% Text title : subhaashhita postings by Kedar Naphade % File name : subhaashhita\_kedar.itx % Category : subhaashita, sangraha, subhAShita % Location : doc\_z\_misc\_subhaashita % Author : Kedar Naphade % Transliterated by : Kedar Naphade % Proofread by : Kedar Naphade % Latest update : August 28, 2021 % Send corrections to : sanskrit at cheerful dot c om % % This text is prepared by volunteers and is to be used for personal study % and research. The file is not to be copied or reposted for promotion of % any website or individuals or for commercial purpose without permission. % Please help to maintain respect for volunteer spirit. % \documentstyle[11pt,multicol,itrans]{article} #include=ijag.inc #endwordvowel=.h \portraitwide \parindent=100pt \let\usedvng=\Largedvng % for 1 column \pagenumbering{itrans} \def\engtitle#1{\hrule\medskip\centerline{\LARGE #1}} \def\itxtitle#1{\medskip\centerline{\LARGEdvng #1}\medskip\hrule} \def\endtitles{\medskip\obeyspaceslines} %% \begin{document} \engtitle{.. A Subhashita A Day ASAD ..}## \itxtitle{.. pratidinaM subhAShitam ..}##\endtitles ## ## This is the 'un-edited' collection of Kedar's postings of ##pratidinaM subhAshitaM ## (pratidinaM subhAshitaM A Subhashita A Day or shortened as ASAD) on the sanskrit-digest mailing group archives. If you would like to edit and format these, please write to sanskrit at cheerful.com. \hrule ASAD (2) ## kimapi shubhakArya.n gaNeshavandanena atha vA sarasvatI vandanena prArabhyate | ataH eShaH dvitIyaH shlokaH sarasvativandanAya samarpayAmi ## Any good endeavour is begun by a prayer to Ganesh or Saraswati. Hence this second subhhAshita of ASAD is dedicated to Saraswati : ## yA kundendutushArahAradhavalA yA shubhravastrAvR^itA yA vINAvaradaNDamaNDitakarA yA shvetapadmAsanA | yA brahmAchyutashankaraprabhR^itibhiH devaiH sadA vanditA sA mAM pAtu sarasvatI bhagavatI niHsheShajADyApahA || ## One who is as white as a garland of kunda flowers and waterdrops, who has worn white apparel, whose hand is placed on the stem of the vINA, who is sitting on a white lotus, and who is always worshipped by Gods such as Brahma, Achyuta (Vishnu) and Shankara, that Sarasvati, who completely steals (one's) lethargy may bless me ... \hrule ASAD (3) ## tR^itIye asmin shloke gardabhAt trINi shikSheta ## In this third verse of ASAD, learn three things from the donkey... ## avishrAmaM vahedbhAraM shItoShNaM cha na vindati | sasantoShastathA nityaM trINi shikSheta gardabhAt || ## (He) carries loads without rest, is not deterred by the heat or cold, is always content these three things should be learnt from the donkey \hrule ASAD (5) ## etasmin subhAshitaM bhavati sha~NkarastavanAya | suShThu kR^itaH khalu shabdaprayogaH asmin | paThatu ## This subhAshita is a prayer to Shankara. It has a nice verbal composition ## pinAka phaNi bAlendu bhasma mandAkinI yutA | pa varga rachitA mUrtiH apavarga praDAstu naH || ## Equipped with a spear(pinAka), snake(phaNi), the crescent of the moon(bAlendu), ashes and the ganga, may this idol composed from the 'pa varga' (the consonants pa, pha, ba, bha, ma) lead us to heaven (apavarga). \hrule ASAD (6) ## asti eShA samasyApurtiH ## (here is a riddle ) ## pAniyaM pAtumichChAmi tvattaH kamalalochane | yadi dAsyasi nechChAmi na dAsyasi pibAmyaham || ## The apparent meaning : O Lotus eyed, I wish to drink water from you. If you give it to me, I do not want it, but if you dont give it, I shall drink it !!! (which obviously makes no sense..) The solution : the trick is in the word ``dAsyasi'' which has been interpreted above as the future tense form of the verb 'dA' meaning to give. However it is correctly interpreted as the sandhi dAsi + asi Hence the second line actually means, if you are a dAsi, I dont want it, but if you are not a dAsi I shall drink it. Perhaps this goes back to the times where brAhmins would note accept even water if it was touched by untouchable dAsis.. \hrule ASAD (7) ## bhavanti bahavaH shlokAH sajjanasa~Ngatiprasha.nsinaH | tasminetattu mahyam sarvebhyo.adhikaM priyam || ## (There are many verses that praise the effects of good company. However this is my favourite among them ) ## santaptAyasi sa.nsthitasya payaso nAmApi na j~nAyate muktAkAratayA tadeva nalinIpatrasthitaM rAjate | swAtyAM sAgarashuktimadhyapatitaM sanmauktikaM jAyate prAyeNottamamadhyamAdhamadashA sa.nsargato jAyate || ## You cant even notice a hint of a drop of water fallen on hot iron. The same drop shines like a pearl on a lotus leaf. And in the 'swati' nakShatra fallen inside a sea shell, it becomes a pearl .. Usually excellent, medium and bad states (of a person) are dependent on company. Again as Marathi speaking people will recognise, this is exactly identical to the following marathi verse : ## toyAche pari nAva hI na urate santapta lohAvarI te bhAse nalinIdalAvari aha ! sanmauktikAche pari | te svAtIstava abdhishuktipuTaki motI ghaDe netake jANA uttamamadhyamAdhamadashA sa.nsargayoge Tike || ## \hrule ASAD (8) ## vidyAM prasha.nsinaM enaM shlokaM manye bahavo jAnanti | ## (I think many people know this verse that praises knowledge) ## na chorahAryaM na cha rAjahAryaM na bhrAtR^ibhAjyam na cha bhArakArI | vyaye kR^ite vardhata eva nityaM vidyAdhanaM sarvadhanapradhAnam || ## It cannot be stolen by thieves, cannot be taken away by the king, cannot be divided among brothers and does not cause a load. If spent, it always multiplies. The wealth of knowledge is the greatest among all wealths. \hrule ASAD (8 1) ## parasparavirodhe cha vayaM pa~ncha cha te shataM | anyaiH sAkaM virodhe tu vayaM pa~nchAdhikaM shatam || ## When in combat against each other we are 5 and they are hundred. But when against others, we are a hundred and five ... (obviously refers to Kauravas and Pandavas. I believe this is supposed to be said by Dharma.) \hrule ASAD (9) ## ajarAmaravatprAj~no vidyAmartha.n cha sAdhayet | gR^ihIta iva kesheShu mR^ityunA dharmamAcharet || ## The wise man acquires knowldge and wealth as if he is never going to die. And he practices relegion as if he is tightly held in his hair by death. \hrule ASAD (10) ## adhikameka.n manye kAlidasena rachita.n ## Here's another one I believe accredited to Kalidasa ## kamale kamalotpattiH shrUyate na tu dR^ishyate | bAle tava mukhAmbhoje kathamindIvaradvayam || ## The birth of one lotus on another has neither been seen nor heard of. Little girl, how is it that on your lotus face there are these two lotuses ? (her eyes) \hrule ASAD (10 1) One more subhashitam that starts with ``kamale'' ## kamale kamalA shete haraShete himAlaye | kShIrAbdhau cha hariShete manye matkuNa shankaya| || ## On the lotus sits Goddess KamalA (LakShmi), Hara (Lord Shiva) resides in the HimAlayAs. In the vortex of the churning ocean resides Hari (Lord VishNu), I know this precisely. ## kamalAsana ## = Brahma (seated on a lotus) ## kamalekShaNa ## = Vishnu (lotus eyed) ## kamalArikirITa ## = Shiva? (crowned by the enemy of the lotus (moon?)) ## kamalabR^it ## = the sun (lit. husband of the lotus) ## nuta ## = praised ## stuta ## = praised ? May Laxmi, whose lotus like feet are praised by the trinity and the sun(?) make me her lotus (ie, abode) your interpretation of kamalArikirITa is perfect. the moon is the enemy of the lotus because when the moon rises, the lotus closes itself. ## kamalbhR^idvAha : ## ## bhR^id ## = = to carry; ## vAha ## = = carrier hence kamalabhRidvAha is the carrier of the carrier of a lotus, which is the cloud or the lord varuna. there is no special reason for using both stuta and nuta .. stuta means praised, and nuta means saluted.. however, the best part is ``karotu me kamalaM'' the word ka has many meanings. one among them is ``evil''. ``alaM'' means enough. Hence karotu me kaM alaM means may she end all my evil ... \hrule ASAD (11) ## AkAshAt patitaM toyaM yathA gachChati sAgaram | sarvadevanamaskAraH keshavaM pratigachChati || ## As all the water fallen from the skies goes to the sea, similarly salutations to any God finally reach Keshava. \hrule ASAD (12) ## chintanIyA hi vipadAmAdAveva pratikriyA | na kUpakhanan.n yukta.n pradIpte vahninA gR^ihe || ## Reactions to calamities should be considered well in advance. It is no good to start digging a well when the house is on fire ! \hrule ASAD (11 1) ## yatkokilaH kilamadhau madhuram viroti . tachchAru chAmra kalikA Nikraik hetuH . ## ## kila ## = really ## madhu ## = spring ## madhura ## = sweet ## virotti ## = it should actually be virauti : means cries. ## chAru ## = beautiful ## chAmra ## = cha + Amra (Amra = mango) ## kalikA ## = petal ## Nikraika ## = ??? (is this correctly transliterated ?) ## hetuH ## = intention overall meaning : the sweet crying of the cuckoo in spring has the intention of the ``nikraika'' of the beautiful mango petal .. This shloka was poorly transliterated.. please refer the following transliteration guidelines when transliterating sanskrit into English. This will result in others understanding your shlokas more easily .. and hence responding quicker... \hrule ASAD (13) ## kShamA shastra.n kare yasya durjanaH ki.n kariShyati | atR^iNe patito vahniH svayamevopashAmyati || ## What can a wicked person do to someone who has the weapon of fogivance in his hands ? Fire fallen on ground without any grass extinguishes by itself. ## kShamA balamashaktAnAm shaktAnAm bhUshaNam kShamA | kShamA vashikrute loke kShamayA: kim na sidhyati | || ## forgivance is the strength of the weak. forgivance is the ornament of the mighty. if the world is conquered by forgivance, what cannot be accomplished by forgivance ? \hrule ASAD (13 1) ## kShamA balamashaktAnAm shaktAnAm bhUshaNam kShamA| kShamA vashikrute loke kShamayA: kim na sidhyati | || ## forgivance is the strength of the weak. forgivance is the ornament of the mighty. if the world is conquered by forgivance, what cannot be accomplished by forgivance ? wrong in the first half of second line of the above verse itself ! Even to get the meaning ``In the world, forgivance has the power of conquering'', the words look odd ... Does ``vashikrute'' give this meaning ? ## vasha ## = conquered. vashI+kRi = to conquer ## vashIkR^ita ## = conquered. kShamAvashIkRite loke is a ``sati saptami'' usage. it is to be interpreted as yadA lokaH kShamAvashIkRitaH tada (when the world is conquered by forgivance) In the sati saptami usage, the saptami vibhaki is used to denote the temporal relationship between two successive events so basically it means, even when the world can be conquered by forgivance, what else remains ?? \hrule ASAD (14) ## karAgre vasate lakShmIH karamadhye sarasvatI | karamUle tu govindaH prabhAte karadarshanam || ## Laxmi resides at the tip of the hand, sarasvati in the middle, Govinda at the root. Hence one should take ``darshan'' of one's hand in the morning. ## karAgre vasate lakShmIH karamadhye sarasvatI | karamUle tu govindaH prabhAte karadarshanam || ## If I rememeber the sloka it is ``karamule tu gouricha'' it's not govondaH. Laxmi resides at the tip of the hand, sarasvati in the middle, Gouri(Parvati) at the root. Hence one should take ``darshan'' of one's hand in the morning. Hi Padma. glad to see you on the list. you are probably right about ``karamUle tu gauri cha'' this makes a more consistent subhAshita but sometimes there are more than one versions of a subhAshita in existence with small differences and both of them are ``correct'' again, gauri makes a better pATh than govindaH .... thanks ! kedar \hrule ASAD (13) (fwd) Thanks for the sholka. This shoka about Kshama and the line of thinking. and other features that go with it were adopted by Gandhiji for our freedom. There was the other group (jahal) who asked questions like what should be done for the person who is determined to kill you regardless of what you are thinking. Examples were given from the 2nd war and how a cretain group of people was removed by force etc. So the jahals justified their line of thinking. \hrule ASAD (13) ## karAgre vasate lakShmIH karamadhye sarasvatI | karamUle tu govindaH prabhAte karadarshanam || ## If I rememeber the sloka it is ``karamule tu gouricha'' it's not govondaH. Laxmi resides at the tip of the hand, sarasvati in the middle, Gouri(Parvati) at the root. Hence one should take ``darshan'' of one's hand in the morning. Hi Padma. glad to see you on the list. you are probably right about ``karamUle tu gauri cha'' this makes a more consistent subhAshita but sometimes there are more than one versions of a subhAshita in existence with small differences and both of them are ``correct'' again, gauri makes a better pATh than govindaH .... I have come across ``karamulethu govinda'' in my child hood. recently I heard even the other one `` karamu lethu gauri cha''. So obviously the subhashitham was subjected to changes as time passed , We cannot argue which is correct as we don't know the exact source of this work.. Let us accept both, as both are having good meanings. %%% ##karAgre vasate lakShmIH## | ``At the top of the hand resides LakShmi. ##karamadhye sarasvatI ## | In the middle of the hand resides Sarasvati. ##karamUle vaset brahmAH ## | At the bottom of the hand resides Brahma. ##prabhAte karadars'anaM ## | In the morning, the sight of the hands | (is auspicious).'' ##samudravasane devI ## | ``O goddess with the mantle of oceans. ##parvatastana maNDale ## | adorned with the breasts of mountains. ##viShNupatnI namstubhyaM ## | O the consort of Vishnu, salutations to thee! ##pAdasparshaM kShamasvame## | pardon me for touching thee with my feet.'' Note: The above prayers are generally recited as soon as one gets up from the bed. In the first sloka, LakShmi stands for spiritual wealth, Sarasvati for spiritual knowledge and Brahma for spiritual wisdom. According to the Hindu mythology, God Vishnu has two wives, Sri Devi (LakShmi) and Bhoomi Devi (Earth). They are supposed to be residing on His chest. For defiling the Earth with our feet and also with our body fluids, we beseech Her pardon. This concludes the Earth Day specials. \hrule ASAD (15) ## kAkaH kR^iShNaH pikaH kR^iShNaH ko bhedaH pikakAkayoH | vasantasamaye prApte kAkaH kAkaH pikaH pikaH || ## The crow is black, and the cuckoo is black. What is the difference between the two ? It is when spring arrives that the crow is identified as the crow, and the cuckoo, the cuckoo. \hrule ASAD (16) ## sajjanasya hR^idaya.n navanIta.n yadvadanti kavayastadalIkam | anyadehavilasatparitApAt sajjano dravati, no navanItam || ## Poets say that the heart of a good man is like butter, but that is not correct. The heat (frustration/sorrow/ etc.) residing in another body does not melt butter, but it does melt the good man. \hrule ASAD (17) I do not know whether the following two verses were indeed like a sawAl jawAb, but it definitely seems so ## kAchaM maNiM kA~nchanamekasUtre mugdhA nibdhnanti kimatra chitram | vichAravAn pANinirekasUtre shvAnaM yuvAnaM maghavAnamAha || shuneva yUnA prasabhaM maghonA pradharshitA gautmadharmapatnI | vichAravAn pANinirekasUtre shvAnaM yuvAnaM maghavAnamAha || ## The first verse : What is so strange about women tying glass, beads and gold all on one thread ? Even the great thinker paNini tied the dog, the youth and Indra on the same string .. (pun on the word sUtra) The second verse : Gautam's wife was forcibly molested by the youth Indra. (who acted) like a dog. the great thinker pAnini tied the dog, the youth and Indra on the same string ... I guess I should have clarified. the three words : shvA (dog) yuvA (youth) and maghavA (indra) belong to the same grammatical class .. they are declined identically, and there is a sUtra (rule) in Panini's grammar that ties them together. ... hence the pun on sUtra... \hrule ASAD (18) ## niHsvo vaShTi shataM shatI dashashataM lakShaM sahsrAdhipaH lakSheshaH kShitipAlatAM kShitipatishchakreshatAM vA~nChati | chakreshaH punarindratAM surapatiH brAhmaM padaM vA~nChati brahmA shaivapadaM shivo haripadaM chAshAvadhiM ko gataH || ## The penniless man wishes for a hundred, the onw who has hundred wants a thousand, the one with a thousand , a lakh. The one with a lakh wants to be the king, the king wants to be the emperor, and the emperor wants to be Indra (king of Gods), Indra want's brahma's position, brahma shiva's and shiva viShNu's ... who has ever been able to kill desire ? \hrule ASAD (19) ## nindantu nItinipuNA yadi vA stuvantu lakShmIH samAvishatu gachChatu vA yatheShTam | adyaiva vA maraNamastu yugAntare vA nyAyyAtpathaH pravichalanti padaM na dhIrAH || ## Whether the philosophers praise him or criticize, whether lakShmi enters the house or goes away as she wishes, whether death is today itself or after an eon, great men never step a foot away from the path of justice. for marathi readers : ## nindota vAnota sunItimanta chaLo aso vA kamalA gR^ihAta | ho mR^ityu Ajicha ghaDo yugAntI sanmArga TAkoni bhale na jAtI || ## \hrule ASAD (20) Hi. Padma pointed out a typo I had made. Instead of pa~ncha, I had just written pa~na ... The corrected shloka is as follows : ## svayaM pa~nchamukhaH putrau gajAnanaShaDAnanau | digambaraH kathaM jIvet annapUrNA na chedgR^ihe || ## five mouthed himself(Shiva), and sons the elephant mouth (Ganesh) and the one with six mouths (Kartikeya) .. how would shiva survive if Annapurna (Parvati) was not at home ? \hrule ASAD (21) ## svayaM maheshaH shavshuro nageshaH sakhA dhaneshashcha suto gaNeshaH | tathApi bhikShATanameva shambhoH balIyasI kevalamIshvarechChA || ## Himself the great lord, his father in law the king of mountains, his friend the king of wealth, his and his son the lord of the gaNas. even then roaming around begging for food is shiva's destiny only god's wish is powerful ... \hrule ASAD (23) ## garjasi megha na yachChasi toyaM chAtakapakShI vyAkulito.aham | daivAdiha yadi dakShiNavAtaH kva tvaM kvAhaM kva cha jalapAtaH || ## O cloud, you roar, but do not give water. I, the chatak bird am thirsty. If fatefully the southern winds blow here, where shall you be , where shall I be and where shall it rain ? \hrule ASAD (22) ## re re chAtaka ! sAvadhAnamanasA mitra kShaNaM shrUyatAM ambhodA bahavo vasanti gagane sarve.api naikAdR^ishAH | kechit vR^iShTibhirArdrayanti dharaNIM garjanti kechidvR^ithA yaM yaM pashyasi tasya tasya purato mA bRUhi dInaM vachaH || ## O chatak, my friend, listen for a moment with an alert mind. there are many clouds in the sky, not all of them are alike. Some wet the earth by their showers, whereas some just roar. Dont beg pitifully in front of each and every one you come across ! \hrule ASAD (24) ## rAtrirgamiShyati bhaviShyati suprabhAtaM bhAsvAn udeshyati hasiShyati pa~NkajashrIH | itthaM vichintayati koShagate dvirefe hA hanta hanta naliniM gaja ujjahAra || ## The night shall go away and it shall be dawn. The sun will rise and the lotus will smile ! While the bumblebee trapped in the lotus was thinking this, Alas ! an elephant uprooted the lotus ! \hrule ASAD (25) ## manye sa.nskR^ite etat prathamaM kAvyaM vAlmikinA kR^itaM ## I believe this is the first piece of verse in Sanskrit ; composed by Valmiki ## mA niShAda pratiShThAM tvaM agamaH shAshvatIH samAH | yatkrau.nchamithunAdekaM avadhIH kAmamohitam || ## O niShAda, you will not come to glory till the end of eternity. for you have killed one from a pair of krauncha birds, enraptured in love. This is the first shloka in Ramayana as Krishna told me some time ago. As the meaning indicates, Valmiki was inspired to write this shloka when he saw a hunter shooting one of two krauncha birds who were engaged in rati. I believe this is the first piece of verse in Sanskrit ; composed by Valmiki ## mA niShAda pratiShThAM tvaM agamaH shAshvatIH samAH | yatkrau.nchamithunAdekaM avadhIH kAmamohitam || ## O niShAda, you will not come to glory till the end of eternity. for you have killed one from a pair of krauncha birds, enraptured in love. This is the first shloka in Ramayana as Krishna told me some time ago. As the meaning indicates, Valmiki was inspired to write this shloka when he saw a hunter shooting one of two krauncha birds who were engaged in rati. This was one of the first shlokas that I learned in my Sanskrit class in the 5th grade, and all the info below is based on what I learned then. most of the people on this net may already be familiar with the significance of this shloka. ever composed by Adikavi (first poet) vAlmIki. He was in a peaceful state of mind (either meditating or taking a walk) when this niShAda (hunter) killed the male krauncha (swan?). vAlmIki got angry with the actions of the hunter and this shloka came out of his mouth. After vAlmIki emerged out of his rage, he realized that he had gone out of the state of equanimity and cursed the hunter out. It was then that someone else (nArada?) appeared and told him that he had uttered the first piece of poetry and explained to him that there was a second meaning behind the shloka. I don't remember what the other interpretation of this shloka is except that the hunter is rAma and the krauncha(s) are rAvaNa and mandodarI, and that rAma kills rAvaNa. I don't remember what the second interpretation of the shrApa (curse) is when applied to rAma. So this is how the shloka fits into the rAmayaNa. \hrule ASAD (26) ## na hi kashchit vijAnAti ki.n kasya shvo bhaviShyati | ataH shvaH karaNIyAni kuryAdadyaiva buddhimAn || ## No one knows what will happen to whom tomorrow. So a wise man should do all of tomorrow's tasks today. ## (kalh karai so Aj kar ....) ## tomorrow ## = shvah ## day after tomorrow ## = parashvah ## 2 days after tomorrow ## = praparashvah ## yesterday ## = hyah ## day before yesterday ## = parahyah ## 2 days before yesterday ## = praparahyah ## \hrule ASAD (27) ## prArabhyate na khalu vighnabhayena nIchaiH prArabhya vighnavihatA viramanti madhyAH | vighnaiH punaH punarapi pratihanyamAnAH prArabdhamuttamajanA na parityajanti || ## Inferior men do not start (any endeavor) with the fear of obstructions. Average men , stop an endeavor when they are faced with problems. However. even though they are struck again and again by disaster, superior men never give up an endeavor that they have undertaken. \hrule ASAD (28) ## si.nhaH shishurapi nipatati mada malina kapola bhittiShu gajeShu | prakR^itiriyaM sattvavatAM tejasAM hi na vayaH samIkShyate || ## The lion, even when a cub, attacks jumps upon the cheek of an intoxicated elephant. It is indeed the nature of the courageous : the age of the glorious ones is never relevant. and for the marathi crowd, here's a marathi translation : ## si.nhAchA to bAla to hi chapeTa mArI tyAlA jo karI matt moThA | tejasvI je vR^itti aisIcha tyAnchi tethe kAhi chADa nAhi vayAchI || api adhikam ekam subhashitam prArabdhavat ``yatha'' shabdena yatha deshastatha bhasha yatha raja tatha prajaH | yatha bhumistatha toyam yatha beejastathankuraH | || ## a~Nkura means the first sprout. yathA bIjastathA~NkuraH is a very famous proverb. it basically means as you sow, so you reap ... ## na dhairyeNa vina LakShmiH na shouryeNa vina JayaH | na dAnena vina mokSho na gyAnena vina yashaH | || ## \hrule ASAD (29) ## yathA kAShThaM cha kAShThaM cha sameyAtAM mahodadhau | sametya cha vyapeyAtAM tadvat bhUtasamAgamaH || ## As two logs of wood come together in the ocean, and immediately go away from each other, so much alike is mankind ... and for the marathi people, another translation : this one from the geeta rAmAyana by madgulkar in the song ## \ldq{}parAdhIna Ahe jagati putra mAnavAchA. dosha nA kuNAchA\\rdq{} : don ondakyAnchi hote sAgarAta bheTa eka lATa toDi doghA.n punhA nAhi gATha. ## \hrule ASAD (30) ## kasyachit kimapi no haraNIyaM marmavAkyamapi nochcharaNIyam | shrIpateH padayugaM smaraNIyaM lIlayA bhavajalaM taraNIyaM || ## One should not steal anything belonging to anyone, should not utter a sensitive sentence, should remember (bow down to) Vishnu's feet, and thus swim the ocean of life with ease. \hrule ASAD (31) This ASAD is a small tribute to my sanskrit teacher, Late Shri Vasant Nanivadekar. He used to reside in Bombay, and was very well versed with the sanskrit classics as well as conversational sanskrit. He was an active ``kAryakartA'' in many sanskrit related projects and activities in Bombay. Above all, along with my mother he was the one who had introduced me to this great world of Sanskrit verse and literature. (See his booklet amarasamvAadaH Sanskrit Prayer Arati Collection on the site.) What follows is his translation of Tennyson's ``Home they brought her warrior dead'' into sanskrit verse. ## gehAnIte.apyasuvirahite vIrasi.nhe svanAthe mohaM prAptA na cha na cha sakhI krandituM vA pravR^ittA | pashyan devIM parijana idaM prAha marmAhatAM tAM no ched rudyAt iyamapi bhavet prANahInAchireNa || ## Home they brought her warrior dead She nor swooned nor uttered cry All her maidens watching said ``She must weep or she will die.'' ## lokairmandaM vinatahR^idayaiH sa.nstuto vIra evaM snehasyAsIt khalu naravaro bhAjanaM shlAghanIyam | sa.nhArdaM vA naratanudharaM shatruraudAryamUrtiH noche ki~Nchit tadapi kila sA nAlpamAtraM chachAla || ## Then they praised him soft and low Called him worthy to be loved Truest friend and noblest foe Yet she neither spoke, nor moved. ## svIyasthAnAt tadanu shanakaiH kApi dAsI tadAnIM prAptA vIraM nibhR^itagamanA kAni gatvA padAni dUrIchakre naravara mukhAchChAdi vastraM karAbhyAM ki~NchinmAtraM na hi vichalitA nApi vA sA ruroda ## Stole a maiden from her place Lightly to the warrior stept Took the face cloth from the face Yet she neither moved, nor wept. ## kAchid vR^iddhA navatisharadAM dIrghamAyurdadhAnA kroDe tasyAH priyatamashishuM sthApayAmAsa dhAtrI gRIShme vR^iShTiM jalada iva sA bAShpapUraM mumocha jAta, prANA.nstava khalu kR^ite dhArayAmItyuvAcha ! ## Rose a nurse of nintey years Set his child upon her knee Like summer tempest came her tears ``Sweet my child, I live for thee !'' \hrule ASAD (32) ## sAhitya sa.ngIta kalA vihInaH sAkShAt pashuH puCha viShANa hInaH | tR^iNaM na khAdannapi jIvamAnaH tad bhAgadheyaM paramaM paShUNAm || ## The man without (love of) literature music or the arts is indeed an animal without a tail or horns. The fact that he survives even without eating grass is indeed a great piece of luck for the other animals. \hrule ASAD (33) This one is similar to ASAD(32) in meaning : ## yeShAM na vidyA na tapo na dAnaM j~nAnaM na shIlaM na guNo na dharmaH | te martyaloke bhuvibhArabhUtAH manuShyarUpeNa mR^IgAshcharanti || ## Those who do not have learning, perseverence, are not charitable, do not have wisdom, character, good qualities or relegion, are indeed a burden to on the earth in the mortal world, and live as animals in the form of man. \hrule ASAD (34) ## adhigatya guroH j~nAnaM ChAtrebhyo vitaranti ye | vidyA vAtsalya nidhayaH shikShakA mama daivatam || ## The teachers who distribute knowledge among the students after getting it from their gurus, and who are storehouses of love and knowledge, are indeed like God to me. \hrule ASAD (35) ## ashvasya bhUShaNaM vego mattaM syAd gajabhUShaNam | chAturyaM bhUShaNaM nAryA udyogo narabhUShaNam || ## speed is the ornament of the horse, the intoxicated state is the ornament of the elephant. Cleverness is the ornament of a woman, and industriousness is the ornament of a man. \hrule ASAD (37) ## ahaM namAmi varadAM j~nAnadAM tvAM sarasvatIm | prayachCha vimalAM buddhIM prasannA bhava sarvadA || ## I bow to you, O Sarasvati who is the giver of boons and giver of knowledge. Give me untainted wisdom and be pleased and all endowing (to me) \hrule ASAD (40) ## apAre kAvyasa.nsAre kavirekaH prajApatiH | yathAsmai rochate vishvaM tathA vai parivartate || ## In the boundless world of poetry, PrajApati (Brahma) is the only one poet. He changes the universe as and when he thinks best .. \hrule ASAD (41) ## asitagirisamaM syAt kajjalaM sindhu pAtraM surataruvarashAkhA lekhanI patramurvI | likhati yadi gR^ihItvA shAradA sarvakAlaM tadapi tava guNAnAM Isha pAraM na yAti || ## The ink may be like a black mountain, the sea may be the inkpot, A branch of the tree of gods (kalpataru / mandAra ...I believe there are five of them) may be used as a pen, and the whole earth be used as the paper. If even Sharada (Goddess Sarasvati) writes for all the time using all this material, even then, O lord, she will not come to the end of describing your good qualities. ## dadAti pratigR^iNhAti guhyamAkhyAti pR^ichChati | bhu~Nkte bhojayate chaiva ShaD.hvidhaM prItilakShaNam || ## I haven't heard this one before, so the following may be off the mark to some extent Giving, return of courtesy, sharing secrets, asking (for one's welfare?) eating (with one?) , feeding, these are six characteristics of love. \hrule ASAD Need meaning of subhAShita ## dadAti pratigR^iNhAti guhyamAkhyAti pR^ichChati | bhu~Nkte bhojayate chaiva ShaD.hvidhaM prItilakShaNam || ## <<<<<<<<<<<<<<< I believe this may be originally in some Purana; it's in Pancha tantra as well as in UpadeSAmRita of RUpa Goswami. ``Six symptoms of affection are giving, receiving, explaining in confidence and enquiring, accepting food and feeding.'' Henry Groover (AgrAhya dAsa) ## dadAti pratigR^ihNAti dadAti pratigR^iNhAti guhyamAkhyAti pR^ichChati | bhu~Nkte bhojayate chaiva ShaD.hvidhaM prItilakShaNam || ## I haven't heard this one before, so the following may be off the mark to some extent Giving, return of courtesy, sharing secrets, asking (for one's welfare?) eating (with one?) , feeding, these are six characteristics of love. you are almost right. here is the accurate meaning : gives, takes, tells and asks secrets, eats (from you) and feeds (you) are the six characteristics of love ... (friendship would perhaps be more appropriate here .. ) ## kShate prahArAH nipatanti abhIkShNaM dhanakShaye vardhati jATharAgniH | Apatsu vairANi samud.hbhada.nti chidreShu anarthAH bahulIbhava.nti || ## When the money is gone (become poor), the hunger increases At the time of trouble, the enemities crop up when you are divided (without unity), problems become plenty. I do not know the meaning of ``abhIkShNaM''. The meaning of first line depends upon this word. I think ``samud.hbhada.nti'' should be ``samud.hbhava.nti''. Basically, the SubhAshita is trying to tell us that problems crop up only when you are devoid of the solution ! (Murphy's law ?) ## kShate prahArAH nipatanti abhIkShNaM ## I do not know the meaning of ``abhIkShNaM''. The meaning of first line depends upon this word. Dictionary gives the meaning of abhIkShaNam as ``every moment''; it fits here, but is somewhat puzzling. With this meaning, the first pada means When wounded, blows fall every moment (The wounded get hit repeatedly) IF it is abhikShaNaM, the first line will not obey the meter of the shloka. besides that everything makes sense. (it is basically a version of `` when it rains, it pours `` ... \hrule ASAD (keshavaM patitaM dR^iShTvA) ## Keshavam patitam drustva, pandavaha harsh nirbharaha Rudanti kauravaha sarve, ha Keshav ha keshava gatah ## One of the let me catch my breath shlokas? Actually this is a fairly famous one. The ``correct'' interpretation : ## ke shavaM patitaM dR^iShTvA pANDavA harshanirbharAH rudanti kauravAH sarve hA hA ke shava ke shava ## notive that ke and shava have been separated. The word ``ka'' means water (among several other meanings). Hence ke means in water. pANDava also means fish; kaurava also means crow. hence the interpretation is : Seeing the cadaver (shava) fallen in water, the fish were overjoyed. ALl the crows however started crying .. `` O the cadaver in water !!'' \hrule ASAD (46) ## vaidyarAja namastubhyaM yamarAjasahodara | yamastu harati prANAn vaidyo prANAn dhanAni cha || ## O vaidya (doctor), brother of Yama, I bow down to you. Yama only steals away one's life, but the vaidya steals one's life as well as money ! \hrule ASAD (47) ## ashvaM naiva gajaM naiva vyAghraM naiva cha naiva cha | ajAputraM baliM dadyAt devo durbalaghAtakaH || ## Not a horse, not an elephant, and never a tiger. It is the son of a goat that is sacrificed ! God is indeed a betrayer of the weak ... ! \hrule ASAD (49) ## chintanIyA hi vipadAM adAveva pratikriyA | na kUpakhananaM yuktaM pradIpte vahninA gR^ihe || ## The reaction to calamity must be considered before hand. IT is no use to start digging a well after your house is afire !! \hrule ASAD (51) ## AyushaH kShaNa eko.api sarvaratnairna labhyate | nIyate sa vR^ithA yena pramAdaH sumahAnaho || ## Even a single second in life cannot be obtained by alll precious jewels. Hence spending it without purpose is a great mistake. \hrule ASAD (54) ## AtmanaH paritoShAya kaveH kAvyaM tathApi tat | svAmino dehalIdIpasamaM anyopakArakam || ## ## Atman ## = self ## paritoSha ## = satisfaction ## kavi ## = poet ## kAvya ## = poetry ## svAmi ## = master ## dehali ## = doorstep ## dIpa ## = light ## sama ## = similar ## anya ## = other ## upakAra ## = favour The poetry of poets is always for their own satisfaction, However, like the light on the porch of the master's house, it is also beneficial to others. (light from the porch illuminates the inside as well as the outside of a house ... ) \hrule ASAD (56) ## IkShaNaM dviguNaM proktAM bhAShaNasyeti vedhasA | akShiNi dve manuShyANAM ji.nvhA tvaikeva nirmitA || ## ## IkShaNa ## = seeing ## dviguNa ## = twice ## prokta (pra + ukta) ## = said ## bhAShaNa ## = speaking ## vedhas ## = brahmA ## akShi ## = eye ## dve ## = two ## ji.nvhA ## = tongue ## nirmita ## = created Seeing is given twice as much importance as speaking by Brahma. Man has two eyes, however, only one tongue was created. \hrule ASAD (ASAD) ## udyamena hi sidhyanti kAryANi na manorathaiH | na hi suptasya si.nhasya pravishanti mukhaM mR^igAH || ## ## udyama ## = effort ## sidh ## = to be accomplished ## kArya ## = work ## manoratha ## = wish ## supta ## = asleep ## si.nha ## = lion ## pra + vish ## = to enter ## mukha ## = mouth ## mR^iga ## = deer/animal Work is accomplished by effort, not by wishing. Deer do not enter the mouth of a sleeping lion. Vivek Khare asked me the meaning of the word ``hi'' in the subhAshita : udyamena hi sidhyanti .... The word hi means nothing. Perhaps it could be interpreted here as an emphasizer, but otherwise, it means literaly nothing. The words cha vai tu and hi are used in sanskrit by poets to fill up the meter. the words cha and tu have meanings, (and and but respectively) but the word vai has no meaning, and the word hi may be interpreted as something that emphasizes a point. In fact I am sure many of you know the famous first attempt by a quack poet : ## uttiShTha uttiShTha rAjendra mukhaM prakShAlayasva TaH | prabhAte roditI kukku cha vai tu hi cha vai tu hi || ## The poet thought up these three lines : O king, (rajendra), get up get up ! (uttiShTha) mukhaM prakShAlayasva (wash your face !) The rooster cries out in the morning (prabhAte roditi kukkuTaH ) the problem was after uttishThottiShTha rAjendra, mukhaM prakShAlayasva left one letter less for the eight letter anuShTubh Chanda, and prabhAte roditi kukkuTaH had one letter extra ! so this grandmaster took the ``TaH'' from kukkuTaH and placed it at the end of the first line ! And now he had three out of four parts, and he just coud not think of anything for the last part of the verse hence cha vai tu hi cha vai tu hi !!! \hrule ASAD (59) ## uttamo nAtivaktA syAt adhamo bahubhAShate | na kA~nchane dhwanistAdR^ik yAdR^ik kA.nsye prajAyate || ## ## uttama ## = excellent ## ati ## = too much ## vaktR^i ## = speaker ## adhama ## = inferior ## bhASh ## = to speak ## kA~nchana ## = gold ## dhwani ## = sound ## ka.nsya ## = bronze ## pra + jA ## = to be born The great man is rarely somone who talks too much, but the inferior man talks too much. There is no sound from gold as there is from bronze. ## chintAyAstu chitAyAstu bindu mAtram visheshataH | chitA dahati nirjeevam, chintA dahati jeevitam || ## Meaning: Between 'ChintA' (worry) and 'ChitA' (pyre) the only difference is dot (anuswAra bindu in chintA, that 'n'). Pyre burns the dead, while worry burns the living. DON'T WORRY BE HAPPY :) Ganapthi. ## chitA chintA samAproktA bindumAtraM visheShatA | sajIvaM dahate chintA nirjIvaM dahate chitA || ## The difference betn ``CHINTA'' and ``CHITA'' is just a dot. ``PYRE'' burns the dead, while ``WORRY'' burns the living. ## upakAro hi nIchAnAM apakaro hi jAyate | payaHpAnaM bhuja.ngANAM kevalaM viShavardhanam || ## ## upa + kR^i ## = to do a favor ## nIcha ## = lowly ## apa + kR^i ## = to harm ## payas ## = milk / water ## bhuja.nga ## = snake ## kevalaM ## = only ## viSha ## = posion ## vardhana ## = increase Even a good turn done to a bad man results in evil. Drinking of milk by snakes is only going to result in increase of their poison. \hrule ASAD (61) ## ## uttamA AtmanA khyAtAH pituH khyAtAshcha madhyamAH | adhaMA mAtulat khyAtAH shvashurAChAdhamAdhamAH || ## sandhi vigraHa : uttamAH AtmanA khyAtAH pituH khyAtAH cha madhyamAH | adhamAH mAtulAt khyAtAH shavashurAt cha adhamAdhamAH || ## shabdArtha ## uttama ## = most superior ## khyAta ## = famous ## pitR^i ## = father ## madhyama ## = medium/average ## mAtula ## = maternal uncle ## shvashura ## = father in law ## adhama ## = inferior ## adhamAdhama ## = the worst among the inferior The great ones are famous by their own efforts, The average are famous because of their father. The inferior men are famous because of their uncle. and the worst among them are famous because of their father in law. I Thought you may like this subhashitha. ## anuga.nthuM sathaM vatsmA kutsanaM yadi nashakyathe | svalpamArthanuganthavyam, margasthova navaseedhathi || su.ndaro.api susheelo.api kuleelo.api mahaDhanaha | akulino.api vidyAvAn, devairapi s.upoojyathe || ## Bhavartha: A scholor even if he is from a backword class, is recognised and respected even in the company of the people who are most beautiful. who have great family background, and even among the gods. ## uttamA AtmanA khyAtAH pituH khyAtAshcha madhyamAH | adhaMA mAtulat khyAtAH shvashurAChAdhamAdhamAH || sandhi vigraHa : uttamAH AtmanA khyAtAH pituH khyAtAH cha madhyamAH | adhamAH mAtulAt khyAtAH shavashurAt cha adhamAdhamAH || ## shabdArtha ## uttama ## = most superior ## khyAta ## = famous ## pitR^i ## = father ## madhyama ## = medium/average ## mAtula ## = maternal uncle ## shvashura ## = father in law ## adhama ## = inferior ## adhamAdhama ## = the worst among the inferior The great ones are famous by their own efforts, The average are famous because of their father. The inferior men are famous because of their uncle. and the worst among them are famous because of their father in law. I interpreted this in a different way. This shubhashita intends to convey the wealth Most respected weath is the one you earn That you inherit from your father is just OK One you get from your mother is not good And, the one you aquire from wife is the worst I am not sure if that were a different version of this shubhashita \hrule ASAD (subhAshita sangrahaH 1) ## udyamassAhasaM dhairyaM buddhishyaktiH parAkramaH | ShaDete yatra vartante tatra devaH sahAyakR^it || ## ## udyamaH ## = effort sAhasam = adventure ## dhairyam ## = courage buddhiH = knowledge ## shaktiH ## = strength parAkramaH = bravery ## ShaT ## = six ete = these ## yatra ## = where vartante = exist ## tatra ## = there devaH = god ## sahAyakR^it ## = helpful God will help provided the six qualities effort, adventure, courage. knowledge, strength and bravery exist. \hrule ASAD ## AdityachandrAvanalAnilau cha dyaurbhUmirApo hR^idayaM yamashcha | ahashcha rAtrishcha ubhe cha dharmashcha jAnAti narasya vR^ittam || ## ## AdityaH ## = Sun ## chandraH ## = Moon ## anilaH ## = air ## analaH ## = fire ## dyauH ## = sky ## bhUmiH ## = earth ## ApaH ## = water ## hR^idayam ## = soul ## yamaH ## = Lord Yama ## cha ## = and ## ahaH ## = morning ## rAtriH ## = night ## ubhe ## = both ## dharmaH ## = righteousness ## jAnati ## = knows ## narasya ## = man's ## vR^ittam ## = character Lord Sun, Lord Moon, Lord Vayu (air), Lord Agni (fire), the Sky, mother Earth. the water (Lord Varuna), the soul, Lord Yama, both the Day and the Night. and Dharma (the Righetousness) each one of these will know a man's character. Every moment, you are being watched atleast by one of the above ! The discussion is with reference to recent Subhashitam posted by Raghavendra the one with UdyamasAhasaM .... etc.. Hemali Vyas disagreed with the meaning of the two words Dhairyam and SAhasam Ramakrishna from Tokyo disagreed with the Hemali's comments. Here is my opinion for whatever it is worth. DhairyaM means Dheeratwa bhavaM dhee is buddhi or intellect so in contrast to sAhasaM dhairyaM must involve intellectual conviction. So in a way Hemali Vyas is right Raghavendra's meaning that it is courage is also right It should be courage born of intellectual conviction not emotional outburst. We all know what is right but many a time we do not have the guts to follow what is right we do what we feel (emotional driven) like doing. DhairyaM is the courage to do what is based on right understanding. sAhasaM I will split as sa + a + hasam ( I donot have a dictionary at my computer desk this may be my imagination). has if I remember rightly means to smile or to laugh at with a in front it means opposite to be serious that one to take things seriously not jokingly with prefix sa it could mean samyak that is total or with seriously or daringly jumping into action there is no joking around in that sense SAhasaM should imply serious adventurous pursuit in contrast to DhairyaM sAhasaM need not involve intellectual conviction it could be based on just emotional outburst. So there is a possibility of one getting burned if it is not based on sound intellectual judgment. Hence the subhashitaM says one needs both the DhairraM and SAhasaM Just an intellectual curiosity If I have all the six of them listed why do I need the help of the Deva The truth of the matter is if I have all of them I already have the help of the Deva. Having all the six of them itself is by the grace of Deva too. In Vedanta Shastra, there is a preceding deity for each of the faculties like Indra for Bhuddi etc. Hence having these qualities is a grace of God too! Hari Om! Sadananda What you have is His gift to you and what you do with what you have is your gift to Him. \hrule ASAD (Subhashita Sangrah 3) ## na tvahaM kAmaye rAjyaM na svargaM nApunarbhavam | kAmaye duHkhataptAnAM prANinAm ArtinAshanam || ## ## na ## = no ## tu ## = Certainly ## aham ## = I am ## kAmaye ## = wish ## rAjyam ## = kingdom ## svargam ## = heaven ## apunarbhavam ## = na + punarbhavam = salvation ## duHkhataptAnAM ## = for grief ridden ## prANinAm ## = for living beings ## ArtiH ## = kaShTam, sorrow ## nAshanam ## = destruction, removal ``Certainly I do not wish for kingdom. I do not wish for heaven. I do not even want salvation. My humble wish is for removal of sorrow from all the grief ridden living beings.'' King Rantideva asks this wish from the God. This is considered as the one of the great shlokas representing our culture. I heard the story behing this subhAshita from Sri Krishna Shastry during the ``Speak Sanskrit Classes''. Will share with you someday soon. \hrule ASAD ## viDambhaM pashyatu atra ! ## (See the sarcasm here) ## ajAyuddhamR^iShishrAddhaM prabhAte meghaDambaram | dampatyoH kalahashchaiva pariNAme na ki~nchana || ## ## ajaH ## = goat ## yuddham ## = fight ## R^ishiH ## = sage ## shrAddhaM ## = post death rituals ## prabhAte ## = in the morning ## meghaH ## = cloud ## Dambaram ## = noise, thundering ## dampatyoH ## = of the couple ## kalahaH ## = quarrel ## cha ## = and ## eva ## = indeed ## pariNAme ## = in the result ## na ## = no ## ki~nchana ## = something Fighting between the goats, post death rituals for the sages, the thundering of clouds in the morning and the quarrel between the couple there is no useful outcome (result) in any one of these : ) (`Sages' refers to those who have already attained salvation. Hence rituals for them are unnecessary.) \hrule ASAD (Subhashita Sangraha 5) ## kShaNashaH kaNashashchaiva vidyAmarthaM cha sAdhayet | kShaNa tyAge kuto vidyA kaNatyAge kuto dhanam || ## ## kShaNaH ## = minute ## kShaNashaH ## = minute by minute ## kaNaH ## = grain, bit ## kaNashaH ## = bit by bit ## vidyAm ## = knowledge ## artham ## = money ## cha ## = and ## sAdhayet ## = accomplish, achieve ## tyAgaH ## = abandon, renounce ## kutaH ## = from where Knowledge should be persued with minute by minute efforts. Money should be earned utilising each and every grain. If you waste time, how can you get knowledge ? If you waste resources, how can you accumulate the wealth ? \hrule ASAD (Subhashita Sangraha 7) ## api svarNamayI la~NkA na me lakShmaNa rochate | jananI janmabhUmishcha svargAdapi garIyasI || ## ## api ## = and, even though ## svarNamayI ## = covered with gold, full of gold ## na ## = no ## me ## = for me ## rochate ## = appeal ## jananI ## = mother ## janmabhUmiH ## = motherland ## svargaH ## = heaven ## garIyasI ## = grander, higher O LakShmana, even though Lanka is a golden land, it does not appeal to me. One's mother and motherland are greater than heaven itself. ( Said by Lord Rama upon viewing Lanka ) \hrule ASAD (Subhashita Sangraha 7) ## paropakArAya phalanti vR^ikShAH paropakArAya vahanti nadyaH | paropakArAya duhanti gAvaH paropakArArthamidaM sharIram || ## ## paropakAraH ## = assistance to others ## phalanti ## = give fruits (plural) ## vR^ikShAH ## = trees ## vahanti ## = flow (plural) ## nadyaH ## = rivers ## duhanti ## = give milk (plural) ## gAvaH ## = cows ## idam ## = this ## sharIram ## = body Trees give fruits to assist others. Rivers flow to help others. Cows produce milk to feed others. In the same way, our own human body should also be employed for the