BHAKTAMAR STOTRA TRANSLATION PPS, PART 1 OF 2, 110109

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The Seventh recitation of

the Nine Smaranas.

BHAKTÄMARA STOTRAPart 1 of 2

Bhaktamar = Bhakt + Amar

Bhakt is a true devotee,

Amar is an immortal person

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Bhaktamara stotra has been composed in praise of the first Tirthankara, The Lord Rishabhadeva Bhagvan.

Rishabhadeva is also known as Ädinatha because he was the first and happened to 'begin' or show every art and craft

to mankind.

The word ädi means the first or the beginning of time.

BHAKTÄMARA STOTRA

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BHAKTÄMARA STOTRA (1)

This stotra is composed by a devotee Ächärya Mäntunga-Soori (944 -1044 AD)

to praise Lord Rishabhadeva.

In the stotra he has mark the path to reach the Divine Soul.

A true devotee is the only one, who can reach the Lord. A true devotee is the one who can devote fully by his own self-efforts,

to get rid of all his or her Kashayas

(attachment, aversion, anger, ego, deceit, greed etc.).

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BHAKTÄMARA STOTRA (2)

This is the true Bhakti (devotion).

When the devotee is totally engrossed in devotion and at the stage when

he/she attains enlightenment, there is no distance between the

devotee and The Lord.

To realize the purest form of the soul is when there is

"no distance between the devotee and the Lord”.

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BHAKTÄMARA STOTRA (3)

In other words, the devotee and God become one.

To praise his Lord in true devotion, is called Strotra.

When Mantug Acharyaji became enlightened, words flew out of his heart

as he had marked his path to the Lord.

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BHAKTÄMARA STOTRA (4)

Therefore for a devotee to reach this stage of enlightenment is simply called Bhaktamar.

This highly auspicious poem is in the form of a four line stanzas, written in

devotion to his Lord.

This song makes him immortal.

He is an ideal for every true devotee.

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BHAKTÄMARA STOTRA (5)

The Stotra is :

* a devotional poem par excellence.

* an unparalleled lustrous gem of grand poetry (alankära).

* a beautiful masterpiece of composition.

* a poet’s enlightening devotion and infinite faith in the Lord.

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BHAKTÄMARA STOTRA (6)

The Stotra is:

* a Magical power, a great solace to the devotee in trouble.

* immensely powerful and can free from all sorts of worries and difficulties.

capable to make a devotee immortal.

*

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Poetry in the Stotra

The Bhaktämara Stotra is composed in the aksharmel chhanda.

The chhanda (meter) is defined as rhythmic pattern of a poetic line in Sanskrit poetry.

The chhanda measures the length of time required to pronounce syllables, regardless of their stress, combinations of long and

short syllables form the basic rhythmic units.

The aksharmel chhanda, is related to the number of letters/syllables.

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Poetry in the Stotra (1)

This composition within the aksharmel chhanda is written in the Vasant-tilkä chhanda.

In the Vasant-tilkä each line must have 14 letters/syllables.

That is why each of the stotra's four lines have 14 letters/syllables.

The Vasant-tilkä also has one more characteristic in that it also contains the composition of mäträs within it.

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Poetry in the Stotra (2)

This way a mäträ (emphasized as well as non-emphasized letters) is measured.

The emphasized letter/syllable takes slightly longer time in pronunciation and the singing

is affected, which is why the unit of measurement is a mäträ.

This way matras are counted and not the number of letters.

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Poetry in the Stotra (3)

Let us see the first four lines of the first stanza of the Stotra with fourteen syllables.

Bha kta ma ra -pra na ta- mau li ma ni -pra bha na

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Bhaktämara-pranata-maulimani-prabhana

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Poetry in the Stotra (4)

Mudyotakam dalita-päpa-tamovitänam |

Mu dyo ta kam da li ta -pa pa- ta mo vi ta nam

1 2 3 4 5 6 7 8 9 10 11 12 13 14

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Poetry in the Stotra (5)

samyak pranamya jina pädayugam yugäda

sam yak pra na mya ji na pä da yu gam yu gä dä

1 2 3 4 5 6 7 8 9 10 11 12 13 14

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Poetry in the Stotra (6)

va lam ba nam bha va ja le pa ta täm ja nä näm

1 2 3 4 5 6 7 8 9 10 11 12 13 14

välambanam bhavajale patatäm janänäm || 1||

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Poetry in the Stotra (7)

Let us see the composition of mäträs within first line of first stanza.

Each line has four groups of three syllables each and the last two are short syllables.

In each group the letter is to be identified as short or long syllable.

In Sanskrit poems a letter/syllable can have one or two mäträs. A normal and easy way is

to check the pronunciation.

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Poetry in the Stotra (8)

The letter/syllable on its own, or a short one, is considered short with one mäträ, and

the one with a long pronunciation is considered one having two mäträs.

In the Vasant-tilkä form, four groups and two single syllables are like this:

S S L S L L L S L L S L S S

( S for short and L for long mäträ )

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Poetry in the Stotra (9)

One can check the whole poem and see that the Bhaktämara Stotra does follow the rules of the Vasant-tilkä meter.

