Chandana Charchita - Gita Govinda

Tenali Ramakrishna, Telugu



P Suseela



K Srikumar

Sanskrit Ashtapadi, Chandana Charchita by Sri Jayadeva in 3 Charanas is provided below:

1. Hari Vihamugdhava Dhooni Kare Vilaasini Vilasati Kelipare
Chandana Charchita Neela Kalebara Peeta Vasana Vanamaali
Chandana Charchita Neela Kalebara Peeta Vasana Vanamaali
Keli Chalanmani Kundala Mandita Gandayu Gasmita Saali
Harivihamughdhava Dhooni Kare Vilaasini Vilasati Kelipare

2. Kaapi Vilaasavi Lola Vilochana Kelana Janita Manojam
Kaapi Vilaasavi Lola Vilochana Kelana Janita Manojam
Dhyayati Mugdhava Buravibhakam Madhu Soodhana Vadana Sarojam
Dhyayati Mugdhava Buravibhakam Madhu Soodhana Vadana Sarojam
Harivihamughdhava Dhooni Kare Vilaasini Vilasati Kelipare

3. Ishyati Kaamapi Chumbati Kaamapi Ramayati Kamaapi Raama
Sathyati Sasmita Chaarutaraam Aparaamanu Gasyati Raama
Harivihamughdhava Dhooni Kare Vilaasini Vilasati Kelipare

This Ashtapadi by Sri Jayadeva [Sanskrit scholar] throws lights on Sri Krishna’s frolicking and playing with damsels in the Brindavan garden. This Ashtapadi is said actually to be a one-to-discussion between Raadha and her friend.


Meaning:

1. He who has a bluish body that is bedecked with sandal paste, clad in yellow (peeta) silks, garlanded with basil leaves and other flowers (vanamaali), whose cheeks are adorned with glitters from the studded earrings; is frolicking and playing with the damsels and is amidst modest, simple, naïve damsels! One damsel says to Radha : “You, the expert in romance and amusement, you are allowing Krishna to play with simple, immature and naïve damsels; Is it befitting Krishna to play with them when you are here? You ought to go at once to him”.

2. Krishna is surrounded by these women who are simple and naïve, these are the romantic gestures of Krishna. His sliding and moving wide eyes (vilochana) towards them are so attractive (He himself) that these modest damsels/women who are inexperts in romancing, started gazing and staring at the the beautiful, lotus-like face of His, the eliminator of a demon Madhu (madhusoodhana*); thus, the Lord is amidst these damsels in a delightful (blissful) circle. *Madhusoodhana also means ‘The one who is spilling honey’. Though not everybody is expert danseuses/songsters, romance is common in every lass. Reaching Him is the Goal of every damsel and luckily He is for everyone. Women may be at any point in the circle/row, wherever they are they feel that He is with them, they sense Him. Be it bodily reach or envisaged/imagined. Each lady feels that she a belongs to Krishna. That He belongs to her, only!

3. Krishna, now in the ronde, is kissing someone; someone else finds Him in their bosom; yet someone else finds Him delighting in her in full beauty, while having a look at the other damsels too (pashyati). Each damsel goes after Krishna and everybody readily finds themselves with/in Him! Such is the delight that Raama** **Rama is the analogy to the one who gives and takes delight in which the other person is delighted. He, the giver of delight, is received with the beaming smiles on the faces of the damsels. Even those women who are peeved or irritated were reclaimed by the Lord and they encircle Him to play and frolic with Him with divine desire !!
(Posted by Challagonda Ravinder Rao)


Jayadeva Oriya, was a Sanskrit poet, who lived in what is now Orissa, circa 1200 AD. He is most known for his composition, the epic poem Gita Govinda, which depicts the divine love of the Hindu deity Krishna and his consort, Radha, and is considered an important text in the Bhakti movement of Hinduism . He was born to an Utkala Brahmin family in a village called Kenduli Sasan in Orissa.

Jayadeva was born in Kenduli Sasan (formerly Kendubilva), in the Prachi valley, Khurda district in Orissa. Kenduli Sasan is a village near the famous temple city of Puri. At the time of Jayadeva's birth, Orissa was under the rule of Ganga dynasty king Chodaganga Deva. It was during the reign of this monarch and his son and successor, Raghava, that Jayadeva composed his Sanskrit epics. Chodaganga Deva, originally a Shaiva, was strongly influenced by the devotion to Krishna in and around Puri and became a Vaishnava devotee of Krishna himself.

The poet's parents were named Bhojdeva and Vamadevi. From temple inscriptions it is now known that Jayadeva received his education in Sanskrit poetry from a place called Kurmapataka, possibly near Konark in Orissa. Later on, Jayadeva married Padmavati, who according to temple inscriptions, may have been an accomplished temple dancer on her own right.
Prachi valley has a long history of worshipping Madhava, another name for Krishna. During Jayadeva's period, it was known as a religious place dominated by Vaishnava Brahmins. Even today, the village of Kenduli Sasan is replete with images of Madhava. Undoubtedly, the great poet must have been influenced by the devotional milieu in that area when he composed his magnum opus, the Gita Govinda.

Inscriptions at Lingaraj temple, and the more recently discovered Madhukeswar temple and Simhachal temple that were read and interpreted by Dr. Satyanarayan Rajaguru shed some light on Jayadeva's early life. These inscriptions narrate how Jayadeva had been a member of the teaching faculty of the school at Kurmapataka. He might have studied there as well. It must have been right after his childhood education in Kenduli Sasan that he left for Kurmapataka and gained experience in composing poetry, music and dancing.

The earliest mention of Jayadeva outside Orissa are by Chand Bardai, the court poet of Prithviraj Chauhan. The next earliest reference outside Orissa is found in an inscription of Raja Sarangadev in the year 1201 A.D. These records establish that the Gita Govinda became popular throughout India within a brief perid of its composition, perhaps because it was regularly performed in the Jagannath temple of Puri.

Some further details about Jayadeva have been garnered from a book by an Oriya Vaishnava poet Madhava Patnaik, who was contemporaneous to Chaitanya in the fifteenth century. Madhava Patnaik's book gives a clear account of Chaitanya's visit to Puri. He mentions that Chaitanya paid a visit to Kenduli Sasan near Puri to pay homage to Jayadeva and to chant passages from the Gita Govinda. The book mentions that Kenduli Sasan was in fact the birthplace of the illustrious poet. Madhava Patnaik's book also gives an account of Jayadeva's early life from the legends around Puri. It mentions Jayadeva as excelling in the Shastras and the Puranas from early childhood. He is a great contemporary.
[edit]Literary contributions

Jayadeva was instrumental in popularizing the Dasavatara, the ten incarnations of Vishnu in another composition, Dasakritikrite. Furthermore, the classic Tribhangi (three-fold) posture of Krishna playing the flute gained popularity due to him.
Two hymns composed by Jayadeva have been incorporated in the Guru Granth Sahib, the holy book of the Sikh religion. Although it is not clear how these medieval Orissan hymns found their way to the Sikh religion, there are records narrating how Jayadeva's work had a profound influence on Guru Nanak during his visit to Puri .

The illustrious poet also institutionalized the Devadasi system in Orissan temples. Devadasis were women dancers specially dedicated to the temple deity, and as a result of the great poet's works, Orissan temples began to incorporate a separate Natamandira, or dance hall, within their precincts for Odissi dance performances.

The Gita Govinda is the best known composition of Jayadeva. It is a lyrical poetry that is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis.

The first English translation of the Gita Govinda was published by Sir William Jones in 1792, where Kalinga (ancient Orissa) is referred to as the origin of the text. Since then, the Gita Govinda has been translated to many languages throughout the world, and is considered to be among the finest examples of Sanskrit poetry.

Mahishasura Mardini - Adi Shankaracharya

Uma Mohan and Gayatri Devi



Belluru Sisters



MS Subbalakshmi


Birendra Krishan Bhadra, Mahalaya, Bangla


महिषासुरमर्दिनिस्तोत्रम्
Navratri - Mahisasur Mardini Stotram (महिषासुरमर्दिनिस्तोत्रम्) - Sanskrit Hymn

Lyrics
Ayi giri nandini, nanditha medini, visva vinodini, nanda nuthe ,
Giri vara vindhya shirodhini vasini vishnu vilaasini jisnu nuthe ,
Bhagavati he shiti kanta kutumbini bhoori kutumbini bhoori kruthe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 1


Suravara varshini durdhara dharshini durmukha marshini harsha rathe ,
Tribhuvana poshini shankara toshini kilbisha moshini ghosha rathe ,
Danujani roshini ditisuta roshini durmada shoshini sindhu suthe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 2


Ayi jagadamba madamba kadamba vanapriya vaasini haasa rathe ,
Shikhari shiromani tunga himaalaya shringani jaalaya madhya gathe ,
Madhu madhure madhu kaitabha ganjini kaitabha bhanjini raasa rathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 3


Ayi shata khanda vikhandita runda vitundita shunda gajaadhi pathe ,
Ripugaja ganda vidaarana chanda paraakrama shunda mrigaadhi pathe ,
Nijabhuja danda nipaatita khanda vipatita munda bhataadhi pathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 4


Ayi rana durmada shatru vadhodita durdhara nirjara shakti bhruthe ,
Chaturavi chaara dhureena maha siva duta krita pramathaadhi pathe ,
Durita dureeha duraashaya durmati daanava duta krutaanta mathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 5


