Purnanandalahari p1d4 PDF

mÉÔhÉï AÉlÉlS sÉWûËU
mÉÑwmÉÈ - 1 Jul - Aug 2013 SsÉÇ - 4

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| xuÉÃmÉ ÌlÉÃmÉhÉ WãûiÉuÉã ´ÉÏ aÉÑUuÉã lÉqÉÈ |
Table of Contents:
# Topics Page
1 Guru Mukham 2
2 Introduction 5
3 Devi AshtAngam 8
4 Guhanum sat cidAnandamum 11
5 AshTANgA 19
6 prAtaH pArAyaNam 23
7 lalitAmbA uddhArana stOtram 38
8 lalitA stavarAja stOtram 39
9 shrInagara vimarshanam – Part 2 43
10 rashmimAlA stOtram 46
11 gRIshmaRutu AvaraNam 53
12 vyAsa caritam 63
13 vyAsa mantra japa kramaH 78
14 vyAsa AvaraNa pUjA kramaH 81
15 vyAsa AshtOttaram 88
16 Q & A - sadA vidyA anusaMhatiH 91
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With the blessings of the great Guru Mandalam, the magazine Poornanandha lahari has
issued three flowers and is in blooming stage of 4th flower. In this issue I wish to
introduce the author of this magazine Sri Prakashanandha Natha and about
Aathmanantha Natha who is answering to the Questions and Answers section in the
magazine.
Sri Prakashanandha Nathar alias Srinivasa Raghavan hails from a respectable Hindu
Brahmin family in the State of Tamil Nadu, India. His father Sri Ilandhai Ramasami, a
native of Tirunelveli is a retired Telecommunications Engineer. He is an orator, has
written many books in Tamil about the history of all States in USA and a poet conferred
with a title of Kavimamani. After his retirement, he learnt Computer Science and
became well versed in its technology. He likes photography very much. His mother,
Sow Bhanumathi, is also a retired B.T teacher and is very fond of music, art, and
culture.
Regarding Prakasanandha Natha, as per his mother's ambition, he became a Computer

Science Engineer and also has a Doctorate in management from the US. He is also a
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poet, an artist, a Carnatic vocalist, a good Violinist, and is very fond of doing paintings,
and in wood carving sculptures. He is also a tennis Player. His wife Smt. Prakasamba
alias Gayathri is also a Software Engineer. They were blessed with a son by name Sri
Vidhath and he is schooling. They are settled in Chicago along with their parents.
After completing all the formalities of qualifying for a Poorna Deeksha, he received his
Poorna Deeksha along with his wife on 3.8.2009 on his star birth day. (This year this
falls on the auspicious day of Vyasa Poornima i.e.on 22.7.2013). After Poornabisheka
he showed more interest to learn everything in this vidhya sagaram. With the blessings
of the Guru mandalam he also made Sarva Theertha Yathra including Kailash
Manasarovar and Bhoomandala yathra in and around the world (like Parashurama), and
collected maximum books, references etc., on this subject. He got opportunities to meet
many upasaka varishtas and shared with them his views. After his Deeksha, the first
poem he wrote was “Thedal”, on Thatvasodanam and an article “Nataraja-A Sakthas
perspective” with the rare Sammelena Nyasa. Last year, while he was doing Japa on
the banks of river Ganga at Varanasi he opined with me about starting of an
E.Magazine. After getting blessings from the Guru Mandalam, this E.Magazine
Poornanandha Lahari was born through Prakasanandha Nathar.
All the upasakas are hereby requested to go through this magazine regularly, give
feedbacks, and guide him for its further growth. I ensure that this great Gurumandalam
will shower its blessings to him and to his family members in all their walks of life.
It is needless to say about Aathmanandha Nathar to the Upasaka world. He is a well

known personality in the upasaka community. I would like to highlight some points on
Aathmanandha Nathar alias Ramesh Kutticad (Mr.Parameshwaran) who is answering
to the questions put forth by the upasakas in this magazine. He is known to me for the
past 30 years. He is well associated with Guhanandha Mandali, especially with my
Gurunathar Poojya Sri Poornanandha Nathar. Aathmanandha Nathar is a disciple of
sarasvatyambA samEta yajanAnandanAthA (Sri Viswanathan) and hails from a
Namboodiri tradition. In his boyhood, at the age of 9 Sri Devi appeared before him and
imparted Maha Shodasi directly. At the age of 14, he met his Guru through the grace of
Devi who showed him who his Guru would be, and where exactly he could find him.
Thus he attained his Guru's feet. His wife (yOgAmbA) Smt.Geetha Devi has also got
Poorna Deeksha. He is blessed with a son and a daughter and lives in Chennai, Tamil
Nadu, India.
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He is the main representative of Guru Mandala Parishad for Chennai chapter. He is a
walking encyclopedia and knows all the details and histories of each and every temple
in South India. He is also very fond of reading books and in collection of all manthra,
thanthra and yanthra sasthras. Sri Ramesh is one among the top most masters of Sri
Vidhya in the world. He has written Saparyapathathis on Bala, Rajamathangi & Varahi
deities. He had written advaitha and Vedantha vasanas to most of the Srividhya
manthras inThoughts on the way Part I and Part II books. Recently he contributed all
Nyasas and Chathurayathana Poojas in the book Vidhyasagaram 2, & 3 published by
Raja Rajeswari Peetam, New York, USA.
He is very kind person and moves with everybody with a smiling face, always telling the
word Lalithai Vedam Sarvam. He is very fond of listening and learning Thiruppugazh.
Finally, I wish to conclude that he is a boon to the Saktha community. I wish him all
success throughout his efforts, and request this great Guru Mandalam to give him and
his family good health and prosperity.
| lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç |
Smt. Geetha Sivakumar

Guhalaya,
Arunmbakkam – Chennai.
July 6, 2013.
|| ÍzÉuÉÉÌS aÉÑÂprÉÉã lÉqÉÈ ||
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|| xuÉÃmÉ ÌlÉÃmÉhÉ WãûiÉuÉã ´ÉÏ aÉÑUuÉã lÉqÉÈ ||
Introduction
With the anugrahA of the GurumaNDalam, we have received several positive reviews
about this magazine. These feedback act as a catalyst for us to bring out the rare gems
from the ocean called shrI vidyA and share it with the upAsakA community.
My Guru DampatI‟s were insisting on including Introduction about me in their Guru

mukham in this issue and it is their greatness to write about me who is just a small child
in this sAgarA called shrI vidyA. My namaskArams to them. I am happy to see the brief
bio about Shri. Ramesh Kutticad in their Guru mukham as well.
This issue comes with four main topics –
- Thirutani and the links between Guhananda, chidananda, and valli malai
swamigal
- prataH pArAyaNam
- shrI nagara vimarshanam (second part) and Grishma Rutu AvaraNam
- VyAsa charitam and AvaraNam
My Guru Shri AnandAnandanAthar has a strong affection towards Thirupugazh and valli
malai swAmigal paddhati of singing thirupugazh. I have had the opportunities to discuss
on various occasions about the strong link between shAktam and kaumAram. In this
article, there is a mention about a research done if ArunagirinAthar is a shAktA? This
might surprise some folks when they hear such a comment. But there have been
several thirupugazh‟s where shrI arunagirinAthar sings about Shakti throughout the
poem and simply ends the last line linking it with kaumAram as the son of such a great
Shakti. Similarly, in the article penned by my Guru that is included in this issue, he has
given links on how ChidAnandA, even though being a shAktA, has had kaumAra affinity
and this tradition continues even today within the GuhAnanda manDali. I am sure the
readers who can read Tamil would enjoy the article. I encourage those who can‟t read
Tamil to ask someone who can read to read it aloud for them and record it and listen to
it a few times to completely grasp the meaning.
In the last issue we covered the Tantrika sandhyAs as part of the nithya karma series
for all shrividhyOpAsakAs. From this issue, we will start covering the pArAyaNas that
form part of the nithya karma. The pArAyaNa‟s are logically separated into three
coinciding with the prAta sandhyA, mAdhyAniKam, and sAyam sandhyA. In this issue,
we have included two pArAyaNa‟s that are performed immediately after finishing the
prAtaH sandhyA. They are – nAtha pArAyaNa and ghaTikA pArAyaNA. The
pArAyaNA‟s require the knowledge of the aShTANgA. To aid this understanding, an
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article by Shri AtmAnandanAthA on aShTANgA is included along with this issue. The
nAtha and GaTikA pArAyaNA are then covered in detail with examples and we hope
that upAsakAs can at least try doing these pArAyaNA‟s and try to get them into the daily
routine. The nAtha pArAyaNA, once practiced, should not take more than 2 mins and
the GaTikA pArAyaNa about 7mins.
Continuing from where we left in the last issue, shrInagara vimarshanam covers the
mahApadmATavI area and the various kalA shaktI‟s located there. We have also
included the lalitA uddhArana shlokA and the lalitA stave rAja shlOkA from
lalitOpAkhyANa. The important part of mahApadmATavI is the locations of the rashmi
mAlA dEvatA‟s and these were described in detail in lalitOpAkhyANA. In nityOtsavA,
shrI umAnandanAthA has included the dhyAna shlOkA for each of the rashmi mAlA
dEvatA‟s. We are grateful to ShrI AtmAnandanAthA for sharing a rare rashmi mAlA
stotrA that was found in a handwritten manuscript of Datta samhitA. The beauty of this
shlOkA is that each of the couplets is the dhyAna sholkA of each of the rashmi mAlA
dEvatA. I am sure the upAsakA‟s would enjoy reading this shloka.
In the last issue, we covered the vasanta RutunAtha AvaraNam and in this issue we
have covered the GriSHma RutunAtha AvaraNam. One Rutu is made up of two months
and hence it would make sense to perform the RutunAtha AvaraNam on the mAsa
saNkarAnti day (the start of the Rutu).
VyAsa PoorNimA falls this month on the 21st (America) and 22nd (India). Hence a brief
historical sketch of vyAsA is included in this issue. vyAsA and shukA brahmA (vyAsA‟s
son) lived in the forest of naimishAraNyA and composed the mahAbhAratA and shrimad
bhAgavataM. It is in these forests where vyAsA taught his shishyAs the various vEdAs
and sUtrAs. This forest has been referenced in purANAs as a place where about 27,000
riShI‟s lived and performed large scale havan and penance on the banks of the river
Gomati. Now, this is a small hamlet with temples outnumbering the houses. The places
where vyAsA stayed and taught his shishyA‟s are still there. This is called the vyAsa
gaddi. The photograph of this vyAsa gaddi is included in this issue. The place where
shuka brahmA taught bhAgavatam is called shuka gaddi and the photograph of that is
also included. The last photograph in the initial pages of this magazine is the vaTa
vRukSA where sAge jaimiNi did the penance and learnt sAma vEdA from vyAsA. In
addition, RajA ravi varmA paintings of gangA leaving with dEvavRtA and king shantaNu
falling in love with sathyavatI are included for readers‟ enjoyment.
VyAsa AvaraNa has been included (reference – mantra mahOddAti) in this issue. The
vyAsa ashtOttarA that has been included in this issue is a special one – this is from a
handwritten manuscript that has been approved by Shri ChidAnandanAtha and passed
down to Shri SwAmi Sashtrigal. This ashtOttaram was part of the ShadanvAyA pUjA
(vishESha Guru maNDala pUjA) paddhatI. We have been blessed to have received
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that manuscript and we are glad to share it with the upAsaka community so that they
can use it while performing vyAsa pUjA.
The last page of this issue contains a verse from Thirumanthiram written by ThirumUlar.
The original Tamil verse and its English translation are included.
AShADa navarAtri happens this month and this navarAtri is traditionally associated with
vArAhyambA and let Her grace remove the hurdles on our path to mOkShA and guide
us (as GurumaNDalarUpiNI) in the right direction.
I would like to take this opportunity to express my gratitude to my Gurupatni (Smt.

Geetha Shivakumar), Shri AtmAnandanAthA (Ramesh Kutticad), and my father
Shri. Elandai. S. Ramasami for taking the time and performing the tedious work of
proof reading this magazine. It is because of them, several spell errors and procedural
errors have been eliminated in this issue and this e-magazine has come out to be a
worthwhile edition that can be used by the UpAsakA community.
Lalithai vEdam sarvam.
Surrendering to the holy pAdukAs of Shri Guru,
mÉëMüÉzÉÉqoÉÉ xÉqÉãiÉ mÉëMüÉzÉÉlÉlSlÉÉjÉ
7
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8
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mÉuÉÉï ÌSlÉãprÉÈ
America India
AqÉÉuÉÉxrÉÉ 7 Jul 2013 8 Jul 2013
qÉÉxÉ xÉƒ¡ûUÉÎliÉ 16 Jul 2013 17 Jul 2013
mÉÔÍhÉïqÉÉ 21 Jul 2013 22 Jul 2013
M×üwhÉ A¹ÍqÉ 29 Jul 2013 30 Jul 2013
M×üwhÉ cÉiÉÑSïÍzÉ 05 Au g 2013 05 Aug 2013
AqÉuÉÉxrÉÉ 06 Aug 2013 06 Aug 2013
AlrÉ mÉÔeÉÉ ÌSlÉãprÉÈ

America India
zÉÑYsÉ cÉiÉÑÍjÉï 12 Jul 2013 12 Jul 2013
M×üwhÉ cÉiÉÑÍjÉï 25 Jul 2013 26 Jul 2013
ÌuÉzÉãwÉ mÉuÉÉï ÌSlÉãprÉÈ

America India
urÉÉxÉ mÉÔÍhÉïqÉÉ 21 Jul 2013 22 Jul 2013
AÉzÉÉRû lÉuÉUÉÌ§É AÉUqpÉÈ 7 Jul 2013 8 Jul 2013
AÉzÉÉRû lÉuÉUÉÌ§É -mÉgcÉÍqÉ 11 Jul 2013 13 Jul 2013
AÉzÉÉRû lÉuÉUÉÌ§É - SzÉÍqÉ 17 Jul 2013 18 Jul 2013
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18
aShTAngA
- By AtmAnandanAthA
Sri vidya sadhakas use a calendar called the astanga, which is based on the
srividya tattvas. Space is defined as the existence between two intervals of time,
thus this astanga focuses on the time only. The initial day is taken as kali yuga’s
first day and the eight limbs- astanga is calculated.
The basic formulations decided are:
One week has nine days – they are named after the nava nathaa :- prakasa,
vimarsa, aananda, srigyna, srisatya, sripoorna, svabhaava, pratibha subhaga.
–eg. Vimarashaanandanaatha vaasaram.
There are four weeks in a month, so there are thirty six days (called dina) in a
month. These days are named after the thirty six tattvaas, with a matruka akshara
which is ‘a’ and the consonants. Am siva tattva, kam sakti, kham sadasiva, gam
isvara, gham shuddha vidya, Ngam maya, cam kala, cham avidyaa, jam raga, jham
kaala, njam niyati, Tam purusha, Tham prakrti, Dam ahamkaara, Dham bhuddhi,
Nam mana, tam srotra, tham tvak, dam cakhus, dham jihvaa, nam ghraana, pam
vaak, pham paani, bam paada, bham paayu, mama upastha, yam shabda, ram
sparsha, lam roopa, vam rasa, sham gandha, Sham akaasha, sam vayu, ham vahni,
Lam jala, ksham prthvi.
-eg. Kham sadaashiva tattva dina
There are sixteen months (called masa) in a year named after the nityaas or soma
mandala kala or sadashiva kalas. Hence we can find five hundred and seventy six
days in a year
-eg. Om sarvamanhgala nityaa / preeti kalaa / gynanaamrtaa kalaa maasa
There are thirty six years (called varsha) named after the thirty six tattvas,
-eg jam raga tattva varsha
A cycle of thirty six years is called a parivrtti, which are also named after the thirty
six tattvas which will have 576 months and 20736 days. (Roughly 57 and odd
years)
-eg pam vaak tattva parivritti
19
A cycle of thirty six parivritti is called a yuga., also named as above
-eg. Kham sadaashiva tattva yuga.
Another factor is called ghatika. Twenty four minutes is called a ghatika. Thus
there are sixty ghatikaas in a day. Each ghatika is assigned with a matruka
akshara. The visarga (ah) is left out in the vowels. Thus the fifteen vowels and the
thirty five consonants are taken in order for naming the ghatika. Only fifty
ghatikas will be named thus, the rest ten are repeated from the first ghatika. Thus
on day one, we start with ‘a’ as the udayya ghatika akshara then as per the above
guidelines we will end up in the ‘LRR’ ghatika, the next day udaya ghatika will be
‘e’. Similar calculations will result in the third day udaya ghatika as ‘c’, the fourth
day as ‘t’ and the fifth day as ‘y’, the sixth day will be again ‘a’ and the cycle will
repeat .
Another parameter called dina nitya is also there, They are the fifteen nityaas in
the same order for shukla paksha and the same in reverse for the krshina paksha,
similar to the tithi nityaas. The only difference is that it is not dependent on the
lunar calendar, one per day in the said order. Thus we find thirty in a cycle, eg:-
em shukla neelapataaka dina nityaa, or im Krishna nityaklinna dina nityaa.
Thus we find eight limbs – astha anga – viz., yuga, parivrtti, varsha, masa, dina,
vaasara, ghatikodaya, dina nityaa.
With the help of this astanga there are four parayanas to be done. They are nAtha
pArAyana, ghaTikA pArAyana, tattva pArAyanA and nityA pArAyana. There is a
unique mantra called the dina nitya vidya to be chanted along with each parayana
As per the paramaananda tantra, it is a four syllable akshara. The construction will
be vAsaranAthAkshara +ghaTikodAyAkshara +bindu is the first, dinAkshara+
nityAkshara + bindu will be the second, varShAkshara+mAsAksra+bindu will be
the third and yugAkshara+parvritti aksharA will be the fourth. For example:
Consider kham sadAshiva tattava yuga, dam cakshustattva parivritti, kam sakti
tattva varsha, em mAsa, am prakAshAnandanAtha vAsara, dam cakshustattva
dina yakAra ghaTikOdaya, Um Krishna mahaAvajresvari dina nityA.
The astanga- dina nityA vidyA will be as follows:
‘a yam da Um ka em kha dam’ .
It is interesting to note that just by knowing this astanga we can chant all the
pArAyanAs in that said order from nAtha to nityA.
20
There is repentance (prayaschitta) said in the paramaananda tantra for non-
observance of pArAyana, due to unforeseen circumstances, as nine time mula
mantra japa for nAtha, sixty for ghaTikA, thirty six for tattva and thirty for
nityApArAyana.
Another form of the dina nitya vidyaa is seen in tantra raja tantra. It is
varshaaksharaa +maasaaksharaa, dinaaksharaa+aa+ee+hamsah.
In the above example we can now derive the dina nitya vidyaa as
k+e+d+aa+ee+hamsah will be ke daa ee hamsah. We have fixed three parameters
the rest will fall in line, since this is a totally mathematical equation.
The sankalpa mantra is also said for this astanga:
For daily pooja :