It can be seen that writing poetry and sticking to a particular composition was not an easy task.

The methods above explain how a Vasant-tilkä meter is composed.

Once the pronunciation time is fixed, pronunciation length of a sentence is synonymous with the pattern of syllables used.

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Poetry in the Stotra (10)

Thus the measurement in terms of thepronunciation time creates a link, more technically mapping, between the singing time

and the measured syllable lengths.

This is a central idea in Sanskrit chhanda poetry making the poem tunable and

providing a rhythmic sound.

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Lustrous gem of the Poetry

The stotra is a unparalleled lustrous gem of poetical charms (alankära) in Sanskrit Poetry.

The Alankaras are grand rhetorical texts combining effective composition with the elegance, force & sweetness of poetry.

Alankära adds the beauty of melodious singing to the stotra. The stotra offers many many alankäras in 48 stanzas.

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Lustrous gem of the Poetry (1)

Alankäras are broadly classified into two categories:

(1) Alankäras of words

(2) Alankäras of meanings of words or sentences and comparison.

Alankäras of words are of three types.

(1) repetition of one letter

(2) repetition of any one word

(3) rhyming of words

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Lustrous gem of Poetry (2)

Alankäras of repetition of one letter is called anupräsa alankära.

tvamämananti munayah paramam pumänsa

Repetition of letter “m”

Lustrous gem of Poetry (2a)

This verse has anupräsa alankära.

i.e. the repeated use of the letter 'p' in six different words adds to the beauty of

melodious singing.

p

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Lustrous gem of Poetry (3)

Alankäras of repetition of one word

Repetition of word “tubhyam”

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Lustrous gem of Poetry (4)

Alankäras of rhyming of words

rhyming of words ending with ‘am’

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Lustrous gem of Poetry (5)

Alankäras of comparison

Verse No. 11 Comparison between ordinary salty sea, and a legendary

milky sea, where one can find nectar like milk.

Verse No. 22 Indirect comparison of the mother & Easterly direction.

The use of the sun, the moon, the sea, the spring, the lotus, the mountains and

the wind are used to compare the virtues of the Lord in a spellbinding manner.

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The essence of the Poetry (1)

In this stotra, the poet Mäntungächärya, a talented scholar,  eminent visionary and

prodigious monk, has used many comparisons while mentioning the virtues and attributes

of Lord Rishabhadeva.

The first thing to note is that natural forces or natural (including astronomical) events are

mentioned repeatedly.

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The Essence of Poetry (2)

The sun, the moon, the sea, the spring, the lotus, the mountain and wind are used in comparison to the virtues of the Lord.

The different words used for the sun and the moon and the other things are listed below.

This shows the richness of Sanskrit.

The numbers in brackets refer to the verse number as to where the word appears per

the Digambara tradition.

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The essence of the Poetry (3)

The Sun:

Mäntunga-Ächärya has used nine synonyms when mentioning the sun.

Surya used nine times.

Surya (7) Shahastra-kiran (9)

Vivasvata (19) Shahastra-rashmi (22, 29)

Aaditya (23), Ravi (28) Bhanukar (31)

Diwäkar (38), Dinkruta (33)

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The essence of the Poetry (4)

The Moon:

Mäntunga-Ächärya has used six synonyms when mentioning the moon.

Moon used six times.

Indu (3) Shashänk (4, 14, 30, 31)

Shashikar (11) Nishäkar (13)

Shashi (19) Soma (34)

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The essence of the Poetry (5)

The Sea:

Mäntunga-Ächärya has used seven synonyms when mentioning the Sea.

Sea used seven times.

Samudra (4) Ambunidhi (4)

Sindhu (11) Jalanidhi (11)

Udadhi (26) Ambhonidhi (40)

Väridhi (43)

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The Essence of Poetry (6)

The Lotus:

Mäntunga-Ächärya has used five synonyms when mentioning the Lotus.

Lotus used six times.

Nalini (8) Abja (18)

Jaljäni (9) Pankaj (32, 39, 41),

Udadhi (26) Padma (32)

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The Essence of Poetry (7)

Snake: Water: Lion:

Ahi (43) Jala (1) Mrugendra (5)

Fanin (37) Paya (28) Mrugaräj (43)

Näga (37) Harinädhip(35).

Some more examples:

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The essence of the Poetry (8)

Mountain: Clouds:

Adri (15) Ambhodhar (17)

Tunga (29) Payodhara (28)

Surgiri (30) Jaladhara (19)

Achal (35). Väridän (18)

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The essence of the Poetry (9)

The Bhaktamar Stotra has 48 stanzas.

Every stanza has four parts.

Every part has 14 letters.

(No wonder stotra is called Gem of Poetry)

Thus the complete panegyric is formed by

2888 letters.

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Composing of a Stotra

King Harsha ruled in the township of Ujjaini in Mälvä.

There were some 500 scholars in his court but two of those 500 were quite famous and occupied high ranking positions in the

kingdom.

Their names were Bäna and Mayura. Mayura in fact was the father-in-law of Bäna.

Once Mayura saw that Bäna and his wife (who was Mayura's daughter) were quarrelling over

some trivial matter.

