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.

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.

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.

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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.

Maata Pitrbhyaam

मातापितृभ्याम्

Mata Pitrbhyaam — To Mom and Dad

A heartfelt tribute to parents Nalini and Ravi, composed in the classical Sanskrit tradition. Eight verses expressing gratitude, reverence, and the eternal bond between parent and child.

❀ ❀ ❀

मातापितृभ्याम् नलिनीरविभ्याम् इन्द्वर्कधृग्भ्याम् शिवशक्तिधृग्भ्याम् जन्मप्रदाभ्याम् सुगुणप्रदाभ्याम् नमो नमः श्रीनलिनीरविभ्याम् ।।१

To my mother and father, Nalini and Ravi, who are verily like the moon and sun of my eyes, like Shiva and Shakti, who gave my body birth and my mind virtues — to them prostrations and salutations, to Shri Nalini and Ravi.

मद्धृद् धृताभ्याम् मदसुप्रदाभ्याम् मन्मन्दबुद्धेर् असकृद् हताभ्याम् मन्मानवृद्भ्याम् सुमनोमनोभ्याम् नमो नमः श्रीनलिनीरविभ्याम् ।।२

They have carried my heart, infused me with Prana. Oftentimes, they were hurt by me, the dull-witted mind. They also delight in my fame. Have very soft flower-like minds. To them prostrations and salutations, to Shri Nalini and Ravi.

शीलप्रवृत्तिप्रणतिप्रहृष्टि- प्रयोगयोगानुकरैककृद्भ्याम् जयानुजानद् जननीजनाभ्याम् नमो नमः श्रीनलिनीरविभ्याम् ।।३

Guiding me in personality development, career, respect, happiness, experiments, yoga, emulations — my parents, mother and father, have hand-held me willingly. Victory to them! To them prostrations and salutations, to Shri Nalini and Ravi.

सूनुप्रमादप्रतितापषाड्भ्याम् पापाग्निसन्तप्तकदम्बकाभ्याम् यौनप्रसाव्यप्रतिबन्धषाड्भ्याम् नमो नमः श्रीनलिनीरविभ्याम् ।।४

They tolerate the mistakes and blunders of their son. They suffer in silence like Kadamba flowers burning in a forest fire. They endured the excruciating pain of labor during birth. To them prostrations and salutations, to Shri Nalini and Ravi.

यत्सारम् आपीय परान् प्रबोधे यच्छ्रेष्ठचर्याम् इह चर्तुम् इच्छे यदङ्घ्रि मूलैक धुरीं धरे ये नमो नमः श्रीनलिनीरविभ्याम् ।।५

Drinking the gist of all samsaara, I have been taken to realization. The will to walk the noble path, I owe to them. I shall carry the responsibility of serving their holy feet. To them prostrations and salutations, to Shri Nalini and Ravi.

यामैकमात्रम् तु सुमातृपात्रे यत्सूनु रुग्णं त्वचिरात् प्रगे ते त्वचं वमं वास्तु भिषज्यम् ईष्टे नमो नमः श्रीनलिनीरविभ्याम् ।।६

She is the worthiest of mothers, who even hearing once about me being sick, be it skin or vomit, she would immediately stay up till morning, caressing and treating me. To them prostrations and salutations, to Shri Nalini and Ravi.

प्रसन्नगम्भीरमुनिप्रवृत्तौ प्रपात तापाति निवर्ति वृत्तौ संसार गुह्यम् प्रतिपादयद्भ्याम् नमो नमः श्रीनलिनीरविभ्याम् ।।७

They are both calm and composed, yet deep in wisdom, very alike Rishi Munis. They ever try to alleviate others from sinking into the cauldron of agony. They have discovered the secrets and workings of the mundane world. To them prostrations and salutations, to Shri Nalini and Ravi.

