Celebrating Sanskrit
(1)
जयरामेण प्रणीतम्॥प्लववत्सरपञ्चकम्॥
A Pentad of verses on Plava year by Jayaraman Mahadevan.
(The word Plava means to leap, jump, float)
पुप्लुवे सागरं दीर्घं मारुतिः पारगस्तथा।
दुस्थितेः पारगत्वं स्यात् शुभे नः प्लवहायने॥१॥
In ancient times Maruti leapt across the great ocean and reached the other shores. Similarly in this year of plava (leap), let us also leap across our sufferings and attain safer shores.
उडुपः प्लवते नद्यां तरणे करणं हि सः।
सत्कार्ये करणं स्याम प्रार्थ्यते प्लवहायने॥२॥
A small boat floats (plavate) in the river. It is instrumental in crossing (the river). It is prayed that we may also be instruments in some good work in this year of Plava (leap/float).
प्लवगस्य शिशुर्यद्वत् संश्लिष्येद् मातरं दृढम्।
दृढभक्ता तथा चेशे स्यामास्मिन् प्लवहायने॥३॥
The kid of a monkey (plava-ga) holds onto its mother firmly. It is prayed that, similarly, our devotion to the divinity may also be firm in this year of Plava..
प्लवगौ कपिभेकौ तावुरुविक्रमणः कपिः(हरिः)।
तथोरुक्रमणाः स्याम शुभेऽस्मिन् प्लवहायने॥४॥
Both monkey and frog are called plavaga (as both leap/jump). But the stride of the monkey (hari/monkey) is wider (Hari also refers to Lord Narayana, who covered the entire universe in three steps). Similarly let us make wide strides (of progress) in this year of Plava.
अप्सु संप्लवते पद्मपत्रं तन्नार्द्रतां व्रजेत्।
तथा निस्पृहता नः स्यात् प्रार्थ्यते प्लवहायने॥५॥
The lotus leaf floats (plavate) on the water but does not get wet. It is prayed that, in the same manner, we may develop the quality of overcoming attachments in this year of Plava.
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Magha was a renowned Sanskrit poet and author, celebrated for his skill in composing entire verses using just one, two, three, or four consonants. Here is an example from his work, Shishupala Vadha:In the 144th stanza, he crafts a complete sloka using only one consonant:
दाददो दुद्ददुद्दादी दाददो दूददीददोः ।
दुद्दादं दददे दुद्दे दादाददददोऽददः ॥
Sri Krishna, the giver of every boon, the scourge of the evil-minded, the purifier, the one whose arms can annihilate the wicked who cause suffering to others, shot his pain-causing arrow at the enemy.
Additionally, he was a master of writing palindromes. In the 44th stanza, he writes:
वारणागगभीरा सा साराभीगगणारवा ।
कारितारिवधा सेना नासेधा वारितारिका ॥
It is very difficult to face this army which is endowed with elephants as big as mountains. This is a very great army, and the shouting of frightened people is heard. It has slain its enemies.
(3)
A Chemistry book, called रसरत्नसमुच्चय, compiled in संस्कृत by वाग्भट,a 5th century scholar, mentions an amazing shloka ↓↓↓श्रीरामपादुकान्यस्तं वंगं यद्रूप्यतां गतम् ।
तत्पादरूप्यमित्युक्तं कृत्रिमं सर्वरोगनुत् ॥
॥ रस-५.२४ ॥
The tin, which gets converted into Silver by touching the paduka of Shree Ram, is called the artificial Silver which is the destroyer of every disease.
वह टिन (एक पदार्थ) जो श्रीराम के पादुका के स्पर्श से चांदी बन गया हो ऐसे टिन को कृत्रिम चांदी कहते हैं जो कि सर्वरोगनाशक होता है।
(4)
HOW ANCIENT RAMAYANA ISIf we study Srimad Ramayana in depth, we will get a clue to this riddle.
After conquering Lankhini, the Goddess of Lanka, Sri Hanuman enters Lanka and searches for Seeta. Sage Valmiki describes what Sri Hanuman saw, as follows:
त्रिविष्टपनिभं दिव्यं दिव्यनादविनादितम् ।
वाजिहेषितसंघुष्टं नादितं भूषणैस्तथा ॥
रथैर्यानैर्विमानैश्च तथा गजहयैः शुभैः ।
वारणैश्च चतुर्दन्तैः श्वेताभ्रनिचयोपमैः ॥
भूषितं रुचिरद्वारं मत्तैश्च मृगपक्षिभिः ।
राक्षसाधिपतेर्गुप्तमाविवेश गृहं कपिः ॥
(Sundara Kanda 3rd Sarga 35 - 37 Slokas)
The great Hanuman entered secretly Ravana's inner city which was equal to paradise, rendered noisy by the neighing of horses and the tinkling of ornaments, by chariots, vehicles, and aerial-cars, and decorated by auspicious elephants and horses, as well as great elephants with four tusks, along with birds and animals in heat. It had beautiful entrances and was protected by thousands of rakshasas with great strength.
उत्तमं राक्षसावासं हनुमानवलोकयन्।
आससादाथ लक्ष्मीवान् राक्षसेन्द्रनिवेशनम्॥
चतुर्विषाणैर्द्विरदैस्त्रिविषाणैस्तथैव च।
परिक्षिप्तमसम्बाधं रक्ष्यमाणमुदायुधैः॥
(Sundara Kanda 9th Sarga 5th and 6th Slokas)
Thereafter, Hanuman the glorious one neared and observed the best residence of Rakshasas and the house of Ravana, containing elephants with four tusks, as well as those with three tusks and those with two tusks, yet it was not crowded. It was protected by soldiers bearing raised weapons.
Here, Sage Valmiki describes elephants with four tusks, as well as those with three tusks and two tusks.
Fossil evidence suggests that some prehistoric elephants, such as certain species of the genus Palaeoloxodon, had four tusks. These elephants lived during the Miocene to Pleistocene epochs, approximately 1.2 to 1.6 million years ago.
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अन्यस्मात् समूहात् मया प्राप्तस्य मराठीलेखस्य संस्कृतभावानुवादः संक्षेपः च।
मूलमराठीलेखस्य लेखिकाद्वयम्
गाडकुलनाम्ना अञ्जलिमहोदया ।
पाथरेकुलनाम्ना प्राचीमहोदया।
संस्कृतानन्दः ।
शेरेकुलोत्पन्ना ऋचा ।
मुम्बय्यीनगरनिवासिनी युवती ।
जन्मतः निम्नत्वसंलक्षणम् (Down syndrome) इति रोगेण पीडीता । तथापि दृढानवरतप्रयत्नशीला (strictly persevering)। तया बहवः परीक्षाः सहायम् अस्वीकृत्य एव पारिताः । तस्याः प्रगत्यां पित्रोः शिक्षकाणां च सहभागः निश्चयेन अस्ति एव
इति कथनस्य आवश्यकता एव न भवेत् ।
२०११ इति ईसवीये वर्षे तया शालान्तपरीक्षार्थं (S.S.C. exam) पञ्जीयनं कृतम् । तावत् पर्यन्तं निम्नत्वसंलक्षणपीडितः अन्यः कः अपि परीक्षार्थी शालान्तपरीक्षास्तरं यावत् न गतवान् आसीत् । अतः आरम्भे शिक्षणमण्डलेन परीक्षाप्रयत्नार्थम् अनुमतिः एव प्रतिषिद्धा । महाप्रयत्नैः अनुमतिः संप्राप्ता तया ।
अग्रतः गत्वा सा संस्कृतविषयं स्वीकृत्य पदवीं (B. A. with Sanskrit) प्राप्तवती । तस्यां परीक्षायां सा विद्यापीठे प्रथमस्थानं प्राप्तवती ।
तस्याः शिक्षणौघः इतः अपि अग्रे गतः । अनन्तरं सा संस्कृतविषये पदव्युत्तरपदवीम् (M. A. with Sanskrit) अपि प्राप्तवती ।
इदानीं सा संस्कृतस्य प्रसारं कर्तुम् इच्छति । अतः तया youtube इति मञ्चे संस्कृत रुचि विथ ऋचा शेरे इति नाम्ना काचन संवाहिनी (channel) निर्मिता अस्ति । तत्र कृपया अभ्युपगमनं (visit) कृत्वा आनन्दम् अनुभवत ।
यथाशक्यं संवाहिन्याः रोचनं (like) वण्टनं (share) भाष्यलेखनं ( comment) सहत्वं (subscription) च अपि कुरुत इति प्रार्थना अस्ति ।
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A Chemistry book, called रसप्रकाशसुधाकरः, compiled in संस्कृत by यशोधरभट्टः,a 13th century scholar, mentions a mesmerizing shloka ↓↓↓दरदं रोमदेशीयं गोमूत्रेणैव स्वेदयेत् ।
दोलायंत्रे चतुर्यामं पश्चाच्छुद्धतमो भवेत् ॥
🆎 The red lead of Rome after mixing with cow urine, kept for 4 prahars (ancient unit of time) in dolayantra (an apparatus) becomes purified.