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Composing of a Stotra (1)

Mayura scolded his daughter but the daughter was very angry at this interference and

cursed her father Mayura.

Mayura developed leprosy due to the curse and suffered greatly.

To free himself from the pain of leprosy Mayura composed a stotra,

which was instrumental in the eradication of his disease.

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Composing of a Stotra (2)

Mayura was a Hindu Pandit and everyone started praising the miraculous powers of the

Hindu Gods.

The story further mentions that at that time, Jains were sidelined and people even thought that Jainism was

an inferior religion.

Once King Harsha summoned some Jains and asked them whether there was any Jain who

could perform a miracle.

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Composing of a Stotra (3)

Jain laymen suggested the name of Mäntunga-Soori.

The King approached Mäntunga-Soori and asked him about the power of the Jain Mantras,

whereupon Mäntunga-Soori proposed to the king that the king's men, should bind him with

chains and lock him up in a dark room.

There he will perform a miracle and all his shackles will be broken automatically.

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Composing of a Stotra (4)

The king ordered his men to bind Mäntunga-Soori with chains and

lock him in solitary confinement.

It is said that Mäntunga-Soori was in prison of 48 cells and chained with 48 locks (44 per the Swetamber account).

There in the dark and solitary room, Mäntunga-Soori started composing a poem in praise of the first Tirthankara Rishabhadeva.

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Composing of a Stotra (5)

As he started reciting verses, each of his shackles were broken on the

composition of each verse.

He composed forty-eight verses and forty-eight chains were broken.

Thus the Goddess Chakreshvari, who is the attendant deity of the

Tirthankara Rishabhadeva, released him.

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Composing of a Stotra (6)

The king had to realize the power of Janism and fell down at the feet of Acharya, and he asked for

pardon for his mistake again and again. 

After this, Acharya Mantunga entered the city of Dhara, due to the effect of sermons and Tapa of

Mantunga, so many peoples accepted Jain Dharma.

At the end, he accepted ‘Sallekhana Vrat’ and gave up his body.

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Play CD or tape

If you have a CD of the Bhaktamar Stotra,

please play each verse after reviewing

slides of the corresponding verse,

(pause the youtube video to listen the verse) .

You can pause CD and view the next slide

and play next verse.

Bhaktamara- pranata- maulimani-prabhanam

Muddyotakam dalita- papa- tamovitanam.

Samyak pranamya jina padayugam yugada-

Valambanam bhavajale patatam jananam.  (1)

Verse # 1-1

The poet bows down & declares intention of writing the Poem.

When the Gods bow down at the feet of Bhagavan Rishabhdeva divine glow of his nails increases shininess of jewels of their

crowns. Mere touch of his feet absolves the beings from sins.

Verse # 1-2

He who submits himself at these feet is saved from taking birth again and again

(transmigration of the samsára). I offer my reverential salutations (namaskaar) at the feet

of Bhagavan Rishabhadeva, the first Tirthankar, the propagator of religion at the

beginning of this era.

Verse # 1-3

Verse # 1-4

Explanation:

Here the poet wants to bow down (namaskaar) and praise the virtues of Lord Ädinätha.

The comparison of the brightness of the jewels in the crowns of the Devas to the brightness of the Lord's feet (the reflection of light from his toenails) can be found in some other stotras as well. The poet says that the brightness of the Lord's feet surpasses the brightness of the jewels.

Verse # 1-5

Explanation:

Even the jewels look quite dull when they are seen near His feet.

It has to be mentioned here that almost all ancient Indian texts talk of 'transmigration

of the samsára' (sometimes simply referred to as samsára).

This has been compared with crossing a great river or sea. The ordinary mortal is always 'swimming’ in this sea.

Verse # 1-6

Explanation:

His ultimate goal is to cross this sea and attain nirväna.

Nirväna or moksha in Jain terminology means there is no more birth (or death).

The phrase of crossing the sea of samsára or ending the cycle of births has also been mentioned in other verses of the Bhaktämara.

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Praise of Lord Rishabhadeva by

Devas.

Those who have submitted to him are

saved from taking birth in this

turbulent mundane ocean , but those who have kept away

are drowning.

Yah samstutah sakala-vangmaya-tatva-bodhat

Udbhuta buddhi patubhih suralokanathaih

Stotrairjagattritaya chitta-harairudaraih

Stoshye kilahamapi tam prathamam jinendram. (2)

Verse # 2-1

The poet bows down & declares intention of writing the Poem.

The Devas, who possesses a great deal of

knowledge of all the scriptures and

immense intelligence, praise Him and

sing the stotras so beautifully that,

Verse # 2-2

it captivates (by bringing joy) the people of three

worlds, I too will now endeavor to sing the

stotra in praise of the first Jinendra,

the first Tirthankara, Rishabhadeva. (2)

Verse # 2-3

Verse # 2-4

Explanation:

Poet now says, wise celestial lords, who have acquired wisdom from all the canons, have eulogized 'First Jinendra' (Bhagavan Adinath) , with Hymns bringing

joy to the audience of three realms (heaven, earth and hell).

I , Matungacharya, an humble man with little wisdom shall be steadfast in my endeavour to eulogize that first Tirthankar.