दयार्द्र धृग्भ्याम् अवलोकिताभ्याम् लोकावलोलप्रति लोहिताभ्याम् स्थितप्रधीभ्याम् अतिनम्रभूभ्याम् नमो नमः श्रीनलिनीरविभ्याम् ।।८

Their eyes well up with compassion, and look at us and others with equanimity. Their eyes have turned wet and red with the harmful ways of this ugly world. Yet their mind is unshaken. And their posture ever in humility. To them prostrations and salutations, to Shri Nalini and Ravi.

✦ ✦ ✦

Samskrta BudbudaaH | संस्कृत बुद्बुदाः

From the collection by Sudarshan Ravi

"संस्कृत नन्दिनी" YouTube Channel

Dawn Crow

प्रभातकाकः

Prabhaata Kaakah — The Dawn Crow

An allegorical epic poem about the crow that caws at dawn — though mocked by those who prefer the cuckoo's song, the crow becomes the catalyst for an extraordinary tale. When celestial beings face a crisis, they seek Lord Shiva's help. What follows is a divine intervention involving Agni, Indra, Vayu, and ultimately the ocean itself, all set in motion by the persistent dawn crow. This masterpiece blends mythology, metaphor, and social commentary in classic Sanskrit verse.

❀ ❀ ❀

अवेहि काकः कुवते कुशीलः उच्चैस्तरोsसाव् उषसां प्रभाते कुरूपिणः कोकिलकूजनस्य विद्वेषिणः सन्ति विचारमूढाः

।१

सुशान्तियुक्ते जलधौ विकारः जायेत वा कश्चन कम्पनं वा । तथा विचिन्त्य प्रतिभाति कश्चित् उपाय एवं करणीय एव

।२

पार्श्वस्थभूमेर् मरुभूप्रदेशात् समाह्वयन्त्युष्ट्रकरिग्रहादीन् नैकत्र संस्थाप्य पदातिसैन्यं तीरस्य चाष्टासु च दिक्षु चेष्टाः

।३

यथा पुरा बाढसुरासुराणां सुधासमासादनतत्पराणाम् हालाहलोsजायत कण्टकः सन् अतो विवादेष्वपरो विजेता

।।४

सुरां पिबन्तः स्ववसादवासान् रक्षन्त एवेम इयेषुरोजः । रक्षोगणक्रान्तसुराज्यराजाः आज्यादितर्पार्पणमिष्टवन्तः

।।५

मास्मैव भून् मा च परस्परं स्मो दस्यूपहासाय वयं विवीर्याः । अन्योन्यसाहाय्यमभीप्सितं तत् प्साता भवामो यदि नो विधाय

।६

रक्ष्यामहै हे प्रभुभूतनाथ त्वयाधुना राक्षसपीडिताः स्मः । रक्षोघ्नहोमं , निर्वर्तयध्वम् बभाष ईशान निमीलिताक्षः

।।७

प्रभातकाले कटुकुक्कुटेशाः प्रभावितास् ते प्रभवन्ति वामाः । उष्ट्रा अजा कीटकसैकतेशाः तेsप्यत्र भागं ह्यभिकाङ्क्षमाणाः

।८

कपोतमार्जालमिव स्ववैरं स्वैरं चरन्तः परितर्पणार्थम् शृगालजाता मृगतृष्णिकापि कीलालिनः कैतववन्त एते

।९

कालाः कुकाकाः क्रकचेन काचं यथा भनक्ति क्षणमात्रकाले तथा विचारं कृतवन्त एते धीराब्धिमेव प्रविभङ्क्तुकामाः

।१०

विदर्भदेशाद्धि विदग्धकेशाः समागताः सागरमेव दग्धुम् । सहस्रयोनिं स सहस्रनेत्रः नृत्येन तृप्यन् निह हाह्वयन् ह.

।१२

अग्निं शिखेशं ह्यजवाहनं रं शक्रं सुरेशं गजवाहनं लम् कारुण्यरूपं जलमावहन्तम् तडिज्ज्वलैस् तापयितुं समाह्वन्

/१३

दहन्तु सर्वं जलराशिमेतम् यत्रास्ति यत् तत्र तु तोयबिन्दुः । वज्रैः प्लुषेन्द्र द्रवम् उच्छिनत्तु । अग्ने ग्रणीस् त्रासय तापनेन

।१४

नैकः कणः स्यान् ननु बिन्दुशेषः अशेषतः प्रोषय रोषरोमन्। विस्फारयात्राब्धिम् उ सर्वभक्ष विक्षोभय क्षोभणवीक्षदक्ष

।।१५

वयं तु पाराद्बहिरास्थिताः स्मः यं कञ्चिदम्भोधिजबिन्दुफेनम् । पक्षैर् दिशामो दिशि पारणायाः । व्यात्तैस् त्वदीयैर् अभिभक्षय स्राक्

।।१६

तदाम्बुधिस् तद् विचिकित्समानः समानतन्त्रं व्यचिचिन्तदेषः । दिवाकरं कारुण कर्णतातं नतोत्तमाङ्गोsङ्ग विनीतियुक्तः

।१७

अथेश्वरं चापि मरुद्गणेशं गणेशतातं किल चन्द्रमौलिम् अवाङ्मुखोsश्र्वावृतलोचनोsसौ असूनयाचच्छिवसूनुमीशम्

।।१८

तथाहवेsभूद्धववाहनश्च शचीधवश्चाप्यशुषत् व्युषन् मे- ति प्रार्थयन्तं मातातम् उग्रो मह्यं कुतः कुप्यसि माततायिन्

//१९

प्रार्थयामि प्रभो योगिन् शतकृत्वः शतक्रतुम् तथापि न स तृप्येत दर्शयस्वमुमापते

।।२०

कृता सपर्या सरसाम्पते सा मा भीर् भवेत् ते विजितेन्द्रियस्य जेष्यामि शक्रं सपुरं दृणामि खगांश्च सर्वांस्तव शत्रुशेषान्

।२१

स्तवैर्न हृष्येन् न च निन्दिताभिः नो वोद्विजेच् चेन् मम भक्तियुक्तः तं तारयामि क्षरणाद् अमूं वा अक्षय्यपदवीमनुगृह्य दद्याम्

। २२

इन्द्रेsर्भकेsग्नौ रुवति क्रमेण सूर्यः प्रचाकाश्यत आनभोभु । अथान्धितौ तौ परितः प्रकाशात् वायुर् ह्यवाद् भीकरम् आरुवन् सः

।२७

चण्डाः प्रचण्डमरुतः खविनादयन्तः खगादिदस्यून् प्रविचाल्य नुत्त्वा अब्धेर् लहर्यां परिमज्जितास् ते उल्लोलकल्लोलविलासितं तत्

/२८

ततो विधुः शेखरभूत इन्दुः हिमांशुभिः श्यायितवान् समुद्रम् । इन्द्राग्निदेवौ कुपिताव् अनक्षौ हताधराव् ऊषतुरेव सर्वान्

/२९

जलं यथापूर्वम् उ विद्रवद् द्राक् वयो यथापूर्वम् उ चूर्यमाणाः । शक्रस्य वह्नेश्च चुकुण्ड आस्यम् स्युर् भस्मभूता ह ममण्डिरे ते

/३०

समुद्रराजोsतिसुनीतियुक्तः ववन्द ईशं करुणाकरं तम् धर्मज्ञ-धर्मिष्ठ-धुरन्धरोsजम् बंहिष्ठपाप्मस्वविचालितोsयम्

। ३१

धूपायितःकाकविहङ्गकायः सरित्पतेः शीतलवारिराशौ आलिङ्गिते संस्तृतसर्वतो वे निर्वाणम् आपुः परमं प्रशान्तम्

।। ३२

✦ ✦ ✦

।। श्रीगुरुचरणारविन्दापर्णमस्तु ।।

Samskrta BudbudaaH | संस्कृत बुद्बुदाः

From the collection by Sudarshan Ravi

"संस्कृत नन्दिनी" YouTube Channel

Varna Varnanam

वर्णवर्णनम्

Varna Varnanam — Description of the Social Order

A Sanskrit composition describing the traditional social order (varna system) with invocations to the divine, praise of teachers, rulers, warriors, merchants, and artisans — celebrating the ideal of each contributing to society's wellbeing through their respective vocations.