🔍{It's also a known fact that Lead(II,IV) oxide (read lead) was used as a red pigment in ancient Rome, where it was prepared by calcination of white lead. }
⚜️ रोम में पाई जाने वाली दरद (रेड लिड) को गोमूत्र से सीँचने के पश्चात् दोलायन्त्र में चार प्रहर रखने के पश्चात् शुद्धतम हो जाएगा ।
🔎{यह भी एक ज्ञात तथ्य है कि प्राचीन रोम में लेड (II, IV) ऑक्साइड (रीड लेड) का उपयोग लाल रंगद्रव्य के रूप में किया जाता था, जहाँ इसे सफेद लेड के कैल्सीनेशन द्वारा तैयार किया जाता था।}
⛵️This proves there was a trade relation between Europe and India much before arrival of Vasco De gama.
⛵️इससे साबित होता है कि वास्को डी गामा के आगमन से बहुत पहले यूरोप और भारत के बीच व्यापारिक संबंध थे।
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Here’s a rewritten version of your text:Same Shloka, Different Interpretations
तमाखुपत्रं राजेन्द्र भज माज्ञानदायकम्।
Oh esteemed King, refrain from the use of tobacco leaves, as they lead to ignorance.
तमाखुपत्रं राजेन्द्र भज माज्ञानदायकम्।
Oh esteemed King, revere the one whose mount is the mouse (Ganesha) and whose mother embodies wisdom (Saraswati).
(8)
विभूषितानङ्गरिपूत्तमाङ्गासद्यः कृतानेकजनार्तिभङ्गा ।
मनोहरोत्तुङ्गचलत्तरङ्गा
गङ्गा ममाङ्गान्यमलीकरोतु ॥
This shloka is part of Ganga-Lahari, composed by Pandit Jagannath. The story behind this famous composition is as intriguing as the essence of the shloka itself. When faced with a dire crisis, Pandit Jagannath decides to please Mother Ganga by singing verses in her praise. He composes 52 shlokas right there on the banks of the Ganga, and with each shloka, she (Mother Ganga) rises one step higher. Ultimately, the great pandit becomes one with her, signifying a noble death.
This particular shloka, composed in the viparītākhyānikī (विपरीताख्यानिकी) meter, is the 52nd shloka of Ganga-Lahari and exemplifies the genius of Pandit Jagannath. The repetition of the ङ्ग sound is a key feature utilizing the literary device of alliteration while the arrangement of the adjectives used for Ganga showcases true beauty. It is important to remember that he was creating this extemporaneously!
(9)
केशवं पतितं दृष्ट्वापाण्डवाः हर्षनिर्भराः ।¹
रुदन्ति कौरवास्तत्र²
हा हा केशव केशव ॥
पाठभेदः।
¹ द्रोणो हर्षमुपागतः । द्रोणेति दग्धकाकः।
² पाण्डवाः सर्व्वे॥
Here, the poet creates an illusion by leading the reader to believe what appears to be prima facie in the subhashitam.
When translated literally, it suggests that the Pandavas are overjoyed upon seeing Keshav (Lord Krishna) fallen, while the Kauravas are crying! This is somewhat contradictory to common sense, as Krishna was on the side of the Pandavas and against the Kauravas in the great war of the Mahabharata.
The verse is composed in the anuṣṭup (अनुष्टुप्) meter.
के शवं पतितं दृष्ट्वा
On seeing the dead body (शवं) fallen in the water (के),
पाण्डवाः हर्षनिर्भराः
The Pandavas (a species of water-birds) are filled with joy,
रुदन्ति कौरवाः तत्र
And hence the crows (कौ-रव, the ones who have voices like 'kau') are crying.
हा हा केशव केशव
Ha ha Keshav!! What a miracle!
(10)
Raja Bhoj presents this seemingly nonsensical line, 'ठं ठं ठठं ठं ठठठं ठठं ठः,' as a challenge (समस्यापूरणम्) for the assembly of intellectuals gathered in his court. This subhashitam is Kalidasa's clever solution to that challenge.राज्याभिषेके मदविह्वलायाः
हस्ताच्च्युतोऽहेमघटस्तरुण्याः ।
सोपानमासाद्य करोति शब्दम्
ठं ठं ठठं ठं ठठठं ठठं ठः ॥
In the grand coronation ceremony, when the young woman, intoxicated with joy, has a golden pot slip from her hand, it creates a sound as it descends the steps:
'Tham tham thatham tham thathatham thatham thah!'
(11)
अम्बा कुप्यति तात मूर्ध्नि विधृता गङ्गेयमुत्सृज्यतां ।विद्वन् षण्मुख का गतिर्मम चिरं मूर्ध्नि स्थिताया वद ॥
कोपावेशवशादशेषवदनैः प्रत्युत्तरं दत्तवान् ।
अम्भोधिर्जलधिः पयोधिरुदधिर्वारांनिधिर्वारिधिः ॥
"Mother is angry, Father; dismount the Ganga who is held atop your head," Kartikeya said.
Ganga asked in return, "O learned six-headed one, tell me, what will be my fate, having rested on the head (of your father) for so long?"
In response, filled with anger, he gave a back-answer with all his [six] heads: "Ambodhi, Jaladhi, Payodhi, Udhadhi, Varamnidhi, Varidhi!" (Six words through six mouths conveying the same meaning to the ocean!)
This shloka showcases the magnificence of the Sanskrit language, highlighting the profound depth of knowledge encapsulated in every single word. The language's richness is illustrated by the multitude of synonyms available for each term, with each synonym serving a distinct and meaningful role.
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मा निषाद प्रतिष्ठां त्वमगमश्शाश्वतीस्समा: ।यत्क्रौञ्चमिथुनादेकमवधी: काममोहितम्॥
O fowler, may you not attain glory for a duration akin to eternity, for having killed one of the infatuated couple of kraunchas.
This shloka is actually the result of Maharshi Valmiki's anger! It is said that शोकः श्लोकात्मगतः – his curse took the form of a verse! One day, as the great sage was returning from his bath, he witnessed a male क्रौञ्च bird engaged in mating, only to be struck down by the arrow of a hunter. Infuriated by this sight, the sage uttered a curse that miraculously took the shape of lines following a fixed rhythm. Thus was born the first shloka in history, along with the legendary meter of anuṣṭup (अनुष्टुप्). This inspired Lord Brahma to command Maharshi Valmiki to compose the epic of Ramayana in the same meter!