Verse # 2-5

Explanation:

It is worth noting that because of these two words, 'First Jinendra' (prathamam Jinendram), we know that this stotra is composed in the praise of the first Tirthankara, Rishabhadeva.

Nowhere else has the name of Rishabhadeva been mentioned in this poem.

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Wise celestial lords are singing hymns in praise of Bhagavan

Adinatha.

An humble devotee joins them to eulogize the Bhagavan.

Buddhya vinaapi vibudharchita padapitha   

Stotum samudyata matirvigata trapoaham.  

Balam vihaya jala samsthita mindu bimbam 

Manyah ka ichchhati janah sahasa grahitum. (3)

Verse # 3-1

Declaration of his humble attempt in composing the Stotra

O Lord, you are the one who is worshipped by the

most intelligent ones and I on the other hand am

trying to worship you (eulogize you) without

having any intelligence,

Verse # 3-2

this seems like an shameless act.

This is like an act of a child who

wants to get hold of an image of the moon

reflected in the water.

Verse # 3-3

Verse # 3-4Explanation:

The poet says that I must be a shameless person who tries to praise the Tirthankara

who has been usually praised by super-intelligent ones, not by an ordinary being like me.

The poet also says that this is like a case of a child who sees the image of the moon in the water and tries to get hold of it.

The poet compares his attempt at composing this recitation to that of the attempt of an ignorant child.

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The efforts of an ignorant to eulogize

the Jina,

revered by the Gods,

appears to be a childish impudence of trying in vain to grab the reflection

of the moon in water.

Vaktum gunan gunasamudra shashankakantan

Kaste kshamah suraguru pratimoapi buddhya.

Kalpanta kala pavanoddhata nakra hakram

Ko va taritum alam ambunidhim bhujabhyam (4)

Verse # 4-1

Declaration of his humble attempt in composing the Stotra

O ocean of virtues! Even the guru of celestial

beings (brihaspati), with his immense wisdom is not

capable of praising your virtues,

which are as blissful as the moon.

Verse # 4-2

Who can swim across the ocean, which is infested

by crocodiles and is lashed by the hurricane wind

blowing at the time of the destruction of the

universe, with his bare hands ? (No one can).

Verse # 4-3

Verse # 4-4Explanation:

The poet has used the word ocean twice (once as samudra and then as ambunidhi).

The first time he says you are the ocean of virtues & the second time he talks about

the ocean which is raging with fierce storms. Both of these oceans are hard to cross/attain.

The first ocean is the ocean of virtues that an ordinary mortal cannot fathom and the other ocean is the ocean we know, the mighty sea.

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Ocean of virtues of the Jina !

Ocean (mundane), raging with fierce

storms.

Both these oceans are hard to

cross/attain.

Soaham tathapitava bhakti vashanmunisha

Kartum stavam vigatashaktirapi pravrittah.

Prityatma viryam avicharya mrigi mrigendram

Nabhyeti kim nijashishoh paripalanartham (5)

Verse # 5-1

Comparison with a deer who would protect her own offspring.

O, Apostle of apostles !

I am incapable of narrating your infinite virtues.

Still, inspired by my devotion for you,

I intend to compose a hymn in your praise.

Verse # 5-2

This is like an act of a mother deer who would

forget about her own strength, and because of

the love towards her offspring, confront a lion if

it comes to protecting the child from that lion.

Verse # 5-3

Verse # 5-4Explanation:

The poet says that I am like that deer.

I too, have no ability but because of the devotion, I have now prepared myself to sing your praises.

Therefore the reason for the composition of this stotra is only one, devotion (bhakti) to the Lord.

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Comparison with a deer who would protect her own offspring and is

willing to confront a Lion, knowing it is a

difficult task.

Alpashrutam shrutavatam parihasadhama

Tvadbhakti-reva mukhari kurute balanmam.           

Yat kokilah kila madhau madhuram virauti

Tachchamra charu  kalika nikaraika-hetuh. (6)

Verse # 6-1

Comparison with a cuckoo bird.

I possess little knowledge and therefore

I am an object of ridicule to the scholars but

my bhakti to you makes me (or compels me)

sing hymns in praise of you.

Verse # 6-2

This is like a cuckoo who,

in springtime, suddenly starts singing with

a sweet voice (melodious coo) on

seeing the mango sprouts.

Verse # 6-3

Verse # 6-4Explanation:

There is always one pitfall, when one opens his mouth in front of the other learned ones, and that he may be ridiculed by the people surrounding him.

Mäntungächärya says here that his devotion provides the solid reasons why he embarked upon composing this verse.

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As cuckoo bird starts cooing after tasting the mango buds, an

ignorant devotee starts singing hymns out of his devotion for the Jina, even in

the presence of scholars.

Tvat-sanstavena bhavasantati  sannibaddham

Papam kshanat-kshayam upaiti sharirabhajam

Akranta-loka malinilam asheshamashu

Suryamshu  bhinnamiva sharvaram andhakaram (7)

Verse # 7-1

Poet narrates what happens when singing praise to the Lord.

O Lord, by singing your hymn,

the sins of mortals,

which have been accumulated in various births,

is automatically annihilated in a moment.

Verse # 7-2

Just as the bright rays of the sun

dispel the darkness of the night

even if it (the darkness) was as

black as the bumblebees.

Verse # 7-3

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The malignant Karmas (kashaya, anger, greed etc)

accumulated by the living beings are instantaneously

wiped out by eulogizing you.

Just as the piercing sun rays dispel the

all enveloping dense darkness which is as black as a bumble-

bee.

Matveti nath ! tava samstavanam mayeda

Marabhyate tanudhiyapi tava prabhavat

Cheto harishyati satam nalinidaleshu        

Muktaphala  dyutim upaiti nanudabinduh (8)

Verse # 8-1

Believes that his poem will be liked by all.

I have composed this panegyric verse

with the belief that,

though I have less intelligence

owing to your divine powers,

Verse # 8-2

this work of mine will attract the

attention of noble people just as

even a drop of water shines like a pearl

when resting on the petal of a Lotus.

Verse # 8-3

Verse # 8-4Explanation:

This way good people will appreciate my verses because the verses have been

composed in praise of you.

It will certainly please noble people due to your influence, just like a drop of water

looks like a pearl when it is sitting (influence of being near) on the edge of a lotus petal.

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Just as under the influence of a

lotus leaf a dew drop gleams

like a pearl,

so too under the divine

influence of the Jina,

simple devotional

words become pearls of wisdom.

Astam tava stavanam astasamasta dosham

Tvat samkathapi jagatam duritanihanti

Dure sahasrakiranah kurute prabhaiva

Padmakareshu jalajani vikasha bhanji (9)

Verse # 9-1

Poet has the confidence in the power of the Lord's name.

O Jina ! Let alone the immeasurable powers

of your eulogy, mere utterance of your

name with devotion destroys the sins of

the mundane beings and purifies them.

Verse # 9-2

The brilliant sun makes the lotus buds

in the lakes bloom (at dawn)

even though it is millions of miles away.

Verse # 9-3

91

The brilliant sun is far away; still, at

dawn its soft glow makes the drooping lotus buds bloom.

Similarly, mere utterance of your

name with devotion destroys the sins of the mundane beings and purifies them.

Natyadbhutam bhuvana bhushana ! bhutanatha

Bhutairgunairbhuvi bhavantam abhishtuvantah

Tulya bhavanti bhavato nanu tena kim va

Bhutyashritam ya iha natmasamam karoti (10)

Verse # 10-1

The poet reaffirms the benefits of praying.

O the Lord of all beings (bhootnätha), O the jewel of the universe! (bhuvan-

bhushan), it is not surprising that people who praise you become virtuous, adorned with merits, like yourself.

Verse # 10-2

What is the use of benevolent master

who does not make others,

who have taken refuge unto him,

as prosperous as Himself.

Verse # 10-3

Verse # 10-4Explanation:

This verse is remarkable in its poetic composition because the syllable 'bhoo' has been used repetitively.

(nathyadbhootam bhoovan bhushan bhootnäth, bhootairgunai bhoovi.......)

In Indian poetry such repetitions are called anupräsha.

Other examples of anupräsha can bee seen in verses # 26 and # 38.

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A devotee singing in praise of the Jina

gradually attains the exalted position (from ordinary to

great to the ultimate).

The master gives wealth to his

subjects and makes them his equals.

Drishtava bhavantam animesha vilokaniyam

Nanyatra toshamupayati janasya chakshuh.

Pitva payah shashikaradyuti dugdha sindhoh

ksharam jalam jalnidhe rasitum ka ichchhet? (11)

Verse # 11-1

Comparing the Lord’s name to an auspicious ocean.

Peoples' eyes do not get any

satisfaction elsewhere once they

have seen you with their unblinking eyes.

Verse # 11-2

Who would like to taste the

salty water of an ordinary sea after

drinking the water of the ‘Milky-Ocean’

shining like the rays of the moon? (No one.)

Verse # 11-3

Verse # 11-4Explanation:

In terms of the poetic charm of the 'jewel in the poetry' (alankära) mentioned here is arthäntar-nyäs. Two different things have been mentioned here, one is the ordinary

sea, the water of which is always salty, and the other is a legendary milky ocean where one

can find nectar like milk or milky water.

There is no comparison between the virtues of these two. This is known as arthäntar nyäs in Sanskrit poetry.

101

The devotee continues to stare at

the hypnotizing magnificence of

the Jina.

A person drinking fresh water

(milk-like water) from the divine stream rejects saline and unbootable sea

water.

Yaih shantaragaruchibhih paramanubhistavam

Nirmapitastribhuvanaika lalamabhuta

Tavanta eva khalu teapyanavah prithivyam

yatte samanam aparam na hi rupam asti (12)

Verse # 12-1

The good karma (atoms) of the Lord.

O Jewel in the crown of the three worlds!

In this universe, certainly there are only as

many particles possessing the

melodious peace (shänträga ruchi),

Verse # 12-2

as you are formed of,

because there is no one as

elegant (rupam) as yourself.

Verse # 12-3

Verse # 12-4Explanation:

Here a unique statement is made. The poet assumes that there are good and bad atoms in this universe.