❀ ❀ ❀

जयत्वघं विनाश्य देवि देहि दिव्य दर्शनम् भारति त्वमेव भास्कराभमण्डलप्रभा रतिं तु संस्कृते विराजिते विधत्स्व वेधसा दया च दीयतां दयालुनानुकम्पया सदा ।१

प्रार्थयामि शम्भुमीश्वरं कृपाकरं विभुम् प्रार्थयामि पार्वतीशसूनुषण्मुखं रविम् प्रार्थयामि वासवं च वासुदेवराघवौ प्रार्थयामि मासरस्वतीशहृत् सुतोषिणीम् ।२

कति प्रधीसुधीदधि प्रमन्थनाद् विवेचनात् कियन् नवीननीतम् आजनि क्षितिक्षुधं दहत् देशिका महात्मनां समाहृतिः सुगौरवान्- वितो गुरुर् बभूव जज्ञिरे मुनिर् ऋषिर् बुधाः।३

वेद वेधसा विसृष्टमेतदभ्र भूतलम् वेदवेद्यजातवेदसं विविक्तुम् अन्तरम् ज्ञानविज्ञविद्यया त्वविद्यया विजानता मानुषेण नम्रचित्तकेन केन बुध्यते ।४

क्षितिं महीक्षितः प्रशासनात् प्रशस्तशासकाः स्वधर्मरक्षणे च शिष्टपालने नियामिनः । दुष्टदूषणान् अतिक्रमान् अतीव बाधकान् पीडकांश्च हिंसकान् विदारयन्तु राक्षसान् ।५

शिवाजि तेजबाहुदुर् अशोक शोकनाशनाः चन्द्र गुप्त मौर्य चोळ राज राज पूरवः । कृष्णराय वोडयर् च विष्णुवर्धनो रणा प्रतापसिंह विक्रमादितेय पूलकेशिनः ।६

झाञ्सि राणि चेन्नमा च ओबव्वा च अब्बका रुद्रमा च वेळु नाचियर् तु तारबाय् । महादिवा अवन्तिभाय् उदादिवा च माभगो मल्लमा अहल्यदेवि देवनाः किमङ्गनाः ।।७

पद्मजाकृपाकटाक्षवीक्षणानुविद्धवैश्- -यस्य यस्य हेमहर्म्यहार एव हीयते । सम्पदं नियुज्य राष्ट्रभक्तिभावनाधृता विक्रयः क्रियेत विक्रमस्व हैधयार्यताम् ।८

भृत्यदाससेवकः कलाशिलाविलासिकः देशसेवनाभरण्यभुग् भवेत्तु शूद्रकः । समाजपूरुषस्य पादवत्प्रधानधारकः धारया तनोतु मङ्गलं गिरं गले गिलिम् ।९

भारती तनोतु मङ्गलं गिरं गले गिलिम् शङ्करी तनोतु मङ्गलं गिरं गले गिलिम् इन्दिरा तनोतु मङ्गलं गिरं गले गिलिम् इदं हि वर्णवर्णनं समर्पयामि शम्भवे ।१०

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Samskrta BudbudaaH | संस्कृत बुद्बुदाः

From the collection by Sudarshan Ravi

"संस्कृत नन्दिनी" YouTube Channel

Society as Samsaara

 Society as Samsaara 

The Hidden Disgust After Desire — On Expansion, Longing, and the Body’s Secret Wisdom 

How subtly society avoids and suppresses the natural yearning for expansion! Every human being is born with a deep, inbuilt mechanism to seek, question, and grow. Yet we are trained, almost from birth, to distrust that drive — to keep our desires tamed and our questions quiet. 

The Mystery of Post-Orgasmic Clarity 

One of the most baffling human experiences is what might crudely be called post-orgasmic clarity. 
Moments before climax, there is longing, frenzy, and unbearable craving — a desperate rush to dissolve in something larger. But the very next instant, the fire collapses. Desire dies a sudden death. The lover turns away. 