Ayi sharanaa gata vairiva dhoovara veerava raabhaya daaya kare ,
Tribhuvana mastaka shoola virodhi sheerodhi kritaamala shoola kare ,
Dumidumi taamara dundubhi naada maho mukharee krita tigma kare ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 6


Ayi nija hunkriti maatra niraa krita dhoomra vilochana dhoomra shathe ,
Sama ravi shoshita shonita beeja samudbhava shonuta beeja lathe ,
Shiva shiva shumbha nishumbha mahaa hava tarpita bhuta pishaacha rathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 7


Dhanuranu sanga ranakshana sanga parishphura danga natat katake ,
Kanakapi shanga prishatkani shanga rasadbhata sringa hataa batuke ,
Krutachatu ranga balakshithi ranga ghatadbahu ranga ratad batuke ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 8

Suralalanatha tatheye tatheye kritabhinayodara nrityarate,
Ritakukurat kukutogadadhi katalakutohala danarate,
Dhimikitadhi kitadimidhnidho mridanga nidarate,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 9


Jaya jaya japya jaye jaya shabda parasthuthi thath para vishva nuthe ,
Bhana Bhana Bhinjhimi Bhin kritha noopura sinjitha mohitha bhootha pathe ,
Natitha nataardha nateenatha naayaka naatitha naatya sugaana rathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 10


Ayi sumanah sumanah sumanah sumanah sumano hara kaanthi yuthe ,
Shritha rajanee rajanee rajanee rajanee rajanee kara vakra vruthe ,
Sunayana vibhramara bhramara bhramara bhramara bhrama raadhi pathe,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 11

Sahita mahaahava mallama tallika mallitha rallaka malla rathe ,
Virachitha vallika pallika mallika bhillika bhillika varga vruthe ,
Sita krutha phullisa mullasi thaaruna thallaja pallava salla lithe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 12

Avirala ganda galanmada medura matha mathangaja raaja pathe ,
Tribhuvana bhooshana bhootha kalaanidhi roopa payonidhi raaja suthe ,
Ayi suda theejana laalasa maanasa mohana manmatha raaja suthe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 13

Kamala dalaamala komala kaanthi kalaakali thaamala bhaala lathe ,
Sakala vilaasa kalaa nilaya krama kelicha latkala hamsa kule ,
Alikula sankula kuvalaya mandala maulimi ladbaku laali kule ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 14

Kara muralee rava veejitha koojitha lajjitha kokila manju mathe ,
Militha pulinda manohara gunjitha ranjitha shaila nikunja gathe ,
Nijaguna bhootha mahaa shabaree gana sadguna sambhrutha keli thale ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 15

Katita tapeeta dukoola vichithra mayookha tiraskritha chandra ruche,
Pranatha suraasura mauli manisphura damshula sannakha chandra ruche,
Jithakana kaachala mauli padorjitha nirbhara kunjara kumbha kuche ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 16

Vijitha sahasra karaika sahasra karaika sahasra karaika nuthe ,
Kruta sura thaaraka sangara thaaraka sangara thaaraka soonu nuthe ,
Suratha samaadhi samaanasa maadhi samaadhi samaadhi sujaatha rathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 17

Pada kamalam karunaa nilaye vari vasyati yonu dinam sa shive ,
Ayi kamale kamalaa nilaye kamalaa nilayahsa katham na bhaveth ,
Tava padameva param pada mityanu sheelayatho mama kim na shive ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 18

Kanaka lasat kala sindhu jalai ranu sinchi nute guna ranga bhuvam ,
Bhajathi sa kim na sachi kucha kumbha thatee pari rambha sukhaanu bhavam ,
Thava charanam sharanam kara vaani nataa mara vaani nivaa si sivam ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 19

Tava vimalendu kulam vadha nendu malam sakalam nanu koola yathe ,
Kimu puru hootha pureendu mukhee sumukhee bhirasau vimukhee kriyathe ,
Mama thu matham siva naama dhane bhavatee kripayaa kimutha kriyathe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 20

Ayi mayi deena dayaalu thayaa krupa yaiva thvayaa bhavi thavya mume ,
Ayi jagatho jananee krupa yaasi yathaasi thathaa nubhi thaasi rathe ,
Yadu chitha mathra bhavathyu raree kuruthaa duruthaa pama paa kuruthe ,
Jaya jaya he mahishaasura mardhini ramyaka pardhini shaila suthe 21


mahishhaasuramardinistotram composed
by Adi Jagadguru Sri Shakaraacarya Bhagavatpada..
with translation:

ayi girina.ndini na.nditamedini vishvavinodini na.ndanute
girivara vi.ndhya shirodhinivaasini vishhNuvilaasini jishhNunute .
bhagavati he shitikaNThakuTuMbini bhuuri kuTuMbini bhuuri kR^ite
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 1..

O daughter of the mountain, who makes the whole earth happy,
who makes the whole universe rejoice, praised by Nandin |
dwelling on the peak of the great Vindhya mountain,
glittering widely, praised by those desirous of victory |
O Goddess, wife of the blue necked Siva, One who has many families,
One who has done a lot, |
be victorious, be victorious, O destroyer of the demon mahisa, with
beautiful braids of hair, daughter of the mountain Himalaya ||

suravaravarshhiNi durdharadharshhiNi durmukhamarshhiNi harshharate
tribhuvanaposhhiNi sha.nkaratoshhiNi kilbishhamoshhiNi ghoshharate .
danuja niroshhiNi ditisuta roshhiNi durmada shoshhiNi sindhusute
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 2..

O bestower of boons on Gods, One who assails those hard to
control, who tolerates those with ugly faces (?),
one engrossed in rejoicing |
One who nourishes the three worlds, One who pleases sankara,
One who removes sins, One who engrosses in sound of Om (?) |
One who is angry with the progeny of Danu (demon), One who is angry
with the sons of Diti (also demon), One who destroys those with evil
intoxication of pride, O daughter of the ocean ||

ayi jagadaMba madaMba kadaMba vanapriya vaasini haasarate
shikhari shiromaNi tuN^ga himaalaya shR^i.nga nijaalaya madhyagate .
madhu madhure madhu kaiTabha ga.njini kaiTabha bha.njini raasarate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 3..

O mother of the world, my mother, One who loves to dwell
in a forest of Kadamba trees, One who keeps on smiling |
One who is on her own dwelling on the tall peak of the
Himalaya, the greatest among the mountains |
One who is very sweet, One who has the treasure of demons Madhu and
Kaitabha, destroyer of the demon Kaitabha, engaged in raasa
dancing ||

ayi shatakhaNDa vikhaNDita ruNDa vituNDita shuNDa gajaadhipate
ripu gaja gaNDa vidaaraNa chaNDa paraakrama shuNDa mR^igaadhipate .
nija bhuja daNDa nipaatita khaNDa vipaatita muNDa bhaTaadhipate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 4..

O One who split the heads (of demons) into hundreds of
pieces and One who cut the trunks of great battle elephants |
whose great lion is skilled in terrifying valor in tearing apart the
temples of enemy elephants |
One who has cut down into pieces the heads of enemy
chieftains with the strength of her own arms ||

ayi raNa durmada shatru vadhodita durdhara nirjara shaktibhR^ite
chatura vichaara dhuriiNa mahaashiva duutakR^ita pramathaadhipate .
durita duriiha duraashaya durmati daanavaduuta kR^itaa.ntamate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 5..

O One who holds the invincible and undiminishing striking
force which arose on the occasion of killing the enemies who were
hard to subdue on the battlefield |
who made Pramatha, the great attendant of Shiva, a leader in subtle
thinking, her commander (?) |
who decided to destroy the messenger of demons who were
sinful, with evil intentions, thoughts and mind ||

ayi sharaNaagata vairi vadhuuvara viira varaabhaya daayakare
tribhuvana mastaka shuula virodhi shirodhi kR^itaamala shuulakare .
dumidumi taamara du.ndubhinaada maho mukhariikR^ita tigmakare
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 6..

O One who gives protection to the great heroic husbands of
the enemy wives who have come seeking refuge |
One who holds in her hands a spotless spear pointed towards the head
of the opponent who is causing a great pain for all the three worlds |
One who is like the blazing hot sun, aroused by the power of
resounding noise of the drums of Gods ||

ayi nija hu.NkR^iti maatra niraakR^ita dhuumra vilochana dhuumra shate
samara vishoshhita shoNita biija samud.hbhava shoNita biija late .
shiva shiva shuMbha nishuMbha mahaahava tarpita bhuuta pishaacharate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 7..

O One who has blown aside hundreds of streams of smoke
coming from demons with smoking eyes merely with her own
roaring |
who is like a vine of blood-drops grown from the dried blood drops in
battle |
One who delights in the company of auspicious Shiva, Shumbha,
Nishumbha, and the spirits who were fed during the great battle.|

dhanuranu sa.nga raNakShaNasa.nga parisphura da.nga naTatkaTake
kanaka pisha.nga pR^ishhatka nishha.nga rasad.hbhaTa shR^i.nga hataavaTuke .
kR^ita chaturaN^ga balakShiti raN^ga ghaTad.hbahuraN^ga raTad.hbaTuke
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 8..

One who decks herself with dancing ornaments on throbbing
limbs at the moment of the battle, making her bow ready |
who killed the huge enemy soldiers with a shining sword and with
(arrows from) a quiver which has golden brown spots |
who made the battleground with fourfold army into a stage with a
colorful drama with screaming little soldiers ||

jaya jaya japya jayejaya shabda parastuti tatpara vishvanute
bhaNa bhaNa bhiJNjimi bhi.nkR^ita nuupura si.njita mohita bhuutapate .
naTita naTaardha naTiinaTa naayaka naaTita naaTya sugaanarate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 9..

Be victorious! be victorious! whose victory should be sung,
praised by the whole universe ready to sing the praise extolling her
victory |
who attracted the attention of shiva by twinkling of bells making
various sounds of dancing |
who delights in beautiful singing and in dance-drama presented by a
leading dancer acting out the role of an actress with half of his body ||

ayi sumanaH sumanaH sumanaH sumanaH sumanohara kaa.ntiyute
shrita rajanii rajanii rajanii rajanii rajaniikara vaktravR^ite .
sunayana vibhramara bhramara bhramara bhramara bhramaraadhipate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 10..

O One who has a flowerlike complexion attractive to the
good heart of the goodhearted people |
(meaning of this part is unclear, the last word seems to mean
"surrounded by the face of the moon" )
(meaning of this compound is not clear)

sahita mahaahava mallama tallika mallita rallaka mallarate
virachita vallika pallika mallika bhillika bhillika varga vR^ite .
sitakR^ita pullisamulla sitaaruNa tallaja pallava sallalite
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 11..
avirala gaNDa galanmada medura matta mataN^gaja raajapate
tribhuvana bhuushhaNa bhuuta kalaanidhi ruupa payonidhi raajasute .
ayi suda tiijana laalasamaanasa mohana manmatha raajasute
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 12..

Who is in charge of huge royal elephants in fury whose rut is
streaming down their temples incessantly |
princess, the daughter of the ocean, who has the beauty of the moon,
the ornament of all the three worlds |
princess of cupid who enchants the minds desirous of ladies with
beautiful teeth |

kamala dalaamala komala kaa.nti kalaakalitaamala bhaalalate
sakala vilaasa kalaanilayakrama keli chalatkala ha.nsa kule .
alikula saN^kula kuvalaya maNDala maulimilad.hbhakulaali kule
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 13..

Whose spotless forehead is enhanced by the beautiful
complexion, pure and delicate like that of lotus petals |
whose flock of swans is moving sportingly with steps which are the
marks of all beautiful arts |
whose bees from the bakula trees meet on the tops of lotus flowers
which are crowded with (their own) bees ||

kara muralii rava viijita kuujita lajjita kokila maJNjumate
milita pulinda manohara guJNjita ra.njitashaila nikuJNjagate .
nijaguNa bhuuta mahaashabariigaNa sadguNa saMbhR^ita kelitale
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 14..

Whose sweet cooing sounds made with the flute held in her
own hands have put to shame the Kokila bird and who has sweet
thoughts |
who is in colorful mountain groves pleasantly resounding with the
assembled mountain folks |
whose playground is filled with good qualities of the flocks of the
great tribal women who are manifestations of her own qualities ||

kaTitaTa piita dukuula vichitra mayuukhatiraskR^ita cha.ndra ruche
praNata suraasura maulimaNisphura da.nshula sannakha cha.ndra ruche .
jita kanakaachala maulipadorjita nirbhara ku.njara kuMbhakuche
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 15..

Who has set aside the brilliance of the moon with the colorful
rays coming from the yellow silk she is wearing on her waist |
whose toe-nails shine like the moon because of the rays
emanating form the crest jewels of the bowing gods and demons |
whose breasts outshine the temples of wild elephants and the
high peaks of the golden mountains ||

vijita sahasrakaraika sahasrakaraika sahasrakaraikanute
kR^ita surataaraka saN^garataaraka saN^garataaraka suunusute .
suratha samaadhi samaanasamaadhi samaadhisamaadhi sujaatarate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 16..

Who has set aside the brilliance of the moon with the colorful
rays coming from the yellow silk she is wearing on her waist |
whose toe-nails shine like the moon because of the rays
emanating form the crest jewels of the bowing gods and demons |
whose breasts outshine the temples of wild elephants and the high
peaks of the golden mountains ||

padakamalaM karuNaanilaye varivasyati yo.anudina.n sa shive
ayi kamale kamalaanilaye kamalaanilayaH sa kathaM na bhavet.h .
tava padameva paraMpadamityanushiilayato mama kiM na shive
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 17..

O benevolent goddess accompanied by Shiva, if someone daily
cherishes your lotuslike feet |
(contd. from prev line) then, O lotus dwelling Lakshmi, how will he
not become wealthy? |
O auspicious Goddess, is there anything that I would not have, if I
earnestly believe that your feet are the highest goal to be achieved? ||

kanakalasatkala sindhu jalairanu siJNchinute guNa raN^gabhuvaM
bhajati sa kiM na shachiikucha kuMbha taTii pariraMbha sukhaanubhavam.h .
tava charaNaM sharaNaM karavaaNi nataamaravaaNi nivaasi shivaM
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 18..

If someone bathes you, the playground of virtues, with
shining golden waters of the ocean |
will he not experience in heaven the happiness (equal to that of
Indra) embracing the full bosom of Sachi? |
O Goddess worshipped by the speech of Gods, I take refuge in your
feet, which are also the abode of Shiva ||

tava vimalendukulaM vadanendumalaM sakalaM nanu kuulayate
kimu puruhuuta puriindumukhii sumukhiibhirasau vimukhiikriyate .
mama tu mataM shivanaamadhane bhavatii kR^ipayaa kimuta kriyate
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 19..

He who sufficiently dedicates himself to your entire
moonlike face, which is as bright as a host of spotless moons |
will he be turned away (in heaven) by the moon-faced
beauties of the city of Indra? |
(the text of this line is unclear)

ayi mayi diinadayaalutayaa kR^ipayaiva tvayaa bhavitavyamume
ayi jagato jananii kR^ipayaasi yathaasi tathaa.anumitaasirate .
yaduchitamatra bhavatyurari kurutaadurutaapamapaakurute
jaya jaya he mahishhaasuramardini ramyakapardini shailasute .. 20..

.. iti shriimad.h aadyasha.nkaraachaaryavirachitaa
shriimahishhaasuramardini stotraM saMpuurNam.h ..

O Uma, you should be kindly disposed toward me because of
your virtue of compassion toward the meek |
(meaning unclear) |
you may choose to do (with me) whatever is appropriate, she
removes the great pain (of her devotees). |

source: http://sanskrit.gde.to/doc_devii/mahisha_mean.itx

Mahishasura Mardini, the Slayer of Mahisha, the Buffalo Demon -- is so central to the Shakta religion that it merits separate consideration.

HER STORY

Her basic myth is simple, as the greatest stories tend to be: Mahisha, a great demon (asura), has undertaken extraordinary austerities, and thereby accrued such vast power that even the Gods can no longer defeat him. In successive battles, they lose the three worlds to Mahisha's superior might -- and the Cosmic Order in thrown into disarray.

Clearly, a hero and savior is needed -- but who can defeat an enemy that is mightier than the Gods? Answer: The Power (Shakti) that created both the Gods and the enemy in the first place. In order to access that Power, the Gods must reverse the downward unfolding of Divine manifestation, i.e. the cosmic tattvas. (Not coincidentally, this is also the goal of any sadhana undertaken by a human devotee. To help understand the lesson offered here, think of Mahisha as the individual human ego.)

Accordingly, all the Gods simultaneously offer Their own individual powers back to their common Source. And as They do so, They behold an extraordinary sight, as the Source begins to materialize before their eyes:

An exceedingly fiery mass like a flaming mountain
Did the Gods see, filling the firmament with flames.
That peerless splendor, born from the bodies of all the Gods,
Unifying and pervading the triple world with its lustre, became a Woman.
(Devi Mahatmyam, 2.11-12.<)

She is Maha Devi, the Great Goddess, the Mother of all beings, divine and mortal. Taking the warrior form of Her avatar, Goddess Durga, She departs on Her lion mount to meet the demon. A battle of nine days and nine nights ensues, during which Devi decimates Mahisha's armies using lesser Goddesses produced from Her own body.

At last, She and Mahisha alone remain standing on the corpse-strewn battlefield. Of course, Mahisha cannot win, but he takes the forms of many powerful beasts as he tries. While he is in mid-transformation from Buffalo back to Human form, Devi finally slays him, thus saving the Universe, restoring the Cosmic Order -- and earning the title, Mahishasura Mardini.