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About 2,200 years ago, the great King Sātavāhana ruled over Andhra Pradesh.One day, while he was relaxing in his pond with his many queens, one of them, tired of the splashing, asked him in Sanskrit to stop by saying, "modakaṃ dehī deva" (मोदकं देहि देव). The brave king, unfamiliar with Sanskrit sandhis, mistakenly assumed she was asking for "modakas" (मोदक), a type of sweet, and instructed his servants to fetch the renowned treat. The queen laughed at him and playfully rebuked him for his lack of proficiency in Sanskrit.
*modakaṃ dehī deva (मोदकं देहि देव) = mā udakaṃ dehī deva (मा उदकं देहि देव)
(Lord, please do not splash me with water)
(14)
In the Padma Purana, specifically in the third chapter of the third volume named Svarga Khanda:15: यथा हि पुरुषः पश्येदादर्शे मुखमात्मनः
Just as a man sees the reflection of his face in a mirror,
16: एवं सुदर्शनो द्वीपो दृश्यते चक्रमंडलः
Similarly, the reflection of Sudarshan (earth) is seen like a wheel (in the moon).
17: द्विरंशे पिप्पलस्तस्य द्विरंशे च शशो महान्
In two parts of Sudarshan there are Peepal (fig) leaves, and two parts have a giant rabbit.
18: सर्वौषधिं समादाय सर्वतः परिवारितः
The entire land mass is covered with all kinds of herbs;
19: आपस्ततोन्या विज्ञेयाः शेषः संक्षेप उच्यते
In brief, everything apart from these land masses is covered with water.
Padma Purana, 3.3
Years later, the Indian saint and philosopher Ramanujacharya (1017–1137 CE), a prominent Hindu theologian, attempted to create a map based on these descriptions. Below is a sample of his map, which features leaves and a rabbit. Some scholars attribute this map to Sriman Thiruvenkata Ramanuja Jeeyar (1806–1877) instead.
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देश में एक ऐसा वर्ग बन गया है जो संस्कृत भाषा से तो शून्य है, परंतु उनकी छद्म धारणा यह बन गई है कि संस्कृत भाषा में जो कुछ भी लिखा है, वे सब पूजा-पाठ के मंत्र ही होंगे, जबकि वास्तविकता इससे भिन्न है।देखते हैं -
चतुरश्रं मण्डलं चिकीर्षन्नक्ष्णयार्धं मध्यात्प्राचीमभ्यापातयेत्।
यदतिशिष्यते तस्य सह तृतीयेन मण्डलं परिलिखेत्॥
बौधायनशूल्बसूत्र २।९॥ में उक्त श्लोक लिखित है!
इसका अर्थ है -
यदि वर्ग की भुजा 2a हो,
तो वृत्त की त्रिज्या r = [a + 1/3(√2a – a)] = [1 + 1/3(√2 – 1)]
ये क्या है?
अरे, ये तो कोई गणित या विज्ञान का सूत्र लगता है।
(16)
सम्भवतः ईसा के जन्म से पूर्व पिंगल के छंद शास्त्र में एक श्लोक प्रकट हुआ था। हलायुध ने अपने ग्रंथ मृतसंजीवनी में, जो पिंगल के छंद शास्त्र पर भाष्य है, इस श्लोक का उल्लेख किया है -परे पूर्णमिति१ ॥ ८ । ३५ ॥
उपरिष्टादेकं चतुरस्रकोष्ठं लिखित्वा तस्याधस्तादुभयतोऽर्धनिष्क्रान्तं कोष्ठकद्वयं लिखेत् । तस्याप्यधस्तात्त्रयं तस्याप्यधस्ताच्चतुष्टयं यावदभिमतं स्थानमिति मेरुप्रस्तारः ॥ तस्य प्रथमे कोष्ठे एकसंख्यां व्यवस्थाप्य लक्षणमिदं प्रवर्तयेत् । तत्र परे कोष्ठे यद्वृत्तसंख्याजातं तत् पूर्वकोष्ठयोः पूर्णं निवेशयेत् ।
१. सूत्रावृत्तिः शास्रसमाप्तिसूचनार्था ।
द्वयं द्वयं समं कोष्ठं कृत्वान्त्येष्वेकमर्पयेत् ।
एकद्वयेकत्र्येकचतुष्क्रमेण प्रथमेष्वपि ॥
शीर्षाङ्काप्तपराङ्काभ्यां शेषकोष्ठान् प्रपूरयेत्
मात्रामेरुरयं दुर्गः सर्वेषामतिदुर्गमः ॥ इति ।
शायद ही किसी आधुनिक शिक्षा में गणित में बी.एससी. किए हुए भारतीय छात्र ने इसका नाम भी सुना हो, जबकि यह मेरु प्रस्तार है। लेकिन जब यह पाश्चात्य जगत से पास्कल त्रिभुज के नाम से भारत आया, तो उन कथित सेकुलर भारतीयों को इस बात पर लज्जा आने लगी कि भारत में ऐसे सिद्धांत क्यों नहीं दिए जाते।
(17)
चतुरधिकं शतमष्टगुणं द्वाषष्टिस्तथा सहस्राणाम्।अयुतद्वयविष्कम्भस्यासन्नो वृत्तपरिणाहः॥
विषकम्भः = Diameter
परिणाहः = Perimeter (circumference)
ये भी कोई पूजा का मंत्र ही लगता है, परन्तु ये किसी गोले के व्यास और परिधि का अनुपात है। वृत्त की परिधि और व्यास के अनुपात का, यानी कि, π के निकटतम मान का संशोधक आद्य गणितज्ञ आर्यभट हैं। जब पाश्चात्य जगत से ये आया, तो संक्षिप्त रूप लेकर आया ऐसा π जिसे २२/७ के रूप में डिकोड किया जाता है। आर्यभटीय में भूमि के अक्षभ्रमण की अवधि २३ घंटे, ५६ निमेष और ४.१ क्षण बताई गई है।
उक्त श्लोक को अंकों में डिकोड करेंगे तो कुछ इस तरह होगा-
{(१०० + ४) × ८ + ६२०००}/२०००० = ३.१४१६
(18)
स्वामी भारतीकृष्ण तीर्थ (1884-1960) ने π का मान ३२ अंक तक शुद्ध बताया है।गोपीभाग्यमधुव्रातशृङ्गिशोदधिसन्धिगः ।
खलजीवितखाताव गलहालारसंधरः ॥
इस श्लोक को कटपयादि विधि से हल करने पर ३२ अंकों तक π का मान 3.1415926535897932384626433832792… आता है।
(19)
चक्रीय चतुर्भुज का क्षेत्रफल:ब्राह्मस्फुटसिद्धान्त के गणिताध्याय के २१वें श्लोक में निम्नलिखित श्लोक वर्णित है-
स्थूलफलं त्रिचतुर्भुजबाहुप्रतिबाहुयोगदलघातः ।
भुजयोगार्द्धचतुष्टवभुजो न घातात्पदं सूक्ष्मम् ॥
त्रिभुज और चतुर्भुज का स्थूल (लगभग) क्षेत्रफल उनकी आमने-सामने की भुजाओं के योग के आधे के गुणनफल के बराबर होता है, जबकि सूक्ष्म (सटीक) क्षेत्रफल भुजाओं के योग के आधे में से भुजाओं की लंबाई क्रमशः घटाकर और उनका गुणा करके वर्गमूल लेने से प्राप्त होता है।
(20)
ब्रह्मगुप्तप्रमेयःचक्रीय चतुर्भुज के विकर्ण यदि लम्बवत् हों तो उनके कटान बिन्दु से किसी भुजा पर डाला गया लम्ब सामने की भुजा को समद्विभाजित करता है।
ब्रह्मगुप्त ने श्लोक में कुछ इस प्रकार अभिव्यक्त किया है-
त्रिभुजभुजौ भूर्भूमिस्तल्लम्बो लम्बकाधरं खण्डम् ।
ऊर्ध्वमवलम्बखण्डं लम्बकयोगार्द्धमधरोनम् ॥
(ब्राह्मस्फुटसिद्धान्त, गणिताध्याय ३१)
(21)
वर्ग समीकरण का व्यापक सूत्र:ब्रह्मगुप्त का सूत्र इस प्रकार है-
वर्गचतुर्गुणितानां रूपाणां मध्यवर्गसहितानाम् ।
मूलं मध्येनोनं वर्गद्विगुणोद्धृतं मध्यः ॥
ब्राह्मस्फुटसिद्धांत 18.44
व्यक्त रुप (c) के साथ अव्यक्त वर्ग के चतुर्गुणित गुणांक (4ac) को अव्यक्त मध्य के गुणांक के वर्ग (b²) से सहित करें या जोड़ें। इसका वर्गमूल प्राप्त करें तथा इसमें से मध्य अर्थात b को घटावें।
पुनः इस संख्या को अज्ञात ञ वर्ग के गुणांक (a) के द्विगुणित संख्या से भाग देवें। प्राप्त संख्या ही अज्ञात "त्र" राशि का मान है।
(22)
श्रीधराचार्य ने इस बहुमूल्य सूत्र को भास्कराचार्य का नाम लेकर अविकल रूप से उद्धृत किया —चतुराहतवर्गसमैः रूपैः पक्षद्वयं गुणयेत् ।
अव्यक्तवर्गरूपैर्युक्तौ पक्षौ ततो मूलम् ॥
भास्करीय बीजगणित,
अव्यक्त-वर्गादि-समीकरण, पृ. - 221
प्रथम अव्यक्त वर्ग के चतुर्गुणित रूप या गुणांक (4a) से दोनों पक्षों के गुणांको को गुणित करके द्वितीय अव्यक्त गुणांक (b) के वर्गतुल्य रूप दोनों पक्षों में जोड़ें। पुनः द्वितीय पक्ष का वर्गमूल प्राप्त करें।
(23)
आर्यभट्ट की ज्या (Sine) सारणी:आर्यभटीयम् ॥१।१०॥ का निम्नांकित श्लोक ही आर्यभट्ट की ज्या-सारणी को निरूपित करता है:
मखि भखि फखि धखि णखि ञखि।
ङखि हस्झ स्वकि किष्ग श्घकि किघ्व।
घ्लकि किग्र हक्य धाहा स्त स्ग श्झ।
ङ्व ल्क प्त फ छ कलार्धज्याः॥
माधव की ज्या सारणी:
निम्नांकित श्लोक में माधव की ज्या सारणी दिखायी गयी है। जो चन्द्रकान्त राजू द्वारा लिखित 'कल्चरल फाउण्डेशन्स आफ मैथमेटिक्स' नामक पुस्तक से लिया गया है।
श्रेष्ठं नाम वरिष्ठानां हिमाद्रिर्वेदभावनः।
तपनो भानुसूक्तज्ञो मध्यमं विद्धि दोहनम्॥
धिगाज्यो नाशनं कष्टं छत्रभोगाशयाम्बिका।
म्रिगाहारो नरेशोऽयं वीरो रणजयोत्सुकः॥
मूलं विशुद्धं नालस्य गानेषु विरला नराः।
अशुद्धिगुप्ता चोरश्रीः शङ्कुकर्णो नगेश्वरः॥
तनुजो गर्भजो मित्रं श्रीमानत्र सुखी सखे!।
शशी रात्रौ हिमाहारो वेगज्ञः पथि सिन्धुरः॥
छायालयो गजो नीलो निर्मलो नास्ति सत्कुले।
रात्रौ दर्पणमभ्राङ्गं नागस्तुङ्गनखो बली॥
धीरो युवा कथालोलः पूज्यो नारीजरैर्भगः।
कन्यागारे नागवल्ली देवो विश्वस्थली भृगुः॥
तत्परादिकलान्तास्तु महाज्या माधवोदिताः।
स्वस्वपूर्वविशुद्धे तु शिष्टास्तत्खण्डमौर्विकाः॥२।९।५॥
(24)
संख्यारेखा की परिकल्पना (कॉन्सेप्ट्)एकप्रभृत्यापरार्धसङ्ख्यास्वरूपपरिज्ञानाय रेखाध्यारोपणं कृत्वा एकेयं रेखा दशेयं शतेयं सहस्रेयम् इति ग्राहयति अवगमयति सङ्ख्यास्वरूपं केवलं न तु सङ्ख्याया रेखात्मत्वमेव।
Bṛhadāraṇyaka Śaṅkarabhāṣyam (4.4.25)
जिसका अर्थ है।
1 इकाई, 10 इकाइयाँ, 100 इकाइयाँ, 1000 इकाइयाँ आदि परार्ध (10¹⁸) तक एक संख्या रेखा में स्थित की जा सकती हैं। अब संख्या रेखा का उपयोग करके जोड़, घटाव आदि किए जा सकते हैं।
ये तो कुछ नमूना हैं जो ये दर्शाने के लिये दिया गया है कि संस्कृत ग्रंथो में केवल पूजा पाठ या आरती के मंत्र नहीं है बल्कि सम्पूर्ण विज्ञान भरा पड़ा है।
दुर्भाग्य से कालांतर में व विदेशी आक्रांताओं के चलते संस्कृत का ह्रास होने के कारण हमारे पूर्वजों के ज्ञान का भावी पीढ़ी द्वारा विस्तार नहीं हो पाया और बहुत से ग्रंथ आक्रांताओं द्वारा नष्ट भ्रष्ट कर दिए गए ।
(25)
कःखगौघाङचिच्छौजा झाञ्ज्ञोऽटौठीडडण्ढणः।तथोदधीन्पफर्बाभीर्मयोऽरिल्वाशिषां सहः॥
॥ श्रीभोजविरचिते सरस्वतीकण्ठाभरणे २।२६३॥
रामसिंहटीका।
क्रमस्थेति। वर्णसमाम्नाये येन क्रमेण कादयो मावसानाः पठितास्तेन क्रमेण व्यञ्जननिवेशः। कः खगौघस्तत्तत्प्रसिद्धावदानपक्षिसमूहस्तमञ्चतीति क्विनि संयोगान्तलोपे कृते च खगौघाङिति रूपम्। चितं संविदं छयति छिनत्तीति चिच्छं यदोजस्तन्नास्ति यस्यासावचिच्छौजाः। झमुँ अदने अस्मात् क्विप्। अनुनासिकस्य क्विझलोः क्ङिति ६।४।१५ इत्युपधादीर्घः । मो नो धातोः ८।२।६४ इति नकार इति झान् परबलभक्षको ज्ञः पण्डितः । स्तोः श्चुना श्चुः ८।४।४० इति नकारस्य ञकारः । अटाः सङ्ग्रामाङ्गणपर्यटनशीलाः सुभटास्तानोठति बाधत इति क्विप् । उठँ गतौ इति धातो रूपम् । तेषामीडीश्वरः । अडण्ढणोऽचपलः । डण्ढण इत्यव्युत्पन्नं चपलवाचिप्रातिपदिकम् । तथा अभीर्भयरहित एवंविधः को नामायमुदधीन् पफर्ब पूरयामासेति प्रश्नः । उत्तरम् अरीन् लुनन्ति या आशिषस्तासां सहः क्षमो मयो दैत्यराज इति ॥
हिन्दी :
कौन है जो पक्षियों के समूह को पूजक है, हृदय का छेदन करने वाला ओज (दोषविशेष) जिसमें नहीं है, जो दूसरों की बल के भक्षण की कला को जानने वाला है, संग्राम में विचरण करने वालो योद्धाओं के बाधकजनों का स्वामी है, जो चपल नहीं है (अपितु गम्भीर है), जो सागरों को भरनेवाला है तथा भयरहित है? वह दैत्यों का राजा मय है जो शत्रुओं के छेदन में वरदानों के कारण सक्षम है।
इस श्लोक को ध्यान से पढ़ने पर आपको एक अद्भुत तथ्य का पता चलता है। संस्कृत वर्णमाला के सभी 33 व्यंजन इस श्लोक में क्रमानुसार प्रस्तुत हैं। यह एक अद्वितीय और आश्चर्यकारी बात है, जो संस्कृत जैसी समृद्ध और विशाल भाषा की विशेषता है। यह सौंदर्य और संरचनात्मक विशेषता केवल संस्कृत में ही देखने को मिलती है जो इसे अन्य भाषाओं से अलग बनाती है।
English :
Who is the one who revers the flock of birds, whose heart is free from the flaw of vigour, who knows how to devour the strength of others, who is the lord of repressors of warriors in battle, who is not fickle, who had filled the oceans and is fearless? It is Maya, the king of daityas, who is empowered to pierce his enemies with his boons.
