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सह नौ भुनक्तु ।
सह वीर्यं करवावहै ।
तेजस्ववनावधीतमवतु मा स्वस्िषावहै ।
शाांस्त शाांस्त शाांस्तिः ॥
ōm saha nāv-avatu ।
saha nau bhunaktu ।
saha vīryam karavāvahai ।
tējaswināv-adhītam-astu mā vidvishāvahai ।
ōm shānti shānti shāntihi ॥
May Bhagawan protect us both.
May Bhagawan nourish us both.
May we work together with energy and vigor.
May our study be enlightening, and not giving rise to hostility.
May peace prevail from our actions, others’ actions and natures.
(Shānti mantra from Taittirīya, Kaṭhā and Shwētāshwatara upanishads)
Sangeet Bharati eBooks are licensed under
Creative Commons Attribution-NoDerivatives
4.0 International License.
Preface ............................. i
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
How does one pray? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv
SHLŌKAS
1. Karagre Vaste Lakshmi (Pratharutthana Shloka) 1
2. Samudra Vasane Devi (Kshama Prarthana or Bhoodevi Shloka) 2
3. Gange Cha Yamune Chaiva (Snana Mantra) 3
4. Deepa Dhyana Shloka 4
5. Ganesha Shlokas 6
6. Saraswati Shlokas 8
7. Gayatri Mantra 10
8. Shiva Mantra 11
9. Rama Shlokas 12
10. Hanuman Shlokas 14
11. Guru Stuti 15
12. Teertha Shloka 16
13. Bhojan Mantra 17
14. Ekatmata Mantra 19
15. Ekatmata Stotram 20
16. Shanti Mantra 27
General Knowledge 29
Subhashitams 111
Dhanyawād
K.N. Shivakumar.
Dallas, USA.
INTRODUCTION
Man is feeble and fallible. He stumbles on the pathway of life. He needs an unfailing source of strength
and energy not only when he is in difficulty but also when everything is going on smoothly. This support,
strength, and substance can only be obtained from a source higher than ourselves – the source of
sources, the self-effulgent, omniscient Bhagawan or any of his manifestations. This effort and desire to
draw strength from a Bhagawan is known as Prayer.
The prayer relieves the mind from stress, which is a natural consequence of a life of hurry and worry. It
naturalizes mental repressions and purifies the subconscious. It gives us hope and energy and thus
enables us to face life squarely. It frees us from anxiety, tension by unburdening our mind and sustains
us in moments of suffering. The faith in the almighty’s power alleviates our suffering.
Prayer is not just words, descriptions or sounds. Primarily, it is a sound understanding of ourselves with
devotion. The practice of prayer regularly replaces negative thoughts with positive and divine ones,
leading to purity, strength, courage and ultimately it influences our character. It may not be wrong to
pray for wealth, material prosperity and the fulfillment of selfish desires. But prayer is not used as a fire
extinguisher. It has a much wider role to play, a nourishing role.
लोकास्समस्तास्सुखिनो भवन्तु (Lōkāssamastāssukhinō Bhavantu - may all in this world live happily) is a Hindu
ideal. We should not just pray for ourselves, but others as well - for world peace, for our country, for our
relatives and ourselves. वसुधैव कुटुम्बकम् (Vasudhaiva Kutumbakam – whole world is one family) is our
principle. When we pray for others, it expands our hearts. We become free from greed, jealousy, and
anger and become calm and joyful. Effective prayer enhances personal integrity. Prayer preserves social
solidarity. By invoking the best in man, it works for higher culture, a nobler civilization.
Prayer supplies a steady flow of sustaining power in our daily life. Only in prayer do we achieve that
complete and harmonious assembly of body, mind and spirit and unshakable strength. In our daily life,
we engage with different people and situations. Sometimes by our pride, fear, greed, and blunders, we
disturb the peace in the relationships. Hence, prayer develops in us a sense of moral sensitivity and
intellectual humility.
Regular praying builds strong inward strength which enables us to lead a confident life. When we pray
regularly with devotion, we develop a habit of making our mind withdraw into itself. Prayer with utmost
humility is an unfailing means of cleansing the heart of passions. Being prayerful is the greatest gift. It
has the power to make a sour heart sweet, a sad heart merry, a poor heart rich, a foolish heart wise, a
timid heart brave and a sick heart healthy.
Everyone from farmer to astronaut, businessman to scientist wants to excel in their field and be
wealthy. This needs the use of fingers, especially the thumb to hold things to achieve our goals.
Hence there is Lakshmi in fingers. See, the animals can’t use fingers and can’t be at par with
humans.
The palm is like a book. Our destiny is in our hands. We make our own destiny with knowledge.
Hence Saraswati perfectly stays here.
The power to use the hand comes from the wrist, where lies the shakti. Parvati (Gowri) being
Shakti is the most important one! She powers the other two.
The divine manifestation has three parts – creation, sustenance and transformation. All these
three are powered by the three Goddesses! All these three powers are right in your hand. So,
when you get up in the morning, don’t whine, but rise and shine!
The importance of rubbing the hands together is that the heavy concentration of nerve
endings on your hands is activated. When that warm palms are put on the eyes, the same nerve
system around the eyes awakens and thereby your whole body system comes awake. You will no
longer feel asleep. When you get up your mind and body should be active. Hence, this idea of
rubbing the palms and placing on the eyes. Many such sciences of life are built into our
lives in our Indian culture.
1. Don’t sleep right after you eat.
2. Take a shower before sleep.
3. Light a lamp at safe distance from your bed and sleep.
4. Don’t sleep with your head to the north (remember earth’s magnetic field and iron content
in your blood?).
5. Avoid alarms to get up and
6. Rub your palms and place them over your eyes and get up on the right.
An important part of ritual purification in Hinduism is the bathing of the entire body since the
time unknown. It is considered auspicious to perform this form of purification before any festival,
before visiting a temple or performing a pooja. Bathing can be once or multiple times in a day.
One not only purifies one’s body but also the mind during taking a bath. Such a purificatory bath
is ultimate if it is done in the sacred waters of some great rivers of Bharat like the river Ganga.
Hence one chant this shloka invoking the presence of holy waters while taking a bath.
There are massive rivers and oceans. Many rivers like Ganga, Yamuna, Saraswati have their own
significance and are considered holy since ages. Each of them has some specific purification
properties. It is considered auspicious to take a bath in these rivers. So, reciting this shloka with
a sincere heart you are expecting your bath water to have holy properties of all these rivers or
brings you the benefit of taking a bath in these rivers.
*****
Shlokas are practiced sometimes with some variations. This “Snana Mantra” has another
variation as follows. Both matches the number of matras in anushtup chandas.
Children should be taught to light the lamps at home and feel the positive vibration and energy.
When we were children growing up in grandparents’ homes, it was every evening’s ritual for us
after school. Play games outdoor, reach back home at dusk, wash legs and face, assemble in pooja
room, light the oil lamps, chant the shlokas, study, dinner, chit chat and then retire for the day.
शभ
ु ं करोति कल्याणं आरोग्यं धनसंपदः ।
शत्रुबुतितविनाशाय दीपज्योतिनिमोऽस्िु िे ॥१॥
shubham karōti kalyāṇam ārōgyam dhana-sampadaha |
shatru-buddhir-vināshāya deepa-jyōtir-namōstu tē ||1||
I bow before the lamp that brings prosperity, auspiciousness, good health, an abundance of
wealth and destroys bad thoughts (in us) (darkness symbolizes bad and with the arrival of
Bhagawan’s grace in the form of light, darkness disappears).
In the month of Kartika, Hindus light two oil lamps in the front
door, on either side. In this same month, we celebrate a festival
Deepavali, full of lights. Hence it is called the festival of lights.
Shloka 1: Do not confuse the first Ganesha stuti for Vishnu stuti because of the word
“Vishnum”. In this context, the word “Vishnum” means all pervading or present everywhere and
not Bhagawan Vishnu. This can be further confirmed by looking at the rest of the shloka as the
attributes mentioned refer to Ganesha. Ganesha is shashivarnam (white as the moon) while
Vishnu is meghavarnam (dark as a cloud) or pitambaram (yellow cloth wearing). Though both
are the removers of obstacles, Ganesha is generally first invoked in any ceremony.
Shloka 3: Let’s see some confusing words in this shloka. Agajanana (aga=mountain, referred
to snowy mountain, ja=born; so, it is Mother Parvati. Gajananam (gaja=elephant, ananam=face;
so, it is Bhagawan Ganesha). It is aneka+dam+tam, and not anekadantam (aneka=many,
dam=giver, tam=him). Ekadantam (the one with one tusk). If not understood, it is raises
question why once Ganesha is referred as one with many tusks and in the same line he was
referred as the one with one tusk.
॥सरस्वती वदं न ॥
य कुंदेंदुतुष रह रिवल य शुभ्रवस्त्र वतृ
य वीि वरदडं मंतडतकर य श्वेतिद्म सन ।
य ब्रह्म च्यतु शंकरप्रभृतततभदेवाः सद वंतदत
स म ं ि तु सरस्वती भगवती तनाःशेषज ड्य िह ॥३॥
||Saraswati Vandanā||
yā kundēndu tushāra hāradhavalā yā shubhra vastrāvrutā
yā veeṇā varadaṇḍamaṇḍitakarā yā shwēta padmāsanā |
yā brahmācchyuta shankara-prabhrutibhir-dēwaihi sadā vanditā
sā mām pātu saraswati bhagawati nihshēsha jādyāpahā ||3||
Salutations to Devi Saraswati, who is pure white like Jasmine, with the coolness of Moon,
brightness of snow and shine like the garland of Pearls; and who is covered with pure and
sparkling white garments, whose hands are adorned with Veena (a stringed musical
instrument) and the boon-giving staff; and who is seated on pure white Lotus, who is always
adored by Bhagawan Brahma (the creator), Bhagawan Achyuta (Bhagawan Vishnu, the
protector), Bhagawan Shankara (Shiva, the destroyer and reincarnator) and other devatas,
O Mother Saraswati, the divine one, please protect me and dispel all my ignorance.
Students should chant Saraswati Shlokas before starting their daily studies.
भभ
ू ुवभ ः स्वः
तत्सववतवभ ुरेण्यं ।
भगो देवस्य धीमवि
वधयो यो नः प्रचोदयात् ॥
bhoor-bhuvah swaha
tat-savitur-varēṇyam |
bhargō dēvasya dheemahi
dhiyō yō nah prachōdayāt ||
We meditate on that most adored Supreme Bhagawan, the creator, whose effulgence (divine
light) illumines all realms (physical, mental and spiritual). May this divine light illumine our
intellect [Rig Veda (mandala 3.62.10), around 2500 to 3500 years ago].