NAVRATRI, OR DURGA POOJA

Hindus commemorate this great battle each autumn during Durga Pooja, or Navratri -- the Festival of Nine Nights. This is the year's most important festival for Shaktas. Each night a different form of Goddess Durga is worshiped; collectively, these forms are known as the Nine Durgas, or Navdurga.During Navratri, the story of the slaying of Mahisha is told and retold in many forms


http://en.wikipedia.org/wiki/Mahisasura_Mardini

Nirvana Satakam/ Atma Satakam - Adi Sankara

Adi Sankara

Nirvana Shatikam of Adi Shankara
Mano Buddhi Ahankara Chitta Ninaham
Nacha Shrotra Jihve Na Cha Ghrana Netre
Nacha Vyoma Bhoomir Na Tejo Na Vayu
Chidananda Rupa Shivoham Shivoham

Na Cha Prana Samjno Na Vai Pancha Vayu
Na Va Saptadhatur Na Va Pancha Koshah
Na Vak Pani Padau Na Chopastha Payu
Chidananda Rupa Shivoham Shivoham

Na Me Dvesha Ragau Na Me Lobha Mohau
Mado Naiva Me Naiva Matsarya Bhavah
Na Dharmo Na Chartho Na Kamo Na Mokshah
Chidananda Rupa Shivoham Shivoham

Na Punyam Na Papam Na Saukhyam Na Dukham
Na Mantro Na Teertham Na Vedo Na Yajnaha
Aham Bhojanam Naiva Bhojyam Na Bhokta
Chidananda Rupa Shivoham Shivoham

Na Me Mrityu Shanka Na Me Jati Bhedah
Pita Naiva Me Naiva Mata Na Janma
Na Bandhur Na Mitram Gurur Naiva Shishyah
Chidananda Rupa Shivoham Shivoham

Aham Nirvikalpo Nirakara Roopaha
Vibhur Vyapya Sarvatra Sarvendriyanam
Sada Me Samatvam Na Muktir Na Bandhah
Chidananda Rupa Shivoham Shivoham

I am not mind, nor intellect, nor ego, nor the reflections of inner self.
I am not the five senses. I am beyond that.
I am not the ether, nor the earth, nor the fire, nor the wind (the five elements).
I am indeed, That eternal knowing and bliss, Shiva,love and pure consciousness.

Neither can I be termed as energy, nor five types of breath. nor the seven material essences, nor the five coverings.
Neither am I the five instruments of elimination, procreation, motion, grasping, or speaking.
I am indeed, That eternal knowing and bliss, Shiva,love and pure consciousness.

I have no hatred or dislike, nor affiliation or liking, nor greed, nor delusion, nor pride or haughtiness, nor feelings of envy or jealousy.
I have no duty (dharma), nor any money,nor any desire (kama), nor even liberation (moksha).
I am indeed, That eternal knowing and bliss, Shiva,love and pure consciousness.

I have neither merit, nor demerit (vice).
I do not commit sins or good deeds,nor have happiness or sorrow, pain or pleasure.
I do not need mantras, holy places, scriptures, rituals or sacrifices.
I am none of the triad of the observer or one who experiences, the process of observing or experiencing, or any object being observed or experienced.
I am indeed, That eternal knowing and bliss, Shiva,love and pure consciousness.

I do not have fear of death,as I do not have death.
I have no separation from my true self, no doubt about my existence, nor have I discrimination on the basis of birth.
I have no father or mother, nor did I have a birth.
I am not the relative, nor the friend, nor the guru, nor the disciple.
I am indeed, That eternal knowing and bliss, Shiva,love and pure consciousness.

I am all pervasive. I am without any attributes and without any form.
I have neither attachment to the world,nor to liberation.
I have no wishes for anything because I am everything, everywhere, every time, always in equilibrium.
I am indeed, That eternal knowing and bliss, Shiva,love and pure consciousness.


The great Adi Shankara (first Shankaracharya) of the eighth century summarized the entirety of Advaita Vedanta (non-dualistic philosophy) in six stanzas. When a young boy of eight, while wandering in the Himalayas, seeking to find his guru, he encountered a sage who asked him, "Who are you?" The boy answered with these stanzas, which are known as "Nirvana Shatakam" or "Atma Shatakam." "Nirvana" is complete equanimity, peace, tranquility, freedom and joy. "Atma" is the True Self. The sage the boy was talking to was Swami Govindapada Acharya, who was, indeed, the teacher he was looking for.

This is one of the rare stotras written by Adi Shankara Bhagavat Pada identifying himself with Lord Shiva and clearly explaining his theory of non-dualism. It is mellifluous and has remarkable tempo. There is a story that one of his disciples started saying Shivoham like the acharya without understanding its significance. The Acharya visited the black smith’s house and happily drank one tumbler of molten iron and ordered the disciple to do so. Naturally he was not able to do it. The Acharya told him that as for himself the molten iron or ice cold water are not different because he has realized that he is no different from Lord Shiva, And till the disciple attains that state, there is no point in his repeating Shivoham i.e “I am Shiva”

Nirvana Shatakam, otherwise known as Atma Shatakam, is a composition of Bhagawan Shankaracharya. Although we call it a composition, it is actually a declaration of his own direct and intimate experience of the Absolute Bliss of Self-Realisation. As such, this is not a text to be discoursed upon, but is something to be meditated upon and directly experienced by every sincere seeker and student of Adwaita Vedanta.

Nirvana Shatakam means a bunch of six verses on the state of Absolute peace, tranquility, freedom and joy nivritti. Atma Shatakam means six verses on the nature of the Self. One who is familiar with the Sanskrit language can well grasp the literal meaning of these verses because of their simplicity. But to experience and revel in the Truth revealed therein, one has to go through many lives of Sadhana.

"After many lives of Sadhana, people attain the supreme Brahman." Man (the Jeeva) has to evolve slowly through endless aeons (yugas) of sincere study and devoted Self-application. Then, in one particular life, he gets totally purged of his ignorance and delusion. Such evolution culminates in the highest state of perfection-Self-realisation (Brahmi Sthiti). He becomes a "Perfect man." As these six verses represent the direct and intimate experience of such a Perfect one, they will make an immediate impact on the purified minds of sincere seekers who have acquired a deep insight into Vedanta. As such seekers have the wealth of discrimination (Viveka), dispassion (Vairagya) and capacity for reflection on the Self (Atma Vichara). They can, by reading directly appreciate their implications and, in their deep meditation, experience, the subtle truths of these verses.

In the practice of meditation (Dhyana Abhyas) the Sadhaka just listens, understands and appreciates the meaning of the words and sentences of the Teacher. No intellectual enquiry or analysis is done, as the teacher unfolds the words. As the deep import of the words is appreciated, the words becomes the feeling (Bhavana ) of the Sadhak, his mind will firmly abide in the Truth. This is "Samadhi."

However, other aspirants at earlier points in their spiritual path, can also benefit by drawing inspiration from this text, this being the vision of the ultimate reality from the stand point of a Man of Realisation. They can, in their daily meditation (Dhyana Abhyas) reflect on the meaning and significance of these verses and slowly imbibe the Truth in them. Meditation alone is the Means to the great Experience of Truth (Samadhi).

Ashtakams - Shiva

SPB, South Indian version




Pandit Jasraj, North Indian version


prabhuM prANanAthaM vibhuM vishvanAthaM jagannAthanAthaM sadAnandabhAjAm.h |
bhavadbhavyabhUteshvaraM bhUtanAthaM shivaM shaN^karaM shambhumIshAnamIDe || 1||

gale ruNDamAlaM tanau sarpajAlaM mahAkAlakAlaM gaNeshAdhipAlam.h |
jaTAjUTabhaN^gottaraN^gairvishAlaM shivaM shaN^karaM shambhumIshAnamIDe || 2||

mudAmAkaraM maNDanaM maNDayantaM mahAmaNDala bhasmabhUshhadharaMtam.h |
anAdihyapAraM mahAmohahAraM shivaM shaN^karaM shambhumIshAnamIDe || 3||

taTAdho nivAsaM mahATTATTahAsaM mahApApanAshaM sadAsuprakAsham.h |
girIshaM gaNeshaM maheshaM sureshaM shivaM shaN^karaM shambhumIshAnamIDe || 4||

girindrAtmajAsa.ngrahItArdhadehaM girau sa.nsthitaM sarvadA sannageham.h |
parabrahmabrahmAdibhirvandhyamAnaM shivaM shaN^karaM shambhumIshAnamIDe || 5||

kapAlaM trishUlaM karAbhyAM dadhAnaM padAmbhojanamrAya kAmaM dadAnam.h |
balIvardayAnaM surANAM pradhAnaM shivaM shaN^karaM shambhumIshAnamIDe || 6||

sharachchandragAtraM guNAnanda pAtraM trinetraM pavitraM dhaneshasya mitram.h |
aparNAkalatraM charitraM vichitraM shivaM shaN^karaM shambhumIshAnamIDe || 7||

haraM sarpahAraM chitA bhUvihAraM bhavaM vedasAraM sadA nirvikAram.h |
shmashaane vadantaM manojaM dahantaM shivaM shaN^karaM shambhumIshAnamIDe || 8||

stavaM yaH prabhAte naraH shUlapANe paThet.h sarvadA bhargabhAvAnuraktaH |
sa putraM dhanaM dhAnyamitraM kalatraM vichitraM samAsAdya mokshaM prayAti || 9||





Cosmic, Techno!