On carefully reading this 263rd verse of second chapter of Sarasvatī Kaṇṭhābharaṇam, you will discover an amazing fact - all 33 consonants of the Sanskrit alphabet are presented in sequence in this verse! This is a unique and astonishing feature, which is a characteristic of Sanskrit, a rich and vast language. This beauty and structural uniqueness is found only in Sanskrit, which sets it apart from other languages.
(26)
के शवा इव लोकेऽस्मिन् येषां चित्ते न केशवः।माधवं जीवनं कस्य हृदिस्थो यस्य माधवः॥
प्र॰ इस संसार में शव-तुल्य कौन हैं?
उ॰ जिनके चित्त में केशव नहीं हैं।
प्र॰ किसका जीवन मधुमय (माधव) है?
उ॰ जिसके हृदय में माधव हैं।
(27)
यस्य षष्ठी चतुर्थी च विहस्य च विहाय च ।अहं कथं द्वितीया स्यात् द्वितीया स्यामहं कथम् ॥
यस्य पुरुषस्य वरस्य विहस्य च विहाय च एतौ शब्दौ षष्ठी चतुर्थी च स्यात् विहस्य इति षष्ठी विहाय इति चतुर्थी भवेत्। यस्य पुरुषस्य वरस्य अहं च अहम् इति शब्दः अपि द्वितीया स्यात् द्वितीया विभक्तिः भवेत् तस्य तादृशस्य पुरुषस्य वरस्य कथं केन प्रकारेण अहं या इमं श्लोकं वदन्ती सा द्वितीया पत्नी स्यां भवेयम् ।
संस्कृतभावार्थः।
काचित् युवती मातापितरौ वदति यः पुरुषः संस्कृताज्ञः अस्ति तेन सह कथं विवाहिता भवामि। तस्य द्वितीया कथं वा भवामि इति। स पुरुषः चिन्तयति विहशब्दस्य षष्ठी विहस्य अपि च तस्य चतुर्थी विहाय इति । किन्तु विहस्य ल्यप्प्रत्ययेन सिद्धम् अव्ययम् इत्युक्तं हसित्वा । अपि च विहाय अव्ययम् इत्युक्तं त्यक्त्वा।
यथा वागर्थौ तथा संस्कृतसंस्कृती । तयोः नित्य-सम्बन्धः । यत्र संस्कृतं तत्र संस्कृति । एषा युवती पृच्छति यस्य संस्कृतज्ञानं नास्ति तेन सह किमर्थं मम बन्धः।
हिन्दी।
जो पुरुष विहस्य और विहाय इन दोनों शब्दों को षष्ठी और चतुर्थी समझता है, और अहम् शब्द को द्वितीया समझता है, उसकी मैं कैसे पत्नी बन सकती हूँ। अर्थात् उन दिनों में भी पढ़ी-लिखी लड़कियाँ मूर्ख से विवाह करना नहीं चाहती थीं।
ध्यान दें कि किसी पद के अंत में स्य लगने मात्र से वह षष्ठी विभक्ति का नहीं हो जाता, और न ही आय लगने से चतुर्थी विभक्ति का।
विहस्य और विहाय ये दोनों अव्यय हैं, इनके रूप नहीं चलते। इसी प्रकार अहम् और कथम् में अंत में म् होने से वे द्वितीया विभक्ति के नहीं हो गए। अहम् मकार से अंत होता है तब भी वह उत्तमपुरुष-एकवचन का रूप है। इस सामान्य बात को भी जो नहीं समझता है, उसकी पत्नी कैसे बन सकती हूँ।
(28)
काचं मणिं काञ्चनमेकसूत्रे मुग्धा निबध्नन्ति किमत्र चित्रम् ।विचारवान्पाणिनिरेकसूत्रे श्वानं युवानं मघवानमाह ॥
शुनेव यूना प्रसभं मघोना प्रधर्षिता गौतमधर्मपत्नी ।
विचारवान् पाणिनिरेकसूत्रे श्वानं युवानं मघवानमाह ॥
The three terms—shvA (dog), yuvA (youth), and maghavA (Indra)—belong to the same grammatical category. They are declined in the same manner, and there exists a sUtra (rule) in Panini's grammar that connects them.
In the first verse: What is so unusual about women threading glass, beads, and gold together? Even the esteemed scholar Panini linked the dog, the youth, and Indra on the same string... (a play on the word sUtra).
In the second verse: Gautam's wife was forcefully assaulted by the youth Indra, who behaved like a dog. The great thinker Panini connected the dog, the youth, and Indra on the same string.
(29)
यदि वा याति गोविन्दो मथुरातः पुनः सखि ।राधाया नयनद्वन्द्वे राधानामविपर्ययः ॥
If Govinda indeed goes away from Mathura again, then from the eyes of Rādhā will flow the inversion of Rādhā ( Dhārā = streams)
(30)
द्रोणः पृथिव्यर्जुनभीमदूतो यः कर्णधारः शकुनीश्वरस्य ।दुर्योधनो भीष्मयुधिष्ठिरः स पायाद्विराडुत्तरगोऽभिमन्युः ॥
[ Pañcarātram first shloka ]
• द्रोण इति । द्रोणः कृष्णवर्णः । पृथिव्यामर्जुनभीमयोर्दूतः।
शकुनीश्वरस्य गरुडस्य कर्णधारो नेता। दुर्योधनः शत्रुभिरनभिगम्यत्वात् । भीष्मयुधिष्ठिरः भयङ्करश्च युद्धे स्थिरश्च । उत्तरं प्रशस्तं गच्छत्याचरतीति उत्तरगः । मन्युं यज्ञम् अभिगतोऽभिमन्युः । विराड् अर्थाच्छ्रीकृष्णः पायात् । अथ च द्रोणादिशब्दैरेतद्रूपककथाविषयाणां द्रोणार्जुनभीमकर्णशकुनिदुर्योधनभीष्मयुधिष्ठिरविराडोत्तरगोभिमन्यूनां सूचनं मुद्रालङ्कारभङ्गया कृतम् । इति गणपतिशास्त्री॥
He is Drona (raven, because of his dark color). He is the messenger of Arjuna and Bhima on the earth. He is the pilot of Garuda (lord of birds). He is Duryodhana (unapproachable by enemies). He is Bhishma (fearsome) and Yudhishthira (steadfast). He follows the excellent (Uttara) path. He is Abhimanyu (honored in sacrifices). May he, Viraat (means, Shri Krishna in Viraatroopa), protect.
And thus, the names Drona and others are used to describe Krishna through wordplay (rupaka) and metaphor (kathavishaya), indicating the characteristics of Drona, Arjuna, Bhima, Karna, Shakuni, Duryodhana, Bhishma, Yudhishthira, Viraat, Uttara, and Abhimanyu, through the Mudra Alankaara (poetic device). Thus says Ganapati Shastri.
