ৰণত্ক্ষুদ্ৰঘণ্টানিনাদাভিৰামং
চলত্তাণ্ডৱোদ্দণ্ডৱত্পদ্মতালম্ ।
লসত্তুন্দিলাঙ্গোপৰিৱ্যালহাৰং
গণাধীশমীশানসূনুং তমীডে ॥ ১॥
- শ্ৰীগণেশভুজঙ্গম্ (śrīgaṇeśabhujaṅgam)the Shri Ganesha Bhujangam
- ৰণত্ক্ষুদ্ৰঘণ্টানিনাদাভিৰামম্ (raṇatkṣudraghaṇṭāninādābhirāmam)lovely with the sound of small bells ringing
- চলত্তাণ্ডৱোদ্দণ্ডৱত্পদ্মতালম্ (calattāṇḍavoddaṇḍavatpadmatālam)whose lotus feet beat time in the striding tandava
- লসত্তুন্দিলাঙ্গোপৰিৱ্যালহাৰম্ (lasattundilāṅgoparivyālahāram)wearing a snake over his shining round body
- গণাধীশম্ (gaṇādhīśam)the lord of the ganas
- ঈশানসূনুম্ (īśānasūnum)the son of Ishana
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya শ্ৰীগণেশভুজঙ্গম্ ৰণত্ক্ষুদ্ৰঘণ্টানিনাদাভিৰামম্ চলত্তাণ্ডৱোদ্দণ্ডৱত্পদ্মতালম্ লসত্তুন্দিলাঙ্গোপৰিৱ্যালহাৰম্ গণাধীশম্ ঈশানসূনুম্ তম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
ভুজঙ্গম্ Bhujangam — The hymn takes its name from its metre, Bhujangaprayata, the gliding of a snake.
তাণ্ডৱ the tandava — The strong, striding dance of Shiva. Here the son dances it, bells at his feet.
ঈশানসূনুম্ the son of Ishana — Ishana is Shiva. The same two words close the first six verses.
note The title line is printed at the head of the first verse. Every verse but the last two ends with গণাধীশমীশানসূনুং তমীডে.
স্ফুৰচ্ছুণ্ডদণ্ডোল্লসদ্বীজপূৰম্ ।
গলদ্দৰ্পসৌগন্ধ্যলোলালিমালং
গণাধীশমীশানসূনুং তমীডে ॥ ২॥
- ধ্ৱনিধ্ৱংসৱীণালযোল্লাসিৱক্ত্ৰম্ (dhvanidhvaṃsavīṇālayollāsivaktram)whose face lights up at the beat of the vina as its sound dies away
- স্ফুৰচ্ছুণ্ডদণ্ডোল্লসদ্বীজপূৰম্ (sphuracchuṇḍadaṇḍollasadbījapūram)in whose quivering staff-like trunk a citron shines
- গলদ্দৰ্পসৌগন্ধ্যলোলালিমালম্ (galaddarpasaugandhyalolālimālam)ringed by bees made restless by the sweet smell of his flowing must
- গণাধীশম্ (gaṇādhīśam)the lord of the ganas
- ঈশানসূনুম্ (īśānasūnum)the son of Ishana
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya ধ্ৱনিধ্ৱংসৱীণালযোল্লাসিৱক্ত্ৰম্ স্ফুৰচ্ছুণ্ডদণ্ডোল্লসদ্বীজপূৰম্ গলদ্দৰ্পসৌগন্ধ্যলোলালিমালম্ গণাধীশম্ ঈশানসূনুম্ তম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
বীজপূৰম্ a citron — The seed-filled citron he holds, sometimes shown as a whole fruit in the curl of the trunk.
দৰ্প must — Here darpa stands for mada, the fluid that runs from an elephant's temples. Its smell is what draws the bees.
প্ৰৱালপ্ৰভাতাৰুণজ্যোতিৰেকম্ ।
প্ৰলম্বোদৰং ৱক্ৰতুণ্ডৈকদন্তং
গণাধীশমীশানসূনুং তমীডে ॥ ৩॥
- প্ৰকাশজ্জপাৰক্তৰত্নপ্ৰসূনপ্ৰৱালপ্ৰভাতাৰুণজ্যোতিঃ (prakāśajjapāraktaratnaprasūnapravālaprabhātāruṇajyotiḥ)one light, red as a bright hibