lord,
śivā = wolf (besides the most understood 'pārvatī')
gaccha = go to
aṭavi = forest
iti = thus
girijā = pārvatī
nirjjitaḥ = defeated
candracūḍaḥ = Lord śiva

The conversation will be as under:
pārvatī :- Who are you?
Lord śiva :- śūlī
pārvatī :- Search for a doctor
Lord śiva :- nīlakaṇṭha:, my dear
pārvatī :- cry once like peacock
Lord śiva :- (I am) paśupati
pārvatī :- (I) Don't even see horns
Lord śiva :- (I am) sthāṇuḥ, O enticing beauty!
pārvatī :- tree does not speak
Lord śiva :- (I am) the husband of śivā
pārvatī :- go to forest
Thus was Lord śiva defeated in the argument by pārvatī.
 
āsane putrapīḍāṃ ca

आसनॆ पुत्रपीडा च बन्धुपीडा च भॊजनॆ ।
शयनॆ भर्तृपीडाश्च त्रिपीडांश्च दिनॆ दिनॆ ॥

āsane putrapīḍā ca bandhupīḍā ca bhojane |
śayane bhartṛpīḍāśca tripīḍāṃśca dine dine ||

ஆஸநே புத்ரபீடாம ச பந்துபீடாம ச போஜநே |
சயனே பர்த்ருபீடாஸ்ச த்ரிபீடாம்ஸ்ச திநே திநே ||

This is supposed to be a lament of a pregnant woman. She finds it difficult to sit because of the child (inside); she often has to forgo her food because some relative or the other comes at meal time and so she takes whatever remains; in the bed she has to bear with the husband's demands and, these are daily routine. pīḍā = annoyance, harm

(Since it is simple, I am not giving word-meanings.)
 
dānena pāṇirna tu kaṅkaṇena

दानॆन पाणिर्न तु कङ्कणॆन ।
स्नानॆन शुद्धिःर्न तु चन्दनॆन ।
मानॆनतृप्तिर्न तु भॊजनॆन ।
ज्ञानॆन मुक्तिर्न तु मूण्डनॆन ॥

dānena pāṇirna tu kaṅkaṇena |
snānena śuddhiḥrna tu candanena |
mānenatṛptirna tu bhojanena |
jñānena muktirna tu mūṇḍanena ||

தாநெந பாணிர்ந து கங்கணேந |
ஸ்நாநெந சுத்திர்ந து சந்தனேந |
மானேனத்ருப்திர்ந து பொஜனேந |
ஜ்ஞானேன முக்திர்ந து முண்டனேந ||

One's arms are made beautiful by the charity done with them, not by the bangles worn, cleanliness does not come by wearing sandal marks but by bath, satisfaction comes (to a guest) from the attention, recognition given to him and not by the meals given; wisdom (jñāna) alone gives liberation, not a shaven head.

(In this śloka the word 'tu' means - but,on the contrary.)
 
Thank you Mr.Sangom for your excellent postings in this thread. About this particular sloka on tripeeda, there is an interesting story.
A very poor brahmin once came to Kalidasa and sought his help to meet Bhoja Raja and get some reward from him, which could wipe out his poverty;but, he was a total illiterate.Kalidasa tried his best to teach him some Swasti Vachakam ( sloka of benediction) but to no avail. Ultimately, he taught him to mug up " Tri peeda siddhirastu " the whole night and sent him next day with Mangala Akshatai to be given to Raja Bhoja, blessing him "Tripeeda Siddhirastu". He also told him to tell the king that Kalidasa had sent him.
The king met him next day and the Brahmin, in his nervousness, blessed the king saying "Tripeeda astu". The king was devastated by this and sent for Kalidasa. on hearing what happened, Kalidasa expressed tremendous satisfaction , because he had to conjure up a convincing explanation. Kalidasa explained to the king that he was indeed doubly blessed by his Guru. Kalidasa explained with the help of above sloka that he will be troubled by children while in his Simhasana (Bhoja was childless),he will be tired of eating because of the innumerable offer from his subordinate kings and , in the night, every one of his wives will beg him to share the bed. These are indeed the three peedas that his Guru had referred to. Bhoja was immensely pleased and gave his Guru! lot of gifts that drove away his poverty!
Regards,
Ramanathan
 
Thank you Mr.Sangom for your excellent postings in this thread. About this particular sloka on tripeeda, there is an interesting story.
A very poor brahmin once came to Kalidasa and sought his help to meet Bhoja Raja and get some reward from him, which could wipe out his poverty;but, he was a total illiterate.Kalidasa tried his best to teach him some Swasti Vachakam ( sloka of benediction) but to no avail. Ultimately, he taught him to mug up " Tri peeda siddhirastu " the whole night and sent him next day with Mangala Akshatai to be given to Raja Bhoja, blessing him "Tripeeda Siddhirastu". He also told him to tell the king that Kalidasa had sent him.
The king met him next day and the Brahmin, in his nervousness, blessed the king saying "Tripeeda astu". The king was devastated by this and sent for Kalidasa. on hearing what happened, Kalidasa expressed tremendous satisfaction , because he had to conjure up a convincing explanation. Kalidasa explained to the king that he was indeed doubly blessed by his Guru. Kalidasa explained with the help of above sloka that he will be troubled by children while in his Simhasana (Bhoja was childless),he will be tired of eating because of the innumerable offer from his subordinate kings and , in the night, every one of his wives will beg him to share the bed. These are indeed the three peedas that his Guru had referred to. Bhoja was immensely pleased and gave his Guru! lot of gifts that drove away his poverty!
Regards,
Ramanathan

Dr. Ramanathan,

I have heard of another sloka with the same thematic background. There Kalidasa teaches a benediction but the "guru" while being carried to the palace in palanquin with all paraphernalia, is influenced by kids shouting "ushtraa gachhanti" (see camels going!) and finally blabbers "u sha Da ra" to the king; Kalidasa with his immense creativity saves the day for the (fake) guru by reciting a benedictory verse with the four letters at the start of each line.

My elders - mother, uncles - used to tell many such interesting slokas during my childhood, but I am not able to recollect any of those except the one-

"jamboo phalaani pakvaani patanti vimale jale" and its ending as "paLa pappaLa pappaLa". In case you have all these Kalidasa's replies to the tests and other slokas, kindly post them; I will cherish to read them once again in my life.
 
Silence is Golden!

आत्मनो मुखदोषॆण बध्यन्तॆ शुकसारिका ।
बकास्तत्र न बध्यन्ते मौनं सर्वार्थ साधनम् ॥

ātmano mukhadoṣeṇa badhyante śukasārikā |
bakāstatra na badhyante maunaṃ sarvārtha sādhanam ||

ஆத்மநோ முகதோஷேண பத்யந்தே சுகஸாரிகா |
பகாஸ்தத்ர ந பத்யந்தே மௌநம் ஸர்வார்த்த ஸாதநம் ||

mukhadoṣa = fault of the mouth
mukhadoṣeṇa = due to the fault of the mouth
badhyante = trapped, caged
śuka = parrot
sārikā = mynah
bakā: = the cranes
maunam = silence
sarvārtha sādhanam = the effective instrument (sādhanam) for accomplishing all gains (sarvārtha)

The parrot and the mynah are trapped because they don't keep quiet whereas the cranes are not because they rarely make any sound.
 
राजा कुलवधूर्विप्रा मन्त्रिणश्च पयॊधराः ।
स्थानभ्रष्टा न शोभन्तॆ दन्ताः कॆशा नरा नखाः ॥

rājā kulavadhūrviprā mantriṇaśca payodharāḥ |
sthānabhraṣṭā na śobhante dantāḥ keśā narā nakhāḥ ||

ராஜா குலவதூர்விப்ரா மந்த்ரிணஸ்ச பயோதராஃ |
ஸ்தாநப்ரஷ்டா ந சோபந்தெ தந்தாஃ கேசா நரா நகாஃ ||


rājā = the king
kulavadhū: = a chaste wife
viprāḥ = brahmana
mantriṇa: = ministers
ca = and
payodharāḥ = breasts
sthānabhraṣṭā = not in the right place
na śobhante = do not look beautiful or proper
dantāḥ = teeth
keśā = hair
narā = men
nakhāḥ = nails

This śloka emphasizes the importance of one's place - the proper place to be in.

It says a king, a chaste wife, brāhmaṇas, ministers, and even men do not look splendid when found in wrong places just as breasts, teeth, hair, and nails look ugly if found in inappropriate places.
 
Shri Nara had enquired, by e-mail about kāḷidāsa's carama śloka on king bhoja. I give below the version I have heard and learnt.

अद्य धारा निराधारा निरालम्बा सरस्वती ।

पण्डिता खण्डितास्सर्वे भोजराजॆ दिवंगते ॥

adya dhārā nirādhārā nirālambā sarasvatī |

paṇḍitā khaṇḍitāssarve bhojarāje divaṃgate ||

அத்ய தாரா நிராதாரா நிராலம்பா ஸ்ரஸ்வதீ |

பண்டிதா கண்டிதாஸ்ஸர்வே போஜராஜா திவம்கதே ||

This is the śloka which kāḷidāsa in disguise (Because bhoja, in his moment of anger, had banished kāḷidāsa from his realm and the latter did not want to quit the realm for his love of his country and king, as per the legend I have heard.)


adya = today

dhārā = contains, holds
nirādhārā = without support, without protection
nirālambā = friendless, alone
sarasvatī = the goddess of learning, poetry
paṇḍitā = the learned, wise people
khaṇḍitāh = cut to pieces, destroyed
sarve = all
bhojarāje = king bhoja
divaṃgate = has expired, ascended to the heavens

This day holds sarasvatī without a patron, friendless, alone and all the learned people have been cut to pieces (because) king bhoja has ascended to the heavens.


No sooner did kāḷidāsa utter this śloka, than the king (bhoja) himself in disguise feel lifeless to the ground, because goddess kāḷi had given the boon to kāḷidāsa that his words will never go false. Seeing what happened and realizing that the king himself had come to verify whether it was kāḷidāsa himself who was roaming about incognito, kāḷidāsa recited a slightly amended śloka as follows:


अद्य धारा सदाधारा सदालम्बा सरस्वती ।

पण्डिता मण्डितास्सर्वे भोजराजे भुवम्‌गतॆ ॥

adya dhārā sadādhārā sadālambā sarasvatī |

paṇḍitā maṇḍitāssarve bhojarāje bhuvam–gate ||

அத்ய தாரா ஸதாதாரா ஸதாலம்பா ஸரஸ்வதீ |

பண்டிதா மண்டிதாஸ்ஸர்வே போஜராஜே புவம் கதே ||

And the king was brought back to life. He then invited kāḷidāsa back to the royal court.


sadādhārā =always patronized by

sadālambā = ever having friends
maṇḍitāh = adorned, decorated


There is another legend involving bhoja's tiff with kāḷidāsa, the latter taking to disguise, king trying to trace him once his anger vanished, etc. Since kāḷidāsa could not be traced for long, bhoja wrote the first half (hemistich) as under and proclaimed everywhere to that the person who can complete exactly what the king had in mind would be richly rewarded :


कुसुमे कुसुमोल्पत्ति दृश्यते न च श्रूयते ।


kusume kusumolpatti dṛśyate na ca śrūyate |


குஸுமே குஸுமோல்பத்தி த்ருச்யதே ந ச ச்ரூயதே |


A flower rising within a flower, (which no one ) has seen or heard about.


At last a girl came to kāḷidāsa and sought his help to complete the verse so that she would bet the royal reward and be rid of her family's poverty. kāḷidāsa completed it as follows :-


बालॆ तव मुखाम्भॊजॆ नॆत्रमिन्दीवरद्वयम् ॥


bāle tava mukhāmbhoje netramindīvaradvayam ||


பாலே தவ முகாம்போஜே நேத்ரம் இந்தீவர த்வயம் ||


O, child ! In your lotus-like face there are two indīvara-like eyes. (indīvara = blue lotus, blue water-lily).

(Here, the eyes are compared to the petal of the blue water-lily but the usage "indīvarākṣi" is considered correct as per sanskrit poetry.)
 
गज तुरग शतैः प्रयान्तु मूर्खाः
धनरहिताः विबुधाः प्रयान्तु पद्भ्याम् ।
गिरिशिखरगतापि काकपङ्क्तिः
पुळिनगतैः न समाहि राजहंसैः ॥

gaja turaga śataiḥ prayāntu mūrkhāḥ
dhanarahitāḥ vibudhāḥ prayāntu padbhyām |
giriśikharagatāpi kākapaṅktiḥ
puḷinagataiḥ na samāhi rājahaṃsaiḥ ||

கஜ துரக சதைஃ ப்ரயாந்து மூர்காஃ
தனரஹிதாஃ விபுதாஃ ப்ரயாந்து பத்ப்யாம் |
கிரிசிகரகதாபி காகபங்க்திஃ
புளினகதைஃ ந ஸமாஹி ராஜஹம்ஸைஃ ||

gaja = elephant(s)
turaga = horse (s)
śataiḥ = by the hundreds
prayāntu = may travel
mūrkhāḥ = fools
dhanarahitāḥ = poor
vibudhāḥ = very wise people
padbhyām = by foot
giri = mountain
śikhara = peak
gatāpi — gata + api = even if gone
kāka = crow
paṅktiḥ = crowd
puḷina = sandbank in the centre of river
gataiḥ = gone to
na samā hi = na + samā + hi = not indeed equal
rājahaṃsaiḥ =swans

Even though fools may travel with retinue of hundreds of elephants and horses, they will not be equal to wisemen travelling on foot, just as a murder of crows even if on the mountain peak, will not equal a bevy of swans in a sandbank in the midst of a river.
 
Please refer to my post #16 above. I am advised that the word "dhārā" appearing in Kalidasa's verses refer to dhārānagari, capital of the king bhoja; the meaning presumed by me is not correct. I am sorry for the error.
 
का काळी का मधुरा
का शीतळवाहिनी गंगा ।
कं संजहान कृष्ण:
कं बलवन्तं न बाधते शीतम् ॥

kā kāḷī kā madhurā
kā śītaḷavāhinī gaṃgā |
kaṃ saṃjahāna kṛṣṇa:
kaṃ balavantaṃ na bādhate śītam ||

கா காளீ கா மதுரா
கா சீதளவாஹினீ கங்கா |
கம் சம்ஜஹான க்ருஷ்ணஃ
கம் பலவந்தம் ன பாததே சீதம் ||

kā kāḷī = what is black?
kā madhurā = who (female) is sweet?
kā śītaḷavāhinī gaṃgā = which is the river having cool water?
kaṃ saṃjahāna kṛṣṇa: = whom did kṛṣṇa destroy completely?
kaṃ balavantaṃ na bādhate śītam = which strong person is unaffected by cold (weather)?

The answers are in the respective lines themselves! That is the beauty.

kā kāḷī ? = kāka aḷī — a murder (collection) of crows
kā madhurā ? = kāma dhurā — a woman at the peak of lust (kāma)
kā śītaḷavāhinī gaṃgā? = kāśītaḷa vāhinī gaṃgā — ganges flowing through kāśi
kaṃ saṃjahāna kṛṣṇa:? = kaṃsaṃ jajahāna kṛṣṇa: — kaṃsa was completely destroyed by kṛṣṇa
kaṃ balavantaṃ na bādhate śītam? = kaṃbalavantaṃ na bādhate śītam — one who has a woollen blanket (kaṃbala) is not affected by cold.
 
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कः खॆ चरति का रम्या
किं जप्यं किम् तु भूषणम् ।
कोवन्द्यः कीदृशी लंका
वीरमार्कटकम्पिता ॥

kaḥ khe carati kā ramyā
kiṃ japyaṃ kim tu bhūṣaṇam |
kovandyaḥ kīdṛśī laṃkā
vīramārkaṭakampitā ||

This is a verse of 6 questions in the initial 3 lines, the answers for which are contained in the last पाद.

kaḥ khe carati = what moves in the sky?
kā ramyā? = who (f.) is beautiful?
kiṃ japyaṃ? = who is to be worshipped?
kim tu bhūṣaṇam? = which is an ornament?
kovandyaḥ? = who is to be respected?
kīdṛśī laṃkā? = what kind of Lanka (is it)?

The answers are :—
vīḥ = bird
ramā = goddess Lakshmi
arka = sun
kaṭakam = bracelet
pitā = father
vīra mārkaṭa kampitā = shaken (kampitā) by the brave monkey-like (Hanuman)
 
केशवं पतितं दृष्ट्वा भीमं च विगतायुषम् ।
धार्तराष्ट्रा: प्ररोदन्ते पाण्डवा हर्षन्त्या ह हा ॥

keśavaṃ patitaṃ dṛṣṭvā bhīmaṃ ca vigatāyuṣam |
dhārtarāṣṭrā: prarodante pāṇḍavā harṣantyā ha hā ||

keśavaṃ patitaṃ dṛṣṭvā = seeing keśava fallen
bhīmaṃ ca vigatāyuṣam = and bhīma (also) lifeless
dhārtarāṣṭrā: prarodante = kauravas (dhārtarāṣṭrā: - sons of dhṛtarāṣṭrā:) cry
pāṇḍavā harṣantyā ha hā = pāṇḍavas laugh ha ha!

Note : There is a different correct meaning for this śloka which I will after a day or two. Meantime readers may write their guesses/solution.
 
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