Some people are made of good atoms and some are made of bad.

All atoms that are pure and good in the universe are occupied by Lord Adinath Bhagavan.

Verse # 12-5Explanation:

Lord Rishabhadeva is made only of atoms that are pure and good.

In regards to poetry, the poet has used a'jewel in poetry' (alankära) called anumän (presumption).

It is assumed that the Lord is made of the particles which have certain divine

qualities.

107

There is no one as elegant (rupam) as

yourself.

The good karma (atoms) of the Lord.

Angels and humans are bowing to the Jina, the unique embodiment of

peace and harmony.

Vaktram kva te sura naroraga netra hari

Nihshesha nirjita jagat tritayopamanam.

Bimbam kalanka malinam kva nishakarasya

Yad vasare bhavati pandu palasha kalpam (13)

Verse # 13-1

Comparing the Lord with the moon.

The comparison of your face to the moon does not

appear proper to me. How can your scintillating

face that pleases the eyes of

gods, angels, humans and serpent gods,

Verse # 13-2

be compared with the spotted moon that is dull

and pale, during the day, as the autumn leaves.

Indeed, even the best available analogy for

your face is lowly in comparison.

Verse # 13-3

Verse # 13-4Explanation:

Here the poet attempts to compare the face of Rishabhadeva with the moon but he

himself says that the comparison is futile because the moon fades at dawn, whereas not only the brightness on the face of Rishabhadeva remains constant, the shine of which far excels the all standards of comparison.

112

Looking at the divine face of Shri Adinatha, angels, humans and other beings become

enchanted.

During the day the moon looks pitted as well as pale and dull like autumn leaves.

Sampurna mandala shashanka kala kalapa

Shubhra gunastribhuvanam tava langhayanti

Ye sanshritastrijagadishvara! nathamekam 

kastan nivarayati sancharato yatheshtam (14)

Verse # 14-1

Comparing the Lord's virtues to the full moon.

O Lord of the three realms !

Surpassing the glow of the full moon,

your infinite virtues are radiating throughout

the universe-even beyond the three realms;

Verse # 14-2

the hymns in praise of your virtues can be heard everywhere throughout the universe.

Indeed, who can curb the freedom of movement of devotees of the only omnipotent like you ? (certainly no one is capable of doing

so).

Verse # 14-3

116

The brilliance of the full moon is

spreading all around crossing mountains,

rivers and other obstacles on the

earth.

But the glory of the infinite virtues of the

Jina spreads everywhere in the

three realms.

Chitram kimatra yadi te tridashanganabhir

Nitam managapi mano na vikara margam.

Kalpanta kala maruta chalitachalena

kim mandaradri shikhiram chalitamkadachit (15)

Verse # 15-1

Comparison with the mountain Meru.

O Passionless ! Divine nymphs have tried their

best to allure you through libid gestures,

but it is not surprising that your tranquility

has not been disturbed even fractionally.

Verse # 15-2

Of course, the tremendous gale of

doomsday, that moves common hillocks,

can not disturb even the tip of the

great Sumeru mountain.

Verse # 15-3

120

Of course, the tremendous gale of the doomsday, that

moves common hillocks, cannot

disturb even the tip of the great Sumeru

mountain.

Divine nymphs have tried their best to allure you through

libid gestures.

Nnirdhumavartipavarjita taila purah

 Kritsnam jagat trayamidam prakati karoshi.

 Gamyo na jatu marutam chalitachalanam 

Dipoaparastvamasi natha ! jagatprakashah (16)

Verse # 16-1

Comparison with a lamp.

O Lord !

You are an all enlightening divine lamp

that needs neither a

wick nor oil, and is smokeless,

Verse # 16-2

yet enlightens three realms,

Even the storm that moves the unmovable

(mountain) does not effect it.

You are the divine lamp, the light of the world.

Verse # 16-3

124

You are an all enlightening divine lamp that

needs neither a wick nor oil, and is smokeless, yet enlightens

three realms.

Nastam kadachidupayasi na rahugamyah

Spashtikaroshi sahasa yugapajjaganti.

Nnambhodharodara  niruddha maha prabhavah

Suryatishayimahimasi munindra! loke (17)

Verse # 17-1

Comparison with the sun.

O Lord of the ascetics! Your glory is greater than that of the sun,

because while neither of you ever set, you are not engulfed by the planet Rähu, nor is your brightness (of omniscience)

hindered by any eclipse.

Verse # 17-2

Moreover you brighten the whole world

all of a sudden (in a flash) and your glorious

radiance is not obstructed by clouds.

Verse # 17-3

Verse # 17-4Explanation:

As per ancient Indian belief, the planet Rähu swallows the sun for the time that causes the eclipse of the sun.

In a similar way the Rähu can eclipse the moon also.

Here the composer of the poem has provided us with few similarities.

The sun is the sun of omniscience.

Verse # 17-5Explanation:

The omniscience of Lord does not wither or set. Passions do not eclipse super

knowledge. His glory is not obstructed by the clouds of karma.

Karma obstructs the true qualities of the soul. Here in the case of the Tirthankara, the clouds of karma cannot obstruct His shining glory.