(31)
The might of Hanumān (as presented in Udbhaṭasāgara 3.25)चतुर्थजः पञ्चमगो दृष्ट्वा प्रथमसम्भवाम्।
तृतीयं तत्र निक्षिप्य द्वितीयमतरत् तदा॥
The son of Vāyu, who could fly in the sky, having seen Sītā (in Laṅkā), cast the fire and swam through waters (of the ocean).
All of the प्रथम, द्वितीय, तृतीय, चतुर्थ & पञ्च are to be connected with five महाभूत, viz.,
प्रथमः - पृथिवी
द्वितीयः - जलम्
तृतीयः - अग्निः
चतुर्थः - वायुः
पञ्चमः - आकाशम्
चतुर्थजः = चतुुर्थस्य पुत्रः = वायोः पुत्रः = हनूमान्
पञ्चमगः = पञ्चमे विहारी = आकाशे विहारी = हनूमान्
प्रथमसम्भवाम् = प्रथमस्य पुत्रीम् = पृथिव्याः पुत्रीम् = सीताम्
तृतीयं = अग्निं
द्वितीयम् = जलम्
अन्वयः -
पञ्चमगः=आकाशविहारी चतुर्थजः=हनूमान् प्रथमसम्भवाम्=सीताम् (लङ्कायां) दृष्ट्वा, तत्र तृतीयम्=अग्निं निक्षिप्य द्वितीयम्=जलम् अतरत्।
इत्थं हनूमत्पराक्रमम्।
(32)
Rishi Kaņāda, an ancient Indian philosopher and sage known for his foundational contributions to the field of physics and metaphysics, articulated the water cycle in a manner remarkably similar to contemporary scientific discussions.What is truly remarkable is that Kaņāda encapsulates the processes of evaporation, transpiration, condensation, precipitation, and collection within just four sutras. Even more astonishing is his clear and definitive reference to gravitation.
In the fifth chapter (2nd ahnika) of the Vaiśeṣika Sūtra, he discusses these concepts (though not in this order):
1. Evaporation and Transpiration:
नाड्यो वायुसंयोगाद् आरोहणम्
Water rises [ārohanam] as vapour due to heated sun rays due to temperature [nāḑyaḥ] and air contact [vāyu samyoga].
2. Condensation:
नोदन-पीडनात् संयुक्त-संयोगात् च
The impulse of squeezing or condensation [nodana-pîḑana] and mutual combination with other molecules [samyukta-samyoga] makes for clouds.
3. Precipitation:
अपां संयोगाभावे गुरुत्वात् पतनम्
When the waters lose bonding [samyogābhāva], water drops fall due to gravitation.
4. Collection:
द्रवत्वात् स्यन्दनम्
Water flows due because of fluidity [dravatvat]
(33)
American linguist Leonard Bloomfield (1887 - 1949) on Sanskrit grammar1. Panini's grammar is one of the greatest monuments of human intelligence... It describes, with the minutest detail, every inflection, derivation, and composition, and every syntactic usage of its author's speech. No other language, to this day, has been so perfectly described. ( Language, 1933)
2. Hindu grammar described the Sanskrit language completely and in scientific terms, without prepossessions or philosophical intrusions. It was from this model that Western scholars learned, in the course of a few decades, to describe a language in terms of its own structure. (Linguistic Aspects of Science, 1939)
(34)
Retold by DKM KarthaOnce upon a time, King Bhoja went to visit his Queen in her garden.
He saw her sitting there, talking privately with her favorite companion. Without respecting their privacy, the King barged in, and as he approached, the Queen said, "Oh, come on in, you foolish man!”
Later, as King Bhoja returned to his palace, he pondered the Queen's calling him a fool. Unable to come up with a satisfactory explanation, he decided to play a trick.
Bhoja had 14 scholars and poets in his court. As each of them entered, he greeted them with, "Come on in, you fool!"
None of them responded. They sat down in their respective seats, wondering, "Why did His Highness call me a fool? After all, he has honored me with a position in his court. Who appoints a fool to his court?"
Then arrived none other than the great poet Kalidasa. The King repeated his enigmatic greeting, saying, "Come on in, you fool!"
As soon as the poet heard the word "fool" (मूर्ख), he took it as a kind of samasya (riddle) and gave an instantaneous response:
खादन्न गच्छामि हसन्न जल्पे
गतं न शोचामि कृतं न मन्ये।
द्वाभ्यां तृतीयो न भवामि राजन्
किं कारणं भोज भवामि मूर्खः॥
I do not walk while eating. I do not talk while laughing. I do not mourn the past. I do not consider the actions (egotistically as my own). I do not become a third wheel between two persons. What's the reason for me being a fool, then, O Bhoja?
King Bhoja's surprise knew no bounds because the poet, blessed by Mahakali, who is none other than Pratibha (Creative Genius) itself, had not only given a tit-for-tat response to the King's rude welcome but had also visualized the event between the King and the Queen using his ability of Prakhya (the poet's ability to see into the past and future without actually being there). Through his skill of Akhya, he wove the wisdom and the event into an elegant stanza, created in an attractive meter and adorned with beautiful words. Through the stanza, the Mahakavi also provided Bhoja with an explanation for the wise Queen’s reaction to his intrusion into her private meeting earlier that morning. He was indeed acting foolishly.
In amazement and recognition of genius, King Bhoja asked his Treasurer to reward the poet with one lakh gold coins for each word in the poem. In those golden days, rulers knew how to reward genius—the combination of Prakhya and Akhya: the magical ability of vision and the ability to present that vision in poetic form.
(35)
वोदकासंस्कृत में √उन् (क्लेदने) गीला करने,
तर करने के अर्थ में है। √उन् से बनता है उदक अर्थात जल। रूसी मदिरा 'वोदका' का संबंध संस्कृत 'उदक' से है। उदक से रूसी (स्कैंडिनेवियन) में 'वदा' हो गया है। वदा का अल्पार्थक रूप है वदका, जिसे अंग्रेजी आदि में वोदका कहा जाता है।
Vodka
In Sanskrit, √un (klēdane) means to make wet or to moisten. From √un comes the word udaka (उदक), which means water. The Russian word "vodakā" is related to the Sanskrit udaka (उदक). From udaka (उदक), it transformed into vadā (वदा) in Russian (Scandinavian). The diminutive form of vadā (वदा) is vodakā (वोदका), which is referred to as vodka in English and other languages.
सुरेशपन्तः
(36)
नावो न सन्ति सेनाया बह्वयस्तारयितुं तथा।वणिजामुपघातं च च कथमस्मद्विधश्वरेत् ॥ २८ ॥
इतनी बड़ी सेना को पार उतारने के लिए हमारे पास पर्याप्त नौकाएँ नहीं हैं। (यदि कहा जाए कि व्यापारियों के जहाजों का उपयोग किया जाए, तो) मेरे जैसे व्यक्ति अपने स्वार्थ के लिए व्यापारियों के व्यवसाय की हानि कैसे कर सकता है?
There are not enough boats to ferry such a large army across. (If it is suggested to use the merchants' ships,) how can a man like me harm the merchants' business for my own selfish interests?
विस्तीर्णे चैव नः सैन्यं हन्याच्छिद्रेण वै परः।
प्लवोडुपप्रतारश्च नैवात्र मम रोचते ॥ २९ ॥
इसके सिवा नौका आदि से यात्रा करनेपर हमारी सेना छिट- फुट होकर बहुत दूरतक फैल जायगी । उस दशा में अवसर पाकर शत्रु इसका नाश भी कर सकता है । इसीलिये डोंगी और नाव आदिपर बैठकर पार उतरनेकी बात मुझे ठीक नहीं जँचती है ॥ २९ ॥
Moreover, if we travel by boats, our army will scatter and spread out over a great distance. In that case, the enemy could take the opportunity to destroy it. Therefore, the idea of crossing over by sitting in boats or rafts does not impress me here.
