Showing posts with label Sanskrit Poems. Show all posts
Showing posts with label Sanskrit Poems. Show all posts

Tuesday, February 24, 2026

Sri Krishna Karnamrutham--Sri Bilvamangala (Story Behind Verse 5)

 Story Behind Verse 5-Sri Krishna Karnamrutham

Sri Krishna Karnamrutham was written in Sanskrit by Sri Bilvamangala. The title means: Nectar to the ears of Lord Krishna. The poems express the glorious leelas of Lord Sri Krishna’s childhood life. Because Sri Bilvamangala described the leelas (glories) of Lord Krishna similar to that of Sage Shuka, son of Vyasa  who narrated the Bhagavata Purana, he was popularly known as Leela Sukha. He was a contemporary of Swami Desikan (AD 1268-1369). The Srikrishna Karnamrutam is known as Madhura Kavyam- tasteful Sanskrit poems.


 

Shri Bilavmangal Thakur, the composer of Sri Krishna Karnamrita, was born in a brahmin family in South India. He is said to have been a renowned scholar and lived on the eastern bank of river the Western banks of River Krishna Venva in South India from the12th century A.D. to 13th century A.D.

The poet, Lilashuka, is immersed in Krishna bhakti in familiar ways. He delights in describing Krishna’s childhood antics and reimagines Krishna’s stories in Gokul and Vrindavan. The Srikrishna Karnamrutam has a total 328 slokas sectioned into three chapters.

How is Sri Krishna-Karnâmritam?

Itis‘vanyânân-sudrishâm mano-nayanar-magnasya devasya nahkarnânâm vachasâm vijrimbhitam-aho krishnasya karnâmritam’ – rains Amritam in the ears of our Lord Sri Krishna, Who completely steals the heart and the gaze of the lovely and passionate maidens of Sri Vrindâban.

I like this two verses that I am sharing.

This Sanskrit verse from the Shri Krishna Karnamritam (often attributed as 2.105) is a playful, loving conversation by a devotee (often interpreted as Radha) to Krishna.

उर्व्यां कोऽपि महीधरो लघुतरो दोर्भ्यां धृतो

लीलया तेन त्वं दिवि भूतले सततं गोवर्धनो गीयसे।

त्वां त्रैलोक्यधरं वहामि कुचयोरग्रे तद् गण्यते किं

वा केशव भाषणेन बहुना पुण्यैर्यशो लभ्यते॥

urvyā ko'pi mahīdharo laghutaro dorbhyā dhto

līlayā tena tva divi bhūtale ca satata govardhano gīyase|

tvā trailokyadhara vahāmi kucayoragre na tad gayate ki

vā keśava bhāaena bahunā puyairyaśo labhyate||

Meaning:

    उर्व्यां कोऽपि महीधरो लघुतरो दोर्भ्यां धृतो लीलया - You playfully lifted a very small mountain on this earth with your two arms.

    तेन त्वं दिवि भूतले सततं गोवर्धनोद्धारकः - Because of that, you are known everywhere on earth and in heaven as the "lifter of Govardhana" (Govardhanoddharaka).

    त्वां त्रैलोक्यधरं वहामि कुचयोरग्रे तद्गण्यते - But I, who carry you—the bearer of the three worlds—within my heart (or on my chest), do not boast about it.

    किं वा केशव भाषणेन बहुना पुण्यैर्यशो लभ्यते - O Keshav, why talk too much? Only with great merit (Punya) is such glory/fame obtained.

 

O Keshav! You are famous everywhere—in heaven and on earth—as the 'Lifter of Govardhan' (Govardhanoddharaka) simply because you playfully lifted a small mountain (Govardhan) with your arms. But I carry you (the bearer of the three worlds) in my heart/bosom all the time, and that is not counted at all? What is the point of speaking so much, O Keshav? Fame is only attained through great merits

Shri Krishna Karnamritam verse  2.105 is a playful, loving conversation by a devotee (often interpreted as Radha) to Krishna. This Sanskrit verse from the This shloka is typically recited in praise of गोकुल (Gokul), particularly in the context of the stories surrounding Lord Krishna and His leelas (divine pastimes). It is also invoked during festivals related to Krishna, like Govardhan Puja, which commemorates Lord Krishna holding Mount Govardhan on his little finger for seven days to destroy the ego of Indra and protect the devotees from torrential rains caused by Indra, the king of gods. The last line means that there is no use in arguing too much, this fame and virtue (of worshipping God) is achieved only due to the great virtues of the previous life.