SPB wannabe, South Indian version

Brahma Muraari Surarchita Lingam
Nirmala Bhaashita Sobhitha Lingam
Janmaja Dhukha Vinaasaha Lingam
Tatpranamaami Sadaashiva Lingam

Devamuni Pravaraarchita Lingam
Kaama Dahana Karunaakara Lingam
Ravana Darpa Vinaasaha Lingam
Tatpranamaami Sadaashiva Lingam

Sarva Sugandha Sulepitha Lingam
Buddhi Vivaardhana Kaarana Lingam
Siddha Suraasura Vandhitha Lingam
Tatpranamaami Sadaashiva Lingam

Kanaga Mahaamani Bhooshitha Lingam
Panipati Veshthitha Sobitha Lingam
Daksha Suyajna Vinaasana Lingam
Tatpranamaami Sadaashiva Lingam

Kunkuma Chandhana Lehpitha Lingam
Pankaja Haara Susobhitha Lingam
Sanchitha Paapa Vinaashana Lingam
Tatpranamaami Sadaashiva Lingam

Deva Ganaarchita Sevitha Lingam
Bhavair Bhakhi Bhirevacha Lingam
Dinakara Koti Prabhaakara Lingam
Tatpranamaami Sadaashiva Lingam

Ahshta Dalopari Veshthitha Lingam
Sarva Samudbhava Kaarana Lingam
Ahshta Daridra Vinaasana Lingam
Tatpranamaami Sadaashiva Lingam

Suraguru Suravara Poojitha Lingam
Suravana Pushpa Sadarchitha Lingam
Paraath Param Paramatmaka Lingam
Tatpranamaami Sadaashiva Lingam

Lingashtaka Midam Punyam
Yah Pathet Sivasannidhau
Sivaloka Mahaapnoti
Sivehna Saha Modatheh


SPB wannabe, South Indian version

Tridalam trigunakaram trinetram ch triayudham
Trijanam paapsanhaarmek billvm shivarpanam 1

Trishakae: bilv patrench hychhidrae: komalae: shubhae:
Shivpujam karishyami hyekbillvm shivarpanam 2

Akhand bilvpatren pujite nandikeshvaram
Shuddhyati sarvpaapebhyo hyekbillvm shivarpanam 3

Shaligram shilamekam vipranam jaatuarpyet
Somyagy mahapunymeka billvm shivarpanam 4

Dantikoti sahastrani vajpayshatani ch
koti kanya mahadanmekbillv shivarpanam 5

Laxmya: stanat uttpannam mahadev ch priyam
Bilvraksham pyachhami hyekbillv shivarpanam 6

Darshanam billvrakshsya sparshnam paapnashnam
Aghor paapsanhaarmek billv shivarpanam 7

Moolto bhrahmroopay, madhyato vishnuroopino
Agratah:shivroopay,hyekbillv shivarpanam 8

Billvashtakamidam punyam yah: pathat shiv sannidhau
Sarvpaapvinirmukta: shivlokmavapnuyaat

Shiva Tandava Stotram - Ravana

SP Balasubramaniam, South Indian version




T Ranganathan, South Indian version




Disco Version :)




Rameshbhai Oza, North Indian version



Label: Kosmic Music Publishing

Album: Sacred Chants Vol 1

The Shiva Tandava Stotra was composed by Ravana, who was a great Shiva devotee:

Jatatavigalajjala pravahapavitasthale
Galeavalambya lambitam bhujangatungamalikam
Damad damad damaddama ninadavadamarvayam
Chakara chandtandavam tanotu nah shivah shivam

Jatakatahasambhrama bhramanilimpanirjhari
Vilolavichivalara ivirajamanamurdhani
Dhagadhagadhagajjva lalalatapattapavake
Kishorachandrashekhare ratih pratikshanam mama

Dharadharendrana ndinivilasabandhubandhura
Sphuradigantasantati pramodamanamanase
Krupakatakshadhorani nirudhadurdharapadi
Kvachidigambare manovinodametuvastuni

Jatabhujangapingala sphuratphanamaniprabha
Kadambakunkumadrava praliptadigvadhumukhe
Madandhasindhurasphura tvagutariyamedure
Mano vinodamadbhutam bibhartu bhutabhartari

Sahasralochanaprabhritya sheshalekhashekhara
Prasunadhulidhorani vidhusaranghripithabhuh
Bhujangarajamalaya nibaddhajatajutaka
Shriyai chiraya jayatam chakorabandhushekharah

Lalatachatvarajvala dhanajnjayasphulingabha
Nipitapajnchasayakam namannilimpanayakam
Sudhamayukhalekhaya virajamanashekharam
Mahakapalisampade shirojatalamastunah

Karalabhalapattika dhagaddhagaddhagajjvala
Ddhanajnjaya hutikruta prachandapajnchasayake
Dharadharendranandini kuchagrachitrapatraka
Prakalpanaikashilpini trilochane ratirmama

Navinameghamandali niruddhadurdharasphurat
Kuhunishithinitamah prabandhabaddhakandharah
Nilimpanirjharidharastanotu kruttisindhurah
Kalanidhanabandhurah shriyam jagaddhurandharah

Praphullanilapan kajaprapajnchakalimaprabha
Valambikanthakandali ruchiprabaddhakandharam
Smarachchidam purachchhidam bhavachchidam makhachchidam
Gajachchidandhakachidam tamamtakachchidam bhaje

Akharvagarvasarvamangala kalakadambamajnjari
Rasapravahamadhuri vijrumbhanamadhuvratam
Smarantakam purantakam bhavantakam makhantakam
Gajantakandhakantakam tamantakantakam bhaje

Jayatvadabhravibhrama bhramadbhujangamashvasa
Dvinirgamatkramasphurat karalabhalahavyavat
Dhimid dhimid dhimidhvanan mrudangatungamangala
Dhvanikramapravartita prachandatandavah shivah

Drushadvichitratalpayor bhujangamauktikasrajor
Garishtharatnaloshthayoh suhrudvipakshapakshayoh
Trushnaravindachakshushoh prajamahimahendrayoh
Samapravrutikahsamam pravartayanmanahkada sadashivam bhaje

Kada nilimpanirjharinikujnjakotare vasanh
Vimuktadurmatih sada shirah sthamajnjalim vahanh
Vimuktalolalochano lalamabhalalagnakah
Shiveti mantramuchcharan sada sukhi bhavamyaham

Idam hi nityamevamuktamuttamottamam stavam
Pathansmaranbruvannaro vishuddhimetisantatam
Hare gurau subhaktimashu yati nanyatha gatim
Vimohanam hi dehinam sushankarasya chintanam




Meanings (only english text because of lack of space)
*1*
With his neck, consecrated by the flow of water flowing from the
thick forest-like locks of hair, and on the neck, where the lofty snake
is hanging garland, and the Damaru drum making the sound of
Damat Damat Damat Damat, Lord Siva did the auspicious dance of
Tandava and may He shower prosperity on us all.

*2*
I have a very deep interest in Lord Siva, whose head is glorified by
the rows of moving waves of the celestial river Ganga, agitating in
the deep well of his hair-locks, and who has the brilliant fire flaming
on the surface of his forehead, and who has the crescent moon as a
jewel on his head.

*3*
May my mind seek happiness in the Lord Siva, in whose mind all the
living beings of the glorious universe exist, who is the sportive
companion of Parvati (daughter of the mountain king), who controls
invincible hardships with the flow of his compassionate look, who is
all-pervasive (the directions are his clothes).

*4*
May I seek wonderful pleasure in Lord Siva, who is supporter
of all life, who with his creeping snake with reddish brown hood and
with the luster of his gem on it spreading out variegated colors on the
beautiful faces of the maidens of directions, who is covered with a
glittering upper garment made of the skin of a huge intoxicated
elephant.

*5*
May Lord Siva give us prosperity, who has the moon (relative of the
Cakora bird) as his head-jewel, whose hair is tied by the red snake-
garland, whose foot-stool is grayed by the flow of dust from the
flowers from the rows of heads of all the Gods, Indra/Vishnu and others.

*6*
May we get the wealth of Siddhis from Siva's locks of hair, which
devoured the God of Love with the sparks of the fire flaming in His
forehead, who is bowed by all the celestial leaders, who is beautiful
with a crescent moon

*7*
My interest is in Lord Siva, who has three eyes, who has offered the
powerful God of Love into the fire, flaming Dhagad Dhagad on the
flat surface of his forehead who is the sole expert artist of drawing
decorative lines on the tips of breasts of Parvati, the daughter of
the mountain king.

*8*
May Lord Siva give us prosperity, who bears the burden of this
universe, who is lovely with the moon, who is red wearing the skin,
who has the celestial river Ganga, whose neck is dark as midnight
of new moon night covered by many layers of clouds.


*9*
I pray to Lord Siva, whose neck is tied with the luster of the temples
hanging on the neck with the glory of the fully-bloomed blue lotuses
which looked like the blackness (sins) of the universe, who is the
killer of Manmatha, who destroyed Tripuras, who destroyed the
bonds of worldly life, who destroyed the sacrifice, who destroyed the
demon Andhaka, the destroyer of the elephants, and who controlled
the God of death, Yama.


*10*
I pray to Lord Siva, who has bees flying all over because of the sweet
honey from the beautiful bunch of auspicious Kadamba flowers, who
is the killer of Manmatha, who destroyed Tripuras, who destroyed the
bonds of worldly life, who destroyed the sacrifice, who destroyed the
demon Andhaka, the killer of the elephants, and who controlled the
God of death, Yama.

*11*
Lord Siva, whose dance of Tandava is in tune with the series of loud
sounds of drum making Dhimid Dhimid sounds, who has the fire
on the great forehead, the fire that is spreading out because of the
breath of the snake wandering in whirling motion in the glorious sky.


*12*
When will I worship Lord Sadasiva (eternally auspicious) God, with
equal vision towards the people and an emperor, and a blade of grass
and lotus-like eye, towards both friends and enemies, towards the
valuable gem and some lump of dirt, towards a snake and a garland
and towards varied ways of the world

*13*
When will I be happy, living in the hollow place near the celestial
river, Ganga, carrying the folded hands on my head all the time, with
my bad thinking washed away, and uttering the mantra of Lord Siva
and devoted in the God with glorious forehead with vibrating eyes.

*14*
Whoever reads, remembers and says this best stotra as it is said here,
gets purified for ever, and obtains devotion in the great Guru Siva.
For this devotion, there is no other way. Just the mere thought of
Lord Siva indeed removes the delusion.

Rudram - Shivaratri 2010

\centerline{|| namakam.h ||}

\centerline{dhyaanam.h}

aapaataalanabhaHsthalaantabhuvanabrahmaaNDamaavisphura\-
jjyotiH sphaaTikaliN^gamaulivilasat.h puurNenduvaantaamR^itaiH |
astokaaplutamekamiishamanishaM rudraanuvaakaaJNjapan.h
dhyaayediipsita siddhaye.adrutapadaM vipro.abhishhiJNjechchhivam.h ||
\bigskip

brahmaaNDavyaaptadehaa bhasitahimaruchaa bhaasamaanaa bhujaN^gaiH
kaNThe kaalaaH kapardaakalita shashikalaashchaNDakodaNDahastaaH |
tryakshaa rudraakshamaalaaH praNatabhayaharaaH shaaMbhavaa muurtibhedaaH
rudraaH shriirudrasuuktaprakaTitavibhavaa naH prayachchhantu saukhyam.h ||
\bigskip





Rudram part 1



Rudram part 2




Rudram part 3


\centerline{|| oM namo bhagavate rudrAya ||}
\medskip

namaste rudramanyava utota ishhave namaH |
namaste astu dhanvane bAhubhyA\-muta te namaH || 1\.1||
\medskip

yAta ishhuH shivatamA shivaM babhUva te dhanuH |
shivA sharavyA yA tava tayA no rudra mR^iDaya || 1\.2||
\medskip

yA te rudra shivA tanU\-raghorA.apApakAshinI |
tayA nastanuvA shantamayA girisha.ntAbhichAkashIhi || 1\.3||
\medskip

yAmishhuM girisha.nta haste bibharshhyastave |
shivAM giritra tAM kuru mA hi\m+sIH purushhaM jagat.h || 1\.4||
\medskip

shivena vachasA tvA girishAchchhA vadAmasi |
yathA naH sarvamijjagadayaxma\m+sumanA asat.h || 1\.5||
\medskip

adhyavochadadhi vaktA prathamo daivyo bhishhak.h |
ahI\m+shcha sarvAJNjaMbhayantsarvAshcha yAtudhAnyaH || 1\.6||
\medskip

asau yastAmro aruNa uta babhruH suma.ngalaH |
ye chemA\m+rudrA abhito dixu |
shritAH sahasrasho.avaishhA\m+heDa Imahe || 1\.7||
\medskip

asau yo.avasarpati nIlagrIvo vilohitaH |
utainaM gopA adR^ishannadR^ishannudahAryaH |
utainaM vishvA bhUtAni sa dR^ishhTo mR^iDayAti naH || 1\.8||
\medskip

namo astu nIlagrIvAya sahasrAxAya mIDhushhe |
atho ye asya satvAno.ahaM tebhyo.akarannamaH || 1\.9||
\medskip

pramu.ncha dhanvanastva\-mubhayo\-rArtniyo\-rjyAm.h |
yAshcha te hasta ishhavaH parA tA bhagavo vapa || 1\.10||
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avatatya dhanustva\m+ sahasrAxa shateshhudhe |
nishIrya shalyAnAM mukhA shivo naH sumanA bhava || 1\.11||
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vijyaM dhanuH kapardino vishalyo bANavA\m+ uta |
aneshannasyeshhava Abhurasya nishha.ngathiH || 1\.12||
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yA te heti\-rmIDhushhTama haste babhUva te dhanuH |
tayA.asmAnvishvatastva\-mayaxmayA paribbhuja || 1\.13||
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namaste astvAyudhAyAnAtatAya dhR^ishhNave |
ubhAbhyAmuta te namo bAhubhyAM tava dhanvane || 1\.14||
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pari te dhanvano heti\-rasmAnvruNaktu vishvataH |
atho ya ishhudhistavAre asmannidhehi tam.h || 1\.15||
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namaste astu bhagavan.h vishveshvarAya mahAdevAya tryaMbakAya
tripurAntakAya trikAgni\-kAlAya kAlAgnirudrAya
nIlakaNThAya mrutyu.njayAya sarveshvarAya
sadAshivAya shrImanmahAdevAya namaH || 2\.0||
\medskip

namo hiraNyabAhave senAnye dishA.n cha pataye namo namo
vR^ikshebhyo harikeshebhyaH pashUnAM pataye namo namaH
saspiJNcharAya tvishhImate pathInAM pataye namo namo
babhlushAya vivyAdhine.annAnAM pataye namo namo
harikeshAyopavItine pushhTAnAM pataye namo namo
bhavasya hetyai jagatAM pataye namo namo
rudrAyAtatAvine kshetrANAM pataye namo namaH
sUtAyAhantyAya vanAnAM pataye namo namaH || 2\.1||
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rohitAya sthapataye vR^ikshANAM pataye namo namo
mantriNe vaaNijAya kakshANAM pataye namo namo
bhuva.ntaye vArivaskR^itAyaushhadhInAM pataye namo nama
uchchairghoshhAyAkrandayate pattInAM pataye namo namaH
kR^itsnavItAya dhAvate satvanAM pataye namaH || 2\.2||
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namaH sahamAnAya nivyAdhina AvyAdhinInAM
pataye namo namaH
kakubhAya nishhaN^giNe stenAnAM pataye namo namo
nishhaN^giNa ishhudhimate taskaraaNaaM pataye namo namo
vaJNchate parivaJNchate stAyUnAM pataye namo namo
nicherave paricharAyAraNyAnAM pataye namo namaH
sR^ikAvibhyo jighA\m+sadbhyo mushhNatAM pataye namo namo
.asimadbhyo naktaM charad.hbhyaH prakR^intAnAM pataye namo nama
ushhNIshhiNe giricharAya kuluJNchAnAM pataye namo namaH || 3\.1||
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ishhumad.hbhyo dhanvAvibhyashcha vo namo nama
AtanvAnebhyaH pratidadhAnebhyashcha vo namo nama
Ayachchhad.hbhyo visR^ijadbhyashcha vo namo namo
.asyadbhyo vid.hdhyadbhyashcha vo namo nama
AsInebhyaH shayAnebhyashcha vo namo namaH
svapadbhyo jAgradbhyashcha vo namo nama\-
stishhThad.hbhyo dhAvadbhyashcha vo namo namaH
sabhAbhyaH sabhApatibhyashcha vo namo namo
ashvebhyo.ashvapatibhyashcha vo namaH || 3\.2||
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nama AvyadhinIbhyo vividhyantIbhyashcha vo namo nama
ugaNAbhyastR^i\m+hatIbhyashcha vo namo namo
gR^itsebhyo grutsapatibhyashcha vo namo namo
vrAtebhyo vrAtapatibhyashcha vo namo namo
gaNebhyo gaNapatibhyashcha vo namo namo
virUpebhyo vishvarUpebhyashcha vo namo namo
mahadbhyaH kshullakebhyashcha vo namo namo
rathibhyo.arathebhyashcha vo namo namo rathebhyaH || 4\.1||
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rathapatibhyashcha vo namo namaH
senAbhyaH senanibhyashcha vo namo namaH
kshattR^ibhyaH sa.ngrahItR^ibhyashcha vo namo nama\-
stakshabhyo rathakArebhyashcha vo namo namaH
kulAlebhyaH karmArebhyashcha vo namo namaH
puJNjishhTebhyo nishhAdebhyashcha vo namo nama
ishhukR^idbhyo dhanvakR^id.hbhyashcha vo namo namo
mrugayubhyaH shvanibhyashcha vo namo namaH
shvabhyaH shvapatibhyashcha vo namaH || 4\.2||
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namo bhavAya cha rudrAya cha namaH sharvAya cha pashupataye cha
namo nIlagrIvAya cha shitikaNThAya cha
namaH kapardine cha vyuptakeshAya cha
namaH sahasrAkshAya cha shatadhanvane cha
namo girishAya cha shipivishhTAya cha
namo mIDhushhTamAya cheshhumate cha namo hrasvAya cha vAmanAya cha
namo bR^ihate cha varshhIyase cha
namo vR^iddhAya cha saMvR^id.hdhvane cha || 5\.1||
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namo agriyAya cha prathamAya cha nama Ashave chAjirAya cha
namH shIghriyAya cha shIbhyAya cha
nam UrmyAya chAvasvanyAya cha
namaH strotasyAya cha dvIpyAya cha || 5\.2||
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namo jyeshhThAya cha kanishhThAya cha
namaH pUrvajAya chAparajAya cha
namo madhyamAya chApagalbhAya cha
namo jaghanyAya cha budhniyAya cha
namaH sobhyAya cha pratisaryAya cha
namo yAmyAya cha kshemyAya cha
nama urvaryAya cha khalyAya cha
namaH shlokyAya chAvasAnyAya cha
namo vanyAya cha kakshyAya cha
namaH shravAya cha pratishravAya cha || 6\.1||
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nama AshushheNAya chAshurathAya cha
namaH shUrAya chAvabhindate cha
namo varmiNe cha varUthine cha
namo bilmine cha kavachine cha
namaH shrutAya cha shrutasenAya cha || 6\.2||
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namo dundubhyAya chAhananyAya cha namo dhR^ishhNave cha pramR^ishaaya cha
namo dUtAya cha prahitAya cha namo nishhaN^giNe cheshhudhimate cha
namastIkshNeshhave chAyudhine cha namaH svAyudhAya cha sudhanvane cha
namaH srutyAya cha pathyAya cha namaH kATyAya cha nIpyAya cha
namaH sUdyAya cha sarasyAya cha namo nAdyAya cha vaishantAya cha || 7\.1||
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namaH kUpyAya chAvaTyAya cha namo varshhyAya chAvarshhyAya cha
namo meghyAya cha vidyutyAya cha nama IghriyAya chAtapyAya cha
namo vAtyAya cha reshhmiyAya cha
namo vAstavyAya cha vAstupAya cha || 7\.2||
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namaH somAya cha rudrAya cha namastAmrAya chAruNAya cha
namaH shaN^gAya cha pashupataye cha nama ugrAya cha bhImAya cha
namo agrevadhAya cha dUrevadhAya cha
namo hantre cha hanIyase cha namo vR^ikshebhyo harikeshebhyo
namastArAya namaH shaMbhave cha mayobhave cha
namaH sha.nkarAya cha mayaskarAya cha
namaH shivAya cha shivatarAya cha || 8\.1||
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namastIrthyAya cha kUlyAya cha
namaH pAryAya chAvAryAya cha
namaH prataraNAya chottaraNAya cha
nama AtAryAya chAlAdyAya cha
namaH shashhpyAya cha phenyAya cha namaH
sikatyAya cha pravAhyAya cha || 8\.2||
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nama iriNyAya cha prapathyAya cha
namaH ki\m+shilAya cha kshayaNAya cha
namaH kapardine cha pulastaye cha
namo goshhThyAya cha gR^ihyAya cha
namastalpyAya cha gehyAya cha
namaH kATyAya cha gahvareshhThAya cha
namo hR^idayyAya cha niveshhpyAya cha
namaH pA\m+savyAya cha rajasyAya cha
namaH shushhkyAya cha harityAya cha
namo lopyAya cholapyAya cha || 9\.1||
\medskip

nama UrvyAya cha sUrmyAya cha
namaH parNyAya cha parNashadyAya cha
namo.apaguramANAya chAbhighnate cha
nama Akhkhidate cha prakhkhidate cha
namo vaH kirikebhyo devAnA\m+ hR^idayebhyo
namo vikshINakebhyo namo vichinvatkebhyo
nama Anirhatebhyo nama AmIvatkebhyaH || 9\.2||
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drApe andhasaspate daridrannIlalohita |
eshhAM purushhANAmeshhAM pashUnAM mA bhermAro mo eshhAM
ki.nchanAmamat.h || 10\.1||
\medskip

yA te rudra shivA tanUH shivA vishvAha bheshhajI |
shivA rudrasya bheshhajI tayA no mR^iDa jIvase || 10\.2||
\medskip

imA\m+rudrAya tavase kapardine kshayadvIrAya prabharAmahe matim.h |
yathA naH shamasad.hdvipade chatushhpade vishvaM pushhTaM grAme
aasminnanAturam.h || 10\.3||
\medskip

mR^iDA no rudrotano mayaskR^idhi kshayadvIrAya namasA vidhema te |
yachchhaM cha yoshcha manurAyaje pitA tadashyAma tava rudra praNItau || 10\.4||
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mA no mahAntamuta mA no arbhakaM
mA na ukshanta\-muta mA na ukshitam.h |
mA no vadhIH pitaraM mota mAtaraM priyA mA
nastanuvo rudra rIrishhaH || 10\.5||
\medskip

mAnastoke tanaye mA na Ayushhi mA no goshhu
mA no ashveshhu rIrishhaH |
vIrAnmA no rudra bhAmito.avadhI\-rhavishhmanto
namasA vidhema te || 10\.6||
\medskip

ArAtte goghna utta pUrushhaghne kshayadvIrAya
sumnamasme te astu |
rakshA cha no adhi cha deva brUhyathA cha naH
sharma yachchha dvibarhAH || 10\.7||
\medskip

stuhi shrutaM gartasadaM yuvAnaM mR^iganna bhIma\-mupahatnumugram.h |
mruDA jaritre rudra stavAno anyante
asmannivapantu senAH || 10\.8||
\medskip

pariNo rudrasya hetirvR^iNaktu pari tveshhasya durmatiraghAyoH |
ava sthirA maghavadbhyastanushhva mIDh.hvastokAya
tanayAya mruDaya || 10\.9||
\medskip

mIDhushhTama shivatama shivo naH sumanA bhava |
parame vruksha AyudhaM nidhAya kR^ittiM vasAna
Achara pinAkaM vibhradAgahi || 10\.10||
\medskip

vikirida vilohita namaste astu bhagavaH |
yAste sahasra\m+hetayo.anyamasmannivapantu tAH || 10\.11||
\medskip

sahasrANi sahasradhA bAhuvostava hetayaH |
tAsAmIshAno bhagavaH parAchInA mukhA kR^idhi || 10\.12||
\medskip

sahasrANi sahasrasho ye rudrA adhi bhUmyAm.h |
teshhA\m+sahasrayojane.avadhanvAni tanmasi || 11\.1||
\medskip

asmin.h mahatyarNave.antarikshe bhavA adhi || 11\.2||
nIlagrIvAH shitikaNThAH sharvA adhaH kshamAcharAH || 11\.3||
nIlagrIvAH shitikaNThA diva\m+rudrA upashritAH || 11\.4||
ye vR^iksheshhu saspi.njarA nIlagrIvA vilohitAH || 11\.5||
ye bhUtAnAmadhipatayo vishikhAsaH kapardinaH || 11\.6||
ye anneshhu vividhyanti pAtreshhu pibato janAn.h || 11\.7||
ye pathAM pathirakshaya ailabR^idA yavyudhaH || 11\.8||
ye tIrthAni pracharanti sR^ikAvanto nishhaN^giNaH || 11\.9||
ya etAvantashcha bhUyaa\m+sashcha disho rudrA vitasthire
teshhA\m+sahasra\-yojane .avadhanvAni tanmasi || 11\.10||
namo rudrebhyo ye pR^ithivyAM ye .antarikshe
ye divi yeshhAmannaM vAto varshhamishhava\-stebhyo dasha
praachIrdasha dakshiNA dasha pratIchIrdashodiichIrdashordhvaastebhyo
namaste no mR^iDayantu te yaM dvishhmo yashcha no dveshhTi
taM vo jambhe dadhAmi || 11\.11||
\medskip

tryaMbakaM yajAmahe sugandhiM pushhTivardhanam.h |
urvArukamiva bandhanAnmR^ityo\-rmukshIya mA.amR^itAt.h || 1||
\medskip

yo rudro agnau yo apsu ya oshhadhIshhu |
yo rudro vishvA bhuvanA.a.avivesha
tasmai rudrAya namo astu || 2||
\medskip

tamushhTuhi yaH svishhuH sudhanvA yo vishvasya kshayati bheshhajasya |
yakshvAmahe saumanasAya rudraM nabhobhi rdevamasuraM duvasya || 3||
\medskip

ayaM me hasto bhagavAnayaM me bhagavattaraH |
ayaM me vishva\-bheshhajo.aya\m+ shivAbhimarshanaH || 4||
\medskip

ye te sahasramayutaM pAshA mR^ityo martyAya hantave |
tAn.h yaGYasya mAyayA sarvAnava yajAmahe |
mR^ityave svAhA mR^ityave svAhA || 5||
\medskip

oM namo bhagavate rudrAya vishhNave mR^ityurme pAhi |
prANAnAM granthirasi rudro mA vishAntakaH |
tenAnnenApyAyasva || 6||
namo rudraaya vishhNave mR^ityurme pAhi
\medskip

\centerline{|| oM shAntiH shAntiH shAntiH ||}
\medskip

\centerline{|| iti shrIkR^ishhNayajurvedIya taittirIya saMhitAyAM}
\centerline{chaturthakANDe pa.nchamaH prapAThakaH ||}
\bigskip

http://www.shaivam.org/ssrudram.html


The Shri Rudram (Sanskrit श्रि रुद्रम्), to which the Chamakam (चमकम्) is added by scriptural tradition, is a Hindu stotra dedicated to Rudra (an epithet of Shiva), taken from the Yajurveda (TS 4.5, 4.7).[1][2]. Shri Rudram is also known as Sri Rudraprasna, Śatarudrīya, and Rudradhyaya. The text is important in Vedanta where Shiva is equated to the Universal Brahman. The hymn is an early example of enumerating the names of a deity,[3] a tradition developed extensively in the sahasranama literature of Hinduism. By the first few centuries CE, the recitation of the Śatarudrīya is claimed, in the Jābala Upanishad, to lead to immortality.[4] The hymn is referred to in the Shiva Purana.[5]

The text is also famous for its mention of the Shaivite Panchakshara ("five-syllable") mantra (Sanskrit: Namaḥ Śivāya), which appears in the text of the Śatarudrīya in the eighth anuvaka.[6] The text also contains the mantra Aum Namo Bhagavathe Rudraya.Through the chanting of Sri Rudram, Lord Siva's various attributes and aspects are invoked and worshipped. Chanting the Rudram is considered to be of great benefit. The Rudram chanting can be done with or without the accompaniment of a Vedic yagna ritual. When accompanied with the Vedic fire ritual, it is called the Rudra Yagnam. It is said that Lord Shiva after Bhasmasura was killed with the help of Lord Maha Vishnu performed the Tandava Dance and then Performed the "Rudra Yagna" for the Betterment of Humanity, this Place where the Rudra Yagna was performed is where the "Sri Kalahasti" Temple stands now, this temple also has one of the 12 Jyothirlingas of Parameshwara.

It consists of two texts from book four of the Taittiriya Samhita (TS 4.5, 4.7), which is a recension of the Black Yajurveda.

Shri Rudram or the Namakam (chapter five) describes the name or epithets of Rudra, which represent his aspects. Additionally, the devotee asks for the benevolent aspect of Shiva to be invoked rather than the terrible aspect and requests forgiveness of sins. The Chamakam (chapter seven) asks for the fulfilment of wishes. Each part consist of eleven anuvaka or hymns. Traditionally Rudra is assigned the number 11, and among the thirty three deities of the Vedic pantheon, eleven are considered forms of Rudra.
[edit] Shri Rudram

The anuvakas of Shri Rudram correspond to the eleven hymns of TS 4.5, with the final anuvaka extended by an additional eight verses, including the Mahamrityunjaya Mantra. The central Shaivite mantra, Aum Namah Sivaya is also derived from the Shri Rudram, it appears (without the aum) in TS 4.5.8.l.
[edit] Chamakam

The second part of the text, corresponding to TS 4.7, asks God for fulfillment of wishes. The repeated phrase, cha me literally means, "and to me [be this granted]", accompanied by a list of desirables which are primarily necessary appurtenances for Vedic sacrifices.

The original context of the Chamakam is the piling up of the fire-altar of the Vedic religion. The hymn invokes, apart from Agni and Vishnu at the beginning, a pantheon of Vedic deities that are successively linked with Indra to enable the yajamana or sacrificer/patron to successfully perform Vedic fire sacrifices or yagnyas, such as the Agnishthoma, Somayaga, and the Ashwamedha. The Chamakam can be interpreted both as a preparatory for a physical external sacrificial ritual, or the inner, possibly yogic sacrifice involving pranic control, since the yogic "vital airs" are explicitly mentioned as sacrificial adjuncts in anuvaka, or stanza 10.
[edit] Interpretation

The interpretations of the text commonly taught today are clearly Vedantic, while the Vedic texts at the time of their composition were probably intended for the context of ritual sacrifice.

The President of the Ramakrishna Mission, at Chennai, in commentating on the foreword to Swami Amritananda's translation of Sri Rudram and Purushasuktam, stated that "Rudra to whom these prayers are addressed is not a sectarian deity, but the Supreme Being who is omnipresent and manifests Himself in a myriad forms for the sake of the diverse spiritual aspirants." Sri Rudram occurs in the fourth Kanda of the Taittirya Samhita in the Yajur Veda.

Satguru Sivaya Subramuniyaswami explains in the lexicon section of his book, Dancing with Siva, that "Sri Rudram is a hymn to the wielder of awesome powers. It is a preeminent Vedic hymn to Lord Siva as the God of dissolution, chanted daily in Siva temples throughout India."

VANDE MATARAM - Salutations to Mother India

http://india.gov.in/myindia/code_readmore.php
http://india.gov.in/myindia/images/vande.mp3
download the most common version of the song

Here are the NON-CONTROVERSIAL first two paras...

I bow to thee, Mother,
richly-watered, richly-fruited,
cool with the winds of the south,
dark with the crops of the harvests,
the Mother!

Her nights rejoicing
in the glory of the moonlight,
her lands clothed beautifully
with her trees in flowering bloom,
sweet of laughter,
sweet of speech,
The Mother,
giver of boons, giver of bliss!

vande mātaram
sujalām suphalām
malayajaśītalām
śasya śyāmalām
mātaram
vande mātaram

śubhra jyotsnā
pulakita yāminīm
phulla kusumita
drumadalaśobhinīm
suhāsinīm
sumadhura bhāshinīm
sukhadām varadām
mātaram
vande mātaram

http://www.musicindiaonline.com/lr/17/882/


Old Version, taught in most schools.


Lata Mangeshkar


Maa Tujhe Salaam, AR Rahman


Anand Math, Hemant Kumar and Lata Mangeshkar


Vande Mataram (Sanskrit: Vande Mātaram "I do homage to the mother";[1] Devanagari: वन्दे मातरं, Bengali script: বন্দে মাতরম্‌ ) is a poem in the 1882 novel by Anandamatha by Bankimchandra Chattopadhyay. It is written in a mixture of Bengali and Sanskrit.[2] It is a hymn to the goddess Durga, identified as the national personification of Bengal. It came to be considered the "National Anthem of Bengal",[3] and it played a part in the Indian independence movement, first sung in a political context by Rabindranath Tagore at the 1896 session of the Indian National Congress[4]. In 1950, its first two verses were given the official status of "national song" of the Republic of India,[4] distinct from the national anthem of India Jana Gana Mana. Many Muslim organizations in India have declared fatwas against singing Vande Mataram, due to the song giving a notion of worshipping Mother India, which they consider to be shirk (idolatry).[5]

A commonly cited English language translation of the poem, Mother, I bow to thee!, is due to Sri Aurobindo (1909).[6] The poem has been set to a large number of tunes. The oldest surviving audio recordings date to 1907, and there have been more than a hundred different versions recorded throughout the 20th century. In 2002, BBC World Service conducted an international poll to choose ten most famous songs of all time. Around 7000 songs were selected from all over the world. Vande Mataram, in a version by A. R. Rahman, was second in top 10 songs.[7]

It is generally believed that the concept of Vande Mataram came to Bankimchandra Chattopadhyay when he was still a government official under the British Raj, around 1876.

Chattopadhyay wrote the poem in a spontaneous session using words from Sanskrit and Bengali. The poem was published in Chattopadhyay's book Anandamatha (pronounced Anondomôţh in Bengali) in 1882.[2] Jadunath Bhattacharya was asked to set a tune for this song just after it was written.[2]

[edit] Indian independence movement

The flag raised by Bhikaiji Cama in 1907"Vande Mataram" was the national cry for freedom from British rule during the freedom movement. Large rallies, fermenting initially in Bengal, in the major metropolis of Calcutta, would work themselves up into a patriotic fervour by shouting the slogan "Vande Mataram", or "Hail to the Mother(land)!". The British, fearful of the potential danger of an incited Indian populace, at one point banned the utterance of the motto in public forums, and imprisoned many freedom fighters for disobeying the proscription. Rabindranath Tagore sang Vande Mataram in 1896 at the Calcutta Congress Session held at Beadon Square. Dakhina Charan Sen sang it five years later in 1901 at another session of the Congress at Calcutta. Poet Sarala Devi Chaudurani sang the song in the Benares Congress Session in 1905. Lala Lajpat Rai started a journal called Vande Mataram from Lahore.[2] Hiralal Sen made India's first political film in 1905 which ended with the chant. Matangini Hazra's last words as she was shot to death by the Crown police were Vande Mataram[8]

In 1907, Bhikaiji Cama (1861-1936) created the first version of India's national flag (the Tiranga) in Stuttgart, Germany, in 1907. It had Vande Mataram written on it in the middle band.[9]

[edit] Adoption as "national song"
Tagore's Jana Gana Mana was chosen as the National Anthem of the 1947 Republic of India. Vande Mataram was rejected[citation needed] on the grounds that Muslims, Christians, Parsis, Sikhs, Arya Samajis and others who opposed idol worship felt offended by its depiction of the nation as "Mother Durga", a Hindu goddess. Muslims also felt that its origin as part of Anandamatha, a novel they felt had an anti-Muslim message.

The designation as "national song" predates independence, dating to 1937. At this date, the Indian National Congress discussed at length the status of the song. It was pointed out then that though the first two stanzas began with an unexceptionable evocation of the beauty of the motherland, in later stanzas there are references where the motherland is likened to the Hindu goddess Durga. Therefore, INC decided to adopt only the first two stanzas as the national song.

The controversy becomes more complex in the light of Rabindranath Tagore's rejection of the song as one that would unite all communities in India. In his letter to Subhash Chandra Bose (1937), Rabindranath wrote:

"The core of Vande Mataram is a hymn to goddess Durga: this is so plain that there can be no debate about it. Of course Bankimchandra does show Durga to be inseparably united with Bengal in the end, but no Mussulman [Muslim] can be expected patriotically to worship the ten-handed deity as 'Swadesh' [the nation]. This year many of the special [Durga] Puja numbers of our magazines have quoted verses from Vande Mataram - proof that the editors take the song to be a hymn to Durga. The novel Anandamath is a work of literature, and so the song is appropriate in it. But Parliament is a place of union for all religious groups, and there the song cannot be appropriate. When Bengali Mussulmans show signs of stubborn fanaticism, we regard these as intolerable. When we too copy them and make unreasonable demands, it will be self-defeating."

In a postscript to this same letter, Rabindranath says:

"Bengali Hindus have become agitated over this matter, but it does not concern only Hindus. Since there are strong feelings on both sides, a balanced judgment is essential. In pursuit of our political aims we want peace, unity and good will - we do not want the endless tug of war that comes from supporting the demands of one faction over the other." [10]

Rajendra Prasad, who was presiding the Constituent Assembly on January 24, 1950, made the following statement which was also adopted as the final decision on the issue:

The composition consisting of words and music known as Jana Gana Mana is the National Anthem of India, subject to such alterations as the Government may authorise as occasion arises, and the song Vande Mataram, which has played a historic part in the struggle for Indian freedom, shall be honored equally with Jana Gana Mana and shall have equal status with it. (Applause) I hope this will satisfy members. (Constituent Assembly of India, Vol. XII, 24-1-1950)