आददगुय ोः ऩयशिवस्म आऻमा प्रवततभान दे वी भानेन षट् त्रिंित ् तत्तत्तवात्तभ सकर प्रऩञ्च
सष्ृ टि ष्स्थतत सिंहाय ततय धान अनग्र
ु ह कारयणमाोः ऩयिक्तत्तमा: ऊर्धवतभ्रवू वभ्रभे __ तत्तत्तव मग
ु े
__ तत्तत्तव ऩरयवत्तृ तौ __ तत्तत्तव वषे __ तनत्तमा /करा भासे __ तत्तत्तव ददने __ नाथ वासये
__ घदिक दमे ___ ददन तनत्तमामािं __ ततथथ तनत्तमामािं श्री भहात्रऩयु सन्
ु दयी प्रीत्तमथे मथा
िष्क्तत सिंबद्द्रवमयोः मथा िष्क्तत सऩमात क्रभिं तनवतततत मटमे
For daily parayana:

आददगुय ोः ऩयशिवस्म आऻमा प्रवततभान दे वी भानेन षट् त्रिंित ् तत्तत्तवात्तभ सकर प्रऩञ्च
सष्ृ टि ष्स्थतत सिंहाय ततय धान अनग्र
ु ह कारयणमाोः ऩयिक्तत्तमा: ऊर्धवतभ्रवू वभ्रभे
__ नाथ वासये __ घदिक दमे __ तत्तत्तव ददने__ ददन तनत्तमामािं __ तत्तत्तव वषे __ तनत्तमा
/करा भासे __ तत्तत्तव मगु े __ तत्तत्तव ऩरयवत्तृ तौ ऩायामणभहिं करयटमे
There are six conjunctions namely pusHpiNi, mohini, jayini, kumAri, vimala and
srikarI in the astAnga calendar. The conjunction of varshAkshara with masAkshara
will be the first, with dinAkshara will be the second, and with udayaghaTikA will
be the third. Conjunction of mAsAkshra with dinAksharA will be the fourth; with
udayaghatikA will be the fifth. Similarly dinAksharA and udyaghaTikAksharA will
the last conjunction.
21
The first- pushpini- is possible once in a parivritti, while it is starting, in the am siva
tatva year this is possible for a whole month which will be am kamshvari nitya
masa(36 days once in roughly 57 odd years)
The second-mohini- will be there once a month, with sixteen in a year. Since the
year and dina aksharas are same this is sure to happen once in a month. For eg.,
in the kham sadashiva tattva varsha, the third day of the month , kham sadashiva
tattva dina will be this parva for sixteen months.
The third-jayini- is possible in am sivatatva, cam kalAtatva, tam srotra tatva, yam
sabda tatva years in a parivritti, with the akara, cakara, takara and yakara
ghatikodayas respectively.
The fourth-kumari- is the first day of every year, where we find am kameshvari
masa and am shiva tattva dina , hence this will be in the prakAsAnandanAtha
vAsara.
The fifth-vimala- will be in the first (am) and eleventh (Em) month every year,
with the akara and ekara ghatikodayas respectively. .
The sixth-srikari- will be there in once in a month, in the ‘a’, ‘ca’, ‘ta’, ‘ya’ dinas in
four successive months respectively on the akara, cakara, takara and yakara
ghatikodaya and then will skip a month.
22
mÉëÉiÉÈ mÉÉUÉrÉhÉ ÌuÉÍkÉÈ
1. lÉÉjÉ mÉÉUÉrÉhÉqÉç
krÉÉlÉqÉç -
mÉëÉiÉqÉÔïsÉÉkÉÉUaÉiÉã MüqÉsÉã uÉÌ»ûqÉhQûsÉã |

uÉÉaoÉÏeÉÃmÉÉÇ ÌlÉirÉÉÇ iÉÉÇ ÌuÉ±ÑimÉOûsÉpÉÉxÉÑUÉqÉç ||
mÉÑwmÉoÉÉhÉã¤ÉÑMüÉãShQûmÉÉzÉÉƒ¡ÓûzÉsÉxÉiMüUÉqÉç |
xuÉãcNûÉaÉ×WûÏiÉuÉmÉÑwÉÇ rÉÑaÉÌlÉirÉÉ¤ÉUÉÎiqÉMüÉqÉç ||
bÉÌOûMüÉuÉUhÉÉãmÉãiÉÉÇ mÉËUiÉÈ mÉëÉgeÉsÉÏlÉjÉ |

¥ÉÉlÉqÉÑSìÉuÉUMüUÉlÉç uÉÉapÉuÉÉãmÉÉÎxiÉiÉimÉUÉlÉç |
lÉuÉlÉÉjÉÉlÉç xqÉUãlqÉÔsÉmÉƒ¡ûeÉã rÉÉãÌlÉqÉhQûsÉã ||
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ AÇ
AÉÇ CÇ DÇ EÇ FÇ GÇ HÇ ¾ûÏÇ ´ÉÏÇ AÇ mÉëMüÉzÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ
mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ sÉ×Ç sÉÚÇ
LÇ LåÇ AÉåÇ AÉæÇ AÇ AÈ ¾ûÏÇ ´ÉÏÇ AÇ ÌuÉqÉzÉÉïlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ
mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ MÇü ZÉÇ
aÉÇ bÉÇ XÇû ¾ûÏÇ ´ÉÏÇ AÇ AÉlÉlSÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ
mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
23
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ cÉÇ NÇû
eÉÇ fÉÇ gÉÇ ¾ûÏÇ ´ÉÏÇ AÇ ¥ÉÉlÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ
lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ OÇû PÇû
QÇû RÇû hÉÇ ¾ûÏÇ ´ÉÏÇ AÇ xÉirÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ
lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ iÉÇ jÉÇ
SÇ kÉÇ lÉÇ ¾ûÏÇ ´ÉÏÇ AÇ mÉÔhÉÉïlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ
lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ mÉÇ TÇü
oÉÇ pÉÇ qÉÇ ¾ûÏÇ ´ÉÏÇ AÇ xuÉpÉÉuÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ rÉÇ UÇ
sÉÇ uÉÇ zÉÇ ¾ûÏÇ ´ÉÏÇ AÇ mÉëÌiÉpÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ (ÌSlÉ) (ÌlÉirÉÉ) (ÌuÉ±É) WÇûxÉÈ wÉÇ xÉÇ
WÇû VÇû ¤ÉÇ ¾ûÏÇ ´ÉÏÇ AÇ xÉÑpÉaÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ
ÌSlÉ = SãuÉÏqÉÉlÉ uÉwÉïÈ A¤ÉUÈ

ÌlÉirÉÉ = SãuÉÏqÉÉlÉ qÉÉxÉÈ A¤ÉUÈ
ÌuÉ±É = SãuÉÏqÉÉlÉ ÌSuÉxÉÈ A¤ÉUÈ + AÉ D
24
Example for July 07 2013
ÌSlÉ-ÌlÉirÉ-ÌuÉ±É = aÉ + AÉ + Oû + AÉ + D = aÉÉOûÉD
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ AÇ AÉÇ CÇ DÇ EÇ FÇ GÇ

HÇ ¾ûÏÇ ´ÉÏÇ AÇ mÉëMüÉzÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ
lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ sÉ×Ç sÉÚÇ LÇ LåÇ AÉåÇ AÉæÇ
AÇ AÈ ¾ûÏÇ ´ÉÏÇ AÇ ÌuÉqÉzÉÉïlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ
lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ MÇü ZÉÇ aÉÇ bÉÇ XÇû ¾ûÏÇ
´ÉÏÇ AÇ AÉlÉlSÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ cÉÇ NÇû eÉÇ fÉÇ gÉÇ ¾ûÏÇ
´ÉÏÇ AÇ ¥ÉÉlÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ OÇû PÇû QÇû RÇû hÉÇ ¾ûÏÇ ´ÉÏÇ
AÇ xÉirÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ iÉÇ jÉÇ SÇ kÉÇ lÉÇ ¾ûÏÇ ´ÉÏÇ
AÇ mÉÔhÉÉïlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ mÉÇ TÇü oÉÇ pÉÇ qÉÇ ¾ûÏÇ ´ÉÏÇ
AÇ xuÉpÉÉuÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
25
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ rÉÇ UÇ sÉÇ uÉÇ zÉÇ ¾ûÏÇ ´ÉÏÇ
AÇ mÉëÌiÉpÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉOûÉD WÇûxÉÈ wÉÇ xÉÇ WÇû VÇû ¤ÉÇ ¾ûÏÇ
´ÉÏÇ AÇ xÉÑpÉaÉÉlÉlSlÉÉjÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
2. bÉÌOûMüÉ mÉÉUÉrÉhÉqÉç
There are 60 ghatikAs for each tatva dinA. There are five ghatikAs - a-kAra, e-kAra, ca-
kArA, ta-kAra, and ya-kAra. From the dEvImAna, find the ghatikOdaya for the day and
then start the ghatikA pArAyaNA with that ghatikA mAtrukAsharA and chant for ALL
mAtrukAshara except for the visarga a:. This will result in 50 chantings. For the
remaining 10, start from today's ghatikA again and stop before the mAtrikAkShara of the
next day's ghaTikA. This will result in a total of 60 chantings. If the ghatikOdaya is a-
kAra, then the chanting will be as follows:
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ A-MüÉU

bÉÌOûMüÉ ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ AÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ C-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ D-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ E-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ F-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ G-MüÉU
26
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ H-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ sÉ×-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ VÛû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ L-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Lå-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ AÉã-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ AÉæ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ AÇ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Mü-MüÉU

Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ ZÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ aÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ bÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Xû-MüÉU
27
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ cÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Nû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ eÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ fÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ ~fÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Oû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Pû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Qû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Rû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ hÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ iÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ jÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ S-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ kÉ-MüÉU
28
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ lÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ mÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Tü-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ oÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ pÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ qÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ rÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ U-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ sÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ uÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ zÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ wÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ xÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Wû-MüÉU
29
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Vû-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ ¤É-MüÉU

Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ D-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ E-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ F-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ G-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ H-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ sÉ×-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ VÛû-MüÉU
If the dEvimAna ghaTikOdayA is e-kArA, then the chanting will be as follows:
30
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ AÉå-MüÉU
+
+
+
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ ¤É-MüÉU
+
+
+
31
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ AÉå-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ ZÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ aÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ bÉ-MüÉU
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ ÌSlÉ-ÌlÉirÉÉ-ÌuÉ±É WÇûxÉÈ Xû-MüÉU
The same method is applied for the ca-kAra, ta-kAra, and ya-kAra ghaTikOdayAs.
Example - GhatikA pArAyaNam for Jul 10, 2013 is given below. The GhatikOdayA for
that day is ta-kAra. The dina-nityA-vidyA from the dEvimAna is determined as dinA =
dEvImAna varsha, nityA = dEvImAna mAsaH, vidyA = dEvImAna divasa + A + I. Hence
it would be ga+A+Dha+A+I for Jul 10, 2013.
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ iÉ-MüÉU bÉÌOûMüÉ
ÃÌmÉhÉÏ ´ÉÏ qÉWûÉÌ§ÉmÉÑUxÉÑlSUÏÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ |
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ jÉ-MüÉU bÉÌOûMüÉ
32
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ S-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ kÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ lÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ mÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Tü-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ oÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ pÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ qÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ rÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ U-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ sÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ uÉÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ zÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ wÉ-MüÉU bÉÌOûMüÉ
33
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ xÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Wû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Vû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ ¤É-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ A-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ AÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ C-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ D-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ E-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ F-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ G-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ H-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ sÉ×-MüÉU bÉÌOûMüÉ
34
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ VÛû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ L-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Lå-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ AÉå-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ AÉæ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ AÇ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Mü-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ ZÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ aÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ bÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Xû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ cÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Nû-MüÉU bÉÌOûMüÉ
35
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ eÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ fÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ gÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Oû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Pû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Qû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Rû-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ hÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ iÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ jÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ S-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ kÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ lÉ-MüÉU bÉÌOûMüÉ
36
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ mÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ Tü-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ oÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ pÉ-MüÉU bÉÌOûMüÉ
Á LåÇ ¾ûÏÇ ´ÉÏÇ MüLDsÉ¾ûÏÇ WûxÉMüWûsÉ¾ûÏÇ xÉMüsÉ¾ûÏÇ aÉÉRûÉD WÇûxÉÈ qÉ-MüÉU bÉÌOûMüÉ
37
sÉÍsÉiÉÉ E®ÉUhÉ xiÉÉã§ÉqÉç
From the cidagani kundA, arose a big light and a cakra was seen in its midst, later
emerged a form with four hands, this is said in Lalitopakhyana as below:
(sÉÍsÉiÉÉãmÉÉZrÉÉlÉÇ AkrÉÉrÉ - 7 zsÉÉãMü 72 - 76)
mÉëÉSÒoÉïpÉÔuÉ mÉUqÉÇ iÉãeÉÈ mÉÑgeÉqÉlÉÔmÉqÉqÉç |