 

 It highlights that while Krishna is famous for lifting the small Govardhan mountain, the devotee considers themselves greater for carrying the weight of the entire universe-supporting Krishna in their heart or on their chest.

The verse showcases the intimate, fearless love of a devotee who claims to carry God, emphasizing that devotion makes the devotee higher or equal to the Lord in intimacy, and that such devotion is earned through immense merit.

Fun joking between Krishna and Satyabhama

(Shri Krishna Karnamrutam by Leelashuka)

This Sanskrit shloka depicts a playful, romantic dialogue where Satyabhama  teasingly questions Krishna at her door.

 

Story:

The scene is set when Krishna returns to Satyabhama's chambers, perhaps after being with another wife. Satyabhama, acting coy and jealous, refuses to open the door immediately. She engages him in a verbal duel (Vak-chaturya), interpreting his name and identity in different ways to make him humble himself. She pretends not to understand who "Madhav" is. Krishna, instead of revealing his divine, powerful form, answers in witty riddles, playing along with her, showing that he can be won over by love rather than power. The story highlights the intimate and playful relationship between the Word Meanings for Context

अङ्गुल्या कः कवाटं प्रहरति कुटिले माधवः किं वसन्तः

नो चक्री किं कुलालो नहि धरणिधरः किं द्विजिह्वः फणीन्द्रः |

नाहं घोराहिमर्दी किमुत खगपतिः नो हरिः किं कपीन्द्रः

इत्येवं सत्यभामाप्रतिजितवचनः पातु वश्चक्रपाणिः

  अङ्गुल्या कः कवाटं प्रहरति Satyabhama: "Who is knocking at the door with his finger?"

कुटिले माधवः किं वसन्तः Krishna: "O crooked one, it is Madhava."

Satyabhama: "Is it Spring?" (Madhava is another name for the spring season).

नो चक्री किं कुलालो नहि धरणिधरः Krishna: "No, I am Chakri (the holder of the Discus)."

नो चक्री किं कुलालो Satyabhama: "Is it a potter?" (Chakri also means a potter who uses a wheel).

नहि धरणिधरः Krishna: "No, I am Dharanidhara (the sustainer of the Earth)."

नाहं घोराहिमर्दी किमुत खगपतिः Satyabhama: "Then you must be the Serpent King (Sheshanaga) who carries the earth on his head".

नो हरिः किं कपीन्द्रः Krishna: "I am not the Serpent King; I am the destroyer of the terrible snake (Kaliya)."

नाहं घोराहिमर्दी किमुत खगपतिः Satyabhama: "Oh, so you are the Lord of Birds (Garuda, who eats snakes)?".

नो हरिः Krishna: "No, I am Hari."

किं कपीन्द्रः Satyabhama: "Is it a monkey?" (Hari is also a synonym for a monkey

No, I am not the lord of monkeys (Sugriva/Hanuman)."   

This verse, This Sanskrit shloka (from theShri Krishna Karnamrutam by Leelashuka) depicts a humorous banter between Lord Krishna and his wife, Satyabhama, who playfully pretends not to recognize him while he knocks at her door. pretending ignorance of his identity through puns. It highlights Krishna's cleverness in responding to her, ultimately showing his loving, humble side.

It is a clever dialogue between Krishna and Satyabhama (or Gopi in some versions), where Krishna has to repeatedly refuse to prove his identity. Meaning: "Kutile (O crooked one/Satyabhama), who is that knocking at the door with his finger?" "I am Madhava (Krishna)." "Are you the spring (season)?" "No, I am the one holding the wheel." "Are you the potter (wheel)?" "No, I am the one who holds the earth." "Are you the two-tongued serpent (Sheshnag)?" "No, I am not the slayer of dangerous snakes." "Are you the king of birds (Garuda)?" "No, I am Hari (Vishnu)." "Are you the king of monkeys (monkeys)?" Thus, left speechless by Satyabhama's counter-questions, Chakrapani (Krishna) protects you.

  Concluding line: Thus, with this clever dialogue, the one whose hands bear the discus (Chakrapani - Krishna) was playfully defeated by Satyabhama's words; may that Krishna protect you.   