Like the previous verse, the poet has also used 'exaggeration by comparison‘ (vyatireka alankära) in this verse.

Verse # 17-6Explanation:

Your abounding glory is greater than that of the sun. The sun rises every day but sets as well, but the orb of your omniscience is

ever shining, it never sets.

The sun is eclipsed but you are passionless and infinitely virtuous ; as such, no mundane passion or desire eclipses the glory of your virtues.

The sun slowly rises over parts of the world,

Verse # 17-7Explanation:

The sun slowly rises over parts of the world, but the glow of your omniscience reaches

every part of the world at once.

The sunrays are obstructed by insignificant clouds, but there is nothing that can

obstruct the radiance of your knowledge.

132

Your glory is greater than that of the sun,

the orb of your omniscience is

ever shining.

Nityodayam dalitamoha mahandhakaram        

Gamyam na rahuvadanasya na varidanam.   

Vibhrajate tava mukhabjamanalpakanti

Vidyotayajjagadapurvashashanka bimbam. (18)

Verse # 18-1

Comparison with the moon.

O Lord!. Your lotus like face is always shines bright (in the sky), it has destroyed the

darkness of illusion (mohaniya karma). It cannot be engulfed by the planet Rähu or

obstructed by clouds.

Verse # 18-2

Your lotus like face is like the moon with an

extraordinary shine. It possesses immense

luster and brightens the world.

Verse # 18-3

Verse # 18-4Explanation:

After comparing the glory of the Tirthankara with that of the sun, now the poet

compares Him with the moon in a similar way.

The poet here provides two similarities.

Here again, first the poet clearly uses the word 'dalit moha' which means that illusion-causing karma is destroyed.

Verse # 18-5Explanation:

The moon which rises and sets in the sky has waxing and waning phases but the lotus like face of the Lord is so bright and is never affected by such phases.

Again the use of 'exaggeration by comparison' (vyatireka alankära) in poetry is seen here as in the previous two verses.

The Lord's face has been compared with the moon, but again the one which has been

compared is better than the object of comparison.

138

Your lotus face is a moon par-excellence.

The moon light penetrates darkness

only to a limited extent, your face

removes the universal darkness of

ignorance and desire.

Kim sharvarishu shashinanhi vivasvata va        

Yushman mukhendu  daliteshu tamassu nath

Nishpanna shalivana shalini jiva loke

Karyam kiyajjaladharair jalabhara namraih. (19)  

Verse # 19-1

No need for the sun or the moon.

O Lord of the Universe ! Where is the need of

the sun during the day and the moon during the

night when your ever radiant face sweeps away

the darkness of the world.

Verse # 19-2

Indeed, once the crop of rice is ripe,

what is the need of the

thundering rain clouds.

Verse # 19-3

Verse # 19-4Explanation:

There is no need for rain to fall once the crop is fully ripe. We do not need the brightness of the sun or the moon when the Tirthankara is here.

After comparing the Lord's glory with that of the sun and the moon, the poet now says a different thing.

He says: 'But why we need the sun and the moon...when we have our Lord ?’

Verse # 19-5Explanation of the hidden word.

Read the 7th, 11th, 36th, 37th and 38th syllables.

The phrase 'Shivasälini' will become readable. Shivasälini meaning, dispeller of fear of calamities.

144

No need of the sun during the day and the moon during the night when

your ever-radiant face sweeps away the darkness of the

world.

Indeed, once the crop is ripe what is

the need of the thundering rain-bearing clouds ?

  Janam yatha tvayi vibhati kritavakasham

  Naivam tatha Hari Haradishu nayakeshu.

  Tejah sfuran manishu yati yatha mahattvam

  Naivam tu kachashakale kiranakuleapi. (20) 

Verse # 20-1

The lord’s knowledge compared to precious gems.

The knowledge of Hari (Hindu God of sustenance-

Vishnu), Hara (Hindu God of destruction, Shankara)

and other Gods do not shine as bright as

they do in your case.

Verse # 20-2

   Indeed, the luster and light of priceless gems

can hardly be seen in the glass pieces,

glittering in a beam of light.

Verse # 20-3

148

The pure, incessant and complete

knowledge that you have, cannot be

found in any other deity in this world.

Indeed, the luster and light of

priceless gems can hardly be seen in the glass pieces

glittering in a beam of light.

   Manye varam Hari Haradaya eva drishta

Drishteshu yeshu hridayam tvayitoshameti

Kim vikshitena bhavata bhuviyena nanyah

Kashchinmano harati natha ! bhavantareapi (21)

Verse # 21-1

You are the Best.

O Supreme Lord ! It is good that I have seen other mundane deities before seeing you; because the discontent even after seeing them has been removed by the glimpse of

your detached and serene expression.

Verse # 21-2

Now that I have witnessed the ultimate,

I can not be satisfied with anything

less in this and later lives.

Verse # 21-3

152

All deities have been depicted as

indulging in mundane activities.

But the Jina is always seen in detached and serene state in

meditative posture.

He is exalted above other gods.

Strinam shatani shatasho janayanti putran

Nanya sutam tvadupamam janani prasuta

Sarva disho dadhati bhani sahasrarashmim

Prachyeva digjanayati sphuradamshujalam. (22)

Verse # 22-1

Comparison with the sons of the other mothers.