MüÉãÌOûxÉÔrÉïmÉëiÉÏMüÉzÉÇ cÉlSìMüÉãÌOûxÉÑzÉÏiÉsÉqÉç ||
iÉlqÉkrÉã xÉqÉÑSpÉÔŠ¢üÉMüÉUqÉlÉÑ¨ÉqÉqÉç |
iÉlqÉkrÉã qÉWûÉSãuÉÏqÉÑSrÉÉMïüxÉqÉmÉëpÉÉqÉç ||
eÉaÉSÒ‹ÏuÉlÉÉMüÉUÉÇ oÉë¼ÌuÉwhÉÑÍzÉuÉÉÎiqÉMüÉqÉç |
xÉÉælSrÉïxÉÉUxÉÏqÉliÉÉqÉÉlÉlSUxÉxÉÉaÉUÉqÉç ||
eÉmÉÉMÑüxÉÑqÉxÉƒ¡ûÉzÉÉÇ SÉÌQûqÉÏMÑüxÉÑqÉÉqoÉUÉqÉç |
xÉuÉÉïpÉUhÉxÉÇrÉÑ£üÉÇ zÉ×…¡ûÉUæMüUxÉÉsÉrÉÉqÉç ||
M×ümÉÉiÉUÌ…¡ûiÉÉmÉÉ…¡û lÉrÉlÉÉsÉÉãMüMüÉæqÉÑSÏqÉç |
mÉÉzÉÉƒ¡ÓûzÉã¤ÉÑMüÉãShQû mÉgcÉoÉÉhÉsÉxÉiMüUÉqÉç ||
38
sÉÌiÉiÉÉ xiÉuÉUÉeÉ xiÉÉã§ÉqÉç
After Sri Lalitambika emerged all devas and sages were happy and praised her with the
following hymn.
(sÉÍsÉiÉÉãmÉÉZrÉÉlÉÇ AkrÉÉrÉ - 8 zsÉÉãMü 1 - 30)
eÉrÉ SãÌuÉ eÉaÉlqÉÉiÉeÉïrÉ SãÌuÉ mÉUÉimÉUã |

eÉrÉ MüsrÉÉhÉÌlÉVûrÉã eÉrÉ MüÉqÉMüsÉÉÎiqÉMãü ||
eÉrÉMüÉqÉãzÉuÉÉqÉÉÍ¤É eÉrÉ MüÉqÉÉÍ¤É xÉÑlSËU |

eÉrÉÉÎZÉsÉxÉÑUÉUÉkrÉã eÉrÉ MüÉqÉãÍzÉ MüÉqÉSã ||
eÉrÉ oÉë¼qÉrÉã SãÌuÉ oÉë¼ÉlÉlS UxÉÉÎiqÉMãü |
eÉrÉ lÉÉUÉrÉÍhÉ mÉUã lÉÎlSiÉÉzÉãwÉÌuÉ¹mÉã ||
eÉrÉ ´ÉÏMühPûSÌrÉiÉã eÉrÉ ´ÉÏsÉÍsÉiÉÉÎqoÉMãü |

eÉrÉ ´ÉÏÌuÉeÉrÉã SãÌuÉ ÌuÉeÉrÉ ´ÉÏxÉqÉ×Î®Sã ||
eÉÉiÉxrÉ eÉÉrÉqÉÉlÉxrÉ cÉã¹ÉmÉÔiÉïxrÉ WãûiÉuÉã |

lÉqÉxiÉxrÉæ Ì§ÉeÉaÉiÉÉÇ mÉÉsÉÌrÉ§rÉæ lÉqÉÉã lÉqÉÈ ||
MüsÉÉqÉÑWÕûiÉïMüÉ¸ÉWûqÉÉïxÉxÉÇuÉixÉUÉiqÉlÉã |
lÉqÉÈ xÉWûxÉëzÉÏwÉÉïrÉæ xÉWûxÉëqÉÑZÉsÉÉãcÉlÉã ||
lÉqÉÈ xÉWûxÉëWûxiÉÉoeÉmÉÉSmÉ…¡ûeÉzÉÉãÍpÉiÉã |
AhÉÉåUhÉÑiÉUã SãÌuÉ qÉWûiÉÉãÅÌmÉ qÉWûÏrÉÍxÉ ||
mÉUÉimÉUiÉUã qÉÉiÉxiÉãeÉxiuÉÇ iÉãeÉxÉÉqÉÌmÉ |

AiÉsÉÇ iÉÑ pÉuÉãimÉÉSÉæ ÌuÉiÉsÉÇ eÉÉlÉÑlÉÏ iÉuÉ ||
39
UxÉÉiÉsÉÇ MüOûÏSãzÉÈ MÑüÍ¤ÉxiÉã kÉUhÉÏ pÉuÉãiÉç |
™SrÉÇ iÉÑ pÉÑuÉsÉÉãïMüÈ xuÉxiÉã qÉÑZÉqÉÑSÉ™iÉqÉç ||
SØzÉ¶ÉlSìÉMïüSWûlÉÉ ÌSzÉxiÉã oÉÉWûuÉÉãÅÎqoÉMãü |

qÉÂiÉxiÉã iÉlÉÔcduÉÉxÉÉ uÉÉcÉxiÉã ´ÉÑiÉrÉÉãÅÎZÉsÉÉÈ ||
¢üÏQûÉ iÉã sÉÉãMüUcÉlÉÉ xÉZÉÉ iÉã ÍcÉlqÉrÉÈ ÍzÉuÉÈ |

AÉWûÉUxiÉã xÉSÉlÉlSÉã uÉÉxÉxiÉã ™SrÉÇ xÉiÉÉqÉç ||
SØzrÉÉSØzrÉ xuÉÃmÉÉÍhÉ ÃmÉÉÍhÉ pÉÑuÉlÉÉÌlÉ iÉã |

ÍzÉUÉãÂWûÉ lÉpÉxiÉã iÉÑ iÉÉUMüÉÈ MÑüxÉÑqÉÉÌlÉ iÉã ||
kÉqÉÉï±É oÉÉWûuÉxiÉãã xrÉÑUkÉqÉÉï±ÉrÉÑkÉÉÌlÉ iÉã |

rÉqÉÉ¶É ÌlÉrÉqÉÉ¶ÉæuÉ MüUmÉÉSÂWûÉxiÉjÉÉ ||
xiÉlÉÉæ xuÉÉWûÉxuÉkÉÉMüÉUÉæ sÉÉãMüÉãeÉÏuÉlÉMüÉUMüÉæ |

mÉëÉhÉÉrÉÉqÉÉxiÉÑ iÉã lÉÉxÉÉUxÉlÉÉ iÉã xÉUxuÉiÉÏ ||
mÉëirÉÉWûÉUÎxiuÉÎlSìrÉÉÍhÉ krÉÉlÉÇ iÉã kÉÏxiÉ×QûÉxÉlÉqÉç |

qÉlÉxiÉã kÉÉUhÉÉzÉÌ£üWØïûSrÉÇ iÉã xÉqÉÉÍkÉMüÉ ||
qÉWûÏÂWûÉxiÉãÅ…¡ûÂWûÉÈ mÉëpÉÉiÉÇ uÉxÉlÉÇ iÉuÉ |

pÉÔiÉÇ pÉurÉÇ pÉÌuÉwrÉgcÉ ÌlÉirÉÇ cÉ iÉuÉ ÌuÉaÉëWûqÉç ||
rÉ¥ÉÃmÉÉ eÉaÉ¬É§ÉÏ ÌuÉwuÉmÉëÔmÉÉ cÉ mÉÉuÉlÉÏ |

AÉkÉÉUã iuÉÉÇ mÉëmÉzrÉÎliÉ lÉ xÉqrÉÌXíûÎZÉsÉÉÈ ||
40
™SrÉxjÉÉÌmÉ sÉÉãMüÉlÉÉqÉSØzrÉÉ qÉÉãWûlÉÉÎiqÉMüÉ |
lÉÉqÉÃmÉÌuÉpÉÉaÉÇ cÉ rÉÉ MüUÉãÌiÉ xuÉsÉÏsÉrÉÉ ||
iÉÉlrÉÍkÉ¸ÉrÉ ÌiÉ¸liÉÏ iÉãwuÉxÉ£üÉ cÉ MüÉqÉSÉ |

lÉqÉxiÉxrÉæ qÉWûÉSãurÉæ xÉuÉïzÉYirÉæ lÉqÉÉã lÉqÉÈ ||
rÉÉ SãuÉÏ mÉUqÉÉzÉÌ£üÈ mÉUoÉë¼ÉÍpÉkÉÉÌrÉlÉÏ |

oÉë¼ÉlÉlSÉÍpÉkÉÉlÉÉrÉæ iÉxrÉæ SãurÉæ lÉqÉÉã lÉqÉÈ ||
rÉSÉ¥ÉrÉÉ mÉëuÉiÉïliÉã uÉÌ»ûxÉÔrÉÉãïlSÒqÉÉÂiÉÉÈ |

mÉ×ÍjÉurÉÉSÏÌlÉ pÉÔiÉÉÌlÉ iÉxrÉæ SãurÉæ lÉqÉÉã lÉqÉÈ ||
rÉÉ xÉxÉeÉï ÌuÉkÉÉiÉÉUÇ xÉaÉÉïSÉuÉÉÌSpÉÔËUrÉqÉç |

SkÉÉU xuÉrÉqÉãuÉæMüÉ iÉxrÉæ SãurÉæ lÉqÉÉã lÉqÉÈ ||
rÉrÉÉ kÉ×iÉÉ iÉÑ kÉUhÉÏ rÉrÉÉMüÉzÉÉ±qÉãrÉrÉÉ |

rÉxrÉÉqÉÑSãÌiÉ xÉÌuÉiÉÉ iÉxrÉæ SãurÉæ lÉqÉÉã lÉqÉÈ ||
rÉSliÉUxjÉÇ Ì§ÉÌSuÉÇ rÉSÉkÉÉUÉãÅliÉËU¤ÉMüÈ |

rÉlqÉrÉ¶ÉÉÎZÉsÉÉã sÉÉãMüxiÉxrÉæ SãurÉæ lÉqÉÉã lÉqÉÈ ||
rÉ§ÉÉãSãÌiÉ eÉaÉiM×üixÉëÇ rÉ§É ÌiÉ¸ÌiÉ ÌlÉpÉïUqÉç |

rÉ§ÉÉliÉqÉãÌiÉ MüÉsÉã ÌiÉ iÉxrÉæ SãurÉæ lÉqÉÉã lÉqÉÈ ||
lÉqÉÉã lÉqxiÉã UeÉxÉã pÉuÉÉrÉæ

lÉqÉÉã lÉqÉÈ xÉÉÎiuÉMüxÉÇÎxjÉiÉÉrÉæ |
lÉqÉÉã lÉqÉxiÉã iÉqÉxÉÉã WûUÉrÉæ
lÉqÉÉã lÉqÉÉã ÌlÉaÉÑïhÉiÉÈ ÍzÉuÉÉrÉæ ||
41
lÉqÉÉã lÉqÉxiÉã eÉaÉSãMüqÉÉ§Éã
lÉqÉÉã lÉqÉxiÉã eÉaÉiÉãMüÌmÉ§Éã |
lÉqÉÉã lÉqÉxiÉãÅÎZÉsÉiÉl§ÉÃmÉã
lÉqÉÉã lÉqÉxiÉãÅÎZÉsÉrÉ¥ÉÃmÉã ||
lÉqÉÉã lÉqÉÉã sÉÉãMüaÉÑÂmÉëkÉÉlÉã

lÉqÉÉã lÉqxiÉãÅÎZÉsÉuÉÉÎauÉpÉÔirÉæ |
lÉqÉÉãxiÉÑ sÉ¤qrÉæ eÉaÉSãMüiÉÑwšæ
lÉqÉÉã lÉqÉÈ zÉÉqpÉÌuÉ xÉuÉïzÉYirÉæ ||
AlÉÉÌSqÉkrÉÉliÉqÉmÉÉgcÉpÉÉæÌSMÇü
½uÉÉ‰lÉÉãaÉqrÉqÉiÉMüÉïuÉæpÉuÉqÉç |
AÃmÉqÉ²l²qÉSØÌ¹aÉÉãcÉUÇ
mÉëpÉÉuÉqÉprÉÇ MüjÉqÉqoÉ uÉhrÉïiÉã ||
mÉëxÉÏS ÌuÉµÉãµÉËU ÌuÉµÉuÉÎlSiÉã

mÉëxÉÏS ÌuÉµÉãµÉËU uÉãSÃÌmÉÍhÉ |
mÉëxÉÏS qÉÉrÉÉqÉÌrÉ qÉl§ÉÌuÉaÉëWãû
mÉëxÉÏS xÉuÉãïµÉËU xÉuÉïÃÌmÉÍhÉ ||
42
ShrInagara vimarshanaM
In the last issue, we covered the details of 25 Forts with 100 gOpurAs (Towers) in their
four sides. Each of those forts has the base of 1 yOjanA (9 miles). Now let us look at the
details of the area between ShriNgArA fort and the chintAmaNi gRuhA called
mahApadmATavi which is capable of granting all wishes.
The effective area of the mahApadmATavi is 6 X 6 yOjanAs ( 2916 sq. miles). This area
is embedded with all types of gems and filled with large lotuses that grow from the land.
The stem of these lotuses are 1 yOjanA (9 miles) tall. The leaves of the lotuses are as
tall as 10 palm trees. The petals of these lotuses are approximately 100 muzham (153
ft) in length. These lotuses are extremely beautiful with full of fragrance and very
attractive.
In the eastern side of the mahApadmATavi, there is a circular stage that is 2.25 miles
high and 4.5 miles wide in the form of agni which acts as the base for the viShEsha
arghya pAtrA. On the four sides of this base are the 10 kalA shakti's of Agni (namely -
dUmrArcis, UshmA, avalinI, jVAlinI, visphuliNgikA, sushrI, surUpA, kapilA,
havyavAhanA, kavyavAhanA) .
On top of this agni base is the pAtrA in the form of sun that is 13.5 miles high and 9
miles wide. On the four sides of this pAtrA are the 12 kalA shaktI's of AdidtyA (namely -
tapinI, tApinI, dhUmrA, marIci, mAlinI, ruci, sushumnA, bOgadA, vishvA, bOdinI, dAriNI,
kShamA).
In this pAtrA, the amRutA that has the power to grant the great
AnandA (mOkshA) is filled. This amRutA is mixed with juices of
all kinds of medicinal herbs, fragnance, and ever blossoming
flowers like kalhArA (white water lily), and nIlOtphalA (blue
lotus). This amRutA in the form of moon is worthy of performing
lalitArchana. The beautiful 16 kalA shaktI's of chandra (namely -
amRutA, mAnadA, pUShA, puShTi, tuShTi, rati, drUti, sashini,
candrikA, kAnti, jyOtsanA, shrI, prIti, angadA, pUrNA,
pURnAmRutA) cross this amRutA on small boats made of gems.
In addition to these indukalA shaktI's, 10 brahmakalA shaktI's

(namely – sRusTi (Ruddi), budhi, mEdhA, kAnti, lakShmI, dyati,
sthirA, sthiti, siddhi), 10 vishNu kalA shaktI's (namely – jarA,
pAlinI, shantI, IshvarI, rati, kAmikA, varadA, AhvAhinI, prIti,
dIrghA), 10 rudra kalA shaktI's (namely – tIkShNA, raudrI,
43
bhayA, nidrA, tantrI, kSHud, krOdinI, kriya, utkArI, mRutyu), 4 Ishvara kalA shaktI's
(namely - pItA, shvEtA, aruNA, asitA), and 16 sadAshiva kalA shaktI's (nivRuti,
pratiSHTA, vidyA, shanty, indikA, dIpikA, rEcikA, mOcikA, parA, sUkShmA,
sUkSmAmRutA, jAnA, jAnAmRutA, ApyAyinI, vyApinI, vyOmarUpA) also go across this
amRutA in small boats made of gems.
On top of it, thousand and thousands of vidhyAs take the form of shaktI and stay in that
amRutA. This amRutA is fed to all those who live in the mahApadmATavI and also to
the parichAra (assistants) dEvatA's who live in the chintAmaNi gRuhA's. This AmrutA is
constantly served to these dEvatAs like aNimA in gem studded golden kalashas. In
spite of this constant serving, the amRutA is always full and always fresh in the arghyA
pAtrA and never decreases.
In the AgnimUlA corner (SouthEast) of the mahApadmATavi, an agni kundA (havan