Practicing Gayatri mantra: If you can comfortably wake up and meditate during Brahma
muhurta, between 3:30-4:30 a.m., this is the best time for practicing the Gayatri mantra. If not,
practice during other auspicious sandhya times (junction) - sunrise, noon and sunset. However,
it may be practiced at any time of the day. Face east toward the rising sun if in the morning and
west toward the setting sun if practicing in the evening.
It is best to perform simple pranayama, the expansion of vital breath, such as alternative nostril
breathing, five times before beginning the repetition of the Gayatri mantra.
Traditionally, the mantra is repeated silently. However, if you prefer, it may be chanted softly
aloud. While chanting, pause slightly at the end of each line and the end of each repetition, rather
than rushing through it. It is recommended to always repeat it at least three times, although you
can repeat the mantra as many times as is comfortable. For a longer practice, you can use a mala
(a set of 108 beads for counting mantra repetitions).
Benefits of chanting Gayatri mantra: Regular chanting of Gayatri mantra improves
concentration and learning. It is known for removing toxins from the body. It improves
breathing and functioning of the nervous system. It keeps your heart healthy. Chanting the
Gayatri mantra removes the negativity, reduces stress and anxiety and calms the mind.
Trayambakam is the life-giving mantra, devoted to Bhagawan Shiva. Otherwise known as Rudra
mantra or Mahamrutyunjaya mantra, it is an ancient and powerful verse found by Markandeya
muni (Rishi). This mantra has the highest form of energy, alongside the Gayatri mantra.
This mantra should be repeated 3, 9, 27 or 108 times, and can be practiced using japa mala
beads for an even deeper state of concentration. Reciting this mantra will have a calming effect
on the mind, entering the practitioner into a meditative state.
मातृ देवो भव ।
तितृ देवो भव ॥
आचार्य देवो भव ।
अततति देवो भव ॥१॥
mātru dēvō bhava |
pitru dēvō bhava ||
āchārya dēvō bhava |
atithi dēvō bhava ||1||
We honor our mother as God, we honor our father as God, we honor our teacher as God and
we honor our guest as God (from Taittiriya Upanishad).
In Sanskrit, the Guru word is made up of two root words “gu” and “ru”. Gu means darkness, and
Ru means remover. Thus, the guru stands for the one who is the remover of darkness and is the
harbinger of enlightenment. This auspicious mantra chanted on teacher’s day and Guru Purnima.
By definition, the teertha shloka refers to the fact that teertha are made sacred by the touch of
the lotus feet of God. However, the shloka is generally chanted at the time of accepting the
charanamruta, that is the bathing water of the deity installed and worshiped in a temple (or
temple room in a house). The ingredients of this bathwater can vary depending on the worship
standards. The basic is water, and if it refers to Vishnu deities, it should at least contain some
Tulasi leaves. Sometimes it can contain some sandalwood pulp (chandana), and often arghya
and panchamruta are also added after being offered to the hands of the deity during the bathing
ceremony. Arghya can contain any auspicious substance, including darbha (grass). Panchamruta
(five nectars) are milk, yogurt, honey, sugar and clarified butter.
This shloka is a general one. One can replace Shiva with the deity of which the teertha is being
consumed. Also, note that between the teertha of God and his prasadam, there isn’t any
difference. Both have equal grace and touch of God. So, if one wants to modify the shloka to
prasadam, one can simply replace the word “padodakam” with “prasadam”. Or else one can
simply chant this same shloka for prasadam as well. Other variations include the use of
“vinashanam” for “nivaranam”, “samasta” for “sarva” and “pitva, sirasa dharayamy aham” for
“shubham”.
Not all Bhojan mantra needs to be chanted at once. Either “Anna grahana” or “Annapurne”
followed by both the shanti mantra “Brahmarpanam” and “Saha Navavatu” can be chanted.
Bhojan Etiquettes:
1. Bathe (shower) before each meal. Washing hands and face thoroughly is also an option.
2. If entering the home from outside, we must wash hands, feet, particularly both heels.
3. Family should always eat together, preferably seated on the floor on a mat and at least once in a day.
4. The place of eating should be neat and clean.
5. Decide a fixed place, time and schedule for eating your meal and follow this regularly.
6. Don’t use any electronic gadgets like TV, Phone during Bhojan.
7. When possible, a banana leaf must be used and placed with the stem on the right (for major items
like Rice & Sambar), tip towards the left of each seated person (to reach occasional items like pickles).
8. In Van-Bhojan, sprinkle water around the plate. So that ants won’t come on a plate.
9. Don’t cross the plates. It is unhygienic as the dust particles from your feet will fall on the food.
10. Wait for everyone to be served. Don’t make any gesture to serve you first.
11. Food should be prepared and served with a sense of devotion, love and affection.
12. Happily accept the food served and appreciate their food practices (if you go as a guest).
13. First, offer naivedya (a small portion of meal) to God.
14. Recite the Bhojana Mantra with dedication.
15. Eat with one hand (preferably right hand). Use only fingers. Palm should always remain clean.
16. Remove any stray objects from mouth discreetly using the same hand. Other hand should stay clean.
17. Maintain silence and stay happy while eating. Don’t gossip or engage in emotional talks.
18. Waste not and want not, partake food with gratitude, seek to satiate hunger not grow desire.
19. Appreciate the gift of food, ask to be served again as needed, one may ask multiple times.
20. Children should eat all sorts of vegetables, fruits. And any dish mother makes.
21. Food must be chewed well before ingesting; the addition of saliva therefrom eases digestion.
Remember teeth are in the mouth and not in the stomach.
22. Respect the group and don’t take a long time to finish eating.
23. Wait for everyone to finish. If required to leave early, ask for permission from others.
24. In the spirit of harmony and coexistence, we must try our most to prepare and serve only those food
items which are acceptable to all guests.
25. A kitchen should be cleaned regularly so that it is clean and pure.
Yummy goes tummy:
1. A small amount of a sweet is served at the beginning. This will stimulate glands for more saliva.
2. Or a tiny quantity (glimpse) of everything prepared is served in the first round to arouse interest.
3. Salad (mix of soaked moong dal, cucumber, green cilantro, green chilies and salt) is the only food
item served un-cooked. This gets you a lot of proteins.
4. One day in a week eat only fresh fruits, vegetables and sprouts in raw form without cooking.
5. On summer days, buttermilk (fat removed yogurt) is a healthy cool drink.
6. Do fasting one day in a month or once a week starting with monthly, then weekly in proper sequence.
7. Taste and type of food changes for every 200 kilometers in Bharat.
8. Kitchen in a Hindu home is a pharmacy. Varying ingredients in the food cure common health issues.
Ekatmata Mantra is a shanti mantra (chanting for the universal peace). The daily chanting of Ekatmata
Mantra and Ektamata Stotra brings unifying and harmonizing aspects of our historical, cultural and
spiritual traditions.
Ekatmata Mantra says all beliefs are the same and all reach the god by different names. Hence, all belief
systems originated in the Indian subcontinent had mutual respect and co-existing since many millennia.
रत्नाकराधौतपदां च्हमालयच्करीच्िनीम् ।
ब्रह्मराजच्षमरत्नाढ्याम् वंदे भारतमातरम् ॥३॥
ratnākarā-dhautapadām, himālaya-kirīṭinīm |
brahma-rājarshi ratnāḍhyām, vandē bhārata mātaram ||3||
I am bowing to Bharata Mata (the motherland), whose feet are being washed by the ocean
waves, whose crown is the snowy Himalayas, whose illustrious sons have distinguished
themselves as Brahmarshis and Rajarshis.
बद्ध
ु च्जनेंद्र गोरक्षिः पाच्णच्नश्च पतंजच्लिः ।
शक
ं रो मध्व च्नबं ाकौ श्रीरामानज ु वल्लभौ ॥१५॥
buddhā jinēndra gōrakshaha, pāṇinishcha patanjalihi |
shankarō madhwa nimbārkau, shrīrāmanuja-vallabhau ||15||
Bhagawan Buddha, Bhagawan Mahavira, the great Yogi Gorakhnath, Panini (the great
grammarian), Patanjali (author of Mahabhashya), Adi Shankaracharya (the great Hindu
crusader), philosophers and saints like Madhwacharya, Nimbarkacharya, Shri
Ramanujacharya, Vallabhacharya,
मस
ु ुनूररनायकौ तौ प्रतापिः च्शवभूपच्तिः ।
रणच्जच्त्संह इत्येते वीरा च्वख्यातच्वक्रमािः ॥२५॥
musunūri-nāyakau tau, pratāpah shiva-bhūpatihi |
raṇajitsimha ityētē, vīrā vikhyāta-vikramāha ||25||
Two Musunuri leaders (Prolaya Nayak and Kappa Nayak from today’s Telangana who
fought Muhammad Bin Tughlaq), Pratap (Maharana Pratap), Shivaji Maharaj (Chatrapati),
and Ranjit Singh (The Sikh Maharaja) are all famous and victorious warriors (of our
country’s past) (from verse 22 to 25).
॥ भारत् माता की जै ॥
|| bhārat mātā kī jai ||
Victory to mother (motherland) Bharat; ancestors land or punya bhoomi Bharat for the
Hindus living outside Bharat.
असिो म सद्गमय ।
िमसो म ज्योतिर्गमय ।
मृत्योम ग अमृिां र्मय ।
श तां िः श ांतिः श ांतिः ॥१॥
asatō mā sadgamaya |
tamasō mā jyōtirgama |
mrutyōr-mā amrutan-gamaya |
shāntih shāntih shāntihi ||1||
From ignorance, lead me to truth! From darkness, lead me to light! From death, lead me to
immortality! May peace prevail from our actions, others actions and natures (from
Bruhadaranyaka Upanishad 1.3.28).
पूर्गमदः पूर्गतमदां
पर्
ू गत्पूर्गमदु च्यिे ।
पूर्गस्य पूर्गम द य
पूर्गमेव वतशष्यिे ॥२॥
pūrṇamadah pūrṇamidam
pūrṇāt-pūrṇam-udachyatē |
pūrṇasya pūrṇamādāya
pūrṇāmēwāvashishyatē ||2||
That (Brahman) is infinite, and this (universe which we see) is infinite. The infinite proceeds
from the infinite. (Then) taking the infinitude of the infinite (universe), it remains the infinite
(Brahman) alone (from Ishavasya a.k.a. Isha Upanishad and Bruhadaranyaka Upanishad).
This small mantra contains the essence of the Upanishadic vision. Nothing is insignificant and
nothing is smaller than anything else. A seed becomes a tree (infinity exists in a finite seed) and
from the tree comes a finite seed. The part (finite) represents the whole just as the seed contains
the whole (infinite).