Why does the body do this? 

It’s not just the release of fluids or hormones — the rasa — but a total shift in consciousness. 
A moment ago, the world was burning with hunger; now it’s washed in indifference. 

And strangely, this pattern repeats in all creatures — dogs, cats, birds, even spiders. After desperate courtship, they suddenly move away, wordless and dispassionate. The same energy that begged for union now refuses even touch. The more intense the craving, the longer the build-up, the greater the dispassion afterward. 

The deeper the indulgence, the stronger the recoil. 
It’s a universal law of psyche and energy. 

As Sri Sri Ravi Shankar says: 

“The heart is the center of energy which, when given a conducive set of circumstances, becomes love — and in others, the same energy becomes hate.” The aftermath of passion, in its many forms — disgust, regret, guilt, or aversion — is directly proportionate to the depth of our involvement. 

Beyond Lust — The Pattern of Saturation 

This cycle isn’t confined to sexuality. It’s visible in every human indulgence: 

• The nausea after overeating. 

• The hangover after intoxication. 

• The burnout after ambition. 

• The emptiness after achievement. 

• The post-exam amnesia, the post-entertainment fatigue, the post-anesthetic nausea. 

Even emotionally: 

• The heartbreak after a breakup. 

• The bitterness after divorce. 

• The silence between once-inseparable friends. 

• Soldiers who fought shoulder to shoulder turning strangers after war. 

• Ministers who once served loyally turning traitors in time. 

Everywhere, we see the same rhythm — intense attraction, total involvement, and sudden aversion. 

Why Does It Happen? 

Because beneath every pleasure is the urge to transcend. After the senses are satisfied, something within us — the same intelligence that built the craving — demands meaning. 
The disgust, depression, or dispassion that follows indulgence is not a punishment — it is the psyche’s way of clearing space for something higher.

 It is as though nature itself whispers: 

“Enough of this rung. Move upward.” 

If that disgust didn’t exist, we’d be trapped in an endless loop of repetition — a romantic forever in longing, a glutton forever eating, an addict forever numbing. This inner fuse — that moment of revulsion — saves us. 

But modern society, instead of listening to that inner call, suppresses it.

 We label it “normal,” trivialize it, distract ourselves with sleep, screens, or substances — anything to avoid confronting that sacred discomfort. And when we ignore it, we remain stuck on the same rung, repeating the same story, only with different faces and names. 

The Cycle of Substitution 

After a breakup, we say we’ve learned — yet we fall for the same archetype. After a hangover, we swear off drinking — only to pour another glass. 
After burnout, we take a vacation — and return to the same cycle. The pattern persists because we never feel the clarity fully. 

If only we could sit still with that post-climax silence, that post-drama void — if we could endure its raw honesty — true wisdom would dawn. 
But we rush to cover it with entertainment, noise, or sleep. We drown the voice of evolution with the anesthetic of habit. 

The Rung and the Step 

This movement from longing to repulsion isn’t moral — it’s mechanical, biological, spiritual. 
The body, mind, and soul are aligned toward evolution. 
The disgust is not against pleasure — it’s a longing for something more. As the foot climbs a staircase, it doesn’t hate the rung it leaves behind. 
The rung served its purpose — it lifted you higher. 
The foot simply says, “No hard feelings, my friend — I must go on.” 

The Forgotten Intelligence 

Nature is not against us — civilization, perhaps, is. 
Civilization calls this natural rhythm “shame,” “sin,” or “failure.” But the body and mind — our most loyal companions — speak a language far older than culture. They know how to rise, how to rest, how to renew. If only we could listen. 

“I should sell my tongue in exchange for a hundred ears,” writes Rumi, “when that One begins to speak. Listen. Listen deeply to the heart within.” 

Every disgust hides a higher calling. 
Every regret conceals an upward pull. 
Every moment of post-passion silence is not emptiness — it is invitation. 

The secret of life is not to cling to pleasure, nor to condemn it, but to recognize when one form of expansion has fulfilled its purpose —  and to rise toward the next.