assistance of others. \hrule ASAD (Subhashita Sangraha 8) ## amantram akSharaM nAsti nAsti mUlamanauShadam | ayogyaH puruSho nAsti yojakastatra durlabhaH || ## ## amantram ## = na + mantram, non mantra (mantra = divine poem). ## akSharam ## = na + kSharam, imperishable, a letter of the alphabet ## na ## = no ## asti ## = is ## mUlam ## = root ## anauShadam ## = na + auShadam, non medicine ## ayogyaH ## = useless ## puruShaH ## = person ## yojakaH ## = co ordinator (one who organizes, plans) ## tatra ## = there ## durlabhaH ## = difficult to get, scarce There is no letter in the alphabet that cannot be used in divine poems (mantra). There exists no root which cannot be used as a medicine. Likewise, there is no useless person. The scarcity is for the one. who knows how to use them ! \hrule ASAD (63) ## ekachakro ratho yantA vikalo viShame hayAH | AkrAmatyeva tejasvI tathyApyarko nabhastalam || sandhi vigraha ekachakraH rathaH yantA vikalaH viShame hayAH | AkrAmati eva tejasvI tathApi arkaH nabhastalam || ## ## eka ## = one ## chakra ## = wheel ## ratha ## = chariot ## yantR^i ## = charioteer ## vikala ## = disabled ## viShama ## = odd (as in odd or even) ## haya ## = horse ## A + kram ## = to attack ## eva ## = only ## tejasvin ## = one who has tej (brilliance) ## arka ## = sun ## nabhastala ## = sky the bhAvArtha He has a chariot with one wheel, a charioteer who is disabled (it is believed that aruNa, the sun's charioteer was a cripple), and an odd number (i think it is seven) of horses to drive the chariot. Even then the briliant sun always attacks the sky !! \hrule ASAD (subhAShita sangraha 9) So, let me wind up this small series with a subhAshita I wrote. Please excuse me for the mistakes. ## bhavadIyaH. madhusikto nimbakhaNDaH dugdhapuShTo bhuja.ngamaH | ga.ngAsnAto.api durjanaH svabhAvaM naiva munchati || ## ## madhu ## = honey ## siktaH ## = pasted with ## nimbaH ## = neem ## khaNDaH ## = wooden piece, stem ## dugdhaH ## = milk ## puShTaH ## = fed with ## bhujangamaH ## = snake ## snAtaH ## = one who has taken bath ## api ## = too ## durjanaH ## = bad person ## svabhAvaH ## = character, quality ## na ## = No ## eva ## = indeed ## munchati ## = leave, discard Honey paste on a bitter neem stem, milk feeding for a poisonous snake and Ganga bath for a bad person none will change their character. The bad qualities do not vanish just by changing outer look. We had to change our inner self. \hrule ASAD (64) ## ekenApi suvR^ikSheNa puShpitenA sugandhinA | vAsitaM tad vanaM sarvaM suptreNa kulaM yathA || sandhi vigraha ekena api suvR^ikSheNa puShpitenA sugandhinA | vAsitaM tad vanaM sarvaM suptreNa kulaM yathA || ## shabdArtha ## api ## = also ## vR^IkSha ## = tree ## puShpita ## = one that has flowered ## sugandhi.n ## = one that has a nice fragrance ## vAsita ## = made fragrant ## vana ## = forest ## suputra ## = good son ## kula ## = family ## yathA ## = As bhAvArtha Even by one good tree that has flowered and has a nice fragrance, the whole forest is made fragrant, just as a whole fmaily is benefitted by one good son. \hrule ASAD (65) ## R^iNasheSho.agnisheShashcha shatrusheShastathaiva cha | punaH punaH pravardhante tasmAchCheShaM na rakShayet || sandhi vigraha R^iNasheShaH agnisheShaH cha shatrusheShaH tathaiva cha | punaH punaH pravardhante tasmAt sheShaM na rakShayet || ## shabdArtha ## R^iNa ## = debt ## sheSha ## = remainder ## agni ## = fire ## shatru ## = enemy ## punaH ## = again ## pra + vR^idh ## = to grow fast ## tasmAt ## = hence ## rakSh ## = protect / maintain bhAvArtha Any remainder of debt, fire and enemy grow rapidly again and again, hence no remainder should be maintained.. (debts should be completely paid of. and fire or enemies should be completely destroyed ) \hrule ASAD (66) ## udaye savitA rakto raktashchAstamane tathA | sampattau cha vipattau cha sAdhunAmekarUpatA || sandhi vigraha udaye savitA raktaH raktaH chA astamane tathA | sampattau cha vipattau cha sAdhunAM ekarUpatA || ## shabdArtha ## udaya ## = rise ## savitR^i ## = sun ## rakta ## = red ## asta ## = fall (set) ## sampatti ## = prosperity ## vipatti ## = calamity ## sAdhu ## = great man ## eka ## = one ## rUpa ## = form bhAvArtha The sun is red at sunrise and red at sunset : During prosperity as well as calamity the great men have the same form. \hrule ASAD (67) ## udyoginaM puruShasi.nhamupaiti laxmIH daivena deyamiti kApuruShA vadanti | daivaM nihatya kuru pauruShamAtmashaktyA yatne kR^ite yadi na sidhyati ko.atra doshaH ? sandhi vigraha udyoginaM puruShasi.nhaM upaiti laxmIH daivena deyaM iti kApuruShA vadanti | daivaM nihatya kuru pauruShaM AtmashaktyA yatne kR^ite yadi na sidhyati kaH atra doshaH ? ## shabdArtha ## udyogin ## = industrious ## puruSha ## = man ## si.nha ## = lion ## upa + I ## = to approach ## daiva ## = destiny ## kA puruSha ## = contemptible fellow ## vad ## = to speak ## ni + han ## = destroy ## kuru ## = do ## pauruSha ## = manliness, virility, courage, effort ## Atman ## = self ## shakti## strength ## yatna ## = effort ## kR^ita ## = done ## yadi ## = if ## sidh ## = to be accomplished ## atra ## = here ## doSha ## = fault bhAvArtha Laxmi goes to the industrious man like a lion. Only contemptible cowards say that destiny should give. Overcome your destiny and excercise your manliness. If there is no accomplishment inspite of effort where is the fault? (If there is no success inspite of e ffort, it is not your fault ) \hrule ASAD (68) ## upasargeNa dhAtvartho balAdanyatra nIyate | prahArAhArasa.nhAravihAraparihAravat || sandhi vigraha upasargeNa dhAtu arthaH balAt anyatra nIyate | prahAra AhAra sa.nhAra vihAra parihAra vat || ## shabdArtha ## upasarga## prefix ## dhAtu## verb ## artha## meaning ## balA ## = force ## anyatra ## = somewhere else ## nI (naya) ## = to take away ## hR^i (harati) ## = to steal ## pra + hR^i ## = to hit ## A + hR^i ## = to eat ## saM + hR^i ## = to completely destroy ## vi + hR^i ## = to roam ## pari + hR^i ## = to abandon bhAvArtha The meaning of a verb is forcibly taken elsewhere by a prefix. Just like the meaning of the verb hRi (to steal) is changed by the following prefixes : pra, A, saM, vi, pari ... (meanings given above) \hrule ASAD (69) ## ete satpuruShAH parArthaghaTakAH svArthAn parityaja ye sAmAnyAstu parArthamudyamabhR^itaH svArthAvirodhena ye | te.amI mAnavarAkShasAH parahitaM svArthAya nighnanti ye ye tu ghnanti nirarthakaM parahitaM te ke na jAnImahe || sandhi vigraha ete satpuruShAH para artha ghaTakAH svArthAn parityaja ye sAmAnyAH tu parArthaM udyama bhR^itaH svArtha avirodhena ye | te amI mAnava rAkShasAH parahitaM svArthAya nighnanti ye ye tu ghnanti nirarthakaM parahitaM te ke na jAnImahe || ## shabdArtha ## ete ## = these ## satpuruSha ## = good man ## para ## = foreign / other ## artha ## = benefit ## ghaTaka ## = component ## svArtha ## = one's own purposes ## pari + tyaj ## = to sacrifice ## ye ## = those who ## sAmAnya ## = common ## udyama ## = effort ## bhR^it ## = one who carries ## virodha ## = opposition ## avirodha ## = no opposition ## amI ## = ?? ## mAnava ## = man ## rAkShasa ## = demon ## hita ## = wellbeing ## ni + han ## = to destroy ## nirarthakaM ## = needlessly ## ke ## = who ## j~nA (jAnate, jAnAti)## to know bhAvArtha These, who are engaged in benefitting others after sacrificing their own purposes are the great men. Those who benefit others without opposing their needs are the common men. Those who destroy others' well being for doing good to themselves are demons in human form. However those who destroy other peoples' well being without any cause whatsoever, we do not know who they are ! Here is a marathi equivalent for the above shloka : he to satpuruSha svakArya tyajuni anyArta hI sAdhitI he to madhyama je nijArtha karunI anyArtha sampAditI he to rAkShasa je svakArya viShayI anyArtha vidhva.nsitI je kA vyartha parArthahAni kariti te koNa kI durmatI ? \hrule ASAD (70) ## anudinamanutApenAsmyahaM rAma taptaH paramakaruNa mohaM Chindhi mAyAsametam | idamatichapalaM me mAnasaM durnivAraM bhavti cha bahu khedastvAM vinA dhAva shIghram || sandhi vigraha anudinaM anutApena Asmi ahaM rAma taptaH parama karuNa mohaM Chindhi mAyA sametam | idaM atichapalaM me mAnasaM durnivAraM bhavati cha bahu khedaH tvAM vinA dhAva shIghram || ## shabdArtha ## anu ## = following ## anudinaM ## = daily ## tApa ## = trouble ## tapta ## = troubled, frustrated ## parama ## = highest, the utmost, most excellent ## karuNA ## = pity, sympathy ## moha ## = temptation ## Chid ## = to cut, cutoff ## mAyA ## = unreality; the illusion by virtue of which one considers the unreal universe as really existent and distinct from the supreme spirit ## sametaM ## = come together with ## idaM ## = this ## ati ## = extremely ## chapala ## = fickle, unstable ## mAnasa ## = mind ## durnivAra ## = (roughly) not easy to control ## bahu ## = too much ## kheda ## = sorrow ## vina ## = without ## dhAv ## = to run ## shIghraM ## = immediately bhAvArtha O Rama, I am extremely tormented by the daily struggle of life. O most sympathizing one, cut away the temptation that has come to me with mAyA. This very fickle mind of mine is difficult to control. There is a lot of sorrow without you ! Run to me immediately ! And I am sure the marathi readers will recognize this as the sanskrit version of this verse ## anudini anutApe tApalo rAmarAya paramadinadayALA nIrasI mohamAyA achapaLa mana mAze nAvare AvarItA tuja viNa shiNa hoto dhAva re dhAva AtA ! na bhUtapUrvaM na kadApi vArtA hemnaH kura.ngaH na kadApi dR^iShTaH | tathApi tR^IShNA raghunandanasya vinAshakAle viparItabuddhiH || ## It had never happened before , or been heard of before. A golden deer had never been seen before. Inspite of that, Rama desired it : At the time of destruction, one's judgement goes bonkers .. ! \hrule ASAD (71) ## sauvarNAni sarojAni nirmAtuM santi shilpinaH | tatra saurabha nirmANe chaturaH chaturAnanaH || ## shabdArtha ## sauvarNa ## = golden ## saroja (saras + ja) ## = lotus ( one that is born in a lake) ## nir + mA ## = to create ## shilpin ## = sculptor ## saurabha ## = fragrance ## chaturaH ## = capable / skiled/ clever ## chatus ## = four ## Anana ## = face bhAvArtha The sculptors are there to create golden lotuses. But onlythe four faced one (Brahma) is clever enough to produce fragrance in them ! \hrule ASAD (72) ## svAyattamekAntahitaM vidhAtrA vinirmitaM ChAdanamaj~natAyAH | viSheshataH sarvavidAM samAje vinhUShaNaM maunamapaNDitAnAm || sandhi vigraha svAyattaM eka anta hitaM vidhAtrA vinirmitaM ChAdanaM aj~natAyAH | viSheshataH sarvavidAM samAje vinhUShaNaM maunaM apaNDitAnAm || ## shabdArtha ## svAyatta ## = dependent only one onself ## anta ## = end ## hita ## = benefit ## vidhAtR^i ## = the creator ## ChAdana ## = covering ## aj~natA ## = ignorance ## visheShataH ## = especiAly ## sarvavid ## = one who knows everything ## samAja ## = society / company ## vibhUShaNa ## = ornament, asset ## mauna ## = silence ## apaNDita ## = someone who is not a scholar bhAvArtha A selfdependent covering of ignorance has been created by the creator with the one intention of benefitting. Especially in the company of the knowledgeable silence is an asset to those who are ignorant. And again, a marathi version : ## vinirmile zAkaNa aj~nateche svAdhIna je padmabhave phukAche | mUrkhAsa je maunachi phAra sAje sabhesa tyAnchyA bahu jANate je || ## \hrule ASAD (73) ## gurushushrUshayA vidyA puShkalena dhanena vA | atha vA vidyayA vidyA chaturtho na upalabhyate || ## shabdArtha ## guru ## = teacher ## shushrUshA ## = service ## vidyA ## = knowledge ## pushkala ## = a lot ## dhana ## = money ## chaturtha ## = fourth ## upa + labh ## = to obtain bhAvArtha Knowledge (is acquired) by serving the teacher, or by a lot of money or by (exchange of) knowledge. A fourth (path) is not available \hrule ASAD (74) ## chalatyekena pAdena tiShThatyekena paNDitaH | na samIkShyAparaM sthAnaM pUrvamAyAtanaM tyajet || sandhi vigraha chalati ekena pAdena tiShThati ekena paNDitaH | na samIkShya aparaM sthAnaM pUrvaM AyAtanaM tyajet || ## shabdArtha ## chal ## = to walk ## sthA (tiShThati) ## = to stand ## eka ## = one ## paNDita ## = the wise man ## saM + IkSh ## = to examine ## apara ## = other ## sthAna ## = place ## pUrva ## = previous ## AyAtana ## = abode, resting place ## tyak ## = to leave, sacrifice bhAvArtha The wise man walks with one foot and stands on one foot. (never steps onto a new place without examining it ) Without examining the next place, he does not leave the previous abode. \hrule ASAD (75) ## priya mitrANi . kalpadrumaH kalpitameva sUt sA kAmadhuk kAmitameva dogdhi | chintAmaNishchintitameva datte satAM tu sa.ngaH sakalam prasUte | || sandhi vigraha kalpa drumaH kalpitaM eva sUte sA kAmadhuk kAmitaM eva dogdhi | chintAmaNiH chintitaM eva datte satAM tu sa.ngaH sakalaM prasUte || ## shabdArtha ## kalpa druma ## = kalpa vRikSha : the tree that will give you anything you can imagine ## kalpita ## = imagined ## sU ## = to produce ## kAmadhuk ## = kAmadhenu : the cow who can milk out anything you wish ## kAmita ## = something one has wished for ## dogdhi ## = milks (from duh : to milk ) ## chintAmaNi ## = the gem that gives you anything you can think about ## chintita ## = something one has thought about ## dA ## = to give ## sat ## = the good men ## sa.nga ## = company ## sakala ## = everything bhAvArtha The kalpavRikSha produces only what you can imagine, The kAmadhenu milks only what you want. The chintAmaNi give you only what you have thought about. However good company produces everything. (Its benefits are not limited by your thoughts desires or imagination) \hrule ASAD (76) ## satyaM brUyAt priyaM brUyAt na brUyAt satyamapriyam | priyaM cha nAnR^itaM brUyAt eSha dharmaH sanAtanaH || sandhi vigraha satyaM brUyAt priyaM brUyAt na brUyAt satyaM apriyam | priyaM cha na anR^itaM brUyAt eShaH dharmaH sanAtanaH || ## shabdArtha ## satya ## = truth ## brU ## = to speak ## priya ## = dear, nice ## anR^ita ## = false ## dharma ## = practice ## sanAtana ## = ancient bhAvArtha One should speak the truth, and say nice things. One should not say things that are true if they are not nice. And nor should one say nice things if they are not true : This is the ancient practice \hrule ASAD (77) ## sampUrNakumbho na karoti shabdaM ardho ghaTo ghoShamupaiti nUnaM | vidvAn kulIno na karoti garvaM mUdhAstu jalpanti guNairvihInAH || sandhi vigraha sampUrNa kumbhaH na karoti shabdaM ardhaH ghaTaH ghoShaM upaiti nUnaM | vidvAn kulInaH na karoti garvaM mUDhAH tu jalpanti guNaiH vihInAH || ## shabdArtha ## sampUrNa ## = full ## kumbha ## = pot ## shabda ## = noise ## ardha ## = half ## ghaTa ## = pot ## ghoSha ## = noise ## upa + I ## = to go ## nUnaM ## = really ## vidvAn ## = learned ## kulIna ## = one who is from a good family ## garva ## = pride ## mUDha ## = foolish person ## jalp ## = to babble ## guNa ## = quality ## vihIna ## = bereft of bhAvArtha A full pot does not make anynoise, however a half full pot really makes noise. A learned respectable person is never vain, but foolish people bereft of any good qualities babble incessantly. \hrule ASAD (78) ## nArikelasamAkArA dR^ishyante.api hi sajjanAH | anye badarikAkArA bahireva manoharAH || sandhi vigraha narikela samAkArAH dR^ishyante api hi