There are many shanti mantra or invocation verses in Upanishads. These two are the commonly
practiced ones along with two more shanti mantra Saha Navavatu and Sarve Bhavantu which are given
at the beginning and the end of this book. Saha Navavatu and Sarve Bhavantu are part of all the books
from Sangeet Bharati.
Page 29
Page 30
ह िंदु मासा ः│Hindu Months
मासाःMonths Gregorian Months ऋतु Seasons उत्सवाः Festivals
चैत्रः Chaitra March/April वसतिं ः Vasanta Vasanta Panchami (Saraswati pooja), Yugadi (Hindu
April/May new year), Holi, Rama Navami, Hanuman Jayanti.
वैशाखः Vaishākha (Spring)
ज्येष्ठः Jyēshṭha May/June ग्रीष्मः Grīshma Vata Poornima, Rath Yatra, Guru Poornima.
आषाढः Āshāḍha June/July (Summer)
श्रावणः Shrāvaṇa July/August वषाा Varsha Raksha Bandhan, Krishna Janmashtami, Ganesh
Chaturthi, Nuakhai, Onam, Gurujonar Tithi,
भाद्रपदः Bhādrapada August/September (Monsoon/Rainy) Mahalaya Amawaasya.
आश्वयुजः Āshwayuja September/October शरत् Sharat Navaratri, Vijayadashami, Sharad Poornima, Bihu,
Deepavali, Dhanatrayodashi, Kartik Poornima.
काहताकः Kārtika October/November (Autumn)
मार्ाशीषाः Mārgashīrsha November/December ेमिंतः Hēmanta Margashira Mahotsawam: Music season with several
Carnatic classical music and dance concerts.
पुष्यः Pushya December/January (Pre-winter/Cool)
माघः Māgha January/February हशहशरः Shishira Sankranti, Shivaratri, Shigmo, Tamil New Year.
फाल्र्ुनः Phālguna February/March Winter (Dewy Season)
1. On Yugadi day, everyone should take oil bath and eat the mix of Neem and Jaggery.
2. Saturdays called Shravana-Shanivar are auspicious in the month of Shravana. Students go house to house collecting alms.
3. Mondays in the month of Kartika are called Kartika-Somavar. In this month, oil lamps are lit on either side of the front door.
Hindus worship maa-shakti with sesame lamps. Fasting on Mondays in the Shravan month is considered more auspicious.
Hindu calendar is an ancient calendar system. It was developed in ancient times by various scholars on the Indian subcontinent. The earliest
mentions of Hindu time reckoning are found in the Vedas, a body of sacred texts of Hinduism, some of which date back to 1200 BCE.
Hindu tradition marks large spaces of time by a series of Yugas (roughly translated as “epoch” or “era” that fall in four-era cycles. The complete
cycle consists of the Satya Yuga, the Treta Yuga, the Dwapara Yuga and the Kali Yuga. By the Hindu calendar, our present time is the Kali Yuga,
which began in the year corresponding to the Gregorian year 3102 BCE, when the Kurukshetra war has ended. Therefore, the year labeled
2020 CE by the Gregorian calendar is known as the year 5122 in the Hindu calendar.
In the Western Gregorian calendar, one can quickly notice that the year is dated differently than the Hindu calendar. Christians, for example,
all mark the birth of Jesus Christ as year zero, and any year before that is denoted as BCE (before Common Era), while the years following are
denoted CE. The year 2020 in the Gregorian calendar is therefore 2,020 years after the assumed date of Jesus’ birth.
In Vedic timekeeping, a tithi is a lunar day or the time it takes for the longitudinal angle between the Moon and the Sun to increase by
12°. Each lunar month is divided into 30 lunar days or two fortnights. The fortnight or a lunar phase in a month is called paksha, meaning
“side”. A paksha is a 15-day period on either side of a full moon day (Paurnami). If the days are leading to full moon day (waxing half of
Moon), the 15th day in that “bright” fortnight is called Paurnami. And fortnight is called Shukla paksha. The next fortnight which begins
on the full moon day (Paurnami) and culminating on the new moon day (Amavasya) is called Krushna Paksha. Krushna in Sanskrit
means “dark”. This “dark” fortnight that features a waning moon is considered inauspicious, as the moon loses light during this period.
As 12 lunar months amount to only 354.367 days, a leap month (an intercalary month) called adhika-maasa is added about every three
years. This synchronizes the calendar of a sidereal year of 365.256 days, which is the time Earth takes to orbit the Sun.
*Pradosha Pooja: The auspicious 3-hour period, 1.5 hours before and after the sunset is one of the optimum times to worship Bhagawan
Shiva by wearing Rudraksha and Vibhuti. And boys and men wearing only eka-vastra covering waist and below.
India was once a vast geographical area called the Bharata Varsh (an Indian subcontinent)
and each kingdom was culturally connected.
This area was once so huge which was from today’s Afghanistan to Bangladesh. Hence these
countries have places of worship or places of importance to Indians in large and Hindus in
particular.
If knowing a Yuga itself is mindboggling, think of other Hindu cosmology metrics of time
calculation like Mahayuga, Manwantara, Kalpa, Brahma. A Kalpa or eon is said to be comprised
of a thousand cycles of four yugas - each of a different quality. By one estimate, a single yuga
cycle (maha yuga) is said to be 4.32 million years, and a Kalpa is said to consist of 4.32 billion
years. This way Hindus long ago found the age of planet Earth as 4,600,000,000 years and the
time since the Big Bang is 13,799,000,000 years.
दशावतार|Dashāvatāra
Dashavatara refers to the ten avatars of Bhagawan Vishnu. He is said to descend in the form of
an avatar to restore the cosmic order. (Read from left to right)
बद्ध
ु Buddha कव्क Kalki
Four Vedas:
Rug veda, Yajur veda, Sama veda and Atharvana veda.
Trimurtis (Trinities):
Brahma (the creator), Vishnu (the sustainer) and Shiva (the destroyer)
Sacred Rivers:
Ganga, Sindhu (majorly flows in today’s Pakistan), Yamuna, Godavari, Narmada, Saraswati,
Tapati, Kaveri, Krishna, Kapila.
Zodiac signs: Meena, Mesha, Vrushabha, Mithuna, Karkata, Simha, Kanya, Tula, Vruschika, Dhanu,
Makara and Kumbha.
Zodiac signs are defined as the Sun traverses during different parts of the year as seen from Earth. The
twelve Zodiac names are also the names of months in the solar calendar called solar months.
Numbers in ascending
Ekam One 1
Dasham Ten 10
Shatam Hundred 100
Sahasram Thousand 1000
Dasha-sahasram Ten Thousand 10,000
Laksha Hundred Thousand 100,000
Dasha-laksha One Million 1,000,000
Koti Ten Million 10,000,000
Dasha-koti Hunderd Million 100,000,000
Abja (Shata-koti)
Kharva
Nikharva
Mahapadma
Shankhu
Jaladhi
Antya
Madhya
Parardha
Counts
1. 12 items make one dozen.
2. 12 dozen make one Gross (144).
Important Sevens
1. Seven colors (saptavarṇa) – Violet, Indigo, Blue, Green, Yellow, Orange and Red.
2. Seven musical notes (saptaswara) – Sa, Ri, Ga, Ma, Pa, Da, Ni, Sa.
3. Seven days in a week - Sōmawār, Mangaḷawār, Budhawār, Guruwār, Shukrawār,
Shaṇiwār and Bhānuwār.
4. Seven stars (saptarishi maṇḍal) – Refer above.
5. Seven continents: Asia, Africa, North America, South America, Antarctic, Europe and
Australia (Jambuu Dweepa (Asia); Plaksha Dweepa; Saalmalii Dweepa; Kusa Dweepa;
Krouncha Dweepa (America); Saaka Dweepa and Pushkara Dweepa).
6. Seven holy piligrimage places (sapta puri) – Ayodhya, Mathura, Haridwar, Kashi or
Varanasi, Kanchi, Avantika or Ujjain and Dwaraka.
7. Seven hills (saptagiri) – Seven hills of Tirupati where is Bhagawan Venkatesha.
8. Seven Khandas in Ramayana: Balakanda, Ayodhyakanda, Aranykanda, Kishkindakanda,
Sundarakanda, Yuddhakanda and Uttarakanda.
9. Saptagotra Pravara: Kashyapa, Bharadvaja, Gautama, Angirasa, Jamadagni, Vsishtha
and Vishvamitra.
10. Sapta Chiranjivi: Vyasa, Hanuman, Parashurama, Vibhishana, Ashwatthama, Mahabali
and Krupa.
11. Sapta Matrukas: Brahmaani, Vaishnaviya, Maheshwari, Indrani, Kaumari, Varahi and
Chamunda.
12. Seven doors to Vaikunta.
13. Seven colors of Indra’s bow.
14. Seven body chakras (through which flows the Kundalini energy): Muladhara (at
perineum, a space between anal outlet and the genital), Swadhisthana (Just above
genital), Manipuraka (just below the navel), Anahata (just beneath where the rib cage
meets), Vishuddhi (at the pit of the throad), Ajna (between eyebrows) and Sahasrara
(top of the head, a soft spot in a newborn child).
Ref: https://www.wordzz.com/significance-7-hinduism/ and https://tamilandvedas.com/tag/seven-in-vedas/
Page 43
Page 44
गणेश पंचरत्नम│
् Gaṇēsha Pancharatnam
Composer: Jagadguru Shrī Ādi Shankarāchārya (788CE - 820CE)
अवकंचनावतकमार्कनं वचरंतनोविभार्नम्
पुराररपूिकनंदनं सुराररगिकचिकणम् ।
प्रपचं नाशभीषणं धनर् ं यावदभषू णम्
कपोलदानिारणं भर्े परु ाणिारणम् ॥४॥
akinchanārti mārjanam chirantanōkti bhājanam
purāri pūrva nandanam surāri garva charvaṇam |
prapancha nāsha bhīshaṇam dhananjayādi bhūshaṇam
kapōla dānavāraṇam bhajē purāṇa vāraṇam ||4||
I salute the very ancient elephant-bhagawan who destroys the wants of the have-nots, who
has been worshipped since ancient times, who is the eldest son of the bhagawan who
destroyed cities, who eats away the pride of the enemies of the devatas, who is awesome at
the time of final deluge, who wears serpents like Dhananjaya as ornaments, and who is fierce
like the elephant in rut.
Adi Shankaracharya is known to have reestablished the Sanatha Dharma during onslaught by the other
religions and faiths like Islam. He is known to have reestablished the faith in Vedas. His four disciples
were Surshwarar, Hasthamalakar, Padmapada and Totakacharya.