To know more-

https://www.sadagopan.org/ebook/pdf/Krishna%20Karnamrutam%20-%20v2.pdf

https://sanskritdocuments.org/sites/giirvaani/giirvaani/skka/skka_intro.htm 

 

Monday, January 19, 2026

Shakuntala’s Glance !-Abhijnanashakuntalam-Kalidasa (Story Behind Verse-1)

 

Story Behind Verse-1Abhijnanashakuntalam

 Abhijnanashakuntalam, also known as Shakuntala. It’s a play that tells the tale of love and romance. The love story of Shakuntala and Dushyant is a part of the larger narrative of Mahabharata, the great Sanskrit epic. In the first episode, Dushyant, who is on an excursion to the forest, meets Shakuntala. Shakuntala lives here with her father who is a sage Kanva’s ashram.


 (Pic Credit-Google Image)

The verse from Kalidasa's Abhijnanashakuntalam, the story of Shakuntala, her unique journey, and the captivating elements that make Kalidasa's work a timeless classic. Dive into the depths of poetic excellence, symbolism, and cultural significance embedded in this renowned text.

(Kalidasa’s Abhijnanashakuntalam)

दर्भाङ्कुरेण चरणः क्षत इत्यकाण्डे

तन्वी स्थिता कतिचिदेव पदानि गत्वा

आसीद्विवृत्तवदना विमोचयन्ती

शाखासु वल्कलमसक्तमपि द्रुमाणाम्

This beautiful Sanskrit verse, from Kalidasa's play Abhijnanashakuntalam (Act 1, Verse 12), describes the shy hermit girl Shakuntala pretending her foot is hurt by a grass-blade (darbha-ankura) to stop King Dushyanta from leaving, pausing her walk and looking back while pretending to free her bark garment (Valkala) stuck on a tree branch, showing her hidden affection

 

"दर्भाङ्कुरेण चरणः क्षत इत्यकाण्डे" (Darbhākurea caraa kata ityakāṇḍe), describes Shakuntala's actions as a subtle way of expressing her attraction to King Dushyanta, while pretending to be hindered by minor things.

    दर्भाङ्कुरेण चरणः क्षत इत्यकाण्डे (Darbhānkurēa caraa kata ityakāṇḍē): "Saying, 'My foot is pricked by a thorn of grass!'" (as if it were a sudden, unexpected injury).

    तन्वी स्थिता कतिचिदेव पदानि गत्वा (Tanvī sthitā kati cēva padāni gatvā): "The slender one (Shakuntala) stopped after taking only a few steps".

    आसीद्विवृत्तवदना विमोचयन्ती (Āsīdvivr̥ttavadana ca vimōcayantī): "And she turned her face (looking back) while trying to free".

    शाखासु वल्कलमसक्तमपि द्रुमाणाम् (Śākhāsu valkalam asaktam api drumāām): "Her bark garment (Valkala) that was caught on the branches of the trees (though it wasn't really stuck)".

In essence: Shakuntala uses the excuse of a thorn prick and a snagged bark garment to pause her retreat and steal a glance at the King, revealing her longing for him through this playful, feigned distress. 

Shakuntala, despite living inan ashrama / forest, looks very beautiful and King Dushyanta at first sight is attracted to her and hides behind
trees to hear the free conversations with her friends. 

The verse describes Shakuntala's actions as she and her friends are leaving. The King observes her: King Dushyant (thinking): Isn't so that she is also charmed by me, just like I am charmed by her? She does not face me but her eyes keep gazing at me.

    "My foot is wounded by a blade of darbha grass...": This is her excuse to stop and look back at the King.

    "...she also pretended to release her bark garment, though it was not even caught in the branches...": She uses a second, feigned reason to pause and steal another glance at Dushyanta.

The underlying meaning is that Shakuntala, while modest, is equally attracted to the King and is using these trivial, "unseasonal" (meaning "abrupt" or "sudden", as implied by akāṇḍe) pretexts to linger and look at him without appearing forward. The King notices this subtle behavior and understands her romantic interest, which is a key moment in the development of their love story.

Shakuntala’s Glance - Raja Ravi Varma painting

Shakuntala" is a classic painting by the Indian master Raja Ravi Varma depicts the lovelorn Shakuntala in Kanva’s ashram

In the painting, Shakuntala pretends to remove a thorn from her foot while discreetly searching for her lover, King Dushyanta. This scene is rich with emotional depth, capturing Shakuntala's hope and anxiety as she awaits her lover's return. The narrative is further enriched by the presence of her friends Anusuya and Priyamvada, who are engaged in casual conversation nearby, and Her expression, a blend of longing and melancholy, captures the emotional depth of her character. Her eyes, partly downcast, suggest an inner world filled with thoughts of love and separation. This emotional realism is what makes Varma's portrayal of Shakuntala so compelling and timeless.