Umasahasram stabaka 12
द्वादशः स्तबकः 12th Stabaka
रथोद्धतावृत्तम् Rathoddhata meter
शृङ्गारवर्णनम् Description of romantic mood
शर्वधैर्यगुणशातशस्त्रिका शम्बरारिजयकेतुपट्टिका |
मन्दहासिकलिका मदापदं पर्वतेन्द्रदुहितुर्व्यपोहतु ||१२. १||
The budding smile of the daughter of the king of mountains, acts as a sharp
edged sword on a rope in the form of Sharva's fortitude. It is a victory flag
of Cupid, enemy of Shambara. May that smile remove my distresses. ||12.1||
The term `kalikabudding' used here suggests its potency to be used as a
flower for Cupid god's arrows. ||12.1||
मुक्तभोगिकटकेन पाणिना मुग्धगात्रि परिगृह्य ते करम् |
एकदा शशिकिशोरशेखरः सञ्चचार रजताद्रिभूमिषु ||१२. २||
Oh Delicate Lady! Shiva took a stroll some time ago, on the silver mountains
with benign form taking your hand in his hand, leaving behind his bracelet
of snake. ||12.2||
This verse depicts romantic mood of Shiva with his decoration of crescent
moon. He has taken the hand of Uma with his unsoiled hand leaving behind his
usual embellishments like snakelocks of hair (jata)attire of elephant skin
etc., which are repulsive. Reference to the wedding of Shiva and Parvati is
made earlier where Shiva is described as `he takes pleasing form for spending
pleasurable time with you (5.22). ||12.2||
तस्य तत्र परितः परिभ्रमन् वल्लभां वकुलपुष्पचुम्बिनीम् |
पार्वति त्वदलकोपमद्युतिः च्ञ्चरीकतरुणो मनोऽधुनोत् ||१२. ३||
Oh Parvati! Shiva's mind was enthused by looking at a young bee radiant
like your hair locks hovering around a female bee kissing a Bakula flower
(attracted by its essence). ||12.3||
प्रेयसीं चपलचारुलोचनामुल्लिखन् वपुषि शृङ्गकोटिना |
त्वद्विलोकितनिभैर्विलोकितैः धूर्जटेरमदयन्मनो मृगः ||१२. ४||
Dhurjati's mind was roused when he saw the resemblances of your glances
in a stag which was gently rubbing the body of its beloved roe that had
beautiful twinkling eyes by tip of his horn. ||12.4||
मञ्जुकुञ्जभवनानि मालतीपुष्परेणुसुरभिः समीरणः |
पेशला च पिकबालकाकली मोहमीश्वरि हरस्य तेनिरे ||१२. ५||
Oh Ishvari! Hara was incited by the beautiful surroundings like creeperhuts,
winds filled with fragrance of pollen of Malati flower and sweet chirping
sounds of young cuckoos on the mountains. ||12.5||
अग्रतः कुसुमशोभिता लताः पार्श्वतस्त्वमगपालबालिके |
सर्वतो मदनशिञ्जिनीध्वनिर्धीरता कथमिवास्य वर्तताम् ||१२. ६||
Oh Parvati! How long can Hara maintain his restraint when you are there
along with him; the creepers filled with flowers in front and the twang of
the bow of Cupid god which is heard everywhere ? ||12.6||
The sound of the cuckoo birds is often compared with that of the twang of
the bow of Cupid god. ||12.6||
कीरकूजितसमाकुले वने शम्भुमम्ब तव पार्श्ववर्तिनम् |
आजघान मकरध्वजश्शरैरर्दयन्त्यवसरे हि शत्रवः ||१२. ७||
Oh, Mother! Cupid god found the right moment to shoot at Shambhu who was
beside you by his arrows; in the forest was filled with the sweet noise
of parrots (instantaneously). Enemies indeed take vengeance when it is
beneficial. ||12.7||
ताडितो मकरकेतुना शरैरंसदेशमवलम्ब्य पणिना |
एकहायनकुरङ्गलोचनाम् त्वामिदं किल जगाद शङ्करः ||१२. ८||
Oh Devi! Did not Shankara, being struck by the arrows of the Cupid god,
placed his hand around your shoulder and speak to you with the enchanting
eyes of a yearling deer (like this) ? ||12.8||
The poet describes romantic murmurs of Shiva to Shive in the following
ten verses. ||12.8||
काकलीकलकलं करोत्यसौ बालचूतमधिरुह्य कोकिला |
वाचमुद्गिर सरोजलोचने गर्वमुन्नतमियं विमुञ्चतु ||१२. ९||
Oh, Lotus eyed Devi! This cuckoo bird sitting on the mango tree with new
leaves is making a sweet noise. Just speak one word so that the cuckoo may
shed its disdainful arrogance. ||12.9||
Shankara's eagerness to hear Parvati's voice is suggested here.