As the name suggests, it is the song of pancha, or five stanzas considered five ratna or gems. The sixth
stanza called “phalashruti” describes the benefits of chanting Ganesha Pancharatnam.
This shloka “Jaya Ganesha Jaya Ganesha” is sung or played as a Ugabhoga (starting piece) for Ganesha
Pancharatnam. This also can be played between the stanzas of Ganesha Pancharatnam.
|| r g g g , g g g g g , g ||
|| ja ya ga ³£ . s¦a ja ya ga ³£ . s¦a ||
|| g r g r , nÖ r , r g , , ||
|| ja ya ga ³£ . s¦a p¡ . hi m¡ . m ||
|| nÖ r r r , r r r r r , r ||
|| ja ya ga ³£ . s¦a ja ya ga ³£ . s¦a ||
|| nÖ , r g , r nÖ , r s , , ||
|| ja ya ga ³£ . s¦a ra . ks¦a m¡ . m ||
|| g g g p , p p p p p , p ||
|| s¦r§ . ga ³£ . s¦a s¦r§ . ga ³£ . s¦a ||
|| g g g p , p n , s× n , , ||
|| s¦r§ . ga ³£ . s¦a p¡ . hi m¡ . m ||
|| s× , s× n , p g , p g , r ||
|| s¦r§ . ga ³£ . s¦a s¦r§ . ga ³£ . s¦a ||
|| nÖ , r g , r nÖ , r s , , ||
|| s¦r§ . ga ³£ . s¦a ra . ks¦a m¡ . m ||
Historical roots of Bhajans: Bhajans and Keertans (not the Carnatic genre type called Keertanams or
Devaranamas) have roots in the ancient metric and musical traditions of the Vedic times, particularly the Samaveda.
The Samaveda samhita is not meant to be read as a text, it is like a musical score sheet that must be heard.
The Vedas and Upanishads celebrate naada-brahman, where certain sounds are considered elemental, triggering
emotional feelings without necessarily having a literal meaning, and this is deemed sacred, the liminal experience of
the primeval ultimate reality and supreme truth. This supreme truth is considered as full of bliss and rasa (emotional
taste) in the Hindu thought, and melodic sound considered a part of human spiritual experience. Devotional music
genres such as Bhajan are part of a tradition that emerged from these roots.
Bhajan versus Keertan: A Bhajan is closely related to Kirtan, with both sharing common aims, subjects, musical
themes and being devotional performance arts. A Bhajan is more free in form performed by a single singer with or
without one and more musical instruments. Kirtan, in contrast, differs in being a more structured team performance
which includes two or more musical instruments with roots in the prosody principles of the Vedic era.
Many Kirtans are structured for more audience participation, where the singer calls a spiritual chant, a hymn, a
mantra or a theme, the audience then responds by repeating the chant or by chanting back a reply of their shared
beliefs. A Bhajan, in contrast, is either experienced in silence or a "sing-along".
जगत्कारणं कारणज्ञािरूपम्
सगरानदं सगखानदं गगणेशं गणेशम् ।
जगद््यानपिं नवश्ववंद्यं सगरेशम्
परब्रह्मरूपं गणेशं भजेम ॥३॥
jagatkāraṇam kāraṇa-jñānarūpam
surādim sukhādim guṇēsham gaṇēsham |
jagadwyāpinam vishwawandyam surēsham
parabrahma-rūpam gaṇēsham bhajēma ||3||
Let us worship Bhagawan Ganesha, the one who is the cause for the existence of the universe
and the knowledge, premier of the devatas, primal happiness, bhagawan of qualities,
bhagawan of devata group, one who pervades through the universe, worshipped by the
universe and the one who symbolizes the Supreme.
Sangeet Bharati | Practice, Perform, Promote and Unite. Page 50
रजोयोगतो ब्रह्मरूपं श्रगनतज्ञम्
सदा कायिसक्तं हृदाऽनिंत्यरूपम् ।
जगत्कारणं सविनवद्यानिदािम्
परब्रह्मरूपं गणेशं ितााः स्माः ॥४॥
rajō yōgatō brahma rūpam shrutijñam
sadā kāryasaktam hrudhāchintya rūpam |
jagat kāraṇam sarwa vidyā nidānam
parabrahma rūpam gaṇēsham natāh smaha ||4||
Let us bow down to Bhagawan Ganesha, the one who is beyond passion, the form of the
creator, knower of the Vedas, always with the actions, the form that is inconceivable by
heart, cause for the existence of the universe, responsible for all knowledge and the one who
symbolizes the Supreme.
निजैरोषधीस्तपियतं ं कराद्यैाः
सरग ौघान्कलानभाः सध ग ास्रानवणीनभाः ।
नदिेशाशं स
ग तं ापहारं नद्वजेशम्
शशांकस्वरूपं गणेशं िमामाः ॥८॥
nijai-rōshadhi-starpayantam karādyaihi
suraughān kalābhih sudhā srāwiṇībhihi |
dinēshāmshu santāpahāram dwijēsham
shashānka swarūpam gaṇēsham namāmaha ||8||
Let us salute Bhagawan Ganesha, the one who makes the plants happy by his rays, one who
makes devatas happy by the tarpana of streams of nectar, one who cools down the heat of the
Sun, the best of the brahmanas and the one who is the form of the Moon.
सिि सगु ध
िं सु ेर्र्त र् गिं म्
बुर्िर्ििधिि कारण र् िंगम् ।
र्सि सुरासुर ििंर्दत र् िंगम्
तत्प्रणमार्म सदार्शि र् गिं म् ॥३॥
sarva sugandha sulēpita lingam
buddhi vivardhana kāraṇa lingam |
siddha surāsura vandita lingam
tat-praṇamāmi sadāshiva lingam ||3||
I bow before that Sadashivalinga, which is lavishly smeared with variegated perfumes and
scents, which elevates the power of thought and enkindles the light of discriminations and
before which the siddhas, the suras and the asuras prostrate.
We sing these songs for devotional intention without a restriction of tala (meter) and enjoy the moment
being with the divinity. But they are also set to a meter called chandas of a fixed number of matras
(beats) in each line by our sages and great composers.
Generally, the Sanskrit shlokas are of 4 padas (metric verses) of syllables. In Kannada poetry or Meera
bhajans in Rajasthani etc, the chandas concept remains the same but the stanzas are composed with a
fixed number of lines in a poem called padas. For example, tri-padi of Sarvajna which has stanzas of
three lines, shat-padi of Kumaravyasa, Raghavanka and Lakshmisha of six-line stanzas, ashta-padi (each
hymn is made of eight couplets) of Jayadeva in Sanskrit etc.
(If no swaras are given for a charanam, play the swaras from the previous charanam.)
2. || d£va munipra var¡rchita lingam | k¡ma dahana | karu³¡kara lingam ||
|| r¡va³a darpa vin¡s¦ana lingam | tatpra³a m¡mi | sad¡s¦iva lingam ||
विविताविलशास्त्रसध
ु ाजलधे
मवितोपविषत्कवितािथविधे ।
हृिये कलये विमलं चरणं
भिशंकर िेवशक मे शरणं ॥१॥
viditā-khila-shāstra-sudhā jaladhē
mahitō-panishat kathitār-thanidhē |
hrudayē kalayē vimalam charaṇam
bhava shankara dēshika mē sharaṇam ||1||
O the knower of the entire ocean of milk of scriptures, He Who teaches the truths found in the
great treasure chest of the Upanishads! I meditate on your faultless feet. Be my refuge, O
Master Shankara!
सक
ु ृ तेऽवधकृते बिुधा भितो
भविता समिशथिलालसता ।
अवतिीिवममं पररपालय मां
भिशंकर िेवशक मे शरणं ॥५॥
sukrutē dhikrutē bahudhā bhavatō
bhavitā sama darshana lālasatā |
atidīna mimam paripālaya mām
bhavashankara dēshika mē sharaṇam ||5||
The desire for the insight in unity through Your Grace will grow only when virtuous deeds
are in abundance - and in all directions. Protect this extremely helpless person. Be my refuge,
O Master Shankara!
जगतीमवितुं कवलताकृतयो
विचरंवत मिामिसश्छलत: ।
अविमांशुररिात्र विभावस गुरो
भिशंकर िेवशक मे शरणं ॥६॥
jagatīm avitum kalitākrutayō
vicharanti mahā mahasaschalatah |
ahimām shurivātra vibhāsi gurō
bhavashankara dēshika mē sharaṇam ||6||
O Teacher! For the purpose of saving the world, the Great Ones take various forms and
wander in disguise. Of these great Ones, You shine like the Sun! Be my refuge, O Master
Shankara!
Totakacharya (Tōṭakāchārya) who lived in 8th century CE was a disciple of Adi Shankara, the Advaita
Vedanta teacher. He was made the first Jagadguru (head) of the Jyotirmatha Pitham, the original
northern matha founded by Adi Shankara in today’s Uttarakhand state in Bharat.
The work Mādhavīya Shankaravijayam states that when Adi Shankara was at Shringeri, he met a boy
named Giri. Adi Shankara accepted the boy as his disciple. Giri was a hard-working and loyal disciple of
his Guru, though he did not appear brighter to the other disciples. One day, Giri was busy plucking flowers
for pooja, when Adi Shankara sat down to begin a lesson on Advaita Vedanta. He, however, did not start
the lesson saying he was waiting for Giri to come back from his chores and singing lessons. At this,
another disciple Padmapada pointed to a wall and said that it would be the same if Adi Shankara taught
to this dumb object as he taught to Giri. Now, Adi Shankara wanted to reward Giri for his loyalty and
devotion. Thus, he mentally granted Giri the complete knowledge of all the Shastras (Sciences). The
enlightened Giri composed extempore the Totakashtakam, an eight-stanza Sanskrit poem in the totaka
meter, in praise of his Guru Adi Shankara. Thus, the humble disciple Giri became Totakacharya.
Totakashtakam, when sung in chorus, relieves stress.
ढि ढि ढि ढि ढिरु बजावे ।
गज
ूं उठावो नि: मिवाय ॥२॥
ḍhama ḍhama ḍhama ḍhama ḍhamaru bajāvē |
gūnj uṭhāō namah shivāya ||2||
Let’s play the dhamaru and the rhythm of dhama-dhama will echo the sound of “Om Namah
Shivaya”.
|| pallavi (drupad) ||
Sangeet Bharati | Practice, Perform, Promote and Unite. Page 64
दया करो भगवान शंकर│Dayā Karō Bhagawān Shankara
Language: Hindi
त्रिनेिधारर त्रिशल
ू धारर गगं ाधारर दया करो ॥१॥
trinētra-dhāri trishūla-dhāri gangādhāri dayā karō ||1||
The three-eyed one, the one holding the three-pronged trident, the one has Ganga in the hair,
please have mercy on us.