श्रीमन्महाभारते वनपर्वे रामोपाख्यानपर्वे सेतुबन्धविषयकाध्याये २८३॥
In the great epic Mahabharata, in the Book of the Forest (Vanaparva), in the section concerning the story of Rama (Ramopakhyana), in the 283th chapter related to the construction of the bridge (Setubandha).
Large commercial boats were indeed available, but Sri Rama considered the potential harm to the businessmen and chose a different course of action.
Who were these businessmen? What goods were they trading? Why did they require such large boats capable of transporting massive armies, even though Sri Rama opted not to utilize them? With whom were they conducting their trade?
(37)
मञ्जुला। सम्पादकस्य भागिनेयी नितरां चलच्चित्रव्यसनिनी। प्रायेण प्रतिदिनमेव तया मातुलस्य सविधम् आगम्य उच्यते आर्य अभिनवं चलच्चित्रं समागतं नूनं मया भवदनुमत्या द्रष्टव्यम् इति। एकदा मातुलेन उक्तं वत्से Cinemaशब्दस्य निर्वचनम् एव निवारयति जनान् तद्दर्शनात् तथा हि आङ्ग्लभाषायां सीशब्दस्य अर्थः पश्य। फरासीसभाषायां ने शब्दस्य अर्थः न। संस्कृतभाषायां मा शब्दः वारणार्थकः। अतः एव शब्दत्रयस्य अस्य सम्मेलनेन समुत्पन्नस्य Cinemaशब्दस्य अर्थः मा मा द्राक्षीः इति। तच्छ्रुत्वा सम्पादकदुहित्रा उक्तं तात एतत् तु विपरीतम् एव उक्तम्। परमार्थतः तु सीशब्दस्य अर्थः पश्य। नेशब्दः बङ्गभाषामयः अनुनयार्थकः। मा शब्दः अपि मातृवाचकः। अतः एव Cinema शब्दस्य अर्थः पश्य मातः पश्य पश्य वत्से पश्य।अयं लेखः मञ्जूषा Vol. 6, No. 10, 1952तमे वर्षे मध्ये प्रकाशितः।
✍🏻संस्कृतहिताय
(38)
संयोगभेदा गुणनागतानि शुद्धेश्च भागो गतमूलमुक्तम् ।व्याप्तं समीक्ष्योपचयक्षयाभ्यां विद्यादिदं द्व्यात्मकमेव शास्त्रम् ॥
(Bhāsya of Bhāskarācārya in Āryabhaṭīyaṃ, gaṇitapādaḥ, maṅgalācaraṇam)
All arithmetical operations resolve into two categories, though they are usually considered to be four (addition, subtraction, multiplication, and division). The two main categories are increase and decrease. Addition means 'to increase,' and subtraction means 'to decrease.' These two types of operations permeate the whole of mathematics. It is also said (by many teachers) that multiplication and exponentiation (squaring, etc.) are particular kinds of addition, and division and involution (square root, etc.) are particular kinds of subtraction. Indeed, every mathematical operation consists of increase or decrease. Hence, the whole of this science can be understood as consisting truly of these two operations only.
(39)
कोऽयं द्वारि हरिः प्रयाह्युपवनः शाखामृगस्यात्र किंकृष्णोऽहं दयिते बिभेमि सुतरां कृष्णादहं वानरात्।
मुग्धेऽहं मधुसूदनः पिब लतां तामेव तन्मीवले
इत्थं निर्वचनीकृतो दयितया ह्रीतो हरिः पातु वः॥
कः अयं द्वारि। हरिः। प्रयाहि उपवनः शाखामृगस्य अत्र किम्। कृष्णः अहं दयिते। बिभेमि सुतरां कृष्णाद् अहं वानरात्। मुग्धे अहं मधुसूदनः। पिब लतां ताम् एव तन्वीम् अलम्। इत्थं निर्वचनीकृतः दयितया ह्रीतः हरिः पातु वः।
“Who is this at the door?”
“Hari (the name of Krishna).”
“Go to the garden; what is there for a monkey (Hari) here?”
“O Beloved, I am Krishna.”
“I am very afraid of the black (Krishna) monkey.”
“O enchanting one, I am Madhusudana (the destroyer of Madhu, Krishna).”
“ [If you are honeybee (Madhusudana), then] Drink that very slender vine (not my lips); (it is) sufficient (for you).”
Thus, may Hari, who is made speechless and embarrassed by (her) beloved, protect you all.
“यह द्वार पर कौन है?”
“हरि (कृष्ण का नाम)।”
“उपवन में जाओ; यहाँ वानर (हरि) के लिए क्या है?”
“हे प्रिय, मैं कृष्ण हूँ।”
“मैं काले (कृष्ण) वानर से बहुत डरता हूँ।”
“हे मुग्धे, मैं मधुसूदन हूँ (मधु का संहारक, कृष्ण)।”
“[मधुमक्खी (मधुसूदन) हो तो] उस पतली लता को ही पियो (मेरे होंठों को नहीं); (वही) पर्याप्त हैं।”
इस प्रकार, जो हरि प्रिया द्वारा चुप और लज्जाशील हुए, वह आप सभी की रक्षा करें।
(40)
Counting table of 9!नवभिरेकं नव।
नवभिर्द्वा अष्टादश।
नवभिर्त्रयस्सप्तविंशतिः।
नवभिश्चत्वारष्षट्त्रिंशत्।
नवभिः पञ्च पञ्चचत्वारिंशत्।
नवभिष्षट् चतुःपञ्चाशत्।
नवभिस्सप्त त्रयष्षष्टिः।
नवभिरष्टौ द्वासप्ततिः।
नवभिर्नवैकाशीतिः।
नवभिर्दश नवतिः।
(41)
99% of Urdu verbs have their roots in Sanskrit/Prakrit.~ Rekhta
(42)
न मात्यङ्गेषु ते सुभ्रु लावण्यातिशयो ध्रुवम् ।
अत एव त्वया पक्वे भोजनेऽपि स दृश्यते ॥
~ शङ्करः राजारामन्
Dear! Your लावण्यं (loveliness, also saltiness) is so excessive that it cannot be contained within your body parts; therefore, it has overflowed into the food you’ve cooked. (pun on your food is too salty to eat.)
(43)
Sanskrit Time units1 निमेषः = 0.16 seconds
1 काष्ठः ≈ 0.27 seconds
1 त्रुटिः = 0.32 seconds
1 विपलम् = 0.4 seconds
1 लवः = 0.64 seconds
1 प्राणः = 4 seconds
1 कला = 8 seconds
1 विघटिका/विनाडी/पलम् = 24 seconds
1 क्षणः = 4 minutes
1 नाडी/घटिका/दण्डः = 24 minutes
1 मुहूर्त्तः = 48 minutes
1 होरा/वेला = 1 hour
1 यामः/प्रहरः = 3 hours
1 अहोरात्रम् = 24 hours = 1 day
(44)
India had more than 49 lakh Sanskrit Speakers in 2001 and more than 31 lakh in 2011 census of India.The drop in numbers might be attributed to change in policy of language selection.
(45)
The below verse is an excellent example of श्लेषालङ्कारः or double entendre. Here this verse has two meanings.सूत्रं पाणिनिबद्धं कलयन्पुरुषः समुद्वहति सुदृशम्।
वर्णादीनां धर्मान्बुद्ध्वा विधिवत्प्रेयुङ्क्तेऽसौ॥
Related to Marriage:
सूत्रं - a band (tied during matrimonial ceremony), पाणिनिबद्धं - tied in hand, कलयन्पुरुषः - a man bearing, समुद्वहति - marries well, सुदृशम् - beautiful-eyed girl, वर्णादीनां - of varnas such as Brahmins etc., धर्मान् - duties, बुद्ध्वा - having understood, विधिवत् - accordingly, प्रेयुङ्क्ते - engages, असौ - he
A man wearing a wedding band, tied in his hand, marries well a beautiful-eyed girl. He after understanding the dharma of social classes engages accordingly.