फुल्लकुन्दमकरन्दवाहिनो मल्लिकामुकुलधूलिधारिणः |
कम्पयन्ति शिशवः समीरणाः पल्लवानि हृदयं च तन्वि मे ||१२. १०||
Oh Beautiful Lady! The gentle breezes carrying the honey of blossomed Kunda
flowers and filled with the pollen of Mallika flowers are making the leaves
move along with my heart. ||12.10||
वर्णनेन हृतचक्षुषः श्रियः सुप्रसन्नमधुराकृतीनि ते |
अङ्गकानि दयिते भजेऽर्भकः स्वेदबिन्दुहरणेन वाऽनिलः ||१२. ११||
Oh my Beloved! I serve you by describing the radiance of the limbs of your
congenial charming form that has stolen my eyes like gentle breeze removing
the drops of sweat. ||12.11||
तावदेव मम चेतसो मुदे बर्हमेतदनघाङ्गि बर्हिणः |
यावदक्षिपथमेष विश्लथो गाहते न कबरीभरस्तव ||१२. १२||
Oh Virtuous (flawless) Lady! My mind feels happy about the feathers of the
peacock only until your disheveled tresses come within my sight. ||12.12||
रागवानधर एष सन्ततं निर्मलद्विजसमीपवर्त्यपि |
एभिरस्य सहवासतः प्रिये नेषदप्यपगतो निजो गुणः ||१२. १३||
Oh My Beloved! Your red lower lip has not left its true quality despite
being always in proximity with twice born brahmins'teeth who are virtuous
(pure white). ||12.13||
Here, the term `raaga' suggests both red color and attachments with
desires. The term `nirmalapure' connotes virtue with reference to Brahmins
and white color with reference to the teeth. Teeth are referred as twice
born in earlier verse also. ||12.13||
चक्षुषः सुदति ते सगोत्रता कैरवैर्निशि दिने कुशेशयैः |
कश्यपैरपि वसिष्ठबान्धवैर्भूसुपर्वण इव द्विगोत्रिणः ||१२. १४||
Oh Devi SudatI! (Who has beautiful teeth)! Your eyes look like the family
of lotus during the day and resemble lily flowers in the night like the
Brahmins called `dvigotri' who have the relationship with both the families
(gotras) of Kashyapa and Vashishtha (by adoption). ||12.14||
Your eyes are awake day and night for giving protection to devotees from
their adversaries (negative forces). ||12.14||
अल्पयाऽप्यतिसमर्थया स्मितज्योत्स्नया गगनगं हरत्तमः |
केवलं सुवचनामृतं किरच्चन्द्रबिम्बमतुषारमाननम् ||१२. १५||
Darkness of the sky is removed by your extremely competent moonlightlike
smile though it is tiny. Your face that is like the moon without dew,
showers only the nectar of sweet words. ||12.15||
नित्यमब्जमुखि ते परस्परश्लिष्टमश्लथपटीकुटीरगम् |
शर्वरीभयविवर्जितं स्थलीचक्रवाकमिथुनं कुचद्वयम् ||१२. १६||
Oh Lady of lotusface! Your breasts that are lying under the tight upper
garment are pressing each other. They are staying together always like
Chakravaka birds on the earth but without the fear of separation in the
night. ||12.16||
The fear of Chakravaka pair about their separation in the night is well
known. ||12.16||
लालनीयमयि देवमौलिभिः कोमलं चरणपल्लवद्वयम् |
कच्चिदद्रिपुरुहूतपुत्रिके न स्थली तुदति कर्कशा तव ||१२. १७||
Oh daughter of the King of mountains! Does this hard ground cause pain in
your delicate feet which are soft like new leaves that are worshiped by the
crowns of gods? ||12.17||
एवमादि वदति त्रिलोचने त्वन्मुखे लसति मौनमुद्रया |
आततान जलचारिकेतनो नर्तनं नगमहेन्द्रबालिके ||१२. १८||
Oh daughter of the mountain! Cupid god started dancing when your face was
glowing silently while listening to all that Shiva spoke. ||12.18||
Your face though silent without giving any answer to Shiva's query is
radiant with the reflection of love of your beloved. Cupid god took that
opportunity and entered his mind to promote further action. ||12.18||
देवि ते पुरजितावतंसितः पारिजातकुसुमस्रजा कचः |
मानसं पुरजितोऽमुना हृतं स्मर्यते क्व मलिनात्मना कृतम् ||१२. १९||
Oh Devi! Your braid decorated with Parijata flowers by Shiva the enemy
of the cities has in turn stolen the mind of Shiva. How is it possible to
remember the act done by an impure object? ||12.19||
Parameshvara gave the decoration of Parijata flowers to the braid and in
return, the braid showed gratitude by stealing his mind. Hair (braid) is
impure because it is lifeless (inert) and due to its black color. ||12.19||
ब्रह्मचर्यनियमादचञ्चला नायिका यदि लुलायमर्दिनी |
नायकश्च सुमबाणसूदनो वेद को रतिरहस्यमावयोः ||१२. २०||
Who can comprehend the secret of love between these hero and heroine? The
heroine who has annihilated the demon Mahisha and has not swerved from celibacy
and the hero is the destroyer of Cupid god (unaffected by love). ||12.20||
This verse shows that none can understand the nature of love between Parvati
and Parameshwara, the parents of the whole world. Romantic sport of Shiva
and Shive described in previous verses are apparently fictional. ||12.20||
लोचनोत्सवविधौ विशारदे वारिदावरणदोषवर्जिते |
मर्दयत्यपि नभोगतं तमः श्यामिकारहितसुन्दराकृतौ ||१२. २१||
भाति शीतकिरणस्तनन्धये प्राणनायकजटाकुटीजुषि |
शुभ्रपर्वततटे शुभाङ्गि ते सम्मदाय न बभूव का निशा ||१२. २२||
Oh Auspicious Lady! Was there any night which was not filled with happiness
for you on the white (chaste) mountains under the moonlight of the crescent
moon housed on the crown of the tuft (jata) of hair of your husband?