sajjanAH | anye badarikA AkArAH bahiH eva manoharAH || ## shabdArtha ## nArikela ## = coconut ## AkAra ## = form ## dR^ish ## = to look ## sajjana ## = good man ## anya ## = other ## badarikA ## = the jujube fruit ("bora" in marathi) ## bahiH ## = outside ## manohara ## = beautiful bhAvArtha The good men seem to be like coconuts. (Tough on the outside but soft inside). Others are like the jujube fruit, beautiful only on the outside (but sour inside). \hrule ASAD (79) ## na bhUtapUrvaM na kadApi vArtA hemnaH kura.ngaH na kadApi dR^iShTaH | tathApi tR^IShNA raghunandanasya vinAshakAle viparItabuddhiH || ## shabdArtha ## bhUta ## = happened ## pUrva ## = previously ## vArtA ## = news ## heman ## = gold ## kura.nga ## = deer ## tR^iShNA ## = desire ## raghunandan ## = Rama ## vinAsha ## = destruction ## kAla ## = time ## viparIta ## = inverted, contrary to rule, wrong ## buddhI ## = intellect, judgement bhAvArtha It had never happened before , or been heard of before. A golden deer had never been seen before. Inspite of that, Rama desired it : At the time of destruction, one's judgement goes bonkers .. ! As KEDAR S NAPHADE said: ## nArikelasamAkArA dR^ishyante.api hi sajjanAH | anye badarikAkArA bahireva manoharAH || sandhi vigraha narikela samAkArAH dR^ishyante api hi sajjanAH | anye badarikA AkArAH bahiH eva manoharAH || ## ``drishyante api'' shabdArtha ## nArikela ## = coconut ## AkAra ## = form ## dR^ish ## = to look ## drishyante ## = be seen ## api ## = also ## sajjana ## = good man ## anya ## = other ## badarikA ## = the jujube fruit ("bora" in marathi) ## bahiH ## = outside ## manohara ## = beautiful bhAvArtha The good men seem to be like coconuts. (Tough on the outside but soft inside). Others are like the jujube fruit, beautiful only on the outside (but sour inside). The phrase ``drishyante api'' means they (coconuts) are also seen. i.e. if you look for them hard enough, you DO find them i.e. they are scare to find. In contrast the ``bera'' (Hindi) or ``bora'' (Marathi) or berry (English) is seen a lot. i.e. good people are like coconuts, hard outside, soft inside and are scarce to find, bad people are like berries, soft outside, hard inside, and are found a lot. This is shlok 93 in HitopadeshaH's first chapter ``MitralAbh'' Another related shubhashita from HitopadeshaH in the related topic. shloka 100 same chapter is: manasya anyat vachasya anyat karyam anyat durAtmanAm mansya ekam vachasya ekam karmaNya ekam mahAtmanAm i.e the evil people think something else, say something else and do something else. The great (good) people think, say and do the same thing. Reminds me of a joke I read a long time back. A reporter asked the political figure his secret of success, and the politician replied: ``Well, we think something, say something else, do something else and something else happens!! Beats me!!" :)) ShashiKant Joshi \hrule ASAD (80) ## parAnnaM prApya durbuddhe mA prANeShu dayAM kuru | durlabhAni parAnnAni prAnAH janmani janmani !! ## shabdArtha ## para ## = other's, foreign ## anna ## = food ## pra + Ap ## = to get, obtain ## durbuddhi ## = stupid person, idiot ## prAN ## = life ## dayA ## = pity ## kR^i ## = to do ## durlabha ## = rare ## janman ## = birth bhAvArtha You idiot, dont show any pity for your life if you are getting food from someone else (free food). (Go on, stufff yourself ! fall sick !) Free food is rare , whereas as far as lives are concerned, you will get one at every birth !! (I am sure all our fellow grad students will strongly agree with this : ) \hrule ASAD (81) ## na durjanaH sajjanatAmupaiti bahuprakArairapi sevyamAnaH | bhUyo.api siktaH payasA ghR^itena na nimbavR^ikSho madhuratvameti || sandhi vigraha na durjanaH sajjanatAM upaiti bahu prakAraiH api sevyamAnaH | bhUyaH api siktaH payasA ghR^itena na nimbavR^ikShaH madhuratvaM eti || ## shabdArtha ## durjana ## = wicked person ## sajjana ## = good man ## upa + I ## = to go to ## bahu ## = many ## prakAra ## = way ## sev ## = to serve ## bhUyaH ## = repeatedly ## sikta ## = sprayed ## payas ## = milk ## ghR^ita ## = ghee ## nimba ## = neem ## vR^ikSha ## = tree ## madhuratva ## = sweetness bhAvArtha A wicked person shall never become good even if served in many ways. A neem tree, even if repeatedly sprayed with milk and ghee shall never become sweet. \hrule ASAD (82) ## keyUrA na vibhUShayanti puruShaM hArA na chandrojjvalAH na snAnaM na vilepanaM na kusumaM nAla.nkR^itA mUrdhajAH | vANyekA samala.nkaroti puruShaM yA sa.nskR^itA dhAryate kShIyante khalU bhUShaNAni satataM vAgbhUShaNaM bhUShaNam || sandhi vigraha keyUrAH na vibhUShayanti puruShaM hArAH na chandra ujjvalAH na snAnaM na vilepanaM na kusumaM na ala.nkR^itAH mUrdhajAH | vANI ekA samala.nkaroti puruShaM yA sa.nskR^itA dhAryate kShIyante khalU bhUShaNAni satataM vAgbhUShaNaM bhUShaNam || ## shabdArtha ## keyUra ## = armlet (bracelet worn on upper arm) ## vi + bhUsh ## = to decorate ## puruSha ## = man ## hAra ## = garland ## chandra ## = moon ## ujjvala ## = radiant ## snAna ## = bath ## vilepana ## = smearing ## kusuma ## = flower ## ala.nkR^ita ## = decorated / ornamented ## mUrdhan ## = head ## mUrdhajA ## = hair (from the head) ## vANI ## = language/ gift of speech ## sa.nskR^ita ## = refined ## dhR^i (dharati; passive dhAryate) ## = to hold, carry, bear. ## kShI ## = to dimnish ## bhUShaNa ## = ornament ## vAk ## = speech bhAvArtha Armlets do not (really) decorate a person, neither do garlands as radiant as the moon. Nor again, does the act of bathing or smearing, or flowers, or ornamented hair. Bearing a gift of refined speech is the only one thing that really ornaments a man. All other ornaments always diminish the ornament of speech is the (only) ornament (that counts). \hrule ASAD (83) ## and in contrast to the previous subhAshita here is one : kiM vAsasetyatra vichAraNIyaM vAsaH pradhAnaM khalu yogyatAyai | pItAmbaraM vIkShya dadau svakanAM digambaraM vIkShya viShaM samudraH || sandhi vigraha kiM vAsasA iti atra vichAraNIyaM vAsaH pradhAnaM khalu yogyatAyai | pItAmbaraM vIkShya dadau svakanAM digambaraM vIkShya viShaM samudraH || ## shabdArtha ## kiM ## = what ? ## vAsas ## = apparel / clothes ## vi + char ## = to think ## pradhAna ## = important ## yogyatA ## = appropriateness ## pIta ## = yellow ## ambara ## = cloth ## dadau ## = gave (from dA : to give) ## sva ## = one's own ## kanyA ## = daughter ## dik (dig) ## = directions ## vi + IkSh ## = to see ## samudra ## = sea bhAvArtha One should indeed ponder upon the question, ``What's in one's apparel ?". Apparel is indeed important for appropriateness. After looking at the one dressed in a rich yellow cloth (vishnu), the sea gave him his daughter (laxmi) and looking at the one dressedin nothing, (Shiva) the sea gave poison ! (halAhala) \hrule ASAD (84) ## guNairuttu.ngatAM yAti nottu.ngenAsanena vai | prAsAdashikharastho.api kAko na garuDAyate || sandhi vigraha guNaiH uttu.ngatAM yAti na uttu.ngena Asanena vai | prAsAda shikhara sthaH api kAkaH na garuDAyate || ## shabdArtha ## guNa ## = qualities ## utta.ngatA ## = greatness ## yA ## = to go ## uttu.nga ## = tall ## Asana ## = seat ## prAsAda ## = palace ## shikhara ## = tip, peak ## kAka ## = crow ## garuDa ## = eagle bhAvArtha One achieves greatness because of one's qualities, not because of a high position. Even is placed at the top of the palace. a crow does not become an eagle \hrule ASAD (85) ## ## ## ## ## ashanaM me vasanaM me jAyA me bandhuvargo me | iti me me kurvANaM kAlavR^iko hanti puruShAjam || sandhi vigraha ashanaM me vasanaM me jAyA me bandhu vargaH me | iti me me kurvANaM kAlavR^ikaH hanti puruSha ajam || ## shabdArtha ## ashana ## = food ## vasana ## = dwelling ## jAyA ## = wife ## me ## = mine ## kurvANa ## = one who does ## kAla ## = time ## vR^ika ## = wolf ## puruSha ## = man ## aja ## = goat ## bhAvArtha ## ``The food is mine, the dwelling is mine, the wife is mine'' : The wolf of time kills the man in the form of a goat who is always doing may may ! (mine ! mine !) \hrule ASAD (SUBHASHITAM from GarudapurAna) ## nAbhiSheko na saMskAraH siMhasya kriyate vane | vikramArjitasattvasya svayameva mrgendratA || garudapurANa ## For the lion, nobody need place him on the throne by performing certain 'saMskAras.' By the power of his self won might alone, he has become the lord of the animal kingdom. This position has come naturally to the lion. The poet, through the example of the lion's might and natural abilities. is simply giving us a simile to paint a picture of the great qualities of great people (mahApurushAs). They too, by their own strength, carry themselves forward. These people need no intermediaries to make their case. \hrule ASAD (86) ## alpakAryakarAH santi ye narA bahubhAShiNaH | sharatkAlinameghAste nUnaM garjanti kevalam || sandhi vigraha alpa kArya karAH santi ye narAH bahu bhAShiNaH | sharat kAlina meghAH te nUnaM garjanti kevalam || ## shabdArtha ## alpa ## = small, little ## kArya ## = work ## kara ## = one who does ## nara ## = man ## bahu ## = a lot ## bhAshin ## = one who talks ## sharad ## = autumn ## megha ## = cloud ## nUnaM ## = really ## garj ## = to roar ## kevalaM ## = only ## bhAvArtha ## Those men who talk too much are ones who do little work. THey are the clouds of autumn; they really only roar. (but do not give any rain) \hrule ASAD (87) ## gate shoko na kartavyo bhaviShyaM naiva chintayet | vartamAnena kAlena vartayanti vichakShaNAH || sandhi vigraha gate shokaH na kartavyaH bhaviShyaM na eva chintayet | vartamAnena kAlena vartayanti vichakShaNAH || ## shabdArtha ## gata ## = gone ## shoka ## = sorrow ## kartavya ## = should be done ## bhaviShya ## = future ## chint ## = to think / to worry ## vartamAna ## = present ## vartaya ## = to operate (causal from vart) ## vichakShaNa ## = wise ## bhAvArtha ## One should not be sorrowful about what is past, nor should one worry too much about the future. The wise men operate by the present times. \hrule ASAD (89) ## chitte bhrAntirjAyate madyapAnAt bhrAnte chitte pApacharyAmupaiti | pApaM kR^itvA durgatiM yAnti mUdhAstasmAnmadyaM naiva peyaM na peyam || sandhi vigraha chitte bhrAntiH jAyate madyapAnAt bhrAnte chitte pApa charyAM upaiti | pApaM kR^itvA durgatiM yAnti mUdhAH tasmAt madyaM na eva peyaM na peyam || ## shabdArtha ## chitta ## = mind ## bhrAnti ## = confusion ## madya ## = liqour ## pAna ## = drinking ## pApa ## = sin ## charyA ## = practise / observance ## upa + I ## = to approach ## durgati ## = misfortune ## mUdha ## = foolish man ## yA ## = to go ## tasmAt ## = hence ## peya ## = should be drunk ## bhAvArtha ## Drinking of liqour causes confusion of the mind. Once the mind is confused one starts practising a sinful life. After practising sin, the foolish men suffer misfortune. Hence liqour should not be drunk ! should never be drunk ! \hrule ASAD ( Sanskrit saying) It is supposed to be said by Rajasekhara in his kavya Mimamsa: ## pratyakSha kavikAvyaM cha rUpaM cha kulayoShitaH | gR^ihavaidyasya vidyA cha kasmaichidyadi rochate || ## ## pratyakSha ## = real, visible, directly in front ## kavi ## = poet ## kAvyaM ## = Composition/poetry/literary work ## cha ## = and ## kulayoShitaH ## = One who brightens the family(?) (meaning house wife?) ## rUpaM cha ## = Her beauty ## gR^ihavaidyasya ## = family doctor's ## vidyA ## = knowledge ## yadi ## = do they ## kasmai chit ## = ever ## rochate ## = shine/please/appeal? The composition of a contemporary poet and the beauty of one's own wife do not appeal to man, and it is indeed true generally that neither a saint nor an artist is ever recognized and honoured in his own time or clime. \hrule ASAD (90) Could not resist this one after having said ``tasmAt madyaM naiva peyaM na peyaM" in the previous shloka. ## kintu madyaM svabhAvena yathauShadhaM tathA smR^itam | ayuktiyuktaM rogAya yuktiyuktaM yathA smR^itam || sandhi vigraha kintu madyaM svabhAvena yathA auShadhaM tathA smR^itam | ayukti yuktaM rogAya yukti yuktaM yathA smR^itam || ## shabdArtha ## kintu ## = but ## madya ## = liqour ## svabhAva ## = nature ## auShadha ## = medicine ## smR^ita ## = remembered ## yukti ## = utility ; proportion ## yukta ## = used ## roga ## = disease ## bhAvArtha ## But liqour is known to be medicinal by nature. If not taken in the correct proportion it leads to disease ; taken in the correct proportion it leads to what is known about it.. (that it is medicinal)... \hrule ASAD (91) ## vitara vAri da vAri dava Ature chira pipAsita chAtaka potake | prachalite maruti kShaNaM anyathA kva cha bhavAn kva payaH kva cha chAtakaH || ## shabdArtha ## vi + tR^I ## = to distribute ## vAri ## = water ## vArida ## = cloud (one who gives water) ## dava ## = water ## Atura ## = anxious ## chira ## = permanently ## pipAsita ## = thirsty ## chAtaka ## = chAtaka bird ## potaka ## = young one of an animal ## prachalita ## = something that has started ## marut ## = wind ## kShaNaM ## = in a moment ## kva ## = where ## payas ## = water ## bhAvArtha ## O cloud, distribute water among the ever thirsty young ones of the chAtaka bird ! Otherwise when in a moment the wind starts blowing. where shall you be, where shall the water be and where the chataka birds ? \hrule ASAD (92) ## vanAni dahataH vahneH sakhA bhavati mArutaH | sa eva dIpa nAShAya kR^ishe kasya asti sauhR^idam || ## shabdArtha ## vana ## = forest ## dahat ## = one that burns ## vahni ## = fire ## sakhi ## = friend ## mAruta ## = wind ## dIpa ## = lamp : here a small one wick light ## nASha ## = destruction ## kR^isha ## = weakness ## sauhR^ida ## = friendship ## bhAvArtha ## The wind becomes the friend of fire that burns forests. The same wind causes destruction of fire in the form of a lighted wick. Who indeed has friends in times of weakness ? \hrule ASAD (Another clipping from India D) Today's Beautiful Gem: `The Passage of Time' by BhartRhari. ## yatrAnekaH kvachidapi gR^ihe tatra tiShTatyathaiko yatrApyekastadanu bahavastatra naiko.api cAnte ittham naiyau rajanidivasau lolayan dvAvivAkShau kAlaH kalyo bhuvanaphalake krIDati prANisAraiH ## In a certain house, where there were once many, there is one now; Where there were many, at the end none remains! With night and day as two alternating pieces of dice. On the chessboard of the world, Time plays with living beings as pawns.'' ## Adityasya gatAgatairaharahaH sa~NkShIyate jIvitaM vyAparairbahukAryabhAragurubhiH kAlo na vijnAyate dR^iShTvA janmajarAvipattimaraNaM trAsashca notpadyate pItvA mohamayIM pramAdamadirAm unmattabhUtAM jagat ## ``With the endless cycle of sunrise and sunset, life shortens; Engrossed in mundane tasks, man fails to notice the passage of time! Nor anxiety is felt at witnessing birth, advance of years, suffering and finally death; Oh, the world becomes intoxicated after drinking the wine of delusion!'' \hrule ASAD (93) ## yadi vA yAti govindaH mathurAtaH punaH sakhi | rAdhAyAH nayana dvandve rAdhA nAma viparyayaH || ## shabdArtha ## yadi ## = if ## yA ## = to go ## govinda ## = Lord KRishna ## maturA ## = the city of mathura ## sakhi ## = friend ## rAdhA ## = rAdhA ? : ) ## nayana ## = eye ## dvandva ## = couple ## nAman ## = name ## viparyaya ## = inversion ## dhArA ## = streams (of tears) ## bhAvArtha ## If indeed does Govinda go away from Mathura, then from the eyes of