Related to Grammar:
सूत्रं - rule, पाणिनिबद्धं - framed by Maharshi Panini, कलयन्पुरुषः - a person contemplating, समुद्वहति - retains well, सुदृशम् - the correct vision (to understand correct and incorrect usages), वर्णादीनां - of letters etc., धर्मान् - laws, बुद्ध्वा - having understood, विधिवत् - diligently, प्रेयुङ्क्ते - follows, असौ - he
A person contemplating on the sutra of Maharshi Panini retains the correct usage well. He follows them diligently after learning the laws of phonetics.
(46)
तया कवितया किं वा किं वा वनितया तया।पदविन्यासमात्रेण मनो नापहृतं यया॥
~ अज्ञातमूलम्
🌹 This verse implies that whether it is a poem (कविता) or a woman (वनिता), if they do not captivate your heart through their पदविन्यास, they do not hold any great value. The term पदविन्यास can be understood as the fine placement of words in a poem or the graceful gait of a woman.
🌷 इस श्लोक का अर्थ है कि चाहे वह कविता हो या स्त्री, अगर वे अपने पदविन्यास के माध्यम से आपके हृदय को नहीं लुभाती हैं, तो उनमें कोई महानता नहीं है। पदविन्यास का अर्थ कविता में शब्दों की सुन्दर व्यवस्था या स्त्री के चलने के सुन्दर ढंग से है।
(47)
While Shri Narendra Modi take oath for the 3rd time as the PM of Bharat here is an ashirvachana for him from the Rishi Tradition of Bharat.यौधिष्ठिरं धैर्यमवाप्नुहि त्वं
भैमं बलं नैपुणमर्जुनस्य।
माद्रीजयोः कान्तिमथाभिरूप्यं
कीर्तिं च कृष्णस्य जगत्प्रियस्य॥
May you inherit the fortitude of Yudhisthira, the strength of Bhima, the skill of Arjuna, the brilliance and charm of the sons of Mādrī (Nakula and Sahadeva), and (above all), the renown of Krishna, the beloved of the world.
» Pancharātram of Bhāsa 2.70 by Sampadananda
आ त्वा गन्राष्ट्रं सह वर्चसोदिहि प्राङ्विशां पतिरेकराट्त्वं वि राज।
सर्वास्त्वा राजन्प्रदिशो ह्वयन्तूपसद्यो नमस्यो भवेह॥
O King, May you shine and rule this Rashtra as sole ruler & protector of the people; and be honoured & revered by people from all the regions.
📍 अथर्ववेदः ३।४।१ ॥
(48)
🌿साक्षराः विपरीताश्चेद्राक्षसा एव केवलम्।सरसो विपरीतश्चेत् सरसत्वं न मुञ्चति॥
🌞 अक्षराणां विपर्यस्तविन्यासेन अर्थगौरवं वर्णयति पद्यमिदम्। साक्षराः यदि विपरीतमाचरन्ति तर्हि ते राक्षसाः भवन्ति। किन्तु सरसो विपरीत अपि शब्दक्रमस्य विपर्यासेनापि सरस एव भवति। सरसः व्यक्तिः कदाचित् स्वस्य स्वभावं रसयुक्तत्वं न मुञ्चति।
🌷साक्षर (लोग जो अक्षरज्ञान रखते हैं) वो क्रम विरुद्ध होकर (विपरीताचरण से) राक्षस बन जाते हैं। पर सरस व्यक्ति विपरीत क्रम वाला होकर भी सरसत्व नहीं छोड़ता। वो हर स्थिति में सरस रहता है।
🌹If [the word] साक्षराः (=scholars) become otherwise, they turn to राक्षसाः (=devils). [But] if [the word] सरस (=charming) is reversed, it does not leave out charmingness. This is play on words and meaning.
उषा सङ्का
(49)
एकस्मिन्नेव श्लोके अष्टादशपुराणपरिचयः।मद्वयं भद्वयं चैव ब्रत्रयं वचतुष्टयम्।
अनापलिङ्गकूस्कानि पुराणानि प्रचक्षते॥
मद्वयम्। मत्स्य १। मार्कण्डेय २।
भद्वयम्। भविष्य ३। भागवत ४।
ब्रत्रयम्। ब्रह्म ५। ब्रह्मवैवर्त ६। ब्रह्माण्ड ७।
वचतुष्टयम्। विष्णु ८। वामन ९। वायु १०। वराह ११।
अ। अग्नि १२।
ना। नारद १३।
प। पद्म १४।
लिं। लिङ्ग १५।
ग। गरुड १६।
कू। कूर्म १७।
स्क। स्कन्द १८।
(50)
Expressions for Rainfall in Sanskrit :(Written by Suhas Mahesh and refined by linktr.ee/samvadah)
Standard Expression:
- देवो वर्षति: The Deva [of rain] makes it rain.
Variations of Rainfall Descriptions:
1. गात्रस्नायं (or पुरुषस्नायं) वर्षति देवः: It rains enough to bathe one's body.
2. चेलक्नोपं वर्षति देवः (or वस्त्रक्नोपं वर्षति देवः or वसनक्नोपं वर्षति देवः): It rains enough to wet a cloth.
- क्नोपम्: From the rare verb क्नूय् meaning "to be wet" (See, ashtadhyayi.com/sutraani/3/4/33 )
3. गोष्पदपूरं वृष्टो देवः: It rained enough to fill the impression of a cow's hoof.
4. मूषिकाबिलपूरं वर्षति देवः: It rains enough to fill the rat burrows.
5. सीतापूरं वर्षति देवः: It rains enough to fill the furrows (सीता) in the fields.
6. द्रोणमेघः: A cloud pouring forth water as from a trough (द्रोण); द्रोणवृष्टिः: The rain from such a cloud.
कोऽयमेवंविधे काले कालपाशस्थिते मयि।
अनावृष्टिहते सस्ये द्रोणमेघ इवोदितः॥१।२६॥
"Who is it that, in such a manner, at a time when there is a drought, appears like a Drona cloud that brings rain to a parched field?"
(As mentioned in the 10th Act of Mṛcchakaṭika).
- द्रोणमेघो नाम प्रचुरधारासंपातविशिष्टो मेघो योऽतिशयेन वर्षति। इति टिप्पणी॥
A cloud that pours down heavily and continuously, characterized by excessive rainfall.
7. देवमातृको देशः: A land having the Deva (Indra) as a foster-mother (i.e., the land is nourished by rain, akin to how a mother nurtures her child).
Note on Usage:
- The term पूरं (meaning "filled") in the above examples can also be replaced by प्रम्: For example, गोष्पदप्रम्, सीताप्रम्, मूषिकाबिलप्रम्, etc. (See ashtadhyayi.com/sutraani/3/4/32 )
Expressions for Rainfall Coverage:
- परिप॒रि॒ त्रिगर्त्तेभ्यो वृष्टो देवः It rained around Trigarta (a region east of the Shatadru, including areas like Loodiana and Pattiala) while excluding it.
- Similarly:
- परिप॒रि॒ सौवीरेभ्यः (a district near the Indus),
- परिप॒रि॒ सर्वसेनेभ्यः (a country),
- परिप॒रि॒ वङ्गेभ्यो (Bengal).
In a compound, this is simply expressed as परित्रिगर्त्तं वृष्टो देवः ( ashtadhyayi.com/sutraani/8/1/5 )
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