Hundreds of women give birth to

hundreds of sons but there is no mother

whose son could be compared to you.

You are Unique.

Verse # 22-2

All directions shine with different stars or

constellations, but the East is the only direction,

which produces (or brings) the collection of

brightest rays (of the sun).

Verse # 22-3

Verse # 22-4Explanation:

This beautiful comparison is known as prativästupamä alankära in Sanskrit poetry. In this type of alankära comparison is made indirectly.

The poet does not actually say that the Tirthankara's mother is like the easterly direction.

He presents two things in front of us separately and makes us compare one with the other.

157

O Unique One! Numerous stars and planets can be seen in all directions but

the sun rises only in the East.

Similarly innumerable women

give birth to sons but an illustrious son

like you was born only to one mother;

you are unique.

Tvamamanati munayah paramam pumamsha

Madityavaranam amalam tamasah purastat

Tvameva samyagupalabhya jayanti mrityu

Nanyah shivah shivapadasya munindra ! Panthah (23)

Verse # 23-1

Comparison with the sun again.

O Sage of sages ! All sages believe you to be the supreme being beyond the darkness, and

brilliant as the sun. You are free of the malignancy of attachment and aversion and beyond the darkness of ignorance.

Verse # 23-2

One can conqueror death by only following your

path. O the leader of ascetics (munindra)!

There is no better path of purity

leading to salvation (Shiva-pada).

Verse # 23-3

Verse # 23-4Explanation:

Here it is interesting to see the use of the word 'Shiva'. Shiva means Lord Shankara in Hindu philosophy.

In Sanskrit language, the word Shiva is used to denote all that is auspicious and beneficial.

Here the poet uses 'Shiva' first to denote the path and then to describe salvation.

Verse # 23-5Explanation:

In Jain terminology the word Shiva-pada is used while mentioning the 'abode of

final emancipation'.

Likewise Shiva-sukha is used as the eternal happiness of salvation.

Verse # 23-6Explanation:

The phrase used here to describe the Rishabhadeva viz.: ('ädityavarnam tamsah parastät': you have the bright colour of the sun and you are beyond the realms of darkness) has been found in the Hindu scripture, Shukla Yajurveda.

Hemchandrächärya (11th Century Jain ächärya) has also used this same phrase in his stotra called the Veetaräga Stotra .

164

All saints chant hymns of devotion to

the Jina. The aura acquired through this devotion and purity humbles the god of

death.

Thus conquering death, the mendicant forges ahead on the path of purification.

Tvamavayam vibhumachintya masankhyamadyam

Brahmanamishvaramanantamanangaketum. 

Yogishvaram viditayogamanekamekam

Jnanasvarupamanmalam pravadanti santah. (24)

Verse # 24-1

About the Lord's infinite virtues.

O Lord! You are addressed by the saints as: imperishable (avyaya), omnipresent (vibhu),

incomprehensible (achintya), innumerable (asankhya), first (ädhya), Brahma, God (Ishvara), infinite (ananta),

the comet which can destroy lust (anangketu),

Verse # 24-2

the Lord of yogis (yogishvaram),

well-versed in yoga (vidit yoga), many (anek),

one (eka), omniscient in form (gnän swarupam), and

pure (amalam).

Verse # 24-3

Verse # 24-4

Explanation:

This verse describes the qualities of the Tirthankara. There are quite a few adjectives here, which we will see below in translation.

Here is the further explanation of the terms.

Avyaya: Eternal as far as your soul is concerned.

Vibhu: The one has become omniscient because of destruction of his

Karma.

Verse # 24-5

Explanation:

Achintya You have a form which is beyond comprehension.

Asankhya The one who is uncountable.

Aadhya You are the first Tirthankara, the first to teach the worldly affairs to mankind.

Brahmänam The one with attributes of Lord Brahma.

Verse # 24-6

Explanation:

Ishvara You have aishvarya, the divine halo around you.

Ananta You are without end, the soul is eternal and you have

attained liberation. God Vishnu is also refereed to as ananta.

Anangketu You have destroyed sex instinct.

Verse # 24-7

Explanation:

Anekam The one with many virtues.

Ekam As the soul – substance, you are only one.

Gnän swarupam You have attained kevala- gyän.

Amalam You are free from the dirt of karma particles.

172

Your qualities are endless.

You are Avyaya, Vibhu,

Achintya, Asankhya, Aadhya,

Brahmänam, Ishvara, Ananta,

Anangketu, Anekam, Ekam, Gnän

swarupam And Amalam.

173

Please read

Part 2 of 2 of

BHAKTÄMARA STOTRA

How to get most benefit.

To get most benefit from the stotra one should recite with :

(a) Clear pronunciation

(b) Deep, Inexhaustible, Unbreakable faith

and Overflow of devotion

towards Arihant’s teachings.

How to get most benefit.

To get most benefit from the stotra, one should recite with

(c) Ultra pure mind, without even slightest

of raag (attachment) & dwesh (malice)

towards any Living beings.

Thank you & Michhami Dukaddam

If we have made any mistakes Please accept our sincere apologies.

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