The crescent moon on Shiva's head is free from the blemish (weakness) of
being hidden by the clouds and looks beautiful without any black spot. It
can remove darkness by giving delight to the eyes. ||12.2122||
Romantic mood is suggested here by describing the glory of the divine
form of the crescent moon of Shiva who is ever delightful, having radiance
spotless unlike the natural moon that has a blemish. ||12.2122||
सन्तु भूषणसुधांशुदीधिति व्यक्तमुग्धमुखशोभयोर्मिथः |
तानि तानि गिरिजागिरीशयोः क्रीडितानि जगतो विभूतये ||१२. २३||
Beauty of the faces of the daughter of the mountain and the Lord of the
mountain is manifest clearly in the radiance of the decorative moon. May their
romantic deeds pleasing each other bring prosperity to the world. ||12.23||
The poet aspires in this concluding verse that the inexplicable romantic
deeds of Parvati and Parameshvara bring good to the world. ||12.23||
मोदकादनपरस्य सृष्टये क्रीडितं जननि वां किमप्यभूत् |
शक्तिभृत्तनयरत्नजन्मने किञ्चिदीश्वरि बभूव खेलनम् ||१२. २४||
Oh, Mother! It is a wonder that you were engaged in divine play when first
son Ganapati was born and another kind of your divine play was the cause of
the birth of your great son Skanda who holds the famous weapon `Shakti'. ||
12.24||
Ganapati who loves food and Skanda who is known as `Shaktidhara' differ
from one another because you both were engaged in different kinds of divine
play when they were born. Similar idea is seen in the earlier verse 2.1.24. ||
12.24||
माधुरीरसपरिप्लुता इमाः काव्यकण्ठविदुषो रथोद्धताः |
आदधत्वचलनाथनन्दिनी मानसे कमपि मोदमुत्तमम् ||१२. २५||३००
May these verses composed in Rathoddhata meter by the scholarly poet
Kavyakantha filled with sweet rasa generate unique joy in the mind of the
daughter of the mountain. ||12.25||
It is clearly seen by people who know Kalidasa's poetry that this stabaka is
similar to the ideas of eighth canto of his Kumarasambhavam. Both of them are
in Rathoddhata meter and the topic depicted is Shringara. Many similarities are
also seen in the phrases used for the description of romantic expressions of
Uma and Shankara. It is obvious that Kavyakantha Muni is very much influenced
by the works of the great poet Kalidasa.
However, the present poet thought of deviating slightly even though he
has followed the description of romantic ideas of Kalidasa. This is seen in
phrases like `Parvati was following celibacy' and `who knows the secrecy of
romance of them'.
This stabaka, a prayer for UmaMaheshvara is excellent with the secrets of
romantic ideas filled with great devotional fervor emerging from the knowledge
of Vedavedanthamantratantrayoga of the poet, Ganapati Muni. ||12.25||
||समाप्तं च तृतीयं शतकम् ||
||End of third shataka ||
% File name : umAsahsram.itx
%--------------------------------------------
% Text title : umAsahasram stabaka 12
% Author : Kavyakantha Ganapati Muni, disciple of Ramana Maharshi
% Language : Sanskrit
% Subject : philosophy/hinduism/religion
% Description/comments :
% Sanskrit Transliterated by : Various volunteers listed at http://surasa.net/uma, Daksha
% Proofread by : Daksha, Sunder Hattangadi sunderh@hotmail.com
% Translation and Copyrights by :
% Dr. S. R. Leela, Dr. Jayanthi Manohar, M. P. Pandit
% Project Sponsored, Coordinated, and Published by : Daksha and Pradip Dalal
% Latest update : April 14, 2014
% Send corrections to : (sanskrit at cheerful dot c om)
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