kund) is located. This is 1 yojanA (9 miles) in length on all sides and 1 yOjanA (9 miles)
deep. Here dwells the chidagni bhagvAn granting all wishes to the lalitA bhaktAs. The
fire glows constantly in this havan kund without any firewood or fuel. Since agni is fed
with the amRutA, he shines like the virgin leaves of the ashokA tree. KAmEshwarI and
kAmEshvarA themselves perform the havan in this havan kund.
In the Niruruti corner (SouthWest) of the mahApadmATavi, the great cakrarAjA chariot
is situated. This is 4 yOjanA (36 miles) wide and 10 yOjanA (90 miles) high. There are
nine layers in this chariot and the higher layers have smaller areas compared to the
layer below. The four vEdAs are the four wheels of this chariot and the four horses are
the four purushArthAs (dharma, artha, kAma, and mOkshA). Several beautiful flags and
cAmarAs adore the chariot. This chariot is king and best of all chariots and hence called
cakrarAjA.
In the vAyu corner (Northwest) of the mahApadmATavi, the chariot for mantriNI dEvi,
gEyacakrA is situated.This is 4 yOjanA (36 miles) wide and 7 yOjanA (63 miles) high.
This chariot is made of seven layers and maNtriNI's AvaraNa shaktI's occupy the
respective layers of the chariot.
In the IshAna corner (Northeast) of the mahApadmATavi, the chariot for daNDanAthA
dEvi, kiricakrA is situated. This is 4 yOjanA (36 miles) wide and 6 yOjanA (54 miles)
high. This chariot is made of six layers and vArAhI's AvaraNa shaktI's occupy the
respective layers of the chariot.
The construction and dimensions of these places and chariots are the same at all of the
16 shrIpura kShEtrA's.
Behind the chidagni kudA in the agnimUlA (southeast corner), on the western side, is
located the house of gAyatri dEvi. Behind that house towards the west is the house for
44
abhayankarA, behind that is the house for a suryA called GruNi, behind that is the
house for praNavA, behind that is the hosue for turiya gAyatrI, behind that is the house
for cakShushmati, behind that is gandharva rAjA, behind that is patishad rudrA, and
finally the house for tArAmbA.
In the nirrutI mUlA (southwest corner) behind the cakra rAjA towards the northern side,
is located the house of achutA, anantA, and goVindA (nAmatraya dEvatA) form of
viShNu, behind that towards the north is the house of mahAgaNapati, behind that is the
house of panchAksharI svarUpA of shivA, behind that is the hosue of trayakShari
svarUpA of mRutyunjayA, behind that is the house of sRutidhAriNi form of saraswati,
behind that are the mAtrukAkSharA svArUpA of saraswati, behind that lives sampatkari,
behind that lives kAlasaMkarShiNI, behind that lives mahA shambhu nAthA, behind that
lives shrI parAmbA. Behind that lives bAlAmbA along with her anga dEvatAs
annapUrNAmbA and ashvArUDA. shrI pAdukA is situated behind that.
In the vAyumUlA (northwest corner) are the houses of laghu shyAma, vAgvAdiNI,
nakulI, and mahAshyAmA. From the vAyu muLa towards the north are the houses of
unmatta bhairavI, svapna vArAhi,tiraskaraNi, and pancamI. Behind these houses are
the houses of the great dEvatAs shrI pUrti mahA dEvi and mahA pAdukA.
Thus, the rashmimAlA dEvatAs with great radiance are situated in the mahApadmATavi
in their respective positions and tall houses.
In the eastern side of the mahApadmATavi, behind the arghya pAtrA and towards the
chintAmani gRuha, on the either side of the door steps of the chintAmaNi grUhA are the
houses of maNtriNi (on the south) and vArAhi (on the north). On the eastern side of the
arghya pAtra (towards the shrUngAnA fort) are located the grand houses of brahmA,
viShNu, rudrA, mahEshvara, and sadAshivA. The arghya sthApaNa and kalpanA as
described in the eastern side are located on the south, west, and northen sides as well.
Thus completes the description of the mahApadmATavI area of the shrInagarA. We

shall see the beauty of cintAmaNI grUhA in the next issue.
<To be continued>
45
UÎzqÉqÉÉsÉÉ xiÉÉã§ÉqÉç
We have now seen the Sri Nagara with the dieties in the enclosure in detail. These
dEvatAs also formed a part of the Sri LalithA - BhandasurA war in the form of divine
weapons discharged by Sri LalithA against the weapons of BhandasurA. Hence we are
directed by Sri Bharagava rAma to chant them in the morning bedside ritual. A rare
stotra in a couplet of the dhyana slokas of these dEvatAs were found and are shared for
the benefit of all upasakas.
असिंख्मात भहोः ऩुञ्जवऩञ्जयीकृत ववग्रहिं -

यष्मभभारािं अहिं वन्दे भहात्रऩयु सन्
ु दयीिं ||
अऺस्रक्तकुष्णिकाहस्तािं िुद्धस्पदिकसष्न्नबािं-
सवतववद्द्माभमीिं वन्दे गामरीिं वेद भातयिं ||
आरूढ ऐयावतिं ममाभिं सहस्र नमन ज्जज्जवरिं-

स्पुयत ् वज्रप्रहयणिं नौभीन्रिं अबमङ्कयिं ||
यक्तताम्फयिं यक्ततबष
ू िं यक्ततिं यक्तताब्ज तनटपुयिं –
वाभािष्क्तत सभाष्मरटििं घणृ णसूमभ
त हिं बजे ||
ओिंकाय वाच्मिं उच्चाणि चणिाम्िु सदृिप्रबिं-

वासुदेवाशबदिं ब्रह्भिं ववमवगबतभुऩाश्रमे ||
दे वीिं तुयीम गामरीिं तुयीमातीत ऩदाश्रमािं –

ऩय यजोः प्रकािात्तभा थचततरूऩभहभाश्रमे ||
चऺुस्तेज भमिं ऩुटऩ कन्दक

ु िं त्फभ्रतीिं कयय ोः-
यौप्म शसम्हसनारूढािं दे वीिं चऺुटभतीिं बजे ||
46
धत
ृ कल्हाय भाराशबोः कन्माशबोः ऩरयवारयतिं-
ष्स्थतशभऺुयथे ववमवावसिंु गन्धवतभाश्रमे ||
आत्तत सज्जज धनफ

ु ातण िङ्क एणिं वष
ृ बष्स्थतिं-
अन्न ऩूणात सभाष्मरटििं ऩथथिरर
ु भाश्रमे ||
नौका शसम्हसनारूढािं(िाक्तम)िाक्ततदितनदे वतािं –

जराऩच्छभनीिं वन्दे तायािं वारयथधभेचाकािं ||
सभस्त दरु यत वमाथध सिंघ र्धविंस सिंऩुिीमसे –

अच्मुतानन्त ग ववन्द नाम्ने धाम्ने नभ नभोः ||
शसन्दयू ाबिं रक्ष्मम्माशरङ्गिं ववकििं कुञ्जयानानािं–

भहागणऩततिं दे विं बक्तत ववघ्नघ्नभाश्रमे ||
चन्राबोः चन्रभुकुि: कुठायभग

ृ धायकोः –
वयाबम धयोः ििंबु ऩञ्चाऺय भम वऩुोः ||
ऊर्धवातध भुखऩद्मान्तष्स्थतिं भत्तृ मुञ्जमेमवयिं –

वन्दे भत्तृ म ोः प्रहतातयिं चन्रक दि सि
ु ीतरिं ||
चतुयानानािं अम्ब जतनषणणिं बायती सखिं –

अऺभारावयाबीतत कभणिरध
ु यिं नभ
ु ोः ||
ऩञ्चाित भातक
ृ ाणणोः आयब्धाणखरदे हमा-
सभस्त ववद्द्मारूवऩणीिं र्धमामेऽहिं भातक
ृ ाष्म्फकािं ||
47
श्रीदे वी बवू षत त्तसाङ्गिं सान्र शसन्दयू य थचषिं–
हकायदद भन वातच्मिं वन्र काभेमवयिं हयिं ||
अनेक क दि भातङ्ग यथ ऩङ्ष्क्ततशब:-

सेववतािं अरुणाकायािं वन्दे सिंऩत्तसयस्वतीिं ||
सष्ृ टि ष्स्थततभमािं सिंरृत्तमाऽनाख्मा बासमाथश्रतािं-

िूर कन्था कऩाराढमािं चणिम गीमवयीिं नुभोः ||
ऩूणातहन्तास्वरूऩाम तस्भय ऩयभिम्बवे –

आनन्द ताणिव द्दणि ऩष्णिताम नभ नभोः ||
अकरिंक ििािंकाबा त्र्मऺा चन्रकरावती-

भुरा ऩुस्त रसद्द्फाहुोः ऩातुभािं ऩयभा करा ||
ऩािािंकुिाऺवरमा ववद्द्मा ऩुस्तक धारयणीिं –

नववषात बजे फारािं दाडिभी कुसुभ प्रबािं ||
दारयद्र्म ियरदम्ब शर ऺीयान्नऩूणद

त ववतका-
अन्नऩण
ू ात ऩयानन्दकरयणी ऩातु नोः सदा ||
फद्द्र्धवा ऩािेनािंकुिेन कृटमभाणा स्वसार्धमकिं-

घ्नाष्न्तिं वेरण
े वल्कासक्त
ृ ऩाणणिं अमवाननािं बजे ||
तेज भम भहाववद्द्मािं िेखयाष्ञ्चत भस्तकािं-

यक्ततिं चतब
ु ज
ुत ािं वन्दे श्रीववद्द्मा गरु
ु ऩादक
ु ािं ||
48
ऩण
ु रेऺुक दणिािं ऩटु ऩेषु सिंसण
ृ ीगण
ु िं-
यक्ततािं काभेमवयािंकस्थािं वन्दे ऩयदे वतािं ||
ममाभरानीरवसनािं िङ्खकुणिरधारयणीिं –
र्धमामाम्मबीटि भातङ्गी वममाकषतण कारयणीिं ||
ऩण
ु ेन्द ु भणिर छामा वाचा शसवद्ध प्रदातमनी-
साऺभारा सऩुस्ता चा वाग्वाददन्मस्तु भे रृदद ||
नकुरी वज्रदन्तारी सार्धम ष्जह्वादह दिं शितन-

बक्तत वक्तरत्तवा जनजी बावनीमा सयस्वती ||
वन्दे गुवाांति भकुिािं ममाभरिं िुक ऩाणणनीिं-

सभस्त शसवद्धजननीिं ममाभरा गुरुऩादक
ु ाभ ् ||
िुक वीणा रसत्तऩाणणिं िुद्ध ववद्द्माभदहभमीिं –

ममाभािं नीऩवनान्तस्थािं वन्दे सिंगीत म थगनीिं ||
भहाणतवे तनऩथधतिं उद्धयष्न्तिं वसुन्धयािं-

भहा दिं ट्ािं भहा कामािं नभाम्मन्
ु भत्तत बययवीिं ||
स्वप्ने िुबािुबिं बावव वदष्न्त बक्ततकामतम ोः-

स्वप्नहारयणीिं वन्दे वयादहिं स्वप्न नातमकािं ||
भुक्ततकेिीिं वववासनिं सवातबयण बूवषतािं-

स्वम तन दितन न्भह्
ु ममत्तऩिु वगाां नभाम्महिं ||
49
दे शिकाष्म्ि रसन्भौशरिं खड्थगतनिं च कऩाशरतनिं –
बावमाशभ घनच्छामािं ऩञ्चभी गरु
ु ऩादक
ु ािं ||
हरिं कऩारिं भस
ु रिं वयिं ऩाणीषु त्फभ्रतीिं –
करमे क रवदनािं नीर वारयधयप्रबािं ||
सवत ववद्द्माभमीिं सवत िष्क्तत ऩीठ स्वरूवऩणीिं-

श्रीऩूततत दे वतािं वन्दे श्रीकयीिं भुष्क्तत दातमतनिं ||
कन्दये रृदमे पारे दे शिकाष्म्ि मुग रमिं-

दधतीिं दीप्त बूषाढमािं श्री भहा ऩादक
ु ािं नुभोः ||
इया त्रऩुयबययवमा सह सिंहायबययवोः-

यक्तताशबधान म थगन्माोः सायस्चावऩ ऩञ्चभोः ||
चाभुणिेतत स्वस्व भन्र ऩद वाक्तमाोः ऩय न्भुधा –

ववद्द्मा शसवद्धकयी वन्दे रशररा ववघ्न दे वता ||
हसष्न्त हशसताराऩा भातङ्गी ऩरयचारयका –

वेर हस्ता रृदद र्धमेमा ममाभरा ववघ्न दे वता ||
स्तष्म्बतन ऩञ्चशभ भन्र ववघ्नस्तम्बन कारयणी –

थचनतनीमा सदा थचत्तते तद्द्ववद्द्मा शसवद्ध दातमतन ||
कराणतभन्र वाच्मातन ववघ्नघ्नातन भनीवषणौ –

नभ
ु स्सवातणण बत
ू ातन सवत द ष तनवत्तृ तमे ||
50
भहा ऩद्मािवी वासययभीशबदे वतागणयोः –
सेववताभशभतािं वन्दे रशरतािं ऩयभेमवयीिं ||
मा यष्मभभारा स्ततु तशभत्तमद

ु ग्रािं – ताल्ऩात्तसभद
ु धत्तृ म जऩेत्तप्रबाते ||
सवतस्म शसवद्ध स्ऩह
ृ नीमभतू तत – ववऩष्त्तत भक्त
ु तौ ववजमी च जीमात ् ||
इतत यष्मभभारा स्त रिं सिंऩूणां
51
Á LåÇ ¾ûÏÇ ´ÉÏÇ zÉoS iÉlqÉÉ§ÉÉiqÉMü WûËU cÉlSlÉ uÉÌOûMüÉ qÉkrÉå zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ
AÉqsÉ UxÉÉiqÉlÉå aÉëÏwqÉ GiÉÑ lÉÉjÉÉrÉ lÉqÉÈ
52
aÉëÏwqÉ GiÉÑlÉÉjÉ AÉuÉUhÉqÉç
mÉÏPû mÉÔeÉÉ -
Á qÉhQÕûMüÉÌS mÉUiÉiuÉÉrÉ lÉqÉÈ |
aÉëÏwqÉ GiÉÑlÉÉjÉ AÉuÉÉWûlÉqÉç -
xÉliÉÉlÉuÉÉÌOûMüÉmÉÉsÉÉã aÉëÏwqÉiÉÑïxiÉÏuÉësÉÉãcÉlÉÈ |
sÉÍsÉiÉÉÌMÇüMüUÉã ÌlÉirÉÇ iÉxrÉÉ AÉ¥ÉÉmÉëuÉiÉïMüÈ |
zÉÑ¢ü´ÉÏ¶É zÉÑÍcÉ´ÉÏ¶É iÉxrÉ pÉÉrÉÉãï EpÉã xqÉ×iÉã ||
Á LåÇ ¾ûÏÇ ´ÉÏÇ zÉoS iÉlqÉÉ§ÉÉiqÉMü WûËU cÉlSlÉ uÉÌOûMüÉ qÉkrÉå zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ
AÉqsÉ UxÉÉiqÉlÉå aÉëÏwqÉ GiÉÑ lÉÉjÉÉrÉ lÉqÉÈ| - mÉÑwmÉÉgeÉÍsÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ AÉuÉÉÌWûiÉÉã pÉuÉ | - AÉuÉWûlÉ qÉÑSìÉÇ
mÉëSzÉïrÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ xjÉÉÌmÉiÉÉã pÉuÉ | - xjÉÉmÉhÉ qÉÑSìÉÇ mÉëSzÉïrÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ xÉÇÎxjÉiÉÉã pÉuÉ | - xÉÇÎxjÉiÉÉã qÉÑSìÉÇ
mÉëSzÉïrÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ xÉÍ³ÉÂkÉÉã pÉuÉ | - xÉÍ³ÉÂkÉ qÉÑSìÉÇ
mÉëSzÉïrÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ xÉqqÉÑZÉÏ pÉuÉ | - xÉqqÉÑZÉÏ qÉÑSìÉÇ mÉëSzÉïrÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ AuÉMÑüÎhPûiÉÉã pÉuÉ | - AuÉMÑühQûlÉqÉÑSìÉÇ
mÉëSzÉïrÉ
Á zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑ lÉÉjÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ | - uÉlSlÉ
SãlÉÑ rÉÉãÌlÉ qÉÑSìÉÇ¶É mÉëSzÉïrÉ
53
wÉQû…¡û iÉmÉïhÉqÉç -
Á ¾ûÉÇ ™SrÉÉrÉ lÉqÉÈ | ™SrÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ûÏÇ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUÉã zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ÕÇû ÍzÉZÉÉrÉæ uÉwÉOèû | ÍzÉZÉÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾æÇû MüuÉcÉÉrÉ WÕÇû | MüuÉcÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ûÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû | lÉã§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ûÈ Ax§ÉÉrÉ TüOèû | Ax§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
sÉrÉÉ…¡û iÉmÉïhÉqÉç -
Á aÉëÏÇ aÉëÏwqÉ GiÉÑlÉÉjÉÉrÉ lÉqÉÈ | - zÉÑ¢ü´ÉÏ zÉÑÍcÉ´ÉÏ xÉqÉãiÉ aÉëÏwqÉ GiÉÑlÉÉjÉ ´ÉÏ
mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ | (10 uÉÉUqÉç)
Á zÉÑ¢ü´ÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉ´ÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
54
aÉëÏwqÉ cÉ¢üÈ
mÉëjÉqÉÉuÉUhÉqÉç - Ì§ÉMüÉãhÉã
Á zÉÑ¢üzÉÑYsÉmÉëjÉqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑ¢üzÉÑYsÉÌ²iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉiÉ×iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
55
LiÉÉÈ mÉëjÉqÉÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ
xÉliÉÌmÉïiÉÉÈ xÉliÉÑ¸ÉÈ xÉliÉÑ lÉqÉÈ |
ApÉÏ¸ÍxÉÎ®Ç qÉã SãÌWû zÉUhÉÉaÉiÉ uÉixÉsÉ |

pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ mÉëjÉqÉÉuÉUhÉÉcÉïlÉqÉç ||
AlÉãlÉ mÉëjÉqÉÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
Ì²iÉÏrÉÉuÉUhÉqÉç - mÉgcÉMüÉãhÉã
Á zÉÑ¢üzÉÑYsÉcÉiÉÑjÉÏï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑ¢üzÉÑYsÉmÉgcÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉwÉ¹Ï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉxÉmiÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉÉ¸qÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LiÉÉÈ Ì²iÉÏrÉÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ


pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ Ì²iÉÏrÉÉuÉUhÉÉcÉïlÉqÉç ||
56
AlÉãlÉ Ì²iÉÏrÉÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
iÉ×iÉÏrÉÉuÉUhÉqÉç - A¹SsÉã
Á zÉÑ¢üzÉÑYsÉlÉuÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑ¢üzÉÑYsÉSzÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉLMüÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉ²ÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉ§ÉrÉÉãSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üzÉÑYsÉcÉiÉÑSïzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢ü mÉÔÍhÉïqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ mÉëjÉqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LiÉÉÈ iÉ×iÉÏrÉÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ


pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ iÉ×iÉÏrÉÉuÉUhÉÉcÉïlÉqÉç ||
AlÉãlÉ iÉ×iÉÏrÉÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
iÉÑËUrÉÉuÉUhÉqÉç - wÉÉãQûzÉSsÉã
Á zÉÑ¢üM×üwhÉ Ì²iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑ¢üM×üwhÉ iÉ×iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
57
Á zÉÑ¢üM×üwhÉ cÉiÉÑjÉÏï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ mÉgcÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ wÉ¸Ï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ xÉmiÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ A¸qÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ lÉuÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ SzÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ LMüÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ ²ÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ §ÉrÉÉãSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢üM×üwhÉ cÉiÉÑSïzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑ¢ü AqÉÉuÉÉxrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ mÉëjÉqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ Ì²iÉÏrÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LiÉÉÈ iÉÑËUrÉÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ


pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ iÉÑËUrÉÉuÉUhÉÉcÉïlÉqÉç ||
AlÉãlÉ iÉÑËUrÉÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
58
mÉgcÉqÉÉuÉUhÉqÉç - SzÉSsÉ mÉ©ã
Á zÉÑÍcÉzÉÑYsÉ iÉ×iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑÍcÉzÉÑYsÉ cÉiÉÑjÉÏï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ mÉgcÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ wÉ¸Ï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ xÉmiÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ A¸qÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ lÉuÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ SzÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ LMüÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉzÉÑYsÉ ²ÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LiÉÉÈ mÉgcÉqÉÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ


pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ mÉgcÉqÉÉuÉUhÉÉcÉïlÉqÉç ||
AlÉãlÉ mÉgcÉqÉÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
wÉwšÉuÉUhÉqÉç - SzÉSsÉ mÉ©ã
Á zÉÑÍcÉzÉÑYsÉ §ÉrÉÉãSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑÍcÉzÉÑYsÉ cÉiÉÑSïzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
59
Á zÉÑÍcÉ mÉÔÍhÉïqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ mÉëjÉqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ Ì²iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ iÉ×iÉÏrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ cÉiÉÑjÉÏï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ mÉgcÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ wÉ¸Ï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ xÉmiÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LiÉÉÈ wÉwœÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ


pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ wÉwœÉuÉUhÉÉcÉïlÉqÉç ||
AlÉãlÉ wÉwœÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
xÉmiÉqÉÉuÉUhÉqÉç - cÉiÉÑUxÉëã
Á zÉÑÍcÉM×üwhÉ A¸qÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á zÉÑÍcÉM×üwhÉ lÉuÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ SzÉqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ LMüÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ ²ÉSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉM×üwhÉ §ÉrÉÉãSzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
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Á zÉÑÍcÉM×üwhÉ cÉiÉÑSïzÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á zÉÑÍcÉ AqÉÉuÉÉxrÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LiÉÉÈ xÉmiÉqÉÉuÉUhÉ SãuÉiÉÉÈ xÉÉ…¡ûÉÈ xÉÉrÉÑkÉÉÈ xÉzÉÌ£üMüÉÈ xÉuÉÉãïmÉcÉÉUæÈ xÉqmÉÔÎeÉiÉÉÈ


pÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ xÉmiÉqÉÉuÉUhÉÉcÉïlÉqÉç ||
AlÉãlÉ xÉmiÉqÉÉuÉUhÉÉcÉïlÉãlÉ ´ÉÏ aÉëÏwqÉ GiÉÑlÉÉjÉ mÉëÏrÉjÉÉqÉç |
mÉgcÉmÉÔeÉÉ
sÉÇ mÉ×jurÉÉiqÉlÉã aÉlkÉÇ MüsmÉrÉÉÍqÉ |

WÇû AÉMüÉxÉÉiqÉlÉã mÉÑwmÉÉÍhÉ MüsmÉrÉÉÍqÉ |
rÉÇ uÉÉruÉÉiqÉlÉã kÉÔmÉÇ MüsmÉrÉÉÍqÉ
UÇ AalrÉÉiqÉlÉã SÏmÉÇ MüsmÉrÉÉÍqÉ |
uÉÇ AqÉ×iÉÉqÉlÉã AqÉ×iÉÇ qÉWûÉlÉæuÉã±Ç MüsmÉrÉÉÍqÉ |
xÉÇ xÉuÉÉïiqÉlÉã iÉÉqoÉÔsÉÉÌS xÉuÉÉãïmÉcÉÉUÉlÉç MüsmÉrÉÉÍqÉ |
61
´ÉÏ uÉãSurÉÉxÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ
62
vyAsa caritam
As a classifier of vEdas, compiler of purANas, and author of vEdAnta sUtrA's and
mahAbhAratA, shrI vEda vyAsA has played a key role in the preservation and spreading
of the shrutI's and smRuti"s. While most scriptures praise shrI vEda vyAsA and refer to
him as teacher and a great sage, the glimpses of the life history of vEda vyAsa is given
primarily in vAyu purANa, dEvi bhAgavata purAnA, bhAgavata purANA, and of course
mahAbhAratA where the sage himself plays a role at many times.
This article is a small attempt made to gather information provided in all of these
purANA's about shrI vEda vyAsA and present a life history of the great sage.
Family tree of vEda vyAsA:
urÉÉxÉÇ uÉÍzÉ¸lÉmiÉÉUÇ zÉ£ãüÈ mÉÉæ§ÉqÉMüsqÉwÉqÉç |

mÉUÉzÉUÉiqÉeÉÇ uÉlSã zÉÑMüiÉÉiÉÇ iÉmÉÉãÌlÉÍkÉqÉç ||
63
Shishya paramparA of vEdavyAsA
Birth:
The Chedi Kingdom was ruled by a pious king called uparicAra vAsu and his beautiful
queen girikA. He was a great warrior and devoted to his subjects. He performed several
yajnAs and pleased with his devotion, indrA gifted him an AkAsha vimANA (flying
chariot). One day, the queen had a strong desire to bear a child from him and called
upon the king but the king was about to leave to the forest for hunting. While going in
the viMANA over the forests, he saw some animals mating and started thinking about
his queen and her desire and his emotions overpowered his mental and physical
controls and resulted in the release of his virility. The king did not wish to waste this and
retained it in a leaf and commanded a falcon to carry the packet and deliver it to his
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queen along with a message. The falcon took the packet and was flying over the river
kAlinDi (yamuNA) to deliver the leaf packet to the queen.
At the same time, an apsarA named adrikA was bathing in the river yamuNA and
mistakenly hit the feet of a brahmin who was performing his daily prayers. By seeing the
apsarA disturbing his prayers, the brahmin cursed the apsarA to become a fish. The fish
was sad and pleaded to the brahmin to revoke the curse as it was more of an accident
and not done intentionally. The brahmin said that the curse will be removed when she
delivers babies.
Now, another falcon saw the falcon with the packet and thought the packet to be a piece
of meat. Hence it chased the falcon to fight for the packet. Thus emerged a fight
between the falcons over the river and in the course of the fight, the leaf packet was
dropped. The apsarA, now a fish, was watching this with awe (mouth wide open), and
the packet dropped right into its mouth and the fish instantly became pregnant.
Nine months later, the fish was caught by a fisherman and was surprised to see the fish
deliver twin babies - a boy and a girl. With this, the apsarA's curse also got resolved and
after blessing the babies, she vanished. In those days, any unusual treasures should be
presented to the kings and following this custom, the fisherman took the babies and
presented to the king.
Upon seeing the babies, the pious king with mystic powers, immediately knew that they
are his own progeny. It is also customary for the kings in those days to share the
treasure with the finder as well. Hence the king decided to keep the boy and gave away
the girl to the fisherman along with lots of riches.
The baby girl was extremely beautiful with unique features. However, since she was
born out of the fish's womb, she smelled like a fish. Hence she was named
"matsyagandhA" or "matsyOdhari". She grew up to a beautiful damsel and helped her
father (fisherman) in fishing and navigating the boats across the river.
Sage parAsharA who is the grandson of vashistA is a skilled master in astrology. He

has written a book called parAshara samhitA (or parAshara hOrA) that gives great
details about the planetary positions and constellations and a masterpiece in astrology.
During his astrological research, he was aware of a time when a man and a woman
copulate, would be able to bring a child of vishNu amshA and can do great service to
the preservation of vEdA's for the future generations.
On the day when such a planetary positions were getting close, he happened to come
to the banks of the river kAlindI. He was looking to cross the river soon and asked the
boatman to take him across. The boatman was having his food at that time and asked
his daughter matsyagandhA to help the sage cross the river to which she happily
65
agreed. While crossing the river, the sage realized that the planetary conditions are
condusive to bring a son with viShNu amsA and shared this with matsyaganDhA (this
story is presented different in other purAnA's as if the great sage parAsharA fell in
instant love with matsyagandhA and made advances towards attaining her). Upon
listening to the great sage, MatshyagandhA was willing to oblige to his request but
wanted to have it in private instead. In addition, she also asked for two wishes to be
fulfilled to which the sage agreed to. The wishes were - 1. She should no longer emit
the smell of a fish instead she should start emitting divine fragrance like devakanyA's. 2.
Even after bearing the child, she should still go back to her house as a virgin. Sage
parAsharA agreed to these conditions and matsyAgandhA started emitting the
fragrance like kasturI and thus became kastUrigandhA. ParAsharA also called her
satyavatI.
After agreeing to these conditions, sage parAsharA created a great mist that covered
the area and also formed a small island in the middle of the river kAlindI. After the
sage's wish was fulfilled, satyavatI immediately delivered a son with full of radiance and
with vishNU amshA who grew up instantly to a grown up sage and bowed down to the
parents and asked for their permission to allow him to goto the mountains to perform
tapasyA. Since the son was born with viShNu amshA and also in the middle of river
kAlindI, he had a dark complexion. Sage parAsharA named the son krishNA and since
he was born in the middle of the island, he came to be known as krishNa dvaipAyanA.
urÉÉxÉÉrÉ ÌuÉwhÉÑ ÃmÉÉrÉ urÉÉxÉ ÃmÉÉrÉ ÌuÉwhÉÉuÉã |

lÉqÉÉã uÉæ oÉë¼ ÌlÉkÉrÉã uÉÉÍxÉ¸ÉrÉ lÉqÉÉã lÉqÉÈ ||
At this point, satyavatI, out of her motherly emotions could not get seperated from her
son. Noticing this, krishna dvaipAyaNA consoled his mother that she will be able to
meet him whenever she wants to. With this, he retired to the mountains to perform his
penance. Satyavathi dropped parAsharA on the other side of the banks of kAlindI and
returned home.
Classification of vEdAs:
The purANas remain silent after this episode of krishNa dvaipAyaNA and references are
made only after he has become a great sage on his own merits and has become a great
master living in badarikAshrama. He learnt the vEdAs from the sage JatukarnA. It is
believed that he had learnt from other sages like sanaka, sanathkumara etc as well.
KrishNA dvaipAyaNA realized that the people have become dull and were unable to
comprehend the vEdAs as it is and he felt the need that the vEdAs had to be classified
so that it would be possible for the people of the new yugA to be able to follow atleast
66
one classification during their lifetime. His genuine thought was also reassured by
BrahmA who blessed kRShNa dvaipAyANA to commence this noble work.
He classified the vEdAs into four - rig, yajur, sAma, and atharvaNa. In addition, he also
compiled the 18 mahApurANa's that supported the teachings of the vEdA's. Thus, he
came to be known as vEda vyAsA (vyAsa - describes; vEda vyAsa - one who described
[classified] vEdAs).
He had 5 main shisyA's and he taught each one a specific area as listed below:
pailA - rig vEdA,
vaishAmpAyaNA - yajur vEdA,
jaiminI - sAmA vEdA,
sumantA - atharvaNa vEdA, and
rOmAharShaNa - purANA's.
Title of vEda vyAsA
Similar to the titles of IndrA and BrahmA, vyAsA is also not the name of a person but a
title offered to a person. The purANAs say that at the end of each dvApara yugA, a
viSHNu will reappear to rejenuate vEda samrakShaNa and will attain the title of vyAsA.
In this vaivasvata manvantarA, there have been 28 cycles so far and during each cycle,
there was a vyAsA who reclassified vEdAs for the betterment of the world.
The viShNU purAnA and vAyu purANA gives the list of 28 vyAsA‟s. However, there are
differences in the list at some places. Both the lists are provided here for the sake of
completion.
Yuga VishNu purANA VAyu purANA