Bhajans are not merely the songs for entertainment. They are
composed, set to elevating music with the lofty goal of
experiencing divinity itself (through bhakti), an inspiring
revolution for a greater cause (like in freedom movements),
always enabling social reforms (pragati tattwa) and in every major
juncture of Hindu tradition. This practice is rooted in the poetic
nature of Hindu scriptures since antiquity. In other words, such
works of art and literature are composed to be sung and
experienced, not just written.
In its simplest form, this two-liner Shiva Bhajan is repeated with the gradual
increase in speed and finally a slow chorus. The full lyrics of this bhajan is:
जल में राम िल में राम jal mein rām tal mein rām
सारे जग में िू तह राम sāre jag mein tū hi rām
rām rām rām rām
राम राम राम राम
prēm se bōlō jai siyārām ||2||
िेम से बोलो जै तसयाराम ॥२॥
Ram is in water, Ram is in the shore, Ram is everywhere in life. From your heart, say “Jai
Siya Ram”. [Sita maa is lovingly called “Siya”]
"Raghupati Raghava" is a popular bhajan (devotional song). The first stanza of this song is called "Ram-Dhun" and
is the one given in this book in its original form. The original song was written by Shri Lakshmanacharya in his book
"Shri Nama Ramayanam" but Gandhi modified it. The modified version is more common and was put to music by
Shri Vishnu Digambar Paluskar.
Bhagawan Ram is an embodiment of Dharma (right duty, righteousness) and Virtue. "Raghupati Raghava" means
one who has attained all spiritual knowledge, who is strong and firm in righteousness, who is radiant like the
thousand suns and who has viveka (separating good from the bad) and vairagya (dispassion for worldly thing).
Rama and Krishna are the identities of India. And we are the proud descendants.
वेणुममधुरो रेणुममधुरः
पासणममधुरः पादौ मधुरौ ।
नृत्यं मधुरं िख्यं मधुरम्
मधुरासधपतेरसिलं मधुरम् ॥३॥
vēṇurmadhurō rēṇurmadhuraha
pāṇirmadhuraha pādau madhurau |
nrutyam madhuram sakhyam madhuram
madhurādhipatēr-akhilam madhuram ||3||
His flute is sweet, the dust of his lotus feet is sweet, his hands and his feet are sweet, his
dancing is sweet, and his friendship is sweet. Everything about the King of sweetness is
sweet.
This ashtakam (eight stanza poem) in Sanskrit, in devotion of Bhagawan Shri Krishna
describes the lovely attributes of his beautiful form just with one adjective madhuram,
meaning sweet or beautiful. Shri Krishna, the king of sweetness and beauty is personified in
this song by the fifteenth-century philosopher-poet Shri Vallabhacharya.
पवद्यदु ु द्योतवानप्रस्फुरद्वाससं
प्रावृडम्भोदवत्प्रोल्लसपद्वग्रहम् ।
वदयया मालया शोपभतोरःस्थलं
लोपहताङ्पिद्वयं वाररजाक्षं भजे ॥७॥
vidyududdyōtavāna-prasphurad-vāsasam
prāvrḍ-ambōdhavat-prōllasat-vigraham |
vanyayā mālayā shōbhitōrahsthalam
lōhitānghri-dwayam vārijāksham bhajē ||7||
7.1: I Salute You Whose Garments Flash Like the Rise of Lightning in the Sky,
7.2: I Salute You Whose Handsome Form Moves Like the Clouds of the Rainy Season,
7.3: I Salute You Whose Chest is Adorned with Vanamala (Garland of Wildflowers) and
7.4: I Salute You Whose Pair of Feet is Beautiful Reddish and Whose Eyes are like Lotus.
कुपचचतैः कुदतलैर्भ्ािजमानाननं
रत्न मौपलं लसत्कुण्डलं गण्डयोः ।
हार के यरू कं कङ्कणप्रोज्जज्जवलं
पकङ्पकणीमचजल ु ं श्यामलं तं भजे ॥८॥
kunchitaih kuntalai-rbhrājamān-ānanam
ratna maulim lasat-kuṇḍalam gaṇḍayōh |
hāra kēyūrakam kangkaṇa prōjjvalam
kngkiṇī manjulam shyāmalam tam bhajē ||8||
8.1: I Salute You Who has Beautiful Locks of Curly Hairs over His Shining Face,
8.2: I Salute You Whose Face is Adorned with Gem on the Head and Shining Earrings on the Ears,
8.3: I Salute You Whose Arms and Waist are Adorned with Shining Bracelets,
8.4: I Salute You Who wear Tiny Bells over His Dark Body which make Pleasing Sounds.
||1||
कौन कहता है भगवान आते नहीं ।
तमु मीरा के जैसे बल
ु ाते नहीं ॥प॥
kaun kehtē hai bhagawān ātē nahi |
tum meera kē jaise bulatē nahi ||P||
Who says God does not arrive? You don’t call her like Meera!
||2||
कौन कहता है भगवान खाते नहीं ।
बेर शबरी के जैसे वखलते नहीं ॥प॥
kaun kehtē hai bhagawān khatē nahi |
bēr shabari kē jaise khilatē nahi ||P||
Who says God does not eat? You don’t feed him like Shabari did!
||3||
कौन कहता है भगवान सोते नहीं ।
मााँ यशोदा के जैसे सल
ु ाते नहीं ॥प॥
kaun kehtē hai bhagawān sōtē nahi |
mā yashōdha kē jaise sulātē nahi ||P||
Who says God does not sleep? You don’t make him sleep like mother Yashoda did!
||4||
कौन कहता है भगवान नाचते नहीं ।
तुम गोपी के जैसे नचाते नहीं ॥प॥
kaun kehtē hain bhagawān nāchtē nahi |
tum gōpiyō kē jaise nachātē nahi ||P||
Who says God does not dance? You don’t make him dance like the Gopis!
This famous bhajan on Shri Krishna says, “if you are not seeing the Bhagawan, the fault seems
to be at your end”. Achyutam means immortal or living forever; Keshavam is another name for
Krishna who has long and beautiful hair and who killed the demon Keshi.
अहि िरणाित-िैररििू-िरिीरिराभि-दाहिकरे
हत्रभिु नमस्तकिलू -हिरोहिहिरोऽहिकृतामल-िल ू करे ।
दुहमदुहमतामरदुिं हु भ-नादमिोमख
ु रीकृत-हतग्मकरे
िि िि िे महिषासरु महदिहन रम्िकपहदिहन िैलसतु े ॥६॥
ayi sharaṇāgata-vairi-vadhū-varavīra-varābhaya-dāyikarē
tri-bhuvana-mastaka-shūla-virōdhi-shirō-dhikrutā-mala-shūlakarē |
dumi-dumitāmara-dundhubhi-nāda-mahō-mukharīkruta-tigmakarē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||6||
6.1: Pranams to you O Divine Goddess! who gave refuge to the heroic soldiers of the enemy when their
good wives took your refuge,
6.2: whose pure Trident in hand capture the heads of the Heads (rulers) of the three worlds who
oppose that Trident,
6.3: whose victory gives rise to the joyous Dum-Dum sound of Dundhubhi (large drum) drum of
Devas flowing in all directions,
6.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shines with
beautiful locks of hair and who is the daughter of the Mountain.
अहि सुमनःसुमनःसुमनःसुमनःसुमनोिरकांहतितु े
हितरिनीरि-नीरि-नीरिनी-रिनीकर-िक्त्रितृ े ।
सनु िनहिभ्रम-रभ्र-मर-भ्रमर-भ्रम-रभ्रमराहिपते
िि िि िे महिषासरु महदिहन रम्िकपहदिहन िैलसतु े ॥११॥
ayi sumanah-sumanah-sumanah-sumanah-sumanōhara-kānti-yutē
shrita-raja-nīraja-nīraja-nīrajanī-rajanīkara-vaktra-vrutē |
sunayana-vi-bhrama-rabhra-mara-bhramara-bhrama-rabhramarādhipatē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||11||
11.1: Pranams to you O Divine Goddess! Having a cheerful disposition, who is possessed of very
attractive lustre like gods whose minds are delicate than flowers,
11.2: who has a face like moon, which causes the white lotus to bloom - the lotus which originates in
clear waters and who has pollen that is yellow like turmeric,
11.3: whose beautiful eyes conquer the beauty of the Bees by its own beauty,
11.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shine with
beautiful locks of hair and who is the daughter of the Mountain.
सहित-मिािि-मबलमतहबलक-महबलत-रबलक-मबलरते
हिरहचत-िहबलक-पहबलक-महबलक-हझहबलक-हभहबलक-िििितृ े ।
हसत-कृतफुबल-समुबलहसतारण-तबलि-पबलि-सबलहलते
िि िि िे महिषासुरमहदिहन रम्िकपहदिहन िैलसुते ॥१२॥
sahita-mahāhava-mallamatallika-mallita-rallaka-mallaratē
virachita-vallika-pallika-mallika-jhillika-bhillika-varga-vrutē |
sita-kruta-phulla-samullasitāruṇa-tallaja-pallava-sallalitē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||12||
अहिरल-िडं िलन्मद-मेदुर-मत्त-मतंििराि-पते
हत्रभिु न-भषू णभतू -कलाहनहिरूप-पिोहनहि-रािसतु े ।
अहि सदु तीिन-लालस-मानस-मोिन-मन्मथराि-सतु े
िि िि िे महिषासरु महदिहन रम्िकपहदिहन िैलसतु े ॥१३॥
avirala-gaṇḍagalan-mada-mēdura-matta-matangajarāja-patē
tri-bhuvana-bhūshaṇa-bhūta-kalānidhi-rūpa-payō-nidhi-rāja-sutē |
ayi sudatī-jana-lālasa-mānasa-mōhana-manmatha-rāja-sutē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||13||
13.1: Pranams to you O Divine Goddess! who is like a royal intoxicated Elephant from whose cheeks
the thick mada (intoxicant) oozes out and falls incessantly (in the form of Arts, Beauty and Power),
13.2: who has got the moon and ornament of the three worlds and who is the daughter of the milky
ocean,
13.3: who is like the daughter of Manmatha (Deva of Love) who gives rise to the desires and
infatuation in the mind for women with a beautiful smile,
13.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shine with
beautiful locks of hair and who is the daughter of the Mountain.
कमलदलामल-कोमल-कांहत-कलाकहलतामल-भालतले
सकल-हिलासकला-हनलि-क्रम-के हल-चलत्कलिस ं कुले ।
अहलकुल-सक ं ु ल-कुिलिमडं ल-मौहलहमलद्बकुलाहलकुले
िि िि िे महिषासरु महदिहन रम्िकपहदिहन िैलसतु े ॥१४॥
kamala-dalāmala-kōmala-kānti-kalā-kalitāmala-bhālatalē
sakala-vilāsa-kalā-nilaya-krama-kēli-chalat-kalahamsa-kulē |
alikula-sankula-kuvalaya-maṇḍala-mauli-milad-bakulāli-kulē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||14||
14.1: Pranams to you O Divine Goddess! Whose forehead is shining with spotless and delicate lustre of
a lotus petal, whose forehead is like bright clear curved moon,
14.2: whose movement resembles the playful, soft movements of a flock of Swans from which all
schools of arts are manifested in succession,
14.3: whose ornamented and braided hair combines the beauty and sweetness of the blue water Lily
crowded by a swarm of Bees and the Bakula flower infested with a swarm of Bees,
14.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shine with
beautiful locks of hair and who is the daughter of the Mountain.
कहटतट-पीत-दुकूल-हिहचत्र-मिख ू -हतरस्कृत-चंद्ररचे
िणत-सुरासुर-मौहल-महणस्फुरदिं ु-लसन्नखचंद्ररचे ।
हित-कनकाचलमौहल-मदोहिित-हनभिरकुंिर-कुंभकुचे
िि िि िे महिषासुरमहदिहन रम्िकपहदिहन िैलसुते ॥१६॥
kaṭitaṭa-pīta-dukūla-vichitra-mayūkha-tiraskruta-chandra-ruchē
praṇata-surāsura-mauli-maṇi-sphuradamshu-lasan-nakhachandra-ruchē |
jita-kanakāchala-mauli-madōrjita-nirbhara-kunjara-kumbha-kuchē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||16||
16.1: Pranams to you O Divine Goddess! whose waist is soaked with silk clothes of various colors, the
luster of which eclipses the brightness of the Moon,
16.2: on whose toenails which throb with the radiance of gems of the diadem and spreads its
brightness like Moon, prostate the Devas and the Asuras,
16.3: who wins over the mighty heads swollen with pride like a golden mountain, with the pre-
eminence (of power and compassion) abounding in her pitcher-like bosom,
16.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shine with
beautiful locks of hair and who is the daughter of the Mountain.
हिहित-सिस्रकरैक-सिस्रकरैक-सिस्रकरैकनुते
कृत-सुरतारक-संिर-तारक-संिर-तारकसूनु-सुते ।
सुरथ-समाहि-समान-समाहि-समाहि-समाहि-सुिात-रते ।
िि िि िे महिषासुरमहदिहन रम्िकपहदिहन िैलसुते ॥१७॥
vijita-sahasra-karaika-sahasra-karaika-sahasra-karaika-nutē
kruta-sura-tāraka-sangara-tāraka-sangara-tārakasūnu-sutē |
suratha-samādhi-samāna-samādhi-samādhi-samādhi-sujāta-ratē
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||17||
Unlike the original Sanskrit text, complex words here are split
using hyphens for easy reading but should be sung as one word.
Sangeet Bharati | Practice, Perform, Promote and Unite. Page 83
17.1: Pranams to you O Divine Goddess! who conquer thousands of enemies who fight against her
with thousands of hands (by manifesting her own thousand hands); who then make thousands of
hands (of devotees) praise her,
17.2: who created the rescuer of the Devas (son Kartikeya) to fight with the Demon Tarakasura and
then urged her son for that great fight,
17.3: who is pleased with both; the devotional contemplation like King Suratha for worldly gains, and
the excellent devotional contemplation like merchant Samadhi for spiritual knowledge,
17.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shine with
beautiful locks of hair and who is the daughter of the Mountain.
कनकलसत्कल-हसि ं ि
ु लैरनुहसंचहत ते िुणरंिभुिम्
भिहत स हकं न िचीकुचकुंभ-तटीपरररंभ-सुखानभ ु िम् ।
ति चरणं िरणं करिाहण नतामरिाहण हनिाहस हििम्
िि िि िे महिषासरु महदिहन रम्िकपहदिहन िैलसतु े ॥१९॥
kanaka-lasat-kala-sindhu-jalair-anusinchati tē guṇa-ranga-bhuvam
bhajati sa kim na shachī-kucha-kumbha-taṭī-parirambha-sukhānubhavam |
tawa charaṇam sharaṇam kara-vāṇi natāmara-vāṇi niwāsi shivam
jaya jaya hē mahishāsura-mardini ramya-kapardini shaila-sutē ||19||
19.1: Pranams to you O Divine Goddess! I invoke you knowing that when a devotee washes the place
where your attributes are exhibited (i.e. your place of worship) with water from the river which is
shining like Gold and flowing softly,
19.2: will he not feel the joy of your all-embracing grace contained in your pitcher-like bosom (i.e.
Cosmic heart)?
19.3: (therefore) I take refuge at your feet, O Vani (Devi Mahasaraswati)! and I prostrate before you,
O Eternal Vani (Devi Mahasaraswati)! in whom resides all auspiciousness,
19.4: Victory to You, Victory to You. O the destroyer of the demon Mahishasura! who shine with
beautiful locks of hair and who is the daughter of the Mountain.
Swami Vivekananda started a tradition of worshipping young
girls during Durga Puja to define the divine feminine power.
|| पल्लवि || || Pallavi ||
|| pallavi ||
s,; || s,; s,s, s,; nÖ,s, || r,; ;; ;; r,g, ||
µm || jai jaga d§ s¦aha || r£ .... .... sv¡mi ||
|| m,; p,p, d,p, m,g, || m,r, ;; ;; ;; ||
|| jai jaga d§ s¦aha || r£ .... .... .... ||
|| r,g, r,g, m,; m,g, || rg,r s,s, r,g, r,g, ||
|| bha ktaja nµ k£ || san ka¿a d¡ saja ||
|| m,; m,g, rg,r s,s, ||
|| nµ k£ san ka¿a ||
|| ; nÖs, r; g;r s,nÖ, || s,; dÖ,; ;; r,; ||
|| . . ks¦a³a m£ dÀ raka || r£ .... .... µm ||
|| r,; r,r, g,r, s,nÖ, || s,; ;; ;; ;; ||
|| jai jaga d§ s¦aha || r£ .... .... .... ||
|| chara³am ||
|| r,; s,nÖ, r,; s,nÖ, || r,; s,;; pd, pm, ||
|| jµ dhy¡ v£ phala || p¡ v£ duhkha bina ||
|| g,; r,s, r,; p,p, || ; pd, pm, g,; r,s, ||
|| s£ mana k¡ sv¡mi || . . duhkha bina s£ mana ||
|| r,; ;; ;; ;; ||
|| k¡ .... .... .... ||
|| r,g, r,g, m,m, m,g, || rg,r s,s, r,g, r,g, ||
|| sukha sam pati ghara || ¡ v£ sukha sam ||
|| m,m, m,g, rg,r s,s, ||
|| pati ghara ¡ v£ ||
|| ; nÖs, r; g;r s,nÖ, || s,; dÖ,; ;; r,; ||
|| . . kas¦¿a mi ¿£ tana || k¡ .... .... µm ||
|| r,; r,r, g,r, s,nÖ, || s,; ;; ;; ;; ||
|| jai jaga d§ s¦aha || r£ .... .... .... ||
The above notations will remain the same for the remaining Charanams of this song.
Jai Jagadeesha Hare might have inspired by the Dashavatara section of Gita Govinda of Jayadeva, a lyrical
composition of the 12th century. There are also variants of this song, using the same tune and structure, but with a
focus on different deities like "Om Jai Lakshmi Maata", "Om Jai Shiva Omkara" and "Om Jai Shiva Shakti Hare".
सक
ुं ट तें हनुमान छुडावै ।
मन क्रम बचन ध्यान जो लावै ॥२६॥
sankaṭa tē hanumāna cchuḍāwai |
mana krama bachana dhyāna jō lāwai ||26||
Hanuman extricates those from all adversities who remember him (contemplate on him) in
their heart, by their actions and by their words.
जय जय जय हनुमान गुसाई ुं ।
कृपा करहु गरुु देव की नाई ुं ॥३७॥
jaya jaya jaya hanumāna gusāyī |
krupā karahu gurudēva kī nāyī ||37||
O Hanuman, the master of senses, may you be victorious, may you be victorious, may you be
victorious. May you shower your grace lovingly, as a Guru does, and reveal to me the
knowledge of devotion to Bhagawan Shri Rama.
18th Verse gives the distance between the Earth and the Sun.
1 Yuga = 12,000 Years, 1 Sahasra = 1000, 1 Yojana = 8 Miles.
Yug x Sahasra x Yojana = 9,60,00,000 miles.
(Distance varies around this limit as the revolution is elliptical.)
तल
ु सीदास सदा हरर चेरा ।
कीजै नाथ हृदय महँ डेरा ॥४०॥
tulasīdāsa sadā hari chērā |
kījai nātha hrudaya maha ḍērā ||40||
Tulasidas is always a devotee of Hari. O Bhagawan! make my heart your abode.
हरिविासनं ववश्वमोहनम्
हरिदधीश्विं आिाध्यपादुकम् ।
अरिववमददनं वनत्यनर्दनम्
हरिहिात्मजं देवमाश्रये ॥१॥
hariwarāsanam vishwamōhanam
haridadhīshwaram ārādhyapādukam |
ariwimardanam nityanartanam
hariharātmajam dēvamāshrayē ||1||
Repository of Hari’s boons, enchanter of the universe, the essence of Hari’s grace, he whose
holy feet are worshipped, he who kills enemies by good thought, he who daily dances the
cosmic dance, son of Hari and Hara, I take refuge in you, O Deva!
|| pallavi (drupad) ||
शिणमय्यप्पा स्वावम शिणमय्यप्पा (x2)
sharaṇam-ayyappā swāmy sharaṇam-ayyappā (x2)
My refuge is in you Ayyappa.
शिणकीर्दनं भक्तमानसम्
भिणलोलुपं नर्दनालसम् ।
अरुणभासिु ं भर्ू नायकम्
हरिहिात्मजं देवमाश्रये ॥२॥
sharaṇakīrtanam bhaktamānasam
bharaṇalōlupam nartanālasam |
aruṇabhāsuram bhūtanāyakam
hariharātmajam dēvamāshrayē ||2||
He who likes song of refuge, he who is in the mind of devotees, he who is the great ruler, he
who loves to dance, he who shines like the rising sun, he who is the king of all beings, son of
Hari and Hara, I take refuge in you, O Deva!
प्रणयसत्यकं प्राणनायकम्
प्रणर्कल्पकं सुप्रभांवजर्म् ।
प्रणवमंवदिं कीर्दनवप्रयम्
हरिहिात्मजं देवमाश्रये ॥३॥
praṇayasatyakam prāṇanāyakam
praṇatakalpakam suprabhānjitam |
praṇawamandiram kīrtanapriyam
hariharātmajam dēvamāshrayē ||3||
Sangeet Bharati | Practice, Perform, Promote and Unite. Page 98
He whose soul is the truth, he who is the darling of all souls, he who created the universe, he
who shines with a glittering halo, he who is the temple of “Om”, he who loves songs, son of
Hari and Hara, I take refuge in you, O Deva!
र्ुिगवाहनं सुंदिाननम्
विगदायध ु ं वेदववणदर्म् ।
गुरुकृपाकिं कीर्दनवप्रयम्
हरिहिात्मजं देवमाश्रये ॥४॥
turagavāhanam sundarānanam
waragadāyudham vēdawarṇitam |
gurukrupākaram kīrtanapriyam
hariharātmajam dēvamāshrayē ||4||
He who rides a horse, he who has a pretty face, he who has the blessed mace as a weapon, he
who is glorified by Vedas, he who bestows grace like a teacher, he who loves songs, son of
Hari and Hara, I take refuge in you, O Deva!
भवभयापहं भावुकावहम्
भुवनमोहनं भूवर्भूषणम् ।
धवळवाहनं वदव्यवािणम्
हरिहिात्मजं देवमाश्रये ॥६॥
bhawabhayāpaham bhāwukāwaham
bhuwanamōhanam bhūtibhūshaṇam |
dhawaḷavāhanam divyawāraṇam
hariharātmajam dēvamāshrayē ||6||
He who destroys fear, he who brings prosperity, he who is the enchanter of the universe, he
who wears holy ash as an ornament, he who rides a white elephant, son of Hari and Hara, I
take refuge in you, O Deva!
वश्रर्जनवप्रयं वचंवर्र्प्रदम्
श्रुवर्ववभषू णं साधज ु ीवनम् ।
श्रुवर्मनोहिं गीर्लालसम्
हरिहिात्मजं देवमाश्रये ॥८॥
shritajanapriyam chintitapradam
shrutivibhūshaṇam sādhujīvanam |
shrutimanōharam gītalālasam
hariharātmajam dēvamāshrayē ||8||
He who is dear to his devotees, he who fulfills wishes, he who is praised by Vedas, he who
blesses the life of ascetics, he who is the essence of Vedas, he who enjoys divine music, son of
Hari and Hara, I take refuge in you, O Deva!
|| chara³am ||
|| sss s,s r; ,,, | nÖ,s r,s | s; ,,, ||
|| hariva r¡sa nam ... | vis¦va mµha | nam ... ||
|| pallavi ||
|| mpp pp, p; m,r | mpp pp, | p; ,,, ||
|| s¦ara³am ayya pp¡ sv¡mi | s¦ara³am ayya | pp¡ ... ||
|| pnn nn, s×np mrr | r,s ss, | s; ,,, ||
|| s¦ara³am ayya pp¡ sv¡mi | s¦ara³am ayya | pp¡ ... ||
(Continue this Charanam-Pallavi pair as many times as needed. And in the end, play the below as
a final Pallavi instead of the above one.)
सजु लां सफ
ु लां
मलयज-शीतलां
सस्य-श्यामलां मातरम् ॥१॥
sujalām suphalām
malayaja-shītalām
sasya-shyāmalām mātaram ||1||
Blessed with pure water, bountiful orchards, cool mountain winds, lush green fertile lands,
you mother, I bow to!
शभ्र
ु -ज्योत्सस्ना-पल
ु कितयाकमनीं
फुल्ल-िुसुकमत-द्रुमदळ-शोकिनीं
सुहाकसनीं सुमधुर-िाकिणीं
सुखदां वरदां मातरम् ॥२॥
shubhra-jyōtsnā-pulakita-yāminīm
phulla-kusumita-drumadaḷa-shōbhinīm
suhāsinīm sumadhura-bhāshiṇīm
sukhadām varadām mātaram ||2||
Bathed in glorious moonlight, filled with flowering vines, adorned by blossoming trees, of a
beautiful smile and endearing speech, source of enduring comfort, bestower of boons and
eternal happiness, O Mother, to you I bow!
िोकि-िोकि-िण्ठ-स्वर-कननाद-िारणतां
िोकि-िोकि-िुजैधृतध -शस्त्र-कवलाकसनीं
स्विमू ावबलेकत िे नोक्तं
बहुबलधाररणीं नमाकम ताररणीं
ररपदु ळ-वाररणीं मातरम् ॥३॥
kōṭi-kōṭi-kaṇṭha-swara-nināda-kāraṇatām
kōṭi-kōṭi-bhujairdhruta-shastra-vilāsinīm
swabhūmāwabalēti kēnōktam
bahubaladhāriṇīm namāmi tāriṇīm
ripudaḷa-vāriṇīm mātaram ||3||
|| pallavi ||
|| s,; r,;; m,p,m, || p,; ;; ;; ;; || (x2↓)
|| van d£ m¡ ta || ram .... .... .... ||
|| m,; p,;; n3,s×,n3, || s×,; ;; ;; ;; ||
|| van d£ m¡ ta || ram .... .... .... ||
|| chara³am ||
1. || s×,r×, n,; n,d, p,; || p,d, m,; m,g, r,; ||
|| suja l¡ .... m || supha l¡ .... m ||
|| r,p, m,m, m,g, r,g, || s,; ;; ;; ;; ||
|| mala yaja s¦§ ta || l¡m .... .... .... ||
|| s,;r, m,p,m, p,; || ; n,;d, p,; ;; ||
|| sasya s¦y¡ma l¡m || .. m¡ta ram .... ||
|| m,; p,;; n3,s×,n3, || s×,; ;; ;; ;; ||
|| van d£ m¡ ta || ram .... .... .... ||
“I have written this spontaneously. I may not live to see how it is received. But this poem will be sung
by every Indian like a mantra in the Vedas.”
- Shri. Bankim Chandra Chatterji.
The highest lawmaking body in India, the Parliament and state Vidhana Sabhas start their session
with the national song “Vande Mataram” and ends with the national anthem “Jana Gana Mana”.
Vande Mataram meaning “I bow to you, Mother” is the national song of Bharat (India) and is considered on
par with its national anthem. This song, which united India during its Independence movement, and continues
playing the role of a devotional song today, was a strong contender to become the national anthem.
However, it didn’t make final consideration due to opposition from the Muslims and the Muslim League. Even
so, nationalist leaders of India from that period, conferred upon the glorious “Vande Mataram” song, a status
equivalent to that of the national anthem.
Vande Mataram is originally a Bengali poem written by Shri Bankim Chandra Chatterjee which he later
added in his novel Anandamath with the title “Bande Mataram”. The song and the novel containing it were
both banned by the British government but Indians boldly defied the ban. Many were repeatedly imprisoned
by the regime for singing the song in public. This ban was overturned by the Republic of India following its
independence from colonial rule.
The full version should be played accompanied by mass singing on the unfurling of the national
flag, on cultural occasions or ceremonial functions, and during the arrival of the President of
India at any government or public functions and immediately before he departs from such
functions. The song is also played on ceremonial occasions to the Governors of States/Union
Territories. The National Anthem is not to be played for the Prime Minister generally, except
under special circumstances.
Code of Conduct
The national anthem cannot be sung indiscriminately or played randomly. To ensure that respect
is never violated for the anthem, a code of conduct is put in place by the Government of India. It
includes conducts like an attentive posture, time limit and conditions in which the anthem
should be sung or played.
Posture
Whenever the national anthem is played, one should stand up in attention (holding head high
and looking forward) and stand still until the end of the song and sing along if you know.
Physically challenged people should stay wherever they are in their supporting systems like a
wheelchair.
Time Limit
A formal rendition of the national anthem takes approximately fifty-two seconds. A shortened
version consisting of the first and last line takes about twenty seconds. A shortened version is
staged occasionally.
Conditions
Whenever the anthem is sung or played, the audience shall stand in attention. However, when
during a newsreel or a documentary the anthem is played as part of it, the audience is not
expected to stand as standing is bound to interrupt the exhibition of the film and would create
disorder and confusion rather than adding dignity to the anthem.
jai hind
Sindh Vs Sindhu
Before the Indian National Congress caved into the demand of the Muslim League to break India
into three, the original "Jana Gana Mana" song had the reference to "Sindh", a province in
today's Pakistan. After the bloody partition, "Sindh" was replaced with "Sindhu", the name of the
sacred river which today flows both in India and Pakistan.
Page 111
Page 112
INTRODUCTION
Subhāshitam or Subhāshita are wise sayings, instructions and stories, either in poetry or in prose.
Literally meaning “well said” or “good speech”, the main purpose of subhashitams is to enable one to face
the challenges that will come his or her way. By reading, saying it aloud to self and others, and meditating
on the meaning and significance of each subhashitam, one will be able to cultivate a strong and morally
superior character (chāritrya, sheela, vrutti) modeled on India’s traditional cultural heroes to whom
many subhashitams refer.
In the Indian tradition there exist numerous compilations where specific subhashitams are selected and
compiled with a particular purpose in mind. Examples include Bhartruhari’s Shatakatraya, i.e., teachings
in three hundred verses on ethics, romance, and renunciation (Niti Shataka, Shrugara Shataka and
Vairagya Shataka respectively), Subhaitaratnabhandagara, Somadeva Bhatta’s Kathasaritsagara and
Kshemendra’s Bruhatkathamanjari. The Panchatantra and the Hitopadesha also belong to this category.
The compilation in this book draws subhashitams from all these sources, and in addition to the Shrimad
Bhagawata and other Puranas, Ramayana, and Mahabharata.
And not to forget the numerous works related to Subhashitams in other Indic languages like Kannada,
Marathi. In Kannada, those that come to mind are the “Vachanas” of Sarvajna, “Mankutimmana Kagga”
by D.V. Gundappa and “Subhashita Chamatkara” of Pa.Vem. Acharya.
In our middle school days, we used to read Ramayana and Mahabharata in the libraries. These are rich
in subhashitam sayings. We were noting them in the notebook which quickly becoming enormous.
Character is everything
Sheelam parama bhooshaṇam - subhashitams teach that we are born with all the necessary
endowments to be āryas in character. Here, it is important to remember that Arya is not a racial term. It
does not indicate membership in this or that race or caste. The Yogavashishtha defines ārya as anyone
who diligently performs assigned duties and desirable deeds and desists from doing deeds that should
not be done. It insists that noble character or āryata can be cultivated by any individual who practices
Yoga whereby even in the most ignorant individual arises the desire for attaining spiritual liberation.
Anyone who refuses to be like Shri Rama revolts against one’s nature (prakruti) and one’s self (ātman).
Even though one might outwardly manifest all the social graces, if one is inwardly living for the wrong
end, self rather than society, then that person is doomed to remain in ignorance.
A well-molded character (sheela) is a requisite for all. The pot in which you store milk must be cleaned
daily. Similarly, daily revision of samskāra is crucial for building a character that will neutralize impulses
inimical to building social harmony.
Character is everything. It is the very foundation upon which a healthy society will be built and thereby a
healthy nation. This is illustrated with the story from the Purana of Prahlada who had usurped the throne
of Indra in heaven. Indra, king of gods, then disguised himself as a beggar and went to Prahlada and
asked for his character in charity (dāna). When Prahlada complied, a splendid form simultaneously left
his body and entered that of the beggar. Surprised Prahlada asked the form about it whereupon he was
told, “I am your bravery (shaurya) but since character (sheela) is my master I am following him”. One by
one, other powers too left the body of Prahlada and joined their master - the character. The moral of this
story is that the character is everything. It is true of individuals as well as nations.
Character is the force of one’s moral constitution and the pattern of behavior that is a result of one’s
virtuous choices. Conduct is a character in action. Our character is the way we are moral, our reputation
is the way we are perceived. One must learn that the individual’s moral status is of much greater
importance than social status, economic condition, intellectual endowments, or physical beauty. While
few of us will ever attain great wealth or fame, a spotless character is the privilege of us all. Out of our
thoughts are born deeds, out of our deeds develop habits and out of our habits grow our character. On
our character, we build our destiny. Practical experience and good examples are indispensable help in
forming a noble character. It is this sense of a civic and cultural identity that the Hindus propagated which
will provide the basis for rebuilding the Indian subcontinent as Hindurastra where everyone could live in
harmony.
The subhashitams with the introduction is originally compiled and written by Hindu Swayamsevak Sangh (HSS)
of Canada swayamsevak Shri. Shrinivas Tilak for the Sangh Shakhas.
sangeetbharatimusic@gmail.com.
सत्यं ब्रयू ात् षप्रयं ब्रयू ाि् ि ब्रयू ात् सत्यम् अषप्रयम् ।
षप्रयं च िाितॄ ं ब्रयू ात् एि र्धमिः सिातिः ॥२२॥
satyam brūyāt priyam brūyān na brūyāt satyam apriyam |
priyam cha nānruitam brūyāt esha dharmah sanātanaha ||22||
Speak the truth in such a way that it is pleasing to others. Do not speak the truth in a manner
injurious to others. Never speak untruth, though it may be pleasant. This is the eternal path
of morality and dharma [Manusmruiti 4.138].
द्राक्षाबलािमख
ु ी जाता शकि रा चाश्मतां गता ।
सभ ु ाषितरसस्याग्रे सर्ध
ु ा भीता षदवं गता ॥३२॥
drākshā-mlānamukhī jātā sharkarā chāshmatām gatā |
subhāshitarasasyāgrē sudhā bhītā diwam gatā ||32||
The essence (rasa) of a subhāshitam is so sweet that grapes felt ashamed (of its sweetness)
and became crestfallen. The sweeter sugar lost its fluidity and became hard and the sweetest
amrita (nectar) pulled itself back to heaven.
Here the poet describes the supreme value of subhāshitas.
मख
ु ाि यत्र ि पज्ू यते र्धान्यं यत्र सस
ु षं चतम् ।
दपं त्यो कलह: िाषस्त तत्र श्री: स्वयमागत: ॥६१॥
murkhā yatra na pūjyatē dhānyam yatra susanchitam |
dampatyō kalahah nāsti tatra shrīh swayamāgataha ||61||
Where fools are not honored (i.e., fools are not involved in a decision-making process), there
are to be found sufficient store of food grains (and other things required in day-to-day life)
and where there is no conflict between the husband and wife, their prosperity (Goddess
Lakshmi) comes on her own.
तण
ॄ ाषि िोन्मल
ू यषत प्रभन्जिो मदॄ ू षि िीचै: प्रणताषि सवित: ।
स्वभाव एवोन्ितचेतसामयं महान्महत्स्वेव करोषत षविमम् ॥७७॥
truṇāni nōnmūlayati prabhanjanō mrudūni nīchaihi praṇatāni sarvataha |
swabhāva ēvōnnatachētasāmayam mahānmahatswēva karōti vikramam ||77||
The hurricane which can easily uproot the toughest and the tallest trees is yet unable to harm
the grass growing on the ground (or spares the grass growing on the ground). Likewise, the
strong and the mighty do not trouble or bother the weak.
सस
ं ारषविवक्षॄ स्य द्वे एव मर्धरु े फले ।
सभ
ु ाषितं च सस्ु वादु सषिश्र्च सह सगं म: ॥१३७॥
samsāra-vishavrukshasya dvē ēva madhurē phalē |
subhāshitam cha suswādu sadbhishrcha saha sangamaha ||137||
The tree of samsara, though poisonous, bears two sweet fruits: sweetly subhāshitams and
company of saintly people.
गरुु ं वा र्ालवद्ध
ॄ ौ वा ब्रााह्मणं वा र्हश्रुतम् ।
आतताषयिमायान्तं हन्यादेवाषवचारयाि् ॥१७३॥
gurum vā bālavruddhau vā brāhmaṇam vā bahushrutam |
ātatāyinamāyāntam hanyā-dēvāvichārayān ||173||
A terrorist must be killed without any (second) thought, even if he happens to be your
teacher, a child, an old person, a Brahmin, or an erudite scholar.
यथा र्धेिस
ु हस्त्रेिु वत्सो षवन्दषत मातरम् ।
तथा पवू िकॄतं कमि कतािरमिगु च्छषत ॥१८४॥
yathā dhēnusahastrēshu vatsō vindati mātaram |
tathā pūrvakrutam karma kartāramanugacchati ||184||
A calf recognizes its mother in a herd of thousands of cattle; in the same way, one’s karma of
done in a previous life follows its doer to the next one (Mahabharata).
मल
ू ं भुजंगै: षशखरं षवहंगै:
शाखां प्लवगं ै: कुसुमाषि भंगॄ ै: ।
आश्चयिमेतत् खलुचन्दिस्य
परोपकाराय सतां षवभूतय: ॥१८८॥
mūlam bhujangaih shikharam vihangaihi
shākhām plavangaih kusumāni bhrungaihi |
āshcharyamētat khaluchandanasya
parōpakārāya satām vibhūtayaha ||188||
Roots of the sandalwood tree provide shelter to snakes, on its top birds take rest, on its
branch’s monkeys play and one can find bees on its flowers. Really, the raison-d-etre of
saintly people (sajjana), like the sandalwood tree, is to offer a helping hand to others
(paropakaraya).
उद्धरेदात्मिात्मािं िात्मािमवसादयेत् ।
आत्मैव ह्मात्मिो र्र्ध
ं ु: आत्मैव ररपुरात्मि: ॥१९०॥
uddharēdātmanātmānam nātmānamawasādayēt |
ātmaiva hmātmanō bandhuh ātmaiva ripurātmanaha ||190||
Be the cause of your own progress and realization, do not be the cause of your own
degradation. Remember, you are your best friend or your worst enemy.
अज्ञ: सख
ु म् आराध्य: सख ु तरम् आराध्यते षवशेिज्ञ: ।
ज्ञािलवदुषविदनर्धं ब्रह्मा अषप िरं ि रंजयषत ॥१९२॥
ajñah sukham ārādhyaha sukhataram ārādhyatē vishēshajñaha |
jñānalavadurvidagdham brahmā api naram na ramjayati ||192||
It is easy to convince an uneducated person; it is easier to convince an expert. But even God
cannot convince a person who has developed false pride by half-knowledge.
परवाच्येिु षिपण
ु : सवो भवषत सविदा ।
आत्मवाच्यं ि जािीते जािन्िषप च मुह्मषत ॥२७८॥
paravāchyēshu nipuṇah sarvō bhavati sarvadā |
ātmavāchyam na jānītē jānannapi cha muhmati ||278||
Everyone is always an expert in finding out (and talking about) the faults or shortcomings of
others. But one neither knows about one’s own faults nor even after knowing keeps quiet
about it.
अप्यषब्र्धपािान्महत: सुमेरून्मूलिादषप ।
अषप वहन्यशिात् सार्धो षविमषश्चत्तषिग्रह: ॥२८६॥
apyabdhi-pānānmahatah sumērūnmūlanādapi |
api vahanyashanāt sādhō vishamashchitta-nigrahaha ||286||
Control over the mind is more difficult than drinking water from the ocean, uprooting Mount
Meru, or eating fire.
र्र्ध
ु ाग्रे ि गुणाि् ब्रूयात् सार्धु वेषत्त यत: स्वयम् ।
मूखािग्रेषप च ि ब्रूयाद्धुर्धप्रोतं ि वेषत्त स: ॥२९६॥
budhāgrē na guṇān brūyāt sādhu vētti yatah swayam |
mūrkhāgrēpi cha na brūyāddhudhaprōktam na vētti saha ||296||
You need not publicize your good qualities to a wise person who will know them or will find
them on their own. Do not reveal your good qualities to an idiot either because he/she will not
be able to appreciate (understand) them.
गरू
ु शश्र
ु िू या षवद्या पष्ु कलेि र्धिेि वा ।
अथवा षवद्यया षवद्या चतथ ु ो ि उपलभ्यते ॥३०५॥
gurūshushrūshayā vidyā pushkalēna dhanēna vā |
athavā vidyayā vidyā chaturthō na upalabhyatē ||305||
Knowledge is acquired by serving the teacher; by a lot of money or by exchanging it (with
others). A fourth (option) does not exist.
गण
ु ेिु षियतां यत्ि: षकमाटोपै: प्रयोजिम् ।
षविीयन्ते ि घण्टाषभ: गाव: क्षीरषववषजिता: ॥३४८॥
guṇēshu kriyatām yatnah kimāṭōpaihi prayōjanam |
vikrīyantē na ghaṇṭābhih gāvah kshīravivarjitāha ||348||
One should try to cultivate one’s inherent qualities (skills, assets) rather than merely making
noises. A cow, for instance, cannot be sold by merely ringing the bell in her neck if she does
not yield milk (making a sweet sound of the bell is an irrelevant asset of the cow while giving
milk is indeed its relevant quality).
Today’s world of advertisement is predicated upon an exactly opposite premise. It tells us to
attract the customers by attractive packaging rather than by the quality of the product. Attractive
packaging only raises expectations but does not satisfy the customer.