rAdhA will flow the inversion of rAdhA ( dhArA = streams) \hrule ASAD (94) ## ratnairmahArhaistutushurna devA na bhejire bhImaviSheNa bhItim | sudhAM vinA na prayayurvirAmaM na nishchidArthAdviramanti dhIrAH || sandhi vigraha ratnaiH mahA arhaiH tutushuH na devAH na bhejire bhImaviSheNa bhItim | sudhAM vinA na prayayuH virAmaM na nishchit arthAt viramanti dhIrAH || ## shabdArtha ## ratna ## = precious stones ## mahA ## = big ## arha ## = deserving ## mahArha ## = great (those that deserve to be called great) ## tush ## = to be satisfied ## deva ## = god ## bhaj ## = to take recourse (my guess is that bhejire is a past tense form from the root bhaj) ## bhIma ## = terrible ## bhIti ## = fear ## sudhA ## = the nectar of immortality ## yA ## = to go ## virAma ## = stop ## nishchita ## = determined, ascertained ## artha ## = end, aim, objective ## vi + ram ## = to stop ## dhIra ## = courageous, steadfast ## bhAvArtha ## (This sloka describes the churning of the ocean by the gods) The gods did not get satisfied by great precious stones, nor did they take recourse to fear because of the terrible poison. THey did not go to a stop until they got the nectar of immortality. THe steadfast men do not stop until they have achieved the determined objective. \hrule ASAD (95) ## adya sa.nkrAntiH | paThatu etad subhAshitaM mama guruNA shrI vasanta nAnivaDekarmahodayen virachitaM ## Today is Makar SankrAnti. Here is a subhAshita for the occasion composed by my teacher Shri Vasant Nanivadekar ## tilavat snigdhaM mano.astu vANyAM guDavanmAdhuryaM tilaguDaladdukavat sambandhe astu suvR^ittattvam | astu vichAre shubhasa.nkramaNaM ma.ngalAya yashase kalyANI sa.nkrAntirastu vaH sadAhamAsha.nse || sandhi vigraha tilavat snigdhaM manaH astu vANyAM guDavat mAdhuryaM tila guDa laddukavat sambandhe astu suvR^ittattvam | astu vichAre shubha sa.nkramaNaM ma.ngalAya yashase kalyANI sa.nkrAntiH astu vaH sadA ahaM Asha.nse || ## shabdArtha ## tila ## = sesame seeds ## snigdha ## = affectionate; also oily,greasy ## manas ## = mind ## vANI ## = language ## guDa ## = jaggery ## mAdhurya ## = sweetness ## ladduka ## = laddoo, a sweet ball ## sambandha ## = relation ## su vR^it tattva ## = the principle of goodness ## vichAra ## = thought ## shubha ## = good, auspicious ## sa.nkramaNa ## = concurrence, coming together ## ma.ngala ## = auspicious ## yashas ## = glory ## kalyANa ## = blessedness, goodness, auspiciousness ## sa.nkrAnti ## = the festival of makara sa.nkrAnt ## sadA ## = always ## A + sha.ns ## = to wish, to hope, to desire ## bhAvArtha ## May the mind be affectionate like sesame seeds, may there be sweetness in your words as in jaggery and may there be goodness in your relations as is in the relation of sesame and jaggery in a laddoo. May there be in your thoughts a concurrence towards auspicious glory, I always desire that the festival of sankrant may prove to be blessed and auspicious for you all. \hrule ASAD (subhAshitam) ## drAkShA mlAna mukhI jAtA sharkarA chAshmatAm gatA | subhAshita rasam drushTvA sudhA bhItA divam gatA || ## pratipadArtha: ## drAkShA ## = grapes ## mlAna ## = sullen / dry ## mukhI ## = (having) face (like) ## jAtA ## = went / became ## sharkarA ## = sugar ## cha ## = and ## ahmatAm ## = stone ## gata ## = went / became ## subhAshita ## = is meaning neede ??? subhAshita (good words) ## rasam ## = taste / power / effect ## drshTvA ## = having seen / seeing ## sudhA ## = nectar / amrutA ## bhItA ## = (being) afraid (of) ## divam ## = (to) heaven ## gatA ## = went bhAvArthA: Seeing the taste of subhAshita, the grape became sullen faced (dry/wrinkled face), sugar became stone (as in big sugar crystals) and the nectar was afraid and ran to heaven. mahesh \hrule ASAD (96) ## sarvatra deshe guNavAn shobhate prathitaH naraH | maNiH shIrshe gale bAhau yatra kutra api shobhate || ## shabdArtha ## sarvatra ## = everwhere ## desha ## = country ## guNavAn ## = a man with good qualities ## shobh ## = to look beautiful ## prathita ## = famous, celebrated ## maNi ## = gem ## shIrsha ## = head ## gala ## = neck ## bAhu ## = arm ## bhAvArtha ## A famous man with good qualities is considered an asset anywhere in the country. (JUst as) a gem looks beautiful when worn anywhere : on the head, in the neck or on the arm.. \hrule ASAD (97) ## yena kena prakAreNa yasya kasyApi dehinaH | santoshaM janayetprAj~naH tadeveshvarapUjanam || sandhi vigraha yena kena prakAreNa yasya kasyApi dehinaH | santoshaM janayet prAj~naH tad eva Ishvara pUjanam || ## shabdArtha ## prakAra ## = way ## dehin ## = man ## santosha ## = satisfaction ## jan ## = to to be born or produced ## janayet ## = causal form from jan meaning ``should generate'' ## prAj~na ## = wise man ## Ishvara ## = god ## pUjana ## = worship ## bhAvArtha ## By some way or the other the wise man should cause the satisfaction of some one or the other ; that itself is the worship of God. id AA821902673; Wed, 17 Jan 96 10:17:37 EST \hrule ASAD priaya samskruta bAndhavAh. following is a subhAshita we studied in 10th grade (I think by bhartruhari) which speaks the power of association with ritious people. guNavarjana samsargAt yAsti nIchOpi gouravam | pushpamAlA prasa.ngena sUtram shirasidhAryate || ## sandhi vigraha guNavat jana saMsarga at ya asti nIcha api gouravam | pushpa mAlA prasa.nga ena sUtram shira asi dhAryate || ## prati padAratha : ## guNavat ## = virtuous (good) qualities ## jana ## = people ## saMsarga ## = association ## nIcha ## = rouge / person of poor(bad ?) quality ## gouravam ## = respect ## pushpamAlA ## = garland (of flowers) ## prasangena ## = because of / along with ## sUtram ## = thread ## shirah ## = head ## dhAryate ## = climbs / (being)worn bhAvArtha Just like the thread being worn in the head (respected) along with the flowers in a garland, a rouge will also acquire respect (for himself) with the association of (being with) good people (sajjana). guNavarjana saMsargAt yAsti nIchOpi gouravam | guNavajjana yAti nicho.api (transliteration) note : yAti means ``goes'' ## pushpamAlA prasa.ngena sUtram shirasidhAryate || ## shirasi dhAryate (two separate words) ## sandhi vigraha guNavat jana saMsarga at ya asti nIcha api gouravam | pushpamAlA prasa.nga ena sUtram shira asi dhAryate || guNavat jana sa.nsargAt yAti nichaH api gauravam | puShpa mAlA prasa.ngena sUtraM shirasi dhAryate || ## prati padAratha : ## guNavat ## = virtuous (good) qualities ## jana ## = people ## saMsarga ## = association ## nIcha ## = rouge / person of poor(bad ?) quality ## gouravam ## = respect ## pushpamAlA ## = garland (of flowers) ## prasangena ## = because of / along with ## prasa.nga ## = close association. prasa.ngena = because of close association ## sUtram ## = thread ## shirah ## = head (original noun is shiras : shirasi is the locative singular, meaning on the head) ## dhAryate ## = climbs / (being)worn bhAvArtha Just like the thread being worn in the head (respected) along with the flowers in a garland, a rouge will also acquire respect (for himself) with the association of (being with) good people (sajjana). \hrule ASAD (116) ## yaH paThati likhati pashyati paripR^ichChatI paNDitAn upAshrayati | tasya divAkarakiraNaiH nalinI dalaM iva vistAritA buddhiH || ## shabdArtha ## paTh ## = to read ## likh ## = to write ## dR^ish (pashya) ## = to see ## pari+prachCh ## = to enquire ## paNDita ## = learned man ## upa + A + shri ## = to take shelter in ## divAkara ## = sun ## kiraNa ## = ray ## nalinI ## = lotus ## dala ## = leaf ## vistArita ## = expanded ## buddhi ## = intellect ## bhAvArtha ## One who reads, writes, sees, enquires, lives in the company of learned men, his intellect expands like the lotus leaf does because of the rays of the sun. \hrule ASAD (118) ## bAlasyApi raveH pAdAH patantyupari bhUbhR^itAm | tejasA saha jAtAnAM vayaH kutropayujyate || sandhi vigraha bAlasya api raveH pAdAH patanti upari bhUbhR^itAm | tejasA saha jAtAnAM vayaH kutra upayujyate || ## shabdArtha ## bAla ## = child ## api ## = also ## ravi ## = sun ## pAda ## = foot ## pat ## = to fall ## bhUbhR^it ## = mountain ## tejas ## = brilliance ## jAta ## = born ## vaya ## = age ## kutra ## = where ## upa + yuj ## = use ## bhAvArtha ## Even the feet of a young sun can fall on the top of mountains .. For those born with brilliance, where indeed is age used (The age is not relevant for great deeds by the brilliant) \hrule ASAD (101) ## yasya asti vittaM sa varaH kulinaH sa paNDitaH sa shrutavAn guNaj~naH | sa eva vaktA sa cha darshanIyaH sarve guNAH kA~nchanaM Ashrayante || shabdArtha ## ## vitta ## = money ## vara ## = bridegroom ## kulIna ## = one from a good family ## shrutavAn ## = knowledgeable ## guNaj~na ## = one who knows qualities (one who is a patron of good qualities) ## vaktR^i ## = orator ## darshanIya ## = handsome ## sarva ## = all ## guNa ## = quality ## kA~nchana ## = gold ## A + shri ## = to take shelter ## bhAvArtha ## The bridegroom who has a lot of money is the one who is from a good family. He only is the one who is a scholar, who is knowledgeable and is a patron of good qualities. He only is the great orator and he is the most handsome : All qualities take refuge in gold... !( Once someone is known to be rich he is praised for all other qualities whether or not they really exist in him) \hrule ASAD (102) ## pArvatI phaNi bAlendu bhasma mandAkinI yutA | apavarga pradA mUrtiH kathaM syAt tava sha~Nkara || ## shabdArtha ## phaNin ## = snake ## bAla ## = child ## indu ## = moon ## bhasma ## = ashes ## mandAkinI ## = the ganges ## yuta ## = equipped with ## apavarga ## = heaven, liberation ## pradA (from pra+dA, to give) ## = one that bestows ## mUrti ## = idol ## kathaM ## = how ## syAt (from as) ## = may be ## bhAvArtha ## shiva ! Your form is full of pa varga. (Parvati, phaNi, bAlendu, bhasma and mandAkinI) How shall that form be the bestower of a pavarga (mokSha) ? He has no a pavarga. How will He give what He does not have? Now the sennse of apavarga changes to mokSha. He is known to be the bestower of mokSha; but how can he give that? \hrule ASAD (103) The king was walking by the shore of the ocean along with the court poet who was short. On hearing the sound of the waves, the poet addressed the ocean: ## sumitrA nandana AsaktaM imaM rAjAnaM IkShya vA | atha vA mAM kR^ishatanuM jaladhe rodiShi svayam || shabdArtha ## ## sumitrA ## = dasharath's wife, laxman's mother ## nandana ## = child ## mitra ## = friend ## Anandana ## = happiness ## Asakta ## = attached ## imaM ## = (from idaM) this ## rAjan ## = king ## IkSh ## = to see ## kR^isha ## = weak ## tanu ## = body ## jaladhi ## = sea/ ocean ## rud ## = to cry ## bhAvArtha ## What fear makes you cry? Is it because seeing the king who is ever intent on pleasing his good friends (su mitrAnandana) or on seeing me the dwarf? sumitrAnandana can also be broken up as su mitra Anandana (happiness of good friends. Why should the ocean cry on seeing them? No, It is the king rAma, who is attached (Asakta) to lakShmaNa (sumitrAnandana) and the dwarfish person is agastya himself. The ocean mistakes the poet to be agastya. Ocean is afraid of rAma as he once threatened to dry him up when attempting to cross over to lanka. The dwarfish sage agastya is said to have drank the ocean. Hence the cause for fear. Composer V. VAsuNNi moos (kerala) \hrule ASAD (102) This is a different version of the subhAshita sent as asad(5). This was kindly provided by Shri Mahalingam. ## pArvatI phaNi bAlendu bhasma mandAkinI yutA | apavarga pradA mUrtiH kathaM syAt tava sha~Nkara || ## shabdArtha ## phaNin ## = snake ## bAla ## = child ## indu ## = moon ## bhasma ## = ashes ## mandAkinI ## = the ganges ## yuta ## = equipped with ## apavarga ## = heaven, liberation ## pradA (from pra+dA, to give) ## = one that bestows ## mUrti ## = idol ## kathaM ## = how ## syAt (from as) ## = may be ## bhAvArtha ## shiva ! Your form is full of pa varga. (Parvati, phaNi, bAlendu, bhasma and mandAkinI) How shall that form be the bestower of a pavarga (mokSha) ? He has no a pavarga. How will He give what He does not have? Now the sennse of apavarga changes to mokSha. He is known to be the bestower of mokSha; but how can he give that? \hrule ASAD (103) The king was walking by the shore of the ocean along with the court poet who was short. On hearing the sound of the waves, the poet addressed the ocean: ## sumitrA nandana AsaktaM imaM rAjAnaM IkShya vA | atha vA mAM kR^ishatanuM jaladhe rodiShi svayam || shabdArtha ## ## sumitrA ## = dasharath's wife, laxman's mother ## nandana ## = child ## mitra ## = friend ## Anandana ## = happiness ## Asakta ## = attached ## imaM ## = (from idaM) this ## rAjan ## = king ## IkSh ## = to see ## kR^isha ## = weak ## tanu ## = body ## jaladhi ## = sea/ ocean ## rud ## = to cry ## bhAvArtha ## What fear makes you cry? Is it because seeing the king who is ever intent on pleasing his good friends (su mitrAnandana) or on seeing me the dwarf? sumitrAnandana can also be broken up as su mitra Anandana (happiness of good friends. Why should the ocean cry on seeing them? No, It is the king rAma, who is attached (Asakta) to lakShmaNa (sumitrAnandana) and the dwarfish person is agastya himself. The ocean mistakes the poet to be agastya. Ocean is afraid of rAma as he once threatened to dry him up when attempting to cross over to lanka. The dwarfish sage agastya is said to have drank the ocean. Hence the cause for fear. Composer V. VAsuNNi moos (kerala) \hrule ASAD (102) This is a different version of the subhAshita sent as asad(5). This was kindly provided by Shri Mahalingam. ## pArvatI phaNi bAlendu bhasma mandAkinI yutA | apavarga pradA mUrtiH kathaM syAt tava sha~Nkara || ## shabdArtha ## phaNin ## = snake ## bAla ## = child ## indu ## = moon ## bhasma ## = ashes ## mandAkinI ## = the ganges ## yuta ## = equipped with ## apavarga ## = heaven, liberation ## pradA (from pra+dA, to give) ## = one that bestows ## mUrti ## = idol ## kathaM ## = how ## syAt (from as) ## = may be ## bhAvArtha ## shiva ! Your form is full of pa varga. (Parvati, phaNi, bAlendu, bhasma and mandAkinI) How shall that form be the bestower of a pavarga (mokSha) ? He has no a pavarga. How will He give what He does not have? Now the sennse of apavarga changes to mokSha. He is known to be the bestower of mokSha; but how can he give that? \hrule ASAD (103) The king was walking by the shore of the ocean along with the court poet who was short. On hearing the sound of the waves, the poet addressed the ocean: ## sumitrA nandana AsaktaM imaM rAjAnaM IkShya vA | atha vA mAM kR^ishatanuM jaladhe rodiShi svayam || shabdArtha ## ## sumitrA ## = dasharath's wife, laxman's mother ## nandana ## = child ## mitra ## = friend ## Anandana ## = happiness ## Asakta ## = attached ## imaM ## = (from idaM) this ## rAjan ## = king ## IkSh ## = to see ## kR^isha ## = weak ## tanu ## = body ## jaladhi ## = sea/ ocean ## rud ## = to cry ## bhAvArtha ## What fear makes you cry? Is it because seeing the king who is ever intent on pleasing his good friends (su mitrAnandana) or on seeing me the dwarf? sumitrAnandana can also be broken up as su mitra Anandana (happiness of good friends. Why should the ocean cry on seeing them? No, It is the king rAma, who is attached (Asakta) to lakShmaNa (sumitrAnandana) and the dwarfish person is agastya himself. The ocean mistakes the poet to be agastya. Ocean is afraid of rAma as he once threatened to dry him up when attempting to cross over to lanka. The dwarfish sage agastya is said to have drank the ocean. Hence the cause for fear. Composer V. VAsuNNi moos (kerala) \hrule ASAD (105) ## jIvite yasya jIvanti loke mitrANi bAndhavAH | saphalaM jIvitaM tasya ko na svArthAya jIvati || shabdArtha ## ## jIvita ## = life ## jIv ## = to live ## loka ## = this world ## mitra ## = friend ## bAndhava ## = relative ## saphala ## = fruitful ## svArtha ## = one's own ends ## bhAvArtha ## In this world, Only that man, because of whom friends and relatives are able to live, has lived (in the true sense of the word). Otherwise, who in this world does not live solely to meet one's own ends ? \hrule ASAD (104) ## chAtaka dhUma samUhaM dR^iShTvA mA dhAva vAri dhara buddhyA | iha hi bhaviShyati bhavataH nayana yugAdeva vAriNAM pUraH || shabdArtha ## ## chAtaka ## = the ever thirsty chAtaka bird that lives only on raindrops ## dhUma ## = smoke ## samUha ## = group ## dR^ish ## = to see ## dhAv ## = to run ## vAri ## = water ## vAri dhara ## = water carrier(cloud ) ## iha ## = here ## bhav ## = to be ## bhavAn ## = you ## nayana ## = eye ## yuga ## = couple ## pUra ## = flood ## bhAvArtha ## O chataka, seeing the group of smoke clouds do not run to them thinking they are water carriers ! Here there indeed shall flow from your own eyes a flood of water ! Subject: ASAD(106) This verse is a compliment to the great sanskrit author BAnabhatta who was known for his rather complex style of writing with sentences lasting for pages together. ## jAtA shikhaNDinI prAk yathA shikhaNDi tathAvagachChAmi | prAgalbhyamadhikamAptuM vANI bANo babhUveti ! || sandhi vigraha jAtA shikhaNDinI prAk yathA shikhaNDi tatha avagachChAmi | prAgalbhyaM adhikaM AptuM vANI bANaH babhUva iti ! || shabdArtha ## ## jAta ## = born, become (from jan, to be born, or created) ## prAk ## = a long time ago ## ava + gam ## = to comprehend, understand ## prAgalbhya ## = development, depth, maturity ## Ap ## = to obtain ## vANI ## = language ## babhUva ## = became (from bhU, to become) ## bhAvArtha ## Just as shikandini, a long time ago became shikhandi, similarly I now realize that in order to acquire more maturity, the language (of sanskrit) itself became re incarnated as the author bANa ! \hrule ASAD (107) ## dakShiNe lakShmaNo yasya vAme tu janakAtmajA | purato mArutiryasya taM vande raghunandanam || sandhi vigraha dakShiNe lakShmaNo yasya vAme tu janaka AtmajA | purataH mArutiH yasya taM vande raghu nandanam || shabdArtha ## ## dakhiNa ## = right side ## vAma ## = left side ## janaka ## = king Janaka (father of Sita) ## AtmajA ## = daughter ## purataH ## = in front ## vand ## = to pray ## nandana ## = child ## bhAvArtha ## I bow down to that child of the Raghus to whose right is lakShmana. to whose left is the daughter of Janaka and in front of whom is Maruti. \hrule ASAD (109) ## dAtavyaM bhoktavyaM dhanaviShaye sa.nchayo na kartavyaH | pashyeha madhukarINAM sa.nchitArthaM harantyanye || sandhi vigraha dAtavyaM bhoktavyaM dhana viShaye sa.nchayaH na kartavyaH | pashya iha madhukarINAM sa.nchita arthaM haranti anye || shabdArtha ## ## dAtavya ## = shouold be given ## bhoktavya ## = should be used, enjoyed ## dhana ## = money ## sa.nchaya ## = collection ## kartavya ## = should be done ## pashya ## = see (from dRish) ## iha ## = here ## madhukarI ## = bee ## hR^i (harati) ## = to steal ## anya ## = other ## bhAvArtha ## It should be given or enjoyed and spent. As far as money is concerned it should never be stocked up. Look here, the collected savings of the bees are stolen by others. \hrule ASAD (110) ## tyajanti mitrANi dhanairvihInaM dArAshcha putrAshcha suhR^ijjanAshcha | taM arthavantaM punarAshrayanti artho hi loke puruShasya bandhuH || sandhi vigraha tyajanti mitrANi dhanaiH vihInaM dArAH cha putrAH cha suhR^id janAH cha | taM arthavantaM punaH Ashrayanti arthaH hi loke puruShasya bandhuH || shabdArtha ## ## tyaj ## = to leave ## mitra ## = friend ## dhana ## = money ## vihIna ## = bereft of ## dArA ## = wife ## suHR^id ## = affectionate ## arthavAn ## = one with money ## A+shri ## = to take refuge in ## loka ## = world ## puruSha ## = man ## bandhu ## = brother ## bhAvArtha ## Friends leave the man without money, so do wives, sons and other affectionate people. They all come back after the man is again wealthy : Wealth is the only real brother of man in this world. \hrule ASAD (111) ## tR^iNAdapi laghustUlastUlAdapi cha yAchakaH | vAyunA kiM na nIto.asau mAmayaM prArthayediti || sandhi vigraha tR^iNAt api laghuH tUlaH tUlAt api cha yAchakaH | vAyunA kiM na nItaH asau mAM ayaM prArthayet iti || shabdArtha ## ## tR^iNa ## = grass ## tUla ## = air ## yAchaka ## = begger ## laghu ## = small / inferior / light ## vAyu ## = wind ## nIta ## = taken ## asau ## = him (from adas) ## ayaM ## = him (from idaM) ## prArth ## = to beg / pray ## bhAvArtha ## Air is lighter (inferior to) grass, and a beggar is inferior to air. Why indeed can then the beggar cannot be taken by the wind ? ``He will beg me too ! `` (says the wind) ...... \hrule ASAD (113) ## ayaM nijaH paro vA iti gaNanA laghu chetasAm | udAra charitAnAM tu vasudhA eva kuTumbakam || shabdArtha ## ## ayaM ## = this (man) ## nija ## = one's own ## para ## = foreign, distant ## gaNanA ## = consideration ## laghu ## = small ## chetas ## = mind ## udAra ## = generous ## charita ## = nature ## vasudhA ## = earth ## kuTumbaka ## = family ## bhAvArtha ## ``This man is mine and this one is not'' is a way of thinking adopted only by the narrow minded. For those who are generous in nature, the whole world is like their own family. \hrule ASAD (113) ## ayaM nijaH paro vA iti gaNanA laghu chetasAm | udAra charitAnAM tu vasudhA eva kuTumbakam || shabdArtha ## ## ayaM ## = this (man) ## nija ## = one's own ## para ## = foreign, distant ## gaNanA ## = consideration ## laghu ## = small ## chetas ## = mind ## udAra ## = generous ## charita ## = nature ## vasudhA ## = earth ## kuTumbaka ## = family ## bhAvArtha ## ``This man is mine and this one is not'' is a way of thinking adopted only by the narrow minded. For those who are generous in nature, the whole world is like their own family. \hrule ASAD (112) ## atiparichayAdavaj~nA santatagamanAdanAdaro bhavati | malaye bhillapurandhrI chandanatarukAShThamindhanaM kurute || sandhi vigraha ati parichayAy avaj~nA santata gamanAt anAdaraH bhavati | malaye bhilla purandhrI chandana taru kAShThaM indhanaM kurute || shabdArtha ## ## ati ## = excessive ## parichaya ## = familiarity ## avaGyA ## = contempt ## santata ## = repeated ## gamana ## = going ## anAdara ## = disrespect ## malaya ## = malaya mountain ## bhilla ## = tribal ## purandhrI ## = wofe ## chandana ## = sandal ## taru ## = tree ## kAShTha ## = log ## indhana ## = fuel ## kurute ## = does (from kRi) ## bhAvArtha ## Excessive familiarity breeds contempt, Going repeatedly (to someone else's house) causes disrespect to you. On malaya mountain (which is very rich in sandalwood trees) the wife of a tribal uses sandalwood even for the daily fuel needs. \hrule ASAD (112) ## atiparichayAdavaj~nA santatagamanAdanAdaro bhavati | malaye bhillapurandhrI chandanatarukAShThamindhanaM kurute || sandhi vigraha ati parichayAy avaj~nA santata gamanAt anAdaraH bhavati | malaye bhilla purandhrI chandana taru kAShThaM indhanaM kurute || shabdArtha ## ## ati ## = excessive ## parichaya ## = familiarity ## avaGyA ## = contempt ## santata ## = repeated ## gamana ## = going ## anAdara ## = disrespect ## malaya ## = malaya mountain ## bhilla ## = tribal ## purandhrI ## = wofe ## chandana ## = sandal ## taru ## = tree ## kAShTha ## = log ## indhana ## = fuel ## kurute ## = does (from kRi) ## bhAvArtha ## Excessive familiarity breeds contempt, Going repeatedly (to someone else's house) causes disrespect to you. On malaya mountain (which is very rich in sandalwood trees) the wife of a tribal uses sandalwood even for the daily fuel needs. \hrule ASAD (114) ## ChAyAM anyasya kurvanti tiShThanti svayaM Atape | phalAni api para arthAya vR^ikShAH satpuruShA iva || shabdArtha ## ## ChAyA ## = shade ## anya ## = others ## kurvanti ## = do (from kRi) ## tiShThani ## = stand (from sthA) ## svayaM ## = themselves ## Atapa ## = heat ## phala ## = fruit ## para ## = others ## artha ## = benefit ## vR^ikSha ## = tree ## sat ## = good ## puruSha ## = man ## bhAvArtha ## They make shade for others and stand in the heat themselves. Even fruits are for the good of others: Trees are indeed like good men. \hrule ASAD (114) ## ChAyAM anyasya kurvanti tiShThanti svayaM Atape | phalAni api para arthAya vR^ikShAH satpuruShA iva || shabdArtha ## ## ChAyA ## = shade ## anya ## = others ## kurvanti ## = do (from kRi) ## tiShThani ## = stand (from sthA) ## svayaM ## = themselves ## Atapa ## = heat ## phala ## = fruit ## para ## = others ## artha ## = benefit ## vR^ikSha ## = tree ## sat ## = good ## puruSha ## = man ## bhAvArtha ## They make shade for others and stand in the heat themselves. Even fruits are for the good of others: Trees are indeed like good men. \hrule ASAD (115) ## lAlayet pa.ncha varShANi dasha varShANi tADayet | prApte tu ShoDashe varshe putre mitravad Acharet || shabdArtha ## ## lAl ## = to pamper ## pa.ncha ## = five ## varSha ## = year ## dasha ## = ten ## taD ## = to hit ## prApt ## = reached ## ShoDasha ## = sixteen ## putra ## = son ## mitra ## = friend ## A+char ## = to behave, interact ## bhAvArtha ## One should pamper one's son for five years then discipline him for ten years. However once he reaches the age of sixteen one should treat him as a friend \hrule ASAD ( VaidhyAn prati (On Doctors)) ## vaidhyarAja namastubhyam yamarAja sahodhara yamo harati prANAn vaidhyah prANan dhanAni ca ## Salutations to you, Doctor, the brother of Yama (God of death) Yama steals (takes away) the life; a Doctor life and wealth as well. ## citAm prajvalitAm drustvA vaidhyah vismayamAgatah nAham gatah na may bhrAtA kasyedam hastalAgavam ## Seeing the burning pyre the Doctor became worried (He thought) Neither did I attended to this person Nor did my brother, whose handiwork is this ## ## Dear Friends. The real Humor or Joke is that the following verses are literally true. The practice and theory of medicine is completely wrong in its basis. This is true of all medicine, western, eastern, oriental or otherwise. Because, as you know, the nature follows an immutable cause and effect relationship for everything that happens. The disease is produced by its causes. The practice of medicine does not at all deal with the cause of a disease, but it only deals with palliating the symptoms of a disease, further letting the causes to continue. Another, real but sad joke is that even very intelligent people, who would otherwise investigate/reasearch everything before they practice, subscribe to the practice of medicine without questioning the logic. \hrule ASAD (117) ## yathaikena na hastena tAlikA samprapadyate | tathodyamaparityaktaM karma notpAdayet phalam || sandhi vigraha yathA ekena na hastena tAlikA samprapadyate | tathA udyama parityaktaM karma na utpAdayet phalam || shabdArtha ## ## hasta ## = hand ## tAlikA ## = clap ## sam + pra + pad ## = to become ## udyama ## = effort ## parityakta ## = deprived of ## karman ## = work ## ut + pad ## = to obtain ## phala ## = fruit ## bhAvArtha ## Just as a clap cannot happen with just one hand, similarly any work deprived of effort will not obtain fruit. \hrule ASAD (117) ## yathaikena na hastena tAlikA samprapadyate | tathodyamaparityaktaM karma notpAdayet phalam || sandhi vigraha yathA ekena na hastena tAlikA samprapadyate | tathA udyama parityaktaM karma na utpAdayet phalam || shabdArtha ## ## hasta ## = hand ## tAlikA ## = clap ## sam + pra + pad ## = to become ## udyama ## = effort ## parityakta ## = deprived of ## karman ## = work ## ut + pad ## = to obtain ## phala ## = fruit ## bhAvArtha ## Just as a clap cannot happen with just one hand, similarly any work deprived of effort will not obtain fruit. \hrule ASAD (124) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## aShTAdasha purANAnAM sAraM vyAsena kIrtitam | paropakAraH puNyAya pApAya para pIDanam || shabdArtha ## ## aShTAdasha ## = eighteen ## sAra ## = essence ## kIrt ## = to tell ## paropakAra ## = benefitting others (para upakAra) ## puNya ## = purification acquired by virtuous deeds ## pApa ## = sin ## para ## = other ## pIDana ## = harrasment ## bhAvArtha ## The essence of the eighteen scriptures (purANas) is stated by VyAsa : ``Benefitting others leads to purification and harassing others leads to sin. \hrule ASAD (125) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## arthAgamo nityamarogitA cha priyA cha bhAryA priyavAdinI cha | vashyashcha putro.arthakArI cha vidyA ShaD jIvalokasya sukhAni rAjan || sandhi vigraha artha AgamaH nityaM arogitA cha priyA cha bhAryA priya vAdinI cha | vashyaH cha putraH arthakArI cha vidyA ShaD jIva lokasya sukhAni rAjan || shabdArtha ## ## artha ## = money ## Agama ## = arrival ## nitya ## = always ## arogita ## = diseaselessness ## priya ## = dear ## vAdinI ## = she who speaks ## vashya ## = under control ## putra ## = son ## vidyA ## = knowledge ## ShaD ## = six ## jIva loka ## = the mortal world ## rAjan ## = king ## bhAvArtha ## O King, The arrival of money, incessant good health, a dear and sweet speaking wife, a son under one's control (a son who has not strayed from the right path), and knowledge capable of earning money are the six happinesses of the mortal world. \hrule ASAD (126) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## akR^itvA para santApaM agatvA khala mandiram | sAdhoH mArgaM anusR^itya yat svalpaM api tad bahu|| shabdArtha ## ## akR^itvA ## = without doing (from kRi) ## agatvA ## = without going (from gam) ## santApa ## = harrasment ## khala ## = evil person ## mandira ## = abode ## sAdhu ## = good man ## mArga ## = path ## anu + sR^i ## = to follow ## svalpa ## = little ## bahu ## = a lot ## bhAvArtha ## Without harassing others, without going to the abode of evil men. and following the path laid down by good men, whatever achieved, evem if little, is indeed a lot. \hrule ASAD (129) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## Apadi mitra parIkShA shUra parIkShA raNa a.ngaNe bhavati | vinaye va.nsha parIkShA shIla parIkShA dhana kShaye bhavati || sandhi vigraha ## Apad ## = calamity ## mitra ## = friend ## parIkShA ## = test ## shUra ## = valiant ## raNa ## = battle ## a.ngaNa ## = field ## vinaya ## = humility ## va.nsha ## = family ## shIla ## = character ## dhana ## = money ## kShaya ## = loss, weakening, scaricity shabdArtha ## A friend's test is in calamity, the test of a valiant person is on the battlefield. The test of a family is in its' humility and the test of one's character is in poverty. ## bhAvArtha ## \hrule ASAD (131) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## vidvattvaM cha nR^ipatvaM cha na eva tulye kadAchana | svadeshe pUjyate rAjA vidvAn sarvatra pUjyate || shabdArtha ## ## vidvattva ## = scholarliness ## nR^ipatva ## = The title of king ## tulya ## = comparable ## svadesha ## = one's own country ## pUj ## = to worship ## rAjan ## = king ## vidvat ## = scholar ## sarvatra ## = everywhere ## bhAvArtha ## Being a scholar and being a king are never ever comparable. A king is worshipped in his own country whereas a scholar is respected everywhere. \hrule ASAD (133) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) A couple of subhAshitas from the hard working farmers ## gaNayanti na ye sUryaM vR^iShTiM shItaM cha karShakAH | yatante sasyalAbhAya taiH sAkaM hi vasAmi aham || shabdArtha ## ## gaN ## = to count, to consider ## sUrya ## = sun ## vR^iShTi ## = rain ## shIta ## = cold ## karShaka ## = farmer ## yat ## = to strive ## sasya ## = grain ## lAbha ## = acquirement, acquisition ## sAkaM ## = with ## vas ## = to live ## bhAvArtha ## The farmers do not consider the heat from the sun or rain or the cold winters but consistently strive for acwuiring grain. I (God ?) indeed live with them. For marathi readers : nase rAuLI vA nase mandirI jithe rAbatI hAta tethe harI .... ? \hrule ASAD (136) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## mUrkhasya pa.ncha chihnAni garvo durvachanaM tathA | krodhashcha dR^iDhavAdashcha paravAkyeShvanAdaraH || sandhi vigraha mUrkhasya pa.ncha chihnAni garvaH durvachanaM tathA | krodhaH cha dR^iDhavAdaH cha paravAkyeShu anAdaraH || shabdArtha ## ## mUrkha ## = fool ## pa.ncha ## = five ## chihna ## = sign ## garva ## = vanity ## durvachana ## = wicked statements ## krodha ## = anger ## dR^iDha ## = unrelenting ## vAda ## = argument ## para ## = other ## vAkya ## = sentence ## anAdara ## = lack of respect ## bhAvArtha ## There are five signs of a fool : Vanity, wicked conversation, anger, stubborn arguments, and a lack of respect for other people's opinions. \hrule ASAD (139) ## priyaH sa.nskR^itapriyAH. ## (Dear Sanskrit Lovers) ## aShTau guNA puruShaM dIpayanti praj~nA sushIlatvadamau shrutaM cha | parAkramashchAbahubhAShitA cha dAnaM yathAshakti kR^itaj~natA cha || sandhi vigraha aShTau guNAH puruShaM dIpayanti praj~nA sushIlatva damau shrutaM cha | parAkramaH cha a bahu bhAShitA cha dAnaM yathA shakti kR^itaj~natA cha || shabdArtha ## ## aShTau ## = eight ## guNa ## = qualities ## puruSha ## = man ## dIp ## = to adorn, to grace ## praGyA ## = intellect ## sushIlatva ## = good character ## dama ## = self control ## shruta ## = knowledge ## parAkram ## = valor ## bahu ## = too much ## bhASh ## = to speak ## dAna ## = the act of giving ## shakti ## = strength ## kR^itaj~natA ## = gratitude ## bhAvArtha ## Eight qualities adorn a man : Intellect, good character, self control. knowledge, valor, not talking too much, being charitable as per his (financial) strength and gratitude. \hrule ASAD (141) ## kaH na yAti vashaM loke mukhaM pINDena pUritaH | mR^ida.ngaH mukha lepena karoti madhuraM dhvanim || ## sandhi vigraha ## yA ## = to go ## vasha ## = control ## loka ## = this world ## mukha ## = mouth ## piNDa ## = morsel of food ## pUr ## = to fill ## mR^ida.nga ## = drum ## mukha ## = mouth ## lepa ## = smearing ## madhura ## = sweet ## dhvani ## = sound ## shabdArtha ## In this world who indeed wont come under control once his/her mouth is filled with food ? Even the mRida.nga makes a sweet sound after its mouth is smeared. ## aikyaM balaM samAjasyA tadabhAve sa durbalaH | tasmAt aikyaM prasha.nsanti dR^iDhaM rAshtra hitaiShiNaH || shabdArtha ## ## aikya ## = unity ## bala ## = strength ## samAja ## = society ## durbala ## = weak ## pra+sha.ns ## = to praise ## dR^iDhaM ## = strongly ## rAshTra ## = nation ## hitaiShin ## = one who wishes good ## bhAvArtha ## Unity is the strength of any society and it (society) is weak without it. Hence those who wish the good of the nation strongly praise unity. \hrule ASAD (144) We had a big thread on ``Ramayana in a Stanza'' Here is the bhAgavata (life of Shri KRishna) in four lines : ## Adau devakidevagarbhajanana.n gopIgR^ihe vardhanaM mAyAputanajIvitApaharaNa.n govardhanoddhAraNam | ka.nsachChedanakauravAdihanana.n kuntItanUjAvanaM etadbhAgavata.n purANakathita.n shrIkR^iShNalIlAmR^itam ||16|| sandhi vigraha Adau devaki deva garbha janana.n gopI gR^ihe vardhanaM mAyA putana jIvita apaharaNa.n govardhana uddhAraNam | ka.nsa chChedana kaurava Adi hanana.n kuntI tanUja avanaM etad bhAgavata.n purANa kathita.n shrI kR^iShNa lIlA amR^itam ||16|| shabdArtha ## ## Adau ## = First ## garbha ## = womb ## janana ## = birth ## gR^iha ## = house ## vardhana ## = growing up ## jIvita ## = life ## apaharaNa ## = stealing ## uddhAraNa ## = lifting up ## Chedana ## = cutting ## hanana ## = killing ## tanUja ## = son ## avana ## = protection ## kathita ## = told ## lIlA ## = legend (?) ## bhAvArtha ## First the birth of the lord in the womb of devaki, then the growing up in the house of gopis, the stealing of life from the deceitful pUtana, the lifting up of the govardhana mountain, the cutting (beheading) of kansa,the killing of the kauravas etc. and the protection of the sons of kunti : This is the BhAgavat as told in the purANas and which is immortal because of the legends of Shri Krishna. \hrule ASAD (146) ## gururbandhurabandhUnAM gurushchakShurachakShuShAm | guruH pitA cha mAtA cha sarveShAM nyAyavartinAm || sandhi vigraha guruH bandhuH abandhUnAM guruH chakShuH achakShuShAm | guruH pitA cha mAtA cha sarveShAM nyAyavartinAm || shabdArtha ## ## guru ## = preceptor ## bandhu ## = brother / kin ## abandhu ## = one who does not have any brothers / kinmen ## chakShus ## = eye ## achakShus ## = one without an eye ## pitR^i ## = father ## mAtR^i ## = mother ## sarva ## = everyone ## nyAya ## = justice ## vartin ## = one who lives / behaves ## bhAvArtha ## The teacher is the brother to those who dont have any kinmen, the teacher is an eye through which the blind can see. The teacher is a father and mother to everyone who lives on the path of justice. \hrule ASAD (149) ## garvAya parapIDAyai durjanasya dhanaM balam | sujanasya tu dAnAya rakShaNAya cha te sadA || shabdArtha ## ## garva ## = vanity ## para pIDA ## = harrasment of others ## durjana ## = wicked person ## dhana ## = money ## bala ## = power ## sujana ## = good man ## dAna ## = act of giving , charity ## rakShaNa ## = protection ## sadA ## = always ## bhAvArtha ## The wealth and power of a wicked person are for vanity and harrasment of others respectively. However with a good man they are always (used) for charity and for protection. \hrule ASAD (155) ## ambA yasya umAdevI janakaH yasya sha.nkaraH | vidyAM dadAti sarvebhyaH sa naH pAtu gajAnanaH || shabdArtha ## ## ambA ## = mother ## umA ## = pArvatI ## janaka ## = father ## vidyA ## = knowledge ## dA ## = to give ## pA ## = to bless ## gaja ## = elephant ## Anana ## = mouth ## bhAvArtha ## May the elephant faced one (Ganapati) whose mother is umA devi. whose father is sha.nkara and who gives knowledge to everybody, bless us. \hrule ASAD (156) ## gauravaM prApyate dAnAt na tu vittasya sa.nchayAt | sthitiH uchchaiH payodAnAM payodhInAM adhaH sthitiH || shabdArtha ## ## gaurava ## = glory ## prAp ## = to obtain ## dAna ## = giving ## vitta ## = money ## sa.nchaya ## = collection ## sthiti ## = position ## uchchaiH ## = up ## payoda ## = cloud (one who gives water) ## payodhI ## = sea (one that stores water) ## adhaH ## = down ## bhAvArtha ## Fame is obtained by giving money, not collecting it. Clouds (givers of water) have a high position whereas the seas (storers of water) have a low position. \hrule ASAD (160) ## udyamaH sAhasaM dhairyaM buddhiH shaktiH parAkramaH | ShaD ete yatra vartante devaH tatra sahAyakR^it || shabdArtha ## ## udyama ## = industriousness ## sAhasa ## = adventure ## dhairya ## = courage ## buddhi ## = intelligence ## shakti ## = strength ## parAkrama ## = adventurous accomplishment ## ShaD ## = six ## vR^it ## = to exist ## deva ## = god ## sahAya ## = help ## bhAvArtha ## God provides help where these siz qualities exist : industriousness, adventure. courage, intelligence, strength and adventurous accomplishment. \hrule ASAD (161) ## upadeshaH hi mUrkhANAM prakopAya na shAntaye | payaH pAnaM bhuja.ngAnAM kevalaM viShavardhanam || shabdArtha ## ## upadesha ## = advice ## mUrkha ## = idiot ## prakopa ## = aggravation ## shAnti ## = calmness ## payas ## = milk ## pAna ## = drinking ## bhuja.nga ## = snake ## viSha ## = poison ## vardhana ## = growth ## bhAvArtha ## Advising an idiot leads to more aggravation than peace. Feeding milk to a snake only serves to increase its poison. \hrule ASAD (163) ## AtmanaH mukha doSheNa badhyante shuka sArikAH | bakAH tatra na badhyante maunaM sarvArtha sAdhanam || shabdArtha ## ## Atman ## = self ## mukha ## = mouth ## doSha ## = fault ## shuka ## = parrot ## sArikA ## = a bird (nightingale / cuckoo ? ) ## baka ## = stork ## badh ## = to trap, to tie down. ## mauna ## = silence ## sarva ## = all ## artha ## = objective ## sAdhana ## = instrument ## bhAvArtha ## Nightingales and parrots are trapped because of the fault of their own mouths. However, storks are not caught. Silence is indeed the instrument that achieves all ends. \hrule ASAD (169) ## karoti svamukhenaiva bahudhAnyasya khaNDanam | namaH patanashIlAya musalAya khalAya cha || bhAvArtha ## By his(its) own mouth he (it) injures (pounds) in many ways other people (a lot of grain). My salutations to the pestle and to the wicked man whose character is to fall down. (The first line is interpreted in two ways depending on how the sandhi in bahudhAnyasya is broken) First all of you must take a sigh of relief that I am not translating this in Russian. I have a valid comment. The interpretation is just not right. The word khala has two meanings. Kedar gives only one a wicked man. The second is a mortar. Those partisans of this list who were born in cities would not know what this article and its use is/was. It is a piece of stone, preferably, granite which is carved like a mortar. Mortar and pestle are two components of a commonly used pounding mechanism used in ages all over the world. Pounding removes chaff from grain. Its use in India declined after mechanical grain brayers were made available in cities in British rule. The use continued for some time in numerous villages or inaccessible regions. My father's house and that of all my relations had at least one. My mom, auntie and sisters would wake up early in the morning and do their chores with mortar and pestle singing songs. The meaning as given by Kedar lacks certain truth. Why would poet, or for that matter, anybody thank a wicked man whose character is to fall down?. In chaturvarNya scheme four classes were assigned certain duties and responsibilities. When they performed such social obligations they earned the social acceptance. On this background poet takes a case of a habitually misbehaving person patanshIla and examines his contributions to the society. Even though he lacks social acceptance due to his nature, the poet opines, his peculiar behavior, actually contributes to the social needs. Ancient Indians were taught to be polite to each other. respectful to each other, friendly and forgiving to each other. These codes of conducts brought social harmony, but created a situation where blunt, bold actions were frowned upon. People, therefore, would get away with murder, so to say, and nobody would criticize or check their actions. Remember politeness rules. Our patanshIla was exception to this rule. Therefore, when he got mad at sombody or something he would lash out at them and separate their true selves from their alter egos. In other words he would tear the masks of dichotomous, contradictory. personalities. Poet, obviously is paying compliments to such a person. However, he cannot openly come out and praise such a man or his actions. Therefore, the poet resorts to the double talk, ambiguity. double entendre technique. Smart person would find the true meaning behind the obvious. Nobody writes a couplet praising mortar and pestle, they are so unpoetic. So the true meaning of this couplet is: By his own mouth he, patanshIla, pounds most of the times people hiding behind veneers and exposes their true nature, salutions to him and his brute force 'musala'. \hrule ASAD (170) ## khalaH karoti durvR^ittaM nUnaM phalati sAdhuShu | dashAnano.aharat sItAM bandhanaM tu mahodadheH || sandhi vigraha khalaH karoti durvR^ittaM nUnaM phalati sAdhuShu | dasha AnanaH aharat sItAM bandhanaM tu mahA udadheH || shabdArtha ## ## khala ## = wicked man ## durvR^ittaM ## = bad deed ## nUnaM ## = really ## phal ## = to bear fruit ## sAdhu ## = good man ## dasha ## = ten ## Anana ## = face ## hR^i ## = to steal ## bandhana ## = retriction ## mahat ## = great ## udadhi ## = sea ## bhAvArtha ## The wicked man does a bad deed and really it bears fruit among the good. The ten faced one (Ravana) stole Sita, and it was the ocean that had to be restriced ! (by Rama's bridge) \hrule ASAD (170) ## khalaH karoti durvR^ittaM nUnaM phalati sAdhuShu | dashAnano.aharat sItAM bandhanaM tu mahodadheH || sandhi vigraha khalaH karoti durvR^ittaM nUnaM phalati sAdhuShu | dasha AnanaH aharat sItAM bandhanaM tu mahA udadheH || shabdArtha ## ## khala ## = wicked man ## durvR^ittaM ## = bad deed ## nUnaM ## = really ## phal ## = to bear fruit ## sAdhu ## = good man ## dasha ## = ten ## Anana ## = face ## hR^i ## = to steal ## bandhana ## = retriction ## mahat ## = great ## udadhi ## = sea ## bhAvArtha ## The wicked man does a bad deed and really it bears fruit among the good. The ten faced one (Ravana) stole Sita, and it was the ocean that had to be restriced ! (by Rama's bridge) \hrule ASAD (201) ## kAryArthI bhajate lokaH yAvat kAryaM na sidhyati | uttIrNe cha pare pAre naukAyAH kiM prayojanam || shabdArtha ## ## kArya arthin ## = one whose inent is getting one's work done ## bhaj ## = to pray, propitiate ## loka ## = the world ## kArya ## = work ## sidh ## = to be accomplished ## uttIrNa ## = crossed ## para ## = other ## pAra ## = bank of a river ## naukA ## = boat ## prayojana ## = use ## bhAvArtha ## The world (men of the world) intending to get its work done. prays (to you) only until the task is not accomplished. Once you have crossed over to the other bank, what is the use of the boat ? \hrule ASAD (203) ## mano madhukaro megho madyapo matkuNo marut | mA mado markaTo matsyo makArA dasha cha.nchalAH || sandhi vigraha manaH madhukaraH meghaH madyapaH matkuNaH marut | mA madaH markaTaH matsyaH makArAH dasha cha.nchalAH || shabdArtha ## ## manas ## = mind ## madhukara ## = bee ## megha ## = cloud ## madyapa ## = drunkard ## matkuNa ## = bed bug ## marut ## = wind ## mA ## = the goddess of wealth, Laxmi ## mada ## = pride, arrogance, conceit ## markaTa ## = monkey ## matsya ## = fish ## makAra ## = something starting with the letter ``ma'' ## dasha ## = ten ## cha.nchala ## = fickle, unsteady ## bhAvArtha ## The mind, the bee, the cloud, the drunkard, the bed bug, the wind, wealth, pride, the monkey and the fish are the ten things starting with the letter ``ma'' that are always unsteady. These postings by Kedar have been taken from the older sanskrit-digest archives. Some posts are missing. \medskip\hrule\obeylines Please send corrections to sanskrit at cheerful dot c om Last updated \today https://sanskritdocuments.org \end{document}