1 Caturmukha brahmA Caturmukha brahmA
2 prajApati Satya prajApati
3 shukrAcAryA bhArgavA
4 bRuhaspati AnGirAs
5 sUryA saviTru
6 yamA mRtU
7 indrA shatakRutU
8 vashiShThA vashiShThA
9 sArasvatA sArasvatA
10 tridhAmA tridhAmA
11 trishikhA tiShThat
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12 bhAradwAjA shatatEjA
13 antarikShA nArAyaNadharmA
14 varNin Su-RkshA
15 trayAruNA AruNI prabhu
16 dhananjayA Sanjaya prabhu
17 kRutaNjayA kRutaNjaya prabhu
18 jayA Rutanjaya muni
19 bharadvAjA bharadvAjA
20 gautamA vAcaH shravaH
21 uttamA vAcaspati
22 vacaHshravA shuklAyaNA
23 trINabindhu trINabindhu
24 RukShA RukShA
25 Shakti (son of vashishThA) Shakti
26 parASharA parASharA
27 jAtukarNA jAtukarNA
28 kRuShNa dvaipAyaNA kRuShNa svaipAyaNA
In the next cycle (29th) the son of drOnA, (ashvattAmA) will be the vyAsA.
References:
vAyu purAna, mAhEshvarAvatArayOga, trayOviMshAt adhyAyaH
visHNU purAnA, amsA 3, chapter 3)
Birth of shuka maharishi
One day, as he was doing his meditation, he saw two baby sparrows crying for food.
The parent sparrows with utmost care and tender came down to feed them. They flew
here and there, found food and came back quickly. On the arrival of the parents, the
babies were jubliant and opened their ruby little mouths. After having their food, the
babies hid under the wings of the parents and slept peacefully. The parents watched out
for the babies with love and affection. Seeing this scene, the parental instinct within
Veda vyAsA was kindled.He realized that the love of children was pure and
unconditional and close to divine in this material world. Moreover the shastrAs also
dictate that a man without a son has no place in the heaven.
With a sorrow filled heart, vEda vyAsA starting walking towards the himAlayA
contemplating on towards whom to do penance to grant a child. Narada appeared at
that moment and suggested vyAsA to goto Meru mountain and pray to tripurasundari as
she is both the bOgha and mOkshadAyinI.
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VEdavyAsA happily started to do his tapas for over hundred years. Shiva and Parvati,
pleased by his penance granted him the boon of getting a son who would be a rare
example of Purity, Great Virtue and Spiritual Enlightenment.
VyAsA returned to his AshramA and started to perform a havan to please the Gods for
granting the boon. In those days, the fire was kindled by rubbing two sticks called Arani.
While he was rubbing the Arani sticks, an apsara named GhRtAcI happened to pass by
and seeing the maharishi rubbing sticks, she fell in love with him. VyAsA was
concentrating on his work and hence did not notice the apsara. In order to gain the
maharishI's attention, the apsarA took the form of a parrot and flew past him and the
breeze that came from the wings and the looks of the apsara caught the attention of the
great rishi and unable to resist her beauty, vyAsA discharged his virility on the AraNi
sticks and kept on rubbing them. Immediately fire came out of the AraNI sticks and out
of the fire came a tEjasvI putrA (radiant son) who resembeled vyAsA himself expect for
the nose. The nose looked like a parrot (shukA) as the rishi lost his vIryA by looking at
the parrot.
VyAsA conducted a naming ceremony for his son and named him "shukA". The
Maharshi enjoyed supreme happiness in fondling the child and bringing him up. He was
in fact born with full comprehension of the Holy Scriptures and added to this, vEda
vyAsA‟s early training and subsequent tutorship under dEva guru Brihaspati made him
an excellent „JnAni‟. He learnt vEdas, shAstras, and the entire gamut of scriptures
beyond which there perhaps was left little that was worthy of imbibing. As the
brahmachari attained marriageable age, vyAsA desired to perform the wedding of shuka
Muni who resisted the idea vehemently. He said that having been trained as an ascetic,
he had no desire whatsoever to enter into married life. vEda vyAsA explained that that
according to shAstrAs, the stage of „Grhastya‟ or married life was an integral part of
human life of the four Ashrama dharmA. - „Brahmacharya‟, „Grhasta‟, „Vanaprastha‟,
and „Sanyasa‟ as that was a logical evolution of normal living. Shuka Muni counter-
explained that human life was a very valuable achievement and as such he would rather
abstain from the so-called pleasures, causing the inevitable pain, that „Samsara‟ was a
knife-edge existence of humanity and that he would prefer the skip-up of the Grhastha
phase in his limited existence. SukhA brahmA further gave numerous couter arguments
to stress his points to which vyAsA listened quietly.
VyAsA understood that sukhA needed to see a jIvan muktA who has been through the
grhastAshrama. He immediately thought of King janakA, the disciple of sage
yAjnavalkyA. King janakA is a well known jIvan muktA and vyAsA was confident that by
talking with janakA, sukhA would be convinced to get married. Hence he ordered sukhA
to visit janakA and get his doubts clarified on marraige.
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ShukA agreed to vyAsA's suggestion and visited mithilApuri and met the king. The king
listened to the great rishi's arguments and slowly but surely started to counter his views
with his practical experiences. SukhA questioned more on violence, meat eating,
consumption of alcohol, and sex during the grhastAshramA and challenged that these
were prohibited in other AshramAs and why should a mumukShu not skip this AshramA
that provides a lot of opportunity to create more vartamAna karmas by getting tangled in
the web of kAma (Desire), krOdha (Anger), lObha (Greed), mOha (Lust), mada
(Arrogance), and mAtsarya (Jealous)?
Janaka gave convincing answers to shukA and at the end shukA returned as a changed
person back to vyAsA's hermitage and to the greatest delight of his father, married the
daughter of a muni named Pivari and they had four sons and a daughter all of whom
were happy in their weddings too.
Mother's call
The king of hastiNApurA, ShantaNu fell in love with a beautiful woman whom he met
along the side of the river Ganges and proposed to marry her. She agreed to marry him
under one condition that she will
never be questioned whatsoever be
the reason. ShantaNu agreed to the
condition and they lived happily. She
became pregnant and when the baby
was born, she threw the baby into the
river and this broke the heart of the
king but he kept quiet due to the
promise given to her. She became
pregnant again and did the same
when the baby was born. This
continued seven times. When she
delivered the baby for the eighth time
and was about to throw the baby into
the river, ShantaNu stopped her and
asked her for the reason. She was
disappointed and said that she is
none other than the river Ganga and
the eight babies were the eight vasus
who were cursed to be born in earth
and she was helping them get
relieved from the curses. She would
have happily stayed with the king he
had just controlled his anxiety for one last time. But as destiny would have it, she is left
70
with no choice but to leave as the promise was broke. Since she was stopped from
drowning the eighth vasu, Ganga said that she will take him to the heavens, train in him
in all the arts and bring him back at the right age and hand him over to ShantaNu. The
child was named dEvavRatA.
ShantaNu was depressed when both GangA and his son left and continued ruling the
kingdom for several years. One fine day, GangA came back and handed over
dEvavRtA, a handsome young lad to shantANu and went back to the dEvalOkA.
ShaNtaNU happily received his son and made him the prince of the kingdom.
One day, when shaNtaNu went for hunting in the woods, he came near the river kAliNDI
and was drawn to a fragnance of kastUrI and upon following that, he was led to
(kastUrigandhA) satyavatI the boatwoman (vyAsA's mother). ShaNtaNu fell in love with
her and continued to meet her. One day, shaNTaNu approached satyavatI's father and
requested permission to marry her. The boatman said that he would agree to it upon
one condition - that the children born to his daughter would be the future kings of
hastiNapurA. ShaNtaNu was upset with
this condition and he absolutely had no
intention to deprive dEvavRtA of his
rights and returned back dejected.
DEvavRtA was pained to see his father
suffer with this avastA and wanted to
know the reason behind and solve it.
Upon investigation, he came to know of
the reason and went to satyavatI's father
and said that he would not be the king
and would let satyavatI's children to be
the king. The boatman was still not
satisfied with the answer. He questioned
dEvavRtA about the possibilities of his
children overpowering satyavatI's
children and claim the rights. DEvavRtA
immediately responded that if this is the
problem, he would happily remain a
brahmachArI and took a vow that he shall
remain a brahmacArI and his allegiance
will be to the throne of hastiNApurA and
will support whoever sits on that throne.
Upon hearing this vow, dEvA's responded with a thundering applause and showered
with flowers and called out "bhIShmA", "bhIShmA". ShanTaNu was shocked to hear the
vow of his son and granted him a boon that he will live as long as he wanted to.
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SatyavatI and shantaNu were happily married and they had two sons - citrAngadA and
vicitravIryA. After shaNtaNu died, citrAngadA ascended the throne but he too died
shortly in a war with gandharvA's. VicitravIryA was made the king and he ruled
hastiNApurA with the help of bhIshmA. The rAjA of kAshi had three daughters - ambA,
ambikA, and ambAlikA and had called for a swayamvarA. SatyavatI requested bhIshmA
to get a bride for vicitravIryA and bhIshmA immediately went to kAshi and forcibly took
all the three of them and came to hastiNApurA. He defeated all the kings and princes
who tried to stop him from kidnapping the daughters of kAshi rAjA. Upon reaching
hastiNApurA, ambA requested bhIshMA to let her go as she was in love with the king of
sAlvA and was going to garland him at the svayamvarA. BhIshMA allowed her to leave
but the king of sAlvA did not agree to take her back as he was defeated by bhIshMA
and cannot accept her as a wife. So ambA returned back to hastiNApurA and requested
bhIshMA to marry her. BhIshmA informed ambA of his vow and respectfully refused her
request. This angered ambA and she left to the forest with a vengence and a vow to kill
bhIshMA.
AmbikA and ambAlikA were married to vicitravIryA and they lived happily for a few
months. Unfortunately, vicitravIryA died prematurely and hence the kingdom was left
without any progeny. SatyavatI knew that bhIshmA would never agree to become a king
and marry to extend the vamshA. At his moment, she remembered her son with
maharishi parAsharA - kriShNA dvaipAyaNA. She remembered the promised made by
her son that he would come instantly as soon as she remembered him.
SatyavatI shared her past life story with bhIShmA and with bhIShmA's approval, she
called her son vyAsA. Upon hearing the mother's call, vyAsA immediately left for
hastiNApurA and bowed before his mother. SatyavatI explained her situation to vyAsA
and requested him to help extend the progeny. VyAsA agreed to her request and asked
his mother to send ambikA to him. Upon seeing the dark complexed rishi, ambikA, out
of fear closed her eyes and thus was born a blind son - dhRutrirAShtrA. SatyavatI was
upset with this and asked ambAlikA to go to the rishI's chambers however, this didn't
work well as well. Upon seeing the rishi, ambAlikA was scared and became pale and
this resulted in a pale son, pAnDu. SatyavatI was more dejected and asked ambikA to
go back to vyAsA to get a good child. AmbikA was really scared and instead sent her
maid to vyAsA's chambers. The maid served the sage properly and to them was born
the amshA of dharmA, vidurA.
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Roles played in MahAbhAratA
After this incident, vyAsA played a role in the mahAbhAratA several times and they are
listed below as bullets:
1. vyAsA gave the boon that hundred sons would be born to gAndhAri.
2. vyAsA cut the mass of flesh given birth by gAndhAri into a hundred pieces and kept
them in hundred pots
3. vyAsA consoled gAndhArI by telling her that over and above hundred sons a
daughter would also be born to her.
4. vyAsA consoled the pANDavAs who had been living in the forest with their mother
kuntI, after the death of pANDu, their father.
5. vyAsA advised satyavatI, after the death of pANDU, that there will be more suffering
in the future generations and it is better for satyavatI to retire with her daughter-in-laws
to the forest and start doing penance to attain mOkshA.
6. vyAsA came to the pANDavAs and told them the stories of the previous birth of
draupadI.
7. Often, vyAsA was a member of the council of dharmaputrA.
8. vyAsA sent arjunA to the north, bhImA to the east, sahadEvA to the south, and
nakulA to the west for regional conquest.
9. vyAsA engaged himself in making various arrangements in the rAjAsUyA of

yudhiShtrA.
10. At the end of the rAjasUyA, vyAsA predicted the future of yudhiShtrA and anointed
yudhiShtrA.
11. vyAsA advised dRitarAshtrA to prevent dhuryOdhanA from doing injustice.
12. When the pANDavAs were living in the dvaitavanA, vyAsA visited them and taught
yudhiShtrA the art of pratismRiti.
13. vyAsA sent sanjayA to dhRtarAShtrA to tell him about the greatness of arjunA and
shrI kRishNA.
14. vyAsA gave sanjayA the power of having the eye of a seer penetrating beyond time
and space (divya dRuShti)
73
15. vyAsA consoled yudhiShtrA who was stricken with grief in the course of the battle of
bhAratA.
16. When yudhiShtrA cried over the death of gatOtkacA, vyAsA came to console him.
17. vyAsA talked to ashvattAmA about the greatness of shivA and kRiShNA.
18. When satyakI was about to kill sanjayA, vyAsA turned him back from the attempt
and rescued sanjayA.
19. vyAsA argued and established that the act of cursing asvattAmA on the part of shrI
kRuShNA is correct.
20. vyAsA prevented gAndhAri from her intention to curse the pANDavAs.
21. When the battle was over, vyAsA advised yudhiShtrA about the matters regarding
the administration of the country.
22. When yudhiShtrA felt grieved at the death of relatives and friends in the
mahAbhAratA battle and decided to commit suicide, vyAsA dissuaded him from that
attempt.
23. vyAsA walked to the place where bhIShmA lay on the bed of arrows and visited him.
24. vyAsA advised yudhishtrA to perform ashvamEdhA yajnA.
25. vyAsA consoled uttarA, who was lamenting over the death of her husband.
26. vyAsA consoled arjunA who was crying over the death of abhimaNyu.
27. vyAsA advised yudhiShtrA on the various arrangements which were to be made for
the conducting of ashvamEdhA.
28. vyAsA went to dRitrAShtrA, who had gone to the forest after the battle and pacified
him.
29. vyAsA brought the spirits of those who died in the battle, to the surface of the river
ganges, by the power of hispenance and dRutrAShtrA and other saw them.
30. At the instruction of vyAsA, all the kShatryA widows immersed themselves in the
river gAnges and everyone of them entered the world of their husband.
31. When the yAdavAs were completely destroyed, arjunA went to the AshramA of
vyAsA to get some upadEshA.
32. vyAsA, along with his son sukhA were the key advisers of king janamEjayA.
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Upon divine instructions from brahmA, vyAsA began to compose the great epic
mahAbhAratA but needed a scribe to take it down. BrahmA suggested that the best
scribe would be gaNapati and requested gaNEshA for being the scribe. GaNEshA
agreed to this under one condition that vyAsA should go on singing unceasingly and the
moment he stops singing, he would stop being a scribe. VyAsA agreed to this condition
and within a period of two and half years, the great epic was penned and this happened
at the naimishAraNyA forest (modern day SitApUr dist in UP - about 90 kms from
Lucknow).
VEda vyAsA was overcome by frustration inspite of the fact that he had engaged
himself whole heartedly for advancing the good of the people for years and years. He
felt uneasy at heart and when he began to reflect with discomfort that his work was not
completed, sage NAradhA called on him and advised VyAsA to sing solely on the glory
of the Lord to overcome this mood of depression. Following Sage NAradhA's counsel,
VyAsA composed Srimad BhAgavatham and taught it to his son, Sukha Brahmam.
VyAsA, shukA, and their disciples spent several years in naimishAraNyA teaching the
vEdAs and the purANAs to the sages and performing great yajnAs on the banks of river
gOmati.
Final years
ShukA decided to return to kailAshA to perform his penance and merge with
tripurasundarI and left naimishAraNyA. VyAsA was filled with putra sohA and prayed to
shivA. ShivA granted him the boon that he can always find his son in his own shadow.
After spending several years spreading his teachings to the world, vyAsA entered the
caves of the Himalayas to perform deep meditation. VyAsA is a great Rishi who was
involved in both the spiritual and the material paths and paved way for the future
generations to learn from his life and tread the right path.
The advaita guru paramparA considers vyAsA as a key avatArA that was responsible
for the revival of the vEdA and vEdAntic society in this world. Shri vEda VyAsA is an
illustrious seer and a great exponent of the cultural heritage of India. We depend on him
for gaining the wisdom from the vEdAs, IthihAsAs and purANAs and the knowledge
about the Supreme Reality. Hence the pUrNimA during the month of AshADA is
celebrated as the guru pUrNImA or vyAsa pUrNimA and all those who walk the paths
prescribed by the vEdAs pray to the mahA muni for the great works performed for the
benefit of the society in large. The yatI's perform vyAsa pUjA that celebrate the vyAsa
pancakA and this method of worship is also practised by the shrividyOpAsakAs in their
vishESha guru maNDala pUjA on the vyAsa pUrNimA day.
75
I would like to conclude this article by quoting the words of vyAsA from the
mahAbhAratA. In the final chapters of the mahAbhAratA, (svargarOhaNa parvA, 5 th
adyAyA 47 -50) vyAsA calls his son sukhA to chant with him the following four verses:
qÉÉiÉÉÌmÉiÉ× xÉWûxÉëÉÍhÉ mÉÑ§ÉSÉUzÉiÉÉÌlÉ cÉ |

xÉÇxÉÉUãwuÉlÉÑpÉÔiÉÉÌlÉ rÉÉÎliÉ rÉÉxrÉÎliÉ cÉÉmÉUã ||
WûwÉïxjÉÉlÉ xÉWûxÉëÉÍhÉ pÉrÉxjÉÉlÉzÉiÉÉÌlÉ cÉ |

ÌSuÉxÉã ÌSuÉxÉã qÉÔRûqÉÉÌuÉzÉÎliÉ lÉ mÉÎhQûiÉqÉç ||
FkuÉïoÉÉWÒûÌuÉïUÉæqrÉãwÉ lÉ cÉ MüÍ¶ÉiNØûhÉÉãÌiÉ cÉ |
kÉqÉÉïjÉï¶É MüÉqÉ¶É xÉ ÌMüqÉjÉïÇ lÉ xÉãurÉiÉã ||
lÉ eÉÉiÉÑ MüÉqÉÉ³É pÉrÉÉ³É sÉÉãpÉÉ®qÉïÇ irÉeÉã‹ÏÌuÉiÉxrÉÉÌmÉ WãûiÉÉãÈ |

ÌlÉirÉÉã kÉqÉïÈ xÉÑZÉSÒÈZÉã iuÉÌlÉirÉã eÉÏuÉÉã ÌlÉirÉÉã WãûiÉÑUxrÉ iuÉÌlÉirÉÈ ||
Meaning -
Thousands of mothers and fathers, and hundreds of sons and wives arise and depart
from this world. Others will similarly come and go.
There are thousands of occasions for joy and hundreds of occasions for fear. These
affect only the fools (ignorant ajAnI's) and not the learned (jnAnI's).
With uplifted arms, I am crying aloud but there are no listeners. DharmA is the root
cause of wealth (arthA) and pleasures (kAmA). So why are we not following the path
of dharmA?
Never shed the path of dharma for the sake of pleasure, fear, greed, or even ones own
life. DharmA is eternal. Happiness and Sorrow are not (they come and go - just
temporary), jIvA (AtmA within) is eternal; the cause of it (karmA) is not.
76
Conclusion
If vyAsA felt that in spite of his huge cry, there were no listeners or takers at the
beginning of the kali Yuga, Alas! The current state need not be explained further!
It is the responsibility of each of us, walking the path prescribed by the vEdA‟s to do our
dhArmic duties in preserving the vEdA‟s secured for us by our great sages; perform the
prescribed anuShTAnAs and encourage the next generation to get involved in this path
too. Unless we perform our dhArmic duties, we would have no moral authority or rights
to expect the next generation to follow the dhArmic path.
Let the great sages give us the strength.
lÉÉUÉrÉhÉÇ mÉ©pÉÑuÉÇ uÉÍxÉ¸Ç zÉÌ£Çü cÉ iÉimÉÑ§ÉmÉUÉzÉUÇ cÉ |

urÉÉxÉÇ zÉÑMÇü aÉÉæQûmÉSÇ qÉWûÉliÉÇ aÉÉãÌuÉl±ÉãaÉÏlSìqÉjÉÉxrÉ ÍzÉwrÉqÉç ||
´ÉÏ zÉƒ¡ûUÉcÉÉrÉïqÉjÉÉxrÉ mÉ©mÉÉSÇ cÉ WûxiÉÉqÉsÉMÇü cÉ ÍzÉwrÉqÉç |

iÉÇ §ÉÉãOûMÇü uÉÉÌiÉïMüMüÉUqÉlrÉÉlÉxqÉªÒÃlÉç xÉÇiÉiÉqÉÉlÉiÉÉãÅÎxqÉ ||
| lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç |
77
uÉãSurÉÉxÉ qÉl§É eÉmÉ ¢üqÉÈ
AxrÉ ´ÉÏ uÉãSurÉÉxÉ qÉWûÉ qÉl§ÉxrÉ |

oÉë¼É GÌwÉÈ | AlÉÑ¹ÒmÉç NûlSÈ | xÉirÉuÉiÉÏxÉÑiÉÉã SãuÉiÉÉ |
urÉÉÇ oÉÏeÉqÉç | lÉqÉÈ zÉÌ£üÈ | qÉqÉÉpÉÏ¹ÍxÉSèkrÉjÉãï eÉmÉã ÌuÉÌlÉrÉÉãaÉÈ |
MüUlrÉÉxÉÇ A…¡ûlrÉÉxÉÇ
urÉÉÇ A…¡Óû¸ÉprÉÉÇ lÉqÉÈ | urÉÉÇ ™SrÉÉrÉ lÉqÉÈ |
urÉÏÇ iÉÎeÉïlÉÏprÉÉÇ lÉqÉÈ | urÉÏÇ ÍzÉUxÉã xuÉÉWûÉ |
urÉÔÇ qÉkrÉqÉÉprÉÉÇ lÉqÉÈ | urÉÔÇ ÍzÉZÉÉrÉæ uÉwÉOèû |
urÉæÇ AlÉÉÍqÉMüÉprÉÉÇ lÉqÉÈ | urÉæÇ MüuÉcÉÉrÉ WÒÇû |
urÉÉæÇ MüÌlÉ¸ÉprÉÉÇ lÉqÉÈ | urÉÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû
urÉÈ MüUiÉsÉMüUmÉ×¸ÉprÉÉÇ lÉqÉÈ | urÉÈ Ax§ÉÉrÉ TüOèû |
Á pÉÔpÉÑïuÉxuÉUÉãÇ CÌiÉ ÌSaoÉlkÉÈ
krÉÉlÉqÉç
qÉl§ÉqÉWûÉãSkÉã -
urÉÉZrÉÉqÉÑÌSìMürÉÉ sÉxÉiMüUiÉsÉÇ xÉ±ÉãmÉÏPûÎxjÉiÉÇ

uÉÉqÉã eÉÉlÉÑiÉsÉã SkÉÉlÉqÉmÉUÇ WûxiÉãwÉÑ ÌuÉ±ÉÌlÉÍkÉqÉç |
ÌuÉmÉëuÉÉiÉuÉ×iÉÇ mÉëxÉ³ÉqÉlÉxÉÇ mÉÉjÉÉãÂWûÉÇaÉ±ÑÌiÉÇ
mÉÉUÉzÉrÉïÇ AiÉÏuÉ mÉÑhrÉcÉËUiÉÇ urÉÉxÉÇ xqÉUãÎixÉ®rÉã ||
78
mÉëmÉgcÉxÉÉUxÉXçaÉëWãû -
qÉÑÌlÉuÉëÉiÉÉuÉÏiÉÇ qÉÑÌSiÉÍkÉrÉÉqÉqpÉÉãeÉÂÍcÉU-
±ÑÌiÉÇ urÉÉZrÉÉqÉÑSìÉMüÍsÉiÉ ÌuÉsÉxÉ¬Í¤ÉhÉMüUqÉç |
mÉUÇ eÉÉlÉÉæ M×üiuÉÉ SØRûMüÍsÉiÉMü¤rÉÇ MüÌuÉuÉUÇ
xÉqÉÉxÉÏlÉÇ urÉÉxÉÇ xqÉUiÉ ÌlÉUiÉÇ mÉÑhrÉcÉËUiÉqÉç ||
mÉgcÉmÉÔeÉÉ
sÉÇ mÉë×ÍjÉurÉÉiqÉlÉå aÉlkÉÇ MüsmÉÉrÉÉÍqÉ |

WÇû AÉMüÉzÉÉiqÉlÉå mÉÑwmÉÉÍhÉ MüsmÉÉrÉÉÍqÉ |
rÉÇ uÉÉruÉÉiqÉlÉã kÉÔmÉÇ MüsmÉÉrÉÉÍqÉ |
UÇ AalrÉÉiqÉlÉã SÏmÉÇ MüsmÉÉrÉÉÍqÉ |
uÉÇ AqÉ×iÉÉiqÉlÉã AqÉ×iÉÇ MüsmÉÉrÉÉÍqÉ |
xÉÇ xÉuÉÉïiqÉÉlÉã iÉÉqoÉÔsÉÉÌS xÉqÉxiÉ UÉeÉÉãmÉcÉÉUÉlÉç MüsmÉÉrÉÉÍqÉ |
qÉÔsÉÇ -
urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ |
A…¡û lrÉÉxÉÈ
urÉÉÇ ™SrÉÉrÉ lÉqÉÈ |

urÉÏÇ ÍzÉUxÉã xuÉÉWûÉ |
urÉÔÇ ÍzÉZÉÉrÉæ uÉwÉOèû |
urÉæÇ MüuÉcÉÉrÉ WÒÇû |
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urÉÈ Ax§ÉÉrÉ TüOèû |
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mÉÏPû mÉÔeÉÉ -
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Á LåµÉrÉÉïrÉ lÉqÉÈ |
Á AkÉqÉÉïrÉ lÉqÉÈ |
Á A¥ÉÉlÉÉrÉ lÉqÉÈ |
Á AuÉæUÉarÉÉrÉ lÉqÉÈ |
Á AlÉæµÉrÉÉïrÉ lÉqÉÈ |
Á AMüÉïrÉ lÉqÉÈ |
Á xÉÉãqÉÉrÉ lÉqÉÈ |
Á AalÉrÉã lÉqÉÈ |
Á UeÉxÉã lÉqÉÈ |
Á xÉiuÉÉrÉ lÉqÉÈ |
Á iÉqÉxÉã lÉqÉÈ |
Á AÉÇ AÉiqÉlÉã lÉqÉÈ |

Á AÇ AliÉUÉiqÉlÉã lÉqÉÈ |
Á mÉÇ mÉUqÉÉiqÉlÉã lÉqÉÈ |
Á ¾ûÏÇ ¥ÉÉlÉÉiqÉlÉã lÉqÉÈ |
Á qÉÉrÉÉiÉiuÉÉrÉ lÉqÉÈ |
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81
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Á AlÉliÉÉrÉ lÉqÉÈ |
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Á DzÉÉlrÉæ lÉqÉÈ |
Á qÉkrÉã AlÉÑaÉëWûÉrÉæ lÉqÉÈ |
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urÉÉxÉ AÉuÉÉWûlÉqÉç -

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urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | ´ÉÏ uÉãSurÉÉxÉ qÉÔÌiÉï AÉuÉÌWûiÉÉã pÉuÉ | - AÉuÉWûlÉ qÉÑSìÉÇ mÉëSzÉïrÉ
urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | ´ÉÏ uÉãSurÉÉxÉ qÉÔÌiÉï xjÉÉÌmÉiÉÉã pÉuÉ | - xjÉÉmÉhÉ qÉÑSìÉÇ mÉëSzÉïrÉ
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urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | ´ÉÏ uÉãSurÉÉxÉ qÉÔÌiÉï xÉÍ³ÉÂkÉÉã pÉuÉ | - xÉÍ³ÉÂkÉ qÉÑSìÉÇ mÉëSzÉïrÉ
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urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | ´ÉÏ uÉãSurÉÉxÉ qÉÔÌiÉï AuÉMÑüÎhPûiÉÉã pÉuÉ | - AuÉMÑühQûlÉqÉÑSìÉÇ
mÉëSzÉïrÉ
urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | ´ÉÏ uÉãSurÉÉxÉ qÉÔÌiÉï mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ | - uÉlSlÉ SãlÉÑ
rÉÉãÌlÉ qÉÑSìÉÇ¶É mÉëSzÉïrÉ
rÉjÉÉ zÉÌ£ü wÉÉãQûzÉ EmÉcÉÉU mÉÔeÉÉ mÉgcÉÉãmÉcÉÉU mÉÔeÉÉ uÉÉ MÑüÂiÉ |
(Do Shodasa upacara puja or panchopacara depending on the time and convenience)
wÉQû…¡û iÉmÉïhÉqÉç
urÉÉÇ ™SrÉÉrÉ lÉqÉÈ | ™SrÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÏÇ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUÉã zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÔÇ ÍzÉZÉÉrÉæ uÉwÉOèû | ÍzÉZÉÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉæÇ MüuÉcÉÉrÉ WÕÇû | MüuÉcÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû | lÉã§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÈ Ax§ÉÉrÉ TüOèû | Ax§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
83
sÉrÉÉ…¡û mÉÔeÉÉ
urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | uÉãSurÉÉxÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ - SzÉ uÉÉUÇ
mÉëjÉqÉÉuÉUhÉqÉç
(wÉOèMüÉãhÉã)
urÉÉÇ ™SrÉÉrÉ lÉqÉÈ | ™SrÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÏÇ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUÉã zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÔÇ ÍzÉZÉÉrÉæ uÉwÉOèû | ÍzÉZÉÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉæÇ MüuÉcÉÉrÉ WÒÇû | MüuÉcÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû | lÉã§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
urÉÈ Ax§ÉÉrÉ TüOèû | Ax§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
84
urÉÉÇ uÉãSurÉÉxÉÉrÉ lÉqÉÈ | uÉãSurÉÉxÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ - Ì§ÉuÉÉUÇ
ApÉÏ¹ÍxÉÎ®ÇqÉå SåÌWû zÉUhÉÉaÉiÉuÉixÉsÉ

pÉYirÉÉ xÉqÉmÉïrÉå iÉÑprÉÇ mÉëjÉqÉÉuÉUhÉÉcÉïlÉqÉç |
AlÉålÉ mÉëjÉqÉÉuÉUhÉÉcÉïlÉålÉ pÉaÉuÉÉlÉç xÉuÉïSåuÉÉiqÉMüÈ ´ÉÏ uÉãSurÉÉxÉmÉëÏrÉiÉÉqÉç |
Ì²iÉÏrÉÉuÉUhÉqÉç
(A¹SsÉã)
mÉÔuÉãï - Á mÉæsÉÉrÉ lÉqÉÈ | mÉæsÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

SÍ¤ÉhÉã - Á uÉæzÉqmÉÉrÉlÉÉrÉ lÉqÉÈ | uÉæzÉqmÉÉrÉlÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
mÉÍ¶ÉqÉã - Á eÉæÍqÉlrÉã lÉqÉÈ | eÉæÍqÉlÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
E¨ÉUã - Á xÉÑqÉliÉÉrÉ lÉqÉÈ | xÉÑqÉliÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
AÉalÉã - Á zÉÑMüÉrÉ lÉqÉÈ | zÉÑMü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
lÉæGiÉã - Á UÉãqÉÉWûwÉïhÉÉrÉ lÉqÉÈ | UÉãqÉÉWûwÉïhÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
uÉÉÂhÉã - Á EaÉë´ÉuÉxÉÉrÉ lÉqÉÈ | EaÉë´ÉuÉxÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
DzÉÉlrÉã - Á AlrÉqÉÑlÉÏlSìãprÉÉã lÉqÉÈ |AlrÉqÉÑlÉÏlSì ´ÉÏmÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

pÉYirÉÉ xÉqÉmÉïrÉå iÉÑprÉÇ Ì²iÉÏrÉÉuÉUhÉÉcÉïlÉqÉç |
AlÉålÉ Ì²iÉÏrÉÉuÉUhÉÉcÉïlÉålÉ pÉaÉuÉÉlÉç xÉuÉïSåuÉÉiqÉMüÈ ´ÉÏ uÉãSurÉÉxÉmÉëÏrÉiÉÉqÉç |
85
iÉ×iÉÏrÉÉuÉUhÉqÉç
(cÉiÉÑU´Éã)
Á sÉÇ ClSìÉrÉ lÉqÉÈ | ClSì ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á UÇ AalÉrÉã lÉqÉÈ | AÎalÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á QÇû rÉqÉÉrÉ lÉqÉÈ | rÉqÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¤ÉÇ ÌlÉGiÉïrÉã lÉqÉÈ | lÉæGÌiÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á uÉÇ uÉÂhÉÉrÉ lÉqÉÈ | uÉÂhÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á rÉÇ uÉÉrÉuÉã lÉqÉÈ | uÉÉrÉÑ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á xÉÇ xÉÉãqÉÉrÉ lÉqÉÈ | xÉÉãqÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûÉæÇ DzÉÉlÉÉrÉ lÉqÉÈ | DzÉÉlÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á AÉÇ oÉë¼ÉrÉ lÉqÉÈ | oÉë¼ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ûÏÇ AlÉliÉÉrÉ lÉqÉÈ | AlÉliÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

pÉYirÉÉ xÉqÉmÉïrÉå iÉÑprÉÇ iÉÚiÉÏrÉÉuÉUhÉÉcÉïlÉqÉç |
AlÉålÉ iÉ×iÉÏrÉÉuÉUhÉÉcÉïlÉålÉ pÉaÉuÉÉlÉç xÉuÉïSåuÉÉiqÉMüÈ ´ÉÏ uÉãSurÉÉxÉ mÉëÏrÉiÉÉqÉç |
iÉÑËUrÉÉuÉUhÉqÉç
(cÉiÉÑU´Éã)
Á sÉÇ uÉeÉëÉrÉ lÉqÉÈ | uÉeÉë ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

Á UÇ zÉ£ürÉã lÉqÉÈ | zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á QÇû ShQûÉrÉ lÉqÉÈ | ShQû ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¤ÉÇ ZÉ…ûÉrÉ lÉqÉÈ | ZÉ…û ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á uÉÇ mÉÉzÉÉrÉ lÉqÉÈ | mÉÉzÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
86
Á rÉÇ kuÉeÉÉrÉ lÉqÉÈ | kuÉeÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á xÉÇ mÉ©ÉrÉ lÉqÉÈ | mÉ© ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûÉæÇ Ì§ÉzÉÔsÉÉrÉ lÉqÉÈ | Ì§ÉzÉÔsÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á AÉÇ aÉSÉrÉ lÉqÉÈ | aÉS ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ûÏÇ cÉ¢üÉrÉ lÉqÉÈ | cÉ¢ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |

pÉYirÉÉ xÉqÉmÉïrÉå iÉÑprÉÇ iÉÑËUrÉÉuÉUhÉÉcÉïlÉqÉç |
AlÉålÉ iÉÑËUrÉÉuÉUhÉÉcÉïlÉålÉ pÉaÉuÉÉlÉç xÉuÉïSåuÉÉiqÉMüÈ ´ÉÏ uÉãSurÉÉxÉ mÉëÏrÉiÉÉqÉç |
mÉgcÉmÉÔeÉÉ

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urÉÉxÉ A¹Éã¨ÉUqÉç
Á urÉÉxÉÉrÉ lÉqÉÈ | Á A¹ÉSzÉmÉÑUÉhÉM×üiÉã lÉqÉÈ |

Á ²æmÉÉrÉ lÉqÉÈ | Á SÎhQûlÉã lÉqÉÈ |
Á ´Éã¹ÉrÉ lÉqÉÈ | Á MüqÉhQûsÉÑkÉUÉrÉ lÉqÉÈ |
Á xÉirÉÉiqÉlÉã lÉqÉÈ | Á MÑüÂuÉÇxÉmÉëuÉiÉïMüÉrÉ lÉqÉÈ |
Á oÉÉSlÉÉUÉrÉlÉÉrÉ lÉqÉÈ | Á ÌlÉqÉïqÉÉrÉ lÉqÉÈ |
Á qÉÑlÉrÉã lÉqÉÈ | Á ÌlÉUWûƒ¡ûÉUÉrÉ lÉqÉÈ |
Á xÉirÉuÉiÉÏ mÉÑ§ÉÉrÉ lÉqÉÈ | Á ÌlÉwMüsÉƒ¡ûÉrÉ lÉqÉÈ |
Á zÉÑMüiÉÉiÉÉrÉ lÉqÉÈ | Á ÌlÉUgeÉlÉÉrÉ lÉqÉÈ |
Á iÉmÉÉãÌlÉkÉrÉã lÉqÉÈ | Á ÎeÉiÉãÎlSìrÉÉrÉ lÉqÉÈ |
Á uÉÍxÉ¸lÉm§Éã lÉqÉÈ | Á ÎeÉiÉ¢üÉãkÉÉrÉ lÉqÉÈ |
Á ÌuÉwhÉÑÃmÉÉrÉ lÉqÉÈ | Á xqÉ×ÌiÉMü§Éãï lÉqÉÈ |
Á SrÉÉÌlÉkÉrÉã lÉqÉÈ | Á qÉWûÉMüuÉrÉã lÉqÉÈ |
Á mÉUÉzÉUÉiqÉeÉÉrÉ lÉqÉÈ | Á iÉiuÉ¥ÉÉÌlÉlÉã lÉqÉÈ |
Á zÉÉliÉÉrÉ lÉqÉÈ | Á iÉiuÉoÉÉãkÉMü§Éãï lÉqÉÈ |
Á zÉÌ£ü mÉÉæ§ÉÉrÉ lÉqÉÈ | Á MüÉzÉÏuÉÉxÉpÉÑuÉã lÉqÉÈ |
Á aÉÑhÉÉÇoÉÑkÉrÉã lÉqÉÈ | Á qÉWûÉpÉÉUiÉMü§Éãï lÉqÉÈ |
Á M×üwhÉÉrÉ lÉqÉÈ | Á ÍcÉUgeÉÏuÉlÉã lÉqÉÈ |
Á uÉãSÌuÉpÉMü§Éãï lÉqÉÈ | Á qÉWûÉqÉiÉrÉã lÉqÉÈ |
Á oÉë¼xÉÔ§ÉM×üiÉã lÉqÉÈ | Á xÉ‹lÉÉlÉÑaÉëWûmÉUÉrÉ lÉqÉÈ |
Á AurÉrÉÉrÉ lÉqÉÈ | Á xÉirÉuÉÉÌSlÉã lÉqÉÈ |
Á qÉWûÉrÉÉãaÉÏµÉUÉrÉ lÉqÉÈ | Á SìÓRûuÉ×iÉÉrÉ lÉqÉÈ |
Á xÉÉæqrÉÉrÉ lÉqÉÈ | Á oÉSrÉÉï´ÉqÉxÉÇcÉÉËUhÉã lÉqÉÈ |
Á kÉlrÉÉrÉ lÉqÉÈ | Á MüÉãÌOûxÉÔrÉïxÉqÉmÉëpÉÉrÉ lÉqÉÈ |
Á ÌmÉ…¡ûeÉOûÉkÉUÉrÉ lÉqÉÈ | Á Ì§ÉmÉÑhQíûÌuÉsÉxÉiTüÉsÉÉrÉ lÉqÉÈ |
Á ÍcÉUÉÎeÉlÉkÉUÉrÉ lÉqÉÈ | Á A¹ÌuÉÇzÉÌiÉ ÃmÉpÉ×iÉã lÉqÉÈ |
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Á xÉÑcÉÏsÉÉrÉ lÉqÉÈ | Á SìÉãhÉlÉlSlÉ zÉÉmÉSÉrÉ lÉqÉÈ |
Á rÉÌiÉmÉÔÎeÉiÉÉrÉ lÉqÉÈ | Á urÉÉxÉ MüÉzÉÏ xÉSÉuÉÉxÉÉrÉ lÉqÉÈ |
Á urÉÉbÉëcÉqÉïuÉxÉlÉÉrÉ lÉqÉÈ | Á lÉUlÉÉUÉrÉhÉÉcÉïMüÉrÉ lÉqÉÈ |
Á ÍcÉlqÉÑSìÉÌuÉsÉxÉiMüUÉrÉ lÉqÉÈ | Á ÌlÉirÉÉãmÉuÉÉxÉ xÉliÉÑ¹ÉrÉ lÉqÉÈ |
Á ÂSìÉ¤ÉqÉÉsÉÉpÉÔwÉÉžÉrÉ lÉqÉÈ | Á mÉUÌWÇûxÉÉ mÉUÉ‰ÑZÉÉrÉ lÉqÉÈ |
Á MüÍsÉmÉÉmÉÌlÉuÉÉUMüÉrÉ lÉqÉÈ | Á ÍzÉuÉmÉÔeÉæMüÌlÉUiÉÉrÉ lÉqÉÈ |
Á kÉqÉÉïµÉqÉãkÉxÉÇSã¹íÉrÉ lÉqÉÈ | Á xÉÑUÉxÉÑUxÉÑmÉÔÎeÉiÉÉrÉ lÉqÉÈ |
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Á ÌuÉSÒUÉÌSmÉëmÉÔÎeÉiÉÉrÉ lÉqÉÈ | Á rÉÑÍkÉÌ¹UÉÍpÉwÉãY§Éã lÉqÉÈ |
Á mÉÑ§ÉqÉÉãWûurÉÉMÑüsÉÉiqÉlÉã lÉqÉÈ | Á xqÉ×ÌiÉqÉÉ§ÉÉmiÉxÉÍ³ÉkÉrÉã lÉqÉÈ |
Á eÉlÉMü¥ÉÉlÉSÉrÉMüÉrÉ lÉqÉÈ | Á Ì§ÉMüÉsÉ¥ÉrÉÉrÉ lÉqÉÈ |
Á MüqÉïPûÉrÉ lÉqÉÈ | Á ÌuÉzÉÑ®ÉiqÉlÉã lÉqÉÈ |
Á SÏbÉïSãWûÉXçrÉÉrÉ lÉqÉÈ | Á ÌlÉÌuÉïMüÉUÉrÉ lÉqÉÈ |
Á SpÉÉïxÉÏlÉÉrÉ lÉqÉÈ | Á ÌlÉUÉpÉrÉÉrÉ lÉqÉÈ |
Á uÉUmÉëSÉrÉ lÉqÉÈ | Á FkuÉïUãiÉxÉã lÉqÉÈ |
Á rÉÉqÉÑlÉ²ÏmÉeÉlÉ³ÉÉrÉ lÉqÉÈ | Á qÉÉiÉ×pÉ£üÉrÉ lÉqÉÈ |
Á qÉÉã¤ÉÉãmÉÉrÉmÉëSÍzÉïMüÉrÉ lÉqÉÈ | Á ÌlÉÍ¶ÉliÉÉrÉ lÉqÉÈ |
Á GÌwÉmÉÔerÉÉrÉ lÉqÉÈ | Á ÌlÉqÉïsÉÉzÉrÉÉrÉ lÉqÉÈ |
Á oÉë¼ÌlÉkÉrÉã lÉqÉÈ | Á ÃmÉÉliÉUcÉUÉrÉlÉqÉÈ |
Á ÍzÉUÉuÉiÉã lÉqÉÈ | Á mÉÔerÉÉrÉ lÉqÉÈ |
Á eÉÌOûsÉrÉã lÉqÉÈ | Á xÉSÉÍzÉwrÉxÉqÉÉuÉ×iÉÉrÉ lÉqÉÈ |
Á mÉUÉrÉ lÉqÉÈ | Á ÍpÉ¤ÉãµÉU mÉëÌiÉ¹É§Éã lÉqÉÈ |
Á A¹É…¡ûrÉÉãÌaÉÌlÉUiÉÉrÉ lÉqÉÈ | Á ÌlÉUuÉ±ÉrÉ lÉqÉÈ |
Á xÉuÉïÍxÉÎ®xÉqÉÎluÉiÉÉrÉ lÉqÉÈ | Á ÌlÉUƒ¡ÓûzÉÉrÉ lÉqÉÈ |
Á aÉÉlkÉÉUÏaÉpÉïU¤ÉMüÉrÉ lÉqÉÈ | Á xÉuÉïpÉÔiÉ™SÉuÉÉxÉÉrÉ lÉqÉÈ |
Á mÉÉhQûuÉmÉëÏÌiÉxÉÇrÉÑ£üÉrÉ lÉqÉÈ | Á xÉuÉãï¹ÉjÉïmÉëSÉrÉMüÉrÉ lÉqÉÈ |
Á uÉxÉÑpÉÔmÉÉsÉSÉãÌWû§ÉÉrÉ lÉqÉÈ |
89
90
xÉSÉ ÌuÉ±ÉÅlÉÑxÉÇWûÌiÉÈ
- Answers by AtmAnandanAtha
1. What is meant by the word Nithidyasanam?
Answer:
The constant dwelling of a mind on a particular topic without any distarctions is called
„nithidhyasanam‟. The example often quoted is like the flow of oil from a container to
another, it will be a single channel, without breaks or drops or splashes. Thus a deeper
meditative state is reached by constant sravana (hearing of the texts), manana
(examining critically thread bare) and this shall lead to nithidhyanasa, an unbroken flow
of the examined thoughts towards experience which is „samadhi‟
2. If Guru is present in a pooja, but if another person is doing pooja, how the
sishyas should perform Samayika pooja? Whether through Guru or with
the Sadhaka who does the pooja? Explain about the correct method of
athma pathra samarpanam after Samayika pooja?
Answer:
It is very auspicious to do the pooja in the presence of Sri Guru. The shishya should
receive the vishesharghya through Sri Guru or get it touched by him. Worship the guru
paduka in the guru, the parama guru on his head and the parameshti guru on the
paramaguru‟s head (imagine this mentally). Then atma catushtaya are to be worshipped
in his heart, and devta tarpana on the pooja peeta. After reciting the tattva shodhana
mantras , the request to offer into the cidagni (Hoshyami) should be cleared by Sri Guru
(Jushasva/Juhoti). Clean the patra and offer the patra with dakshina to Sri Guru only in
his hand. It is the prerogative of Sri Guru to do samarpana of the offered to the pooja
peeta through sadhaka, who does the pooja.
If Sri Guru is not present, take permission from Senior / Sadhaka to offer into the
cidagni and offer the cleaned patra to Sadhaka on a plate, not by the hand.
3. Is it necessary to perform dropping of water with flower / akshata saying

"Brahmarpanamasthu" at the end of of Navavarana Poojas.
Answer
Pooja samarpana is done in the end after „request to pardon any short comings‟-
kshamaapana, to the devata invoked – Sri lalitha kameshvara- in the form of own guru
by the sloka „devnatha guro svamin.. poojaam poornataram kuru‟ and
„sadhuvaasadhu…‟. Thereafter the invoked deity is taken back into the heart by the
91
khecari mudra, and the vishesharghya patra udvasana and shanti slokas are chanted.
Therefor the said action is superfluous in this karma.
4. After concluding pooja and udavasana of invoked deity by Khecari mudra,

how pancha pooja is to be done?
Answer
The five elemental services (Upacaras) are to be done mentally to the deity present in
our heart only as in the Japa karma, the physical offering is not needed.
5. If pooja is happens to be continued for 2 or more days how bali is to be

done? Is it daily, or on the last day during uthvasanam?
Answer
As seen in the last issue, pooja are nitya and naimittika, they have to be concluded then
and there in the time line specified, so this question doesn‟t arise. However if pooja is
kept for more than a day each day‟s navivedya will have the corresponding bali dana.
For more clarity please ask for personal guidance from Sri Guru, since the tantras are
silent on this aspect.
92
âí¢í£ ò¤óî¢î£í¢´ «ò£èñ¢ Þ¼è¢è¤Âñ¢
èí¢í£ó¢ Üºî¤¬ùè¢ èí¢ìø¤ õ£ó¤ô¢¬ô
àí¢í£®è¢ °÷¢«÷ å÷¤»ø «ï£è¢è¤ù£ô¢
èí¢í£® «ð£ôè¢ èôï¢¶ï¤ù¢ ø£«ù
- î¤¼ñï¢î¤óñ¢ 603
Eight thousand years of yOgA dear

Might not take you to Him near
Light you seek within you clear
Right like mirror you merge full gear
Translation poem of Thirumanthiram verse 603
93

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mÉÔhÉï AÉlÉlS sÉWûËU

mÉÑwmÉÈ - 1 Jul - Aug 2013 SsÉÇ - 4

| xuÉÉiqÉÉUÉqÉ mÉgeÉU ÌuÉVûÏlÉ iÉãeÉxÉã ´ÉÏ mÉUqÉãÌ¸ aÉÑUuÉã lÉqÉÈ |

´ÉÏ aÉÑÂprÉÉã lÉqÉÈ

uÉlSã aÉÑÂmÉS²liÉqÉuÉÉ‰lÉxÉ aÉÉãcÉUÇ |

Regarding Prakasanandha Natha, as per his mother's ambition, he became a Computer

It is needless to say about Aathmanandha Nathar to the Upasaka world. He is a well

| lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç | lÉ aÉÑUÉãUÍkÉMüqÉç |

Smt. Geetha Sivakumar

|| ÍzÉuÉÉÌS aÉÑÂprÉÉã lÉqÉÈ ||

My Guru DampatI‟s were insisting on including Introduction about me in their Guru

This issue comes with four main topics –

I would like to take this opportunity to express my gratitude to my Gurupatni (Smt.

Lalithai vEdam sarvam.

Surrendering to the holy pAdukAs of Shri Guru,

mÉëMüÉzÉÉqoÉÉ xÉqÉãiÉ mÉëMüÉzÉÉlÉlSlÉÉjÉ

qÉÉxÉ xÉƒ¡ûUÉÎliÉ 16 Jul 2013 17 Jul 2013

mÉÔÍhÉïqÉÉ 21 Jul 2013 22 Jul 2013

M×üwhÉ A¹ÍqÉ 29 Jul 2013 30 Jul 2013

M×üwhÉ cÉiÉÑSïÍzÉ 05 Au g 2013 05 Aug 2013

AqÉuÉÉxrÉÉ 06 Aug 2013 06 Aug 2013

AlrÉ mÉÔeÉÉ ÌSlÉãprÉÈ

M×üwhÉ cÉiÉÑÍjÉï 25 Jul 2013 26 Jul 2013

ÌuÉzÉãwÉ mÉuÉÉï ÌSlÉãprÉÈ

urÉÉxÉ mÉÔÍhÉïqÉÉ 21 Jul 2013 22 Jul 2013

AÉzÉÉRû lÉuÉUÉÌ§É AÉUqpÉÈ 7 Jul 2013 8 Jul 2013

AÉzÉÉRû lÉuÉUÉÌ§É -mÉgcÉÍqÉ 11 Jul 2013 13 Jul 2013

AÉzÉÉRû lÉuÉUÉÌ§É - SzÉÍqÉ 17 Jul 2013 18 Jul 2013

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The basic formulations decided are:

The sankalpa mantra is also said for this astanga: