Nityotsava -Eternal Carnival

नित्योत्सवः

Nithyotsava — Eternal Celebration

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A joyous hymn celebrating the eternal festival of existence, rendered in both Kannada and Sanskrit. This composition is a paean to the motherland, weaving together imagery of natural beauty, historical glory, cultural richness, and linguistic heritage. The verses move between Kannada and Sanskrit, embodying the bilingual poetic tradition of South India. The recurring refrain "Nityotsava" (eternal celebration) reminds us that life itself is an ongoing festival to be cherished.

About the Bilingual Tradition: This composition exemplifies the maṇipravāḷa style, where Sanskrit and regional languages (here Kannada) are woven together. This tradition has deep roots in South Indian literature, where poets would seamlessly blend Sanskrit with Tamil, Kannada, or Telugu to create works of great beauty and accessibility.

[Kannada Original composition]

ಜೋಗದ ಸಿರಿ ಬೆಳಕಿನಲ್ಲಿ ತುಂಗೆಯ ತೆನೆ ಬಳುಕಿನಲ್ಲಿ, ಸಹ್ಯಾದ್ರಿಯ ಲೋಹದದಿರ ಉತ್ತುಂಗದ ನಿಲುಕಿನಲ್ಲಿ. ನಿತ್ಯ ಹರಿದ್ವರ್ಣವನದ ತೇಗ ಗಂಧ ತರುಗಳಲ್ಲಿ

ನಿತ್ಯೋತ್ಸವ, ತಾಯಿ ನಿತ್ಯೋತ್ಸವ ನಿನಗೆ ನಿತ್ಯೋತ್ಸವ, ತಾಯಿ ನಿತ್ಯೋತ್ಸವ

[Samskrta near-translation]

नित्योत्सवः, अम्ब नित्योत्सवः निनुत नित्योत्सवः , अम्ब नित्योत्सवः जोगिय शित कर चरेषु तुङ्गिय मृदु मुकुलिकेषु सह्याद्रिय लोहजनिषु उत्तुङ्गज झणझणेषु नित्य हरिद्वर्णवनक तेज गन्ध तरुवरेषु

[Kannada Script]

ಇತಿಹಾಸದ ಹಿಮದಲ್ಲಿನ ಸಿಂಹಾಸನ ಮಾಲೆಯಲ್ಲಿ, ಗತ ಸಾಹಸ ಸಾರುತಿರುವ ಶಾಸನಗಳ ಸಾಲಿನಲ್ಲಿ. ಓಲೆ ಗರಿಯ ಸಿರಿಗಳಲ್ಲಿ, ದೇಗುಲಗಳ ಭಿತ್ತಿಗಳಲಿ

[Devanagari]

इतिहासक हिम संहित सिंहासन मालिकासु गत साहस सारसरिय शासन नव वीथिकासु ओत गिरिषु तरुषु तेषु दैविक कुल भित्तिकासु

[Kannada Script]

ಹಲವೆನ್ನದ ಹಿರಿಮೆಯೆ, ಕುಲವೆನ್ನದ ಗರಿಮೆಯೆ ಸದ್ವಿಕಾಸಶೀಲ ನುಡಿಯ ಲೋಕಾವೃತ ಸೀಮೆಯೆ. ಈ ವತ್ಸರ ನಿರ್ಮತ್ಸರ ಮನದುದಾರ ಮಹಿಮೆಯೆ

ನಿತ್ಯೋತ್ಸವ, ತಾಯಿ, ನಿತ್ಯೋತ್ಸವ ನಿನಗೆ ನಿತ್ಯೋತ್ಸವ, ತಾಯಿ ನಿತ್ಯೋತ್ಸವ

[Devanagari]

बहवो मम गरिमनीं कुलिनो मम कलिकुलीं सद् विकास शील वचस लोकावृत सीमनीम् एषैषम ऐकैकिक मनसुदार महिमनीम्

नित्योत्सवः, अम्ब नित्योत्सवः निनुत नित्योत्सवः , अम्ब नित्योत्सवः

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The Eternal Festival: This composition celebrates the motherland (Bharata/Karnataka) as an eternal celebration — in its natural splendor (the Sahyadri mountains, lush forests), its historical heritage (ancient inscriptions, temple walls), its cultural richness (language, arts), and its noble spirit (magnanimous heart, progressive character). The recurring refrain "Nityotsava, Tayi, Nityotsava" (Eternal celebration, O Mother, Eternal celebration) becomes a mantra of gratitude and joy.

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

A bilingual hymn celebrating the eternal festival of life and land.

Light of Madness

 

मादभाः पद्यम्

Maadabhaah Padyam — The Light of Madness

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An extraordinary Sanskrit composition that pushes the boundaries of linguistic artistry. Using words with similar sounds (predominantly formed from the syllables "ba," "bha," "da," "dha," "ma," "na"), the poet creates verses that are both musically mesmerizing and philosophically profound. This tour de force of alliteration explores themes of divine intoxication, consciousness, and the transcendence of the ego through the metaphor of "madness" — the intoxication with the Divine.

On the Title "Maadabhaah": Maada means intoxication or ecstasy, while bhaa means light or radiance. Together, "Maadabhaah" suggests the luminous state of divine intoxication — that supreme madness which is actually the highest wisdom. The verses employ chekānuprāsa (excessive alliteration) to create a trance-like effect, mirroring the intoxicated state being described.

अभूद् अभाद् बुबोध भूदधौ दधौ बभूब भाः । बिभेद भेदभू-बिभी-बिधुं बबन्ध बन्धनम् ।।१

It was. It shone. It awoke. It became the Light and bore the ocean of existence. It sliced open the moon of fear which had arisen from separation. It bounded the binding (world).

बुभू-बुधाभु भन्द मन्द मेद बिन्दुमादनः । अम्बुदाभ बिम्ब धीभभं दधुं बबाध नः।।२

It became intoxicated with the slowly dripping pure soft drops of Consciousness-willing-to-Exist. Like the clouds reflected (in the sea), our intellect-elephant-ego is reflected in You. Curtail that survival-ego.

दम्भदृब्धमिन्न मन्द निन्ददं मनो बुधः । बाधबाधनो धनं नदं ननाद धिन्धिमिम् ।।३

It danced and pranced about with sounds of Dhim Dhim. The limiter of limitations shook the mind of the Wise with rivers of Money. The mind was captured by ego, inflated with pride, and grew dull with insults.

धनिन् दिने दिने न दानिदं निधे निदाधधः । बुधाम्बुधिं मनुं मदेभम् आमनाममौ मम ।।४

Oh Rich One! O Treasure chest! Will you not bestow the virtue of philanthropy that increases by the day? Like Shiva, who bore the poison in him (throat), who killed the Demon Gajasura, (take pity on me and) limit the mad elephant-mind and (drink away the poison from) the ocean of intellect.

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Detailed Word-by-Word Analysis:

Verse 1: तत् अभूत् it was, तत् अभात् it shone, तत् बुबोध it awoke, तत् दधौ it bore। भू-उदधौ in the ocean of existence भाः light बभूब (बभूव) was। तत् भेद-separation-भू-born of-बिभी-fear-बिधुम्-Moon बिभेद sliced open। तत् बन्धनम् binding बबन्ध bound।

Verse 2: तत् आभु it became, बुभू-wishing to exist बुधा-as Consciousness भन्द-pure मन्द-slowly मेद-soft बिन्दु-drops मादनः-intoxicated। सः Him, तत् That नः our अम्बुद-clouds आभ-appearing बिम्ब-as a reflection धी-intellect इभ-elephant भम्-Light दधुम्-sustaining ego बबाध curtailed।

Verse 3: बाधबाधनः सः He, the limiter of limitations, बुधः-of the Wise दम्भ-pride दृब्ध-engrossed by मिन्न-bloated मन्द-dull निन्द-insult दं-affected by मनः-mind। धने-नदे river of money धिम् धिमिम् sounded, shook।

Verse 4: (हे) धनिन्-rich, निधे!-Treasure। (किम्) Are न-not दिने दिने-(वर्धमानं)-which grows day by day दानिदं-(दानित्व-बुद्धिं ददाति)-the giver of philanthropy (त्वम्?) you। (यथा-like) निदा-ध-धः-the poison-bearing-bodied (शिवः Shiva) (मदेभम्-the Gajasura demon) आममौ-stopped/controlled, (तथा-similarly) मम-my बुध-अम्बुधिं-ocean of intellect मदेभं-mad elephant मनुं-mind/ego आमन-know/understand।

The Poetic Technique: This composition is a masterclass in yamaka (repetition of syllables) and anuprāsa (alliteration). By restricting the palette of sounds to predominantly "ba," "bha," "da," "dha," "ma," and "na," the poet creates a hypnotic, drum-like rhythm — reminiscent of the dhim dhim sounds referenced in verse 3. The effect mirrors the state of divine intoxication, where normal perception dissolves into pure sound and meaning merges with music. This is Sanskrit poetry at its most experimental and daring.

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

A poetic exploration of divine intoxication through linguistic virtuosity.

Namah Shivaaya!

उपमन्यु शिव स्तोत्रम्

Upamanyu Shiva Stotram

Jaya Shankara Parvati Pate

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A powerful hymn of devotion to Lord Shiva, attributed to the sage Upamanyu. This stotra is a heartfelt prayer of a devotee in distress, seeking the grace and vision of Mahadeva. Through beautiful imagery and profound metaphors, the verses express complete surrender, the pain of separation from the Divine, and the longing for liberation. The final verses promise blessings to those who recite this sacred hymn.

About Sage Upamanyu: According to the Mahabharata, Upamanyu was a great devotee of Lord Shiva who performed intense penance to obtain the vision of the Divine. His stotra is considered one of the most powerful prayers to Shiva, expressing both the anguish of spiritual seeking and the ultimate joy of divine grace.

जय शङ्कर पार्वती पते मृड शम्भो शशि- खण्ड-मण्डन मदनान्तक भक्त वत्सल प्रिय-कैलास दया सुधाम्बुधे।। १

सदुपाय कथास्वपण्डितो हृदये दुःख शरेण खण्डितः शशि खण्ड शिखण्ड मण्डनं शरणं यामि शरण्यम् ईश्वरम् ।।२

महतः परितः प्रसर्पतस् तमसो दर्शन भेदिनो भिदे दिन -नाथ इव स्वतेजसा हृदय-व्योम्नि मनाग् उदेहि नः।।३

न वयं तव चर्म-चक्षुषा पदवीम् अप्युप वीक्षितुं क्षमाः कृपयाsभयदेन चक्षुषा सकलेनेश विलोकयाशु नः।।४

त्वद्-अनुस्मृतिर् एव पावनी स्तुति-युक्ता न हि वक्तुम् ईश सा मधुरं हि पयः स्वभावतो न नु कीदृकग सित-शर्करान्वितम् ।।५

सविषोs प्यमृतायते भवानग शव-मुण्डाभरणोsपि पावनः भव एव भवान्तकस् सताम् सम-दृष्टिर् विषमेक्षणोsपि सन् ।।६

अपि शूल-धरो निर्-आमयो दृढ-वैराग्य-रतो sपि राग-वान् अपि भैक्ष्य-चरो महेश्वरश् चरितं चित्रम् इदं हि ते प्रभो ।।७

वितरत्यभि-वाञ्छितं दृशा परि-दृष्टिः किल कल्प-पादपः हृदये स्मृत एव धीमते ननु तेsभीष्ट फल-प्रदो भवान्।।८

सहसैव भुजङ्ग-पाशवान् विनि-गृह्णाति न यावद्-अन्तकः अभयं कुतु तावद् आशु मे गत-जीवस्य पुनः किम् औषधैः।।९

सविषैर् इव भीम-पन्नगैर् विषयैर् एभिर् अलं परिक्षतम् अमृतैर् इव सम्भ्रमेण माम् अभि-षिञ्चाशु दयाव-लोकनैः।।१०

मुनयो बहवोsद्य धन्यताम् गमिताः स्वाभि-मतार्थ-दर्शिनः करुणा-कर येन तेन माम् अवसन्नं ननु पश्य चक्षुषा ।।११

प्र-णमाम्यथ यामि चापरं शरणं कं कृपणा-sभय-प्रदम् विरहीव विभो प्रिया-मयं परि-पश्यामि भवन्-मयं जगत् ।।१२

बहवो भवताs नु-कम्पिताः किमितीशान न माsनु -कम्पसे दधता किमु मन्दरा-चलं परमाणुः कमठेन दुर्धरः ।।१३

अशुचिं यदि माsनु-मन्यसे किम् इदं मूर्ध्नि कपाल-दाम ते उत शाठ्यम् असाधु-सङ्गिनं विष-लक्ष्माsसि न किं द्वि-जिह्व-दृक् ।।१४

क्व दृशं वि-दधामि किं करोम्यनु-तिष्ठामि कथं भया-कुलः क्व नु तिष्ठसि रक्ष रक्ष माम् अयि शम्भो शरणागतोs स्मि ते।।१५

वि-लुठाम्यवनौ किम् आकुलः किम् उरो हन्मि शिरश् छिनद्मि वा किम् उ रोदिमि रारटीमि किं कृपणं मां न यद् ईक्षसे प्रभो ।।१६

शिव सर्वग शर्व शर्मद प्रणतो देव दयां कुरुष्व मे नम ईश्वर नाथ दिक्पते पुनर् एवेश नमो नमोsस्तु ते ।।१७

शरणं तरुणेन्दु-शेखरः शरणं मे गिरि-राज-कन्यका शरणं पुनर् एव ताव् उभौ शरणं नान्यद् उपैमि दैवतम् ।।१८

उपमन्यु-कृतं स्तवोत्तमं जपतश् शम्भु-समीप-वर्तिनः अभि -वाञ्छित-भाग्य सम्पदः परमायुः प्र-ददाति शङ्करः ।।१९

उपमन्यु-कृतं स्तवोत्तमं भजते यस् तु शिवस्य सन्निधौ शिव लोकम् अवाप्य सोsचिरात् सह तेनैव शिवेन मोदते ।।२०

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The Fruits of Devotion: The final two verses promise that those who recite this hymn with devotion in the presence of Lord Shiva will receive desired blessings, longevity, and ultimately attain Shivaloka (the abode of Shiva) to rejoice eternally with the Lord. This stotra thus serves both as a prayer of supplication and as a path to liberation through devotion.

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

A devotional hymn of surrender and longing for Lord Shiva.

Gist of All Advice - Kannada

उपदेश सारः

Upadesha Saara — Essence of Instruction

A profound work of spiritual wisdom composed in Kannada script, presenting the essence of Sri Ramana Maharshi's teachings. These thirty verses distill the path to Self-realization, covering karma, devotion, meditation, and the inquiry into the nature of the Self. This rendering preserves the original Kannada script as a tribute to the South Indian tradition of Sanskrit scholarship.

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About Upadesha Saara: This text is Sri Ramana Maharshi's own summary of his teachings, originally composed in Tamil as Upadesa Undiyar. The Sanskrit version, Upadesha Saara, became equally revered. It systematically guides the aspirant from the performance of action to the highest realization of the Self as pure consciousness.

**1**

ಕರ್ತುರ್ ಆಜ್ಙಯಾ ಪ್ರಾಪ್ಯತೇ ಫಲಮ್ ಕರ್ಮ ಕಿಮ್ ಪರಮ್ ಕರ್ಮ ತಜ್ ಜಡಮ್

**2**

ಕೃತಿ ಮಹೋದಧೌ ಪತನ ಕಾರಣಮ್ ಫಲಮ್ ಅಶಾಶ್ವತಮ್ ಗತಿ ನಿರೋಧಕಮ್

**3**

ಈಶ್ವರಾರ್ಪಿತಂ ನೇಚ್ಛಯಾ ಕೃತಮ್ ಚಿತ್ತ ಶೋಧಕಮ್ ಮುಕ್ತಿ ಸಾಧಕಮ್

**4**

ಕಾಯ ವಾಙ್ ಮನಃ ಕಾರ್ಯಮ್ ಉತ್ತಮಮ್ ಪೂಜನಂ ಜಪಶ್ ಚಿನ್ತನಂ ಕ್ರಮಾತ್

**5**

ಜಗತ ಈಶಧೀ ಯುಕ್ತ ಸೇವನಮ್ ಅಷ್ಟ ಮೂರ್ತಿ ಭೃದ್ ದೇವ ಪೂಜನಮ್

**6**

ಉತ್ತಮಸ್ ಸ್ತವಾದ್ ಉಚ್ಚ ಮನ್ದತಃ ಚಿತ್ತಜಂ ಜಪ ಧ್ಯಾನಮ್ ಉತ್ತಮಮ್

**7**

ಆಜ್ಯ ಧಾರಯಾ ಸ್ರೋತಸಾ ಸಮಮ್ ಸರಲ ಚಿಂತನಂ ವಿರಲತಃ ಪರಮ್

**8**

ಭೇದ ಭಾವನಾತ್ ಸೋಹಮ್ ಇತ್ಯಸೌ ಭಾವನಾಭಿದಾ ಪಾವನೀ ಮತಾ

**9**

ಭಾವ ಶೂನ್ಯ ಸದ್ ಭಾವ ಸುಸ್ಥಿತಿಃ ಭಾವನಾ ಬಲಾತ್ ಭಕ್ತಿರ್ ಉತ್ತಮಾ

**10**

ಹೃತ್ ಸ್ಥಲೇ ಮನಃ ಸ್ವಸ್ಥತಾ ಕ್ರಿಯಾ ಭಕ್ತಿ ಯೋಗ ಬೋಧಾಶ್ ಚ ನಿಶ್ಚಿತಮ್

**11**

ವಾಯು ರೋಧನಾಲ್ ಲೀಯತೇ ಮನಃ ಜಾಲ ಪಕ್ಷಿ ವದ್ ರೋಧ ಸಾಧನಮ್

**12**

ಚಿತ್ತ ವಾಯವಶ್ ಚಿತ್ ಕ್ರಿಯಾ ಯುತಾಃ ಶಾಖಯೋರ್ ದ್ವಯೀ ಶಕ್ತಿ ಮೂಲಕಾ

**13**

ಲಯ ವಿನಾಶನೇ ಉಭಯ ರೋಧನೇ ಲಯಗತಂ ಪುನರ್ ಭವತಿ ನೋ ಮೃತಮ್

**14**

ಪ್ರಾಣ ಬಂಧನಾಲ್ ಲೀನ ಮಾನಸಮ್ ಏಕ ಚಿಂತನಾನ್ ನಾಶಮ್ ಏತ್ಯದಃ

**15**

ನಷ್ಟ ಮಾನಸೋತ್ ಕೃಷ್ಟ ಯೋಗಿನಃ ಕೃತ್ಯಮ್ ಅಸ್ತಿ ಕಿಂ ಸ್ವಸ್ಥಿತಿಂ ಯತಃ

**16-20**

ದೃಶ್ಯ ವಾರಿತಂ ಚಿತ್ತಮ್ ಆತ್ಮನಃ ಚಿತ್ತ್ವ ದರ್ಶನಂ ತತ್ತ್ವ ದರ್ಶನಮ್ ಮಾನಸಂ ತು ಕಿಂ ಮಾರ್ಗಣೇ ಕೃತೇ ನೈವ ಮಾನಸಂ ಮಾರ್ಗ ಆರ್ಜವಾತ್ ವೃತ್ತಯಸ್ ತ್ವಹಂ ವೃತ್ತಿಮ್ ಆಶ್ರಿತಾಃ ವೃತ್ತಯೋ ಮನೋ ವಿದ್ಧ್ ಯಹಂ ಮನಃ ಅಹಮಯಂ ಕುತೋ ಭವತಿ ಚಿನ್ವತಃ ಅಯಿ ಪತತ್ಯಹಂ ನಿಜ ವಿಚಾರಣಮ್ ಅಹಮಿ ನಾಶ ಭಾಜ್ ಯಹ ಮಹನ್ ತಯಾ ಸ್ಫುರತಿ ಹೃತ್ ಸ್ವಯಂ ಪರಮ ಪೂರ್ಣ ಸತ್

**21-25**

ಇದಮಹಂ ಪದಾಭಿಖ್ಯ ಮನ್ವಹಮ್ ಅಹಮಿ ಲೀನಕೇಪ್ ಯಲಯ ಸತ್ತಯಾ ವಿಗ್ರಹೇನ್ದ್ರಿಯ ಪ್ರಾಣ ಧೀ ತಮಃ ನಾಹಮ್ ಏಕ ಸತ್ ತಜ್ ಜಡಂ ಹ್ಯಸತ್ ಸತ್ತ್ವ ಭಾಸಿಕಾ ಚಿತ್ ಕ್ವ ವೇತರಾ ಸತ್ತಯಾ ಹಿ ಚಿತ್ ಚಿತ್ತಯಾ ಹ್ಯಹಮ್ ಈಶ ಜೀವಯೋರ್ ವೇಷ ಧೀ ಭಿದಾ ಸತ್ ಸ್ವಭಾವತೋ ವಸ್ತು ಕೇವಲಮ್ ವೇಷ ಹಾನತಃ ಸ್ವಾತ್ಮ ದರ್ಶನಮ್ ಈಶ ದರ್ಶನಂ ಸ್ವಾತ್ಮ ರೂಪತಃ

**26-30**

ಆತ್ಮ ಸಂಸ್ಥಿತಿಃ ಸ್ವಾತ್ಮ ದರ್ಶನಮ್ ಆತ್ಮ ನಿರ್ದ್ವಯಾತ್ ಆತ್ಮ ನಿಷ್ಠತಾ ಜ್ಙಾನ ವರ್ಜಿತಾ ಅಜ್ಙಾನ ಹೀನ ಚಿತ್ ಜ್ಙಾನಮಸ್ತಿ ಕಿಂ ಜ್ಙಾತುಮ್ ಅನ್ತರಮ್ ಕಿಂ ಸ್ವರೂಪಮಿತ್ ಯಾತ್ಮ ದರ್ಶನೇ ಅವ್ಯಯಾಭವಾ ಪೂರ್ಣ ಚಿತ್ ಸುಖಮ್ ಬನ್ಧ ಮುಕ್ತ್ ಯತೀ ತಂ ಪರಂ ಸುಖಮ್ ವಿನ್ದತೀಹ ಜೀ ವಸ್ ತು ದೈವಿಕಃ ಅಹಮಪೇತಕಂ ನಿಜ ವಿಭಾನಕಮ್ ಮಹದಿದಂ ತಪೋ ರಮಣ ವಾಗ್ ಇಯಮ್

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The Path to Self-Realization: These verses systematically guide the seeker from ritual action to the ultimate realization. Beginning with karma performed for God, progressing through devotion and meditation, culminating in Self-inquiry—the direct questioning "Who am I?" This inquiry reveals that the separate 'I' is an illusion, and what remains is pure Consciousness-Existence-Bliss (Sat-Chit-Ananda).

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

The essence of Sri Ramana Maharshi's teachings in thirty verses.

Wedding vows

विवाह साप्तपदीनौ

Vivaaha Saaptapadeenau — The Seven Steps of Marriage

छन्दस् — मत्तमयूरम् । अलङ्कार — श्लेष , छेक

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A beautiful Sanskrit composition celebrating the sacred ritual of marriage. Written in the intricate Mattamayūra metre with poetic devices of śleṣa (double meaning) and cheka (alliteration), these seven verses weave together imagery of dancing peacocks, cosmic elements, and the eternal bond of matrimony. Each verse represents a step in the sacred journey of two souls becoming one.

Note on Metre and Style: This composition employs the Mattamayūra (intoxicated peacock) metre, reflecting the joyful, dancing spirit of the wedding celebration. The poet uses śleṣa (double entendre) and cheka (repetition of sounds) to create layers of meaning — the verses simultaneously describe peacocks dancing in the monsoon and the sacred marriage ceremony.

वेदैः सर्वैर् बोधित भोः ,ज्ञात सुवेद्य रामः कृष्णः शङ्करदेवोs , पि चकार पि चकार । उद्वाहंकारी भवतु त्वं , न तु भारी भार्या भर्तारौ कथनाख्यं , ननु नाम ।।१

वर्षाकाले नृत्यति रूपी , ल-मयूरः नृत्यन्तं तं पश्यति भा, सीत-मयूरा । कर्षन्तं चाकृष्य वनेsसौ , मत्तमयूरौ पर्जन्यो जज्ञे चरमे , नाट्यपदाले ।।२

संसारोs रौरूयत चित्तं , रमणेन जातासङ्गोत्सङ्गपरीतो जननेन वाय्वग्नीरा नीर ख बन्धू , रवि सोमैः अष्टामूर्तिः पर्यणमच् चाशुतुषाख्यः ।।३

गोकर्णे जन्मान मुमा , मानयतीयम् साकारा सा सागरकन्या नयतीयम् । ऐटीरोटीपाटलयुग्मं रमणीयम् सत्त्वं राजस् तामस वर्जं , करणीयम्।।४

रञ्जन्येषा रागशुभाभा , रजनीयम् रक्ता वर्णा पाटलपुष्पा , अरुणीयम् । सौन्दर्येणा रागरमा , वै समनीयम् आशुह्लादो हाशुहृषो , नो भवनीयम् ।।५

गार्हस्थ्यं प्राविश्य शरीरी , नमनीयम् वृत्त्यौ चित्येनैव नवीनं नवनीतम् । आतिथ्यं तिथ्यं चरणीयं , वसनीयम् सद्भिः सन्न्यासीमुनि वर्यैर् ग्रहणीयम् ।।६

व्यानह्यन्ते साप्तपदीने , सप्तपदीनाम् त्रैगुण्ये रज्जूक विशेषैः ,सप्तनदीनाम् । नेनीयेते मत्तमयूरौ सहधर्मां चेतोवृष्टिं सर्वजनेभ्यः , शिवयोषाम् ।।७

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Concluding Verse:

नेनीयेsहं नृत्तमयूरा दृशधर्मा, धृतधर्मा
चेतोवृष्टेर् दर्शनभाग्या , शुभयोषा !!

Like the dancing peacock witnessing the monsoon, I too am blessed to behold this auspicious union!

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

A celebration of marriage through the dance of peacocks in the monsoon.

FREE TEMPLES

दैवौकसम्

Daivaukasam — The Abode of the Divine

A powerful Sanskrit composition addressing the state-controlled administration of Hindu temples in India. This 10-verse poem raises critical questions about religious freedom, temple autonomy, and the preservation of cultural heritage. Written in the classical tradition, it calls for the return of temple management to Hindu communities, while celebrating India's constitutional commitment to religious liberty.

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Historical Context: Unlike other religious institutions in India, Hindu temples in many states are under government control through legislation like the Hindu Religious and Charitable Endowments Acts. This poem articulates the concern that such state oversight limits the autonomy that other religions enjoy, and calls for temples to be returned to self-governance—a movement often referred to as "Free Hindu Temples."

भारतस्य महादेशराष्ट्रभूतस्य राज्यतः । देवायलयाः समस्तास् तु दैन्यवृत्तिम् इतो गताः ।।१

India, that is Bharata, despite being a magnificent sovereign republic, has caused most of its temples to go dilapidated and into a state of neglect until now.

संविधानस्य संस्थस्य लक्ष्यतस् स्वयमेति तत् । सर्वे पन्थान उद्यायुस् स्वतन्त्रत्वेन संवृताः ।।२

The authority of the constitution itself, clearly in its vision, wants freedom to be given to all religions to grow and profess safely, as per law.

किन्तु केनचिदा हन्त ! हिन्दुनाम् एव मूर्धनि । मुद्गर-प्रहर-प्राणि-पशुवत् पाल्यते कशा ।।३

But unfortunately, alas! Only the Hindus are struck on their heads as if by the hammer; their rights are curtailed and whipped like domesticated animals.

देवा वसन्ति वै तत्र देवायतनम् उद्वचः । अध्यात्म-नृत्य -गीतादि-संस्कार-सुख-दानकम्।।४

Gods reside here, hence the word "Devalaya" (abode of gods) was coined. Gods in the form of spirituality, dance, song, culture, joy, and philanthropy.

अन्येषां च समेषां न स्वैर-पूज्याधि-माठकम् । कुत एवं बभूवेति चिन्तयन् निद्रया गतम् ।।५

All others have their freedom to have self-governed places of worship and prayer. But not Hindus. Seeing me preoccupied with why it came to be such, Sleep broke up with me.

अहो बत महत् पापं स्याद् यदि त्वं न तिष्ठसि । जागृहि त्वं नर-व्याघ्र शेषे किं शववत् सदा ।।६

Oh God! It would be a catastrophic sin if you don't stand up now. Wake up, O lion! You are one. Why do you sleep like a cadaver!?

अतः सद्यः समस्तानां हिन्दूनां हृदयार्द्र-तः । स्वयन्देवालयं भूयाद् इत्युच्चैर् निविवेदिषा ।।७

Hence, right away see into the heavy hearts of all Hindus. There is coming forth, the loud cry of "Free Hindu Temples."

नैतन् नीतिकरं ह्येतन् नाश्यमानान् स्वभूमतः । कला-गन्धर्व-विद्याभिर् वर्जिताल्ँ लक्ष्यसे न वा?८

It is unfair. It is unlawful. How do you not see the temples being systemically destroyed, being ripped off of their native art, culture, and knowledge systems?

ददातु सर्वकारो द्राक् पुनः पुरातनान् महान् । हिन्दूनां सर्वतन्त्राय स्वच्छन्द-च्छन्द-मन्दिरान्।।९

Let the supreme State quickly return once again, the control over the old (and new) Hindu temples. Let the beautiful, self-administered temples prosper.

शृण्वन्तु सर्वे ह उ राष्ट्रभक्ताः आ ये धामानि दिव्यानि तस्थुः । वेदाहम् एतं समयं महान्तम् सत्त्वेन राजस्व रजोगुणेन ।। १०

O ye, devotees of the nation! Listen ye all! And those O ye who inhabit/stand for the divine lands! I have come to know, the time is fully ripe. Reign over, with qualities of purity and action.

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The Core Argument: This poem makes a constitutional and cultural case. While Article 25-26 of the Indian Constitution guarantees freedom of religion and the right to manage religious affairs, Hindu temples in several states remain under government boards that control their finances, appointments, and administration. The poem argues this is discriminatory, as other religious institutions are autonomous. It calls for temples to be self-governed by Hindu communities—not as a sectarian demand, but as a matter of equal constitutional rights and cultural preservation.

A Note on Perspective: This poem represents one viewpoint in an ongoing debate about temple administration in India. Readers may have differing perspectives on state oversight, secularism, and religious autonomy. The artistic merit lies in how classical Sanskrit verse form is used to address a contemporary socio-political issue—showing the language's continued relevance.

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

A composition advocating for temple autonomy and cultural preservation.

Twist your tongue

चकोर-रोकः

The Splendour of the Partridge — A Sanskrit Tongue Twister

Sanskrit possesses an unparalleled capacity for alliteration and phonetic wordplay. This contemporary composition showcases the language's playful side—a humorous tale of birds competing to demonstrate their… shall we say, artistic abilities… on an unfortunate automobile. The result is a dazzling display of similar-sounding syllables that challenges even native speakers!

❀ ❀ ❀

Challenge yourself! Try reading this aloud three times fast. Notice how the consonant clusters—चकोर, काक, करीर, कार—dance and twist on your tongue. This is Sanskrit at its most mischievous!

कोरी चकोरोs पि चकार कारम् पिकाक-काकः पिचकारि-कारी करीरके राक-करीरको sपि करीकरोमीति चकार-काची ।

A limping partridge defecated on a car,
And so did the crow—enemy of the cuckoo—spray like a spray-gun (pichkari).
The quivering cricket, wanting to contribute to this competition,
Followed pursuit, shouting "Me too! Me too!"

कचाकु चाक्यं च करीषि-काचम् करीरिकास्थश् च करीरपक्षी चकाच कोरं च चचाप पाकी राकारके रक्तक-चाकचिक्यम् ।।

The combined efforts resulted in the windshield of the car
Becoming deplorably and disgustingly "pooped."
Taking pity, the mature tick-bird—
Which sits on elephant trunks and eats Karira fruit—
Squealed out and consoled the car:
"Wow! The amusing illusion in the crystal moonstone orb!"

✦ ✦ ✦

The Phonetic Magic:

• कार/कर/कोर variations: कारम्, काक, करीर, करी, कोर—all dancing around the क-sound
• चक्/चाक clusters: चकोर, चकार, चाक्य, चकाच—the च-sound in constant play
• री/री/री repetition: करीर, करीरि, करीष—stretching the र-sound
• Plosive percussion: पिकाक, पिचकारि, पाकी—percussive प-sounds

Why is this so difficult? Sanskrit allows complex consonant clusters that don't exist in many languages. Words like करीरिकास्थश् (karīrikāsthaś) require precise articulation of multiple र-sounds, while maintaining the exact vowel lengths. One slip, and you're saying something entirely different—or nothing at all!

Cultural Context:

This playful poem demonstrates that Sanskrit, often perceived as solely a language of serious philosophy and scripture, has always had room for humor and linguistic acrobatics. Medieval poets delighted in such śleṣa (double meanings) and anuprāsa (alliteration), creating verses that challenged both speaker and listener.

The contemporary setting (a car!) shows Sanskrit's adaptability—ancient phonetic patterns applied to modern scenarios, proving the language's timeless vitality.

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— सुदर्शनः रविः

Sudarshana Ravi
Creator of "संस्कृत नन्दिनी" YouTube Channel

Subscribe to support such creative efforts in Sanskrit! Because Sanskrit can be both profound and playful! 🦜
Visit संस्कृत नन्दिनी on YouTube

Mission statement of Samskrta Enthusiasts

ध्येय मन्त्रः

Dhyeya Mantra — The Aspiration Verse

A beautiful three-verse pledge of dedication to Sanskrit—the eternal language of wisdom. This mantra expresses the commitment to study, speak, contemplate, and revere Sanskrit as a mother. It's a declaration of devotion not just to a language, but to the entire heritage of knowledge, culture, and spirituality it represents. Presented here in both Devanagari and Kannada scripts.

❀ ❀ ❀

पठामि संस्कृतं नित्यम् वदामि संस्कृतं सदा ध्यायामि संस्कृतं सम्यक् वन्दे संस्कृतमातरम् ।

Verse 1 Translation:

I study Sanskrit daily,
I speak Sanskrit always,
I contemplate Sanskrit properly,
I salute Sanskrit, the Mother.

संस्कृतस्य प्रसाराय नैजं सर्वं ददाम्यहम् संस्कृतस्य सदा भक्तो वन्दे संस्कृतमातरम् ।

Verse 2 Translation:

For the spread of Sanskrit,
I give my all,
Forever a devotee of Sanskrit,
I salute Sanskrit, the Mother.

संस्कृतस्य कृते जीवन् संस्कृतस्य कृते यजन् आत्मानम् आहुतं मन्ये वन्दे संस्कृतमातरम् ।

Verse 3 Translation:

Living for Sanskrit,
Offering myself for Sanskrit,
I consider myself an oblation (to this sacred cause),
I salute Sanskrit, the Mother.

✦ ✦ ✦

ಕನ್ನಡ ಲಿಪಿಯಲ್ಲಿ
In Kannada Script

ಪಠಾಮಿ ಸಂಸ್ಕೃತಂ ನಿತ್ಯಂ ವದಾಮಿ ಸಂಸ್ಕೃತಂ ಸದಾ ಧ್ಯಾಯಾಮಿ ಸಂಸ್ಕೃತಂ ಸಮ್ಯಕ್ ವಂದೇ ಸಂಸ್ಕೃತ ಮಾತರಮ್

ಸಂಸ್ಕೃತಸ್ಯ ಪ್ರಸಾರಾಯ ನೈಜಂ ಸರ್ವಂ ದದಾಮ್ಯಹಮ್ ಸಂಸ್ಕೃತಸ್ಯ ಸದಾ ಭಕ್ತೋ ವಂದೇ ಸಂಸ್ಕೃತ ಮಾತರಮ್

ಸಂಸ್ಕೃತಸ್ಯ ಕೃತೇ ಜೀವನ್ ಸಂಸ್ಕೃತಸ್ಯ ಕೃತೇ ಯಜನ್ ಆತ್ಮಾನಂ ಆಹುತಂ ಮನ್ಯೇ ವಂದೇ ಸಂಸ್ಕೃತಮಾತರಮ್

✦ ✦ ✦

The Spirit of the Dhyeya Mantra:

This mantra embodies the highest form of devotion to knowledge. It's not merely about learning a language—it's about dedicating one's entire being to the preservation and propagation of an ancient wisdom tradition.

The three verses follow a progression: personal practice (studying, speaking, contemplating), service (spreading Sanskrit, being its devotee), and finally complete surrender (living for it, offering oneself to it).

The refrain "वन्दे संस्कृतमातरम्" (I salute Sanskrit, the Mother) appears in each verse, emphasizing the sacred relationship between the devotee and this divine language—not as a mere tool, but as a nurturing mother deserving of reverence and gratitude.

Samskrta BudbudaaH | संस्कृत बुद्बुदाः

From the collection by Sudarshan Ravi

"संस्कृत नन्दिनी" YouTube Channel

May this aspiration inspire all seekers of Samskrtam to embrace the mother tongue of India with devotion.

Let Devi avatar-ize

मनस्विनी

Manasvini — The Courageous One

A hymn to the Divine Feminine in her many forms—as Saraswati (wisdom), Lakshmi (prosperity), Parvati (strength), and the Supreme Goddess who manifests as Manasvini, the embodiment of courage, eloquence, and spiritual power. This six-verse composition celebrates the goddess who grants wishes, destroys obstacles, nourishes all beings, and leads devotees to ultimate liberation.

❀ ❀ ❀

शङ्करो जायताग्रे वै जगद्रक्षणदक्षतः पुंरूपेण तदाभूत् च स्त्रीरूपेण इहागमत् ।

पाहि नः सर्वतो मातः पाहि एतान् महाजनान् । पाहि नो जगदम्ब वै पाहि सर्वत एव माम् ।

कुतस् ते प्राणजीवेशे योगनिद्रा भविष्यति । किं नो द्रष्टुम् इच्छेत विष्णुमाया विलासिनि!

शिवानि विष्णुपत्नीशे सरस्वति शची शुभे
इन्द्राणी ब्रह्मपत्नी त्वं माता जगदधीश्वरी ।
गो उषा भूमि पृथ्वी च वाक् सरस्वत्यहो दिवे ।
अरण्यानी च रात्रिश्च नक्षत्राधिप उच्यसे ।

✦ मनस्विनी ✦

सरस्वती मुदावतारम् एत्य भूतलेsभवत् मनस्वती शुभङ्-करीतुकामिनी तु शाङ्करी । पयस्वती तु विष्णुपत्निकापि भूमिम् आगता मनस्विनी वचस्विनी तपस्विनी पयस्विनी ।।१

Saraswati descended to earth with joy, becoming Manasvati—the auspicious one of Shankara, desiring welfare. Lakshmi too, the consort of Vishnu, came to earth as Payasvati. She is Manasvini (the courageous), Vacasvini (the eloquent), Tapasvini (the ascetic), and Payasvini (the nourishing).

मनस्विनी मनोरथान् मनाग् अभीष्ट कामदा मनोजयं मुदा हृदा च धर्मधा जजान भोः । मनोरवं मनोभिवृत्तिम् आशु रुद्धवत्यसौ मनस्विनी महातपोधना तपस्विनी अभूत् ।।२

Manasvini fulfills the desires of the heart, granting wished-for boons. She gave birth to Manojaya (victory of mind) with joy and established dharma in hearts. She who swiftly controls the mind's wandering tendencies—Manasvini became the great ascetic, rich in spiritual austerity.

पयस्विनी तु तोयदा सलील-लालना-दुघा सरित् सरोवरासरोज संस्थदेश पावितान् । सरांसि बोध भाविनी भवाम्बुधीशगामिनी नभस्तरङ्ग-वङ्गरङ्ग-तुङ्ग-भङ्ग गङ्गिनी । ।३

Payasvini, the giver of water, who milks the playful clouds—she purifies lands where rivers, lakes, and lotuses dwell. She is consciousness manifest, who flows like Ganga, moving toward the ocean of existence, breaking high wave-crests with graceful ripples.

यशस्विनी सुधा-धृताधिदेव -मृत्युवारिणी यशांसि ऋद्धि सञ्चयान् सुखेन तोषिणी तनी । शमादमा विराग वेक मोक्ष तोष सम्पदा पदाति हस्ति तूर्णगारथैश्च रक्षतान् नः । ।४

Yashasvini, who holds the nectar that conquers death even for the gods—she who easily bestows fame, prosperity, and accumulated joys. With the wealth of tranquility, self-control, detachment, discrimination, liberation, and contentment—may she protect us through all our journeys, whether on foot, elephant, horse, or chariot.

तपस्विनी तपोफलानुतुष्ट हृष्ट धर्मिणी अनाहतोपरिस्थिताज्ञ चक्र तत्त्व दर्शिनी । अनेक कोटि जन्म सूर्जितेन पुण्य राशिना भृशं वृषां कुरूर्वशीवशीवरेण्यदुर्लभा ।।५

Tapasvini, delighted and joyful with the fruits of penance, the righteous one. She who perceives the truth of the chakras—from Anahata upward to Ajna. Through countless crores of births, through accumulated merit and virtue, she becomes extremely difficult to attain even for the best of sages like Vasistha and Urvashi.

वचस्विनी मनस्विनी सरस्वतीशरूपिणी मनोबलेन देहिनः समाधिगम्य आत्मनि । सदा सुखे सदाशिवे सदा स सर्वदा वरे समान मानसे रमस्विने मनस्विने नमः । ।६

Vacasvini (the eloquent), Manasvini (the courageous), in the form of Saraswati—through the power of mind, beings attain her in the Self through meditation. In eternal bliss, in eternal Shiva, in that which is always supreme, in the equanimous mind—salutations to you, O Manasvini, who delights in that state!

✦ ✦ ✦

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

A hymn celebrating the Divine Feminine in her aspects as courage, eloquence, wisdom, and liberation.

Corana 'Covid'am

कोरणा कोविडम्

Corona Kovidam — A Pandemic Reflection

A profound Sanskrit composition reflecting on the COVID-19 pandemic. This 22-verse poem weaves mythology (Brahma creating Corona), social commentary (lockdowns, masks, isolation), philosophical insight (unity in crisis, humility before nature), and environmental awakening (cleaner air, rivers). A timeless meditation on humanity's relationship with nature and the lessons from global adversity.

❀ ❀ ❀

Note: This composition treats the pandemic through the lens of Sanskrit poetic tradition, using mythological frameworks to explore contemporary experiences. Key themes include: the voice of nature crying out, Brahma's creation of Corona as a teacher, humanity's hubris and subsequent awakening, and Earth's brief respite during lockdowns.

समग्रे भुवर्लोक भूलोक नाके अशान्तिः सृतासीन् मनुष्येश्वरेभ्यः । ततस्ते तमागुः स्वयम् भूतभूतिम् भुवि क्षोभणं क्षोभितुम् भूमिजास् ते ।।१

।।१

न भीयास्त यात क्षितिं मा लपध्वम् अहं साधये मार्ग मेकं द्रुतं तम् । मदीयात् सृजासम्पदः कोशतस् ताम् रुजाकारिणीं कोरणाम् ऊर्जयामि ।।५

।।५

रुवन्तो रुदन्तो रुजन्तो रुषन्तः रुटन्तो रियन्तो रिफन्तो रुठन्तः । इतस् तत्र सर्वत्र सन् त्रस्य सन्ति अहो हा नरान् कोरणोर्जाविकीर्णान् ।।८

।।८

अपूर्वे समग्रैकनीडे प्रपञ्चे पृचापर्चनाभ्याम् ऋते किं प्रवर्ते । प्रपूर्वेद् विषं फुप्फुसे फुल्ल आस्ये पृचापर्चनाभ्याम् मृते मय्यहो किम् ।।९

।।९

समूहे स्थिते चेत् प्रवर्तेत रोगोs- -समूहे स्थिते चेन् मनोरोग एषः । समाजस्थितिः का भवेद् ये नियुक्ताः यदि स्युः स्वसद्मन्युपस्था न संसद् ।।११

।।११

समस्यापहारार्थम् एकैव वीथी समेकत्वम् आस्थाय चेतांसि सम्यक्। अहङ्कारमूढां प्रगल्भां वृथा वाक्- चितिं चिन्तनां चैव सञ्चूर्य चेतेत् ।।१२

।।१२

तथा कर्हिचित् सम्बभूवेह भूमौ कदा ह्येकतां सेधुरेवात्र काकाः । समाने हि देशे च राज्ये च गेहे वदैकत्वमापुः प्रयत्ने कृतेsपि ।।१४

।।१४

Nature's Healing: Verses 18-20 describe Earth's environmental recovery during lockdowns—purified forests, clear rivers (Ganga flowing crystal-clear), closed ozone holes. A poignant reminder of nature's resilience when humanity steps back.

अरण्येषु वातः प्रशुद्धो बभूव अनार्टीक ओजोन रन्ध्रं पिधत्ते । नदीषूपलौपम्यलावण्यवारा ससाराम्भसा स्फाटिकेनाशु गङ्गा ।।१९

।।१९

इतावान् नरो खिन्नभिन्नान्तकारी स्वकं दुष्टरुष्टातिशिष्टापराधम्। अभिज्ञाय भूमिं चिराद्धिंसितां ताम् सिताजन्मनोs पि क्षमां याचितारः ।।२०

।।२०

सुतेष्वन्वरोत्स्ये परं पूर्वमेव पुनर् वर्तयन्ते च मां सन्तुफन्ति । इतीत्थं न मत्वा दयाक्लिन्नचित्ता कुरन्तीं कोरोनां तिरस्यिष्यति स्राक् ।।२१

।।२१

अतो बालकाः कर्णयन्तु क्वचिद् वः जिहासा जिघृत्सा जिघांसा जिघत्सा । न सन्तु क्षमादानतृप्तीश्वरार्चा तु सन्तु क्षमाजाः स्मरन्तु ह्यजस्रम् ।।२२

।।२२

✦ ✦ ✦

The Poem's Message: Corona Kovidam is not merely about a virus—it's a philosophical mirror held up to humanity. It asks: What does it take for us to unite? To humble ourselves before nature? To remember compassion and forgiveness? The pandemic, framed as a divine teacher, forced humanity to confront these questions. The poem ends with a call to the young: let greed, violence, and arrogance not return. Let the lessons of forgiveness endure.

Samskrta Budbudaa | संस्कृत बुद्बुदाः

From the collection by Sudarshana Ravi

"संस्कृत नन्दिनी" YouTube Channel

Written during the COVID-19 pandemic as a reflection on humanity's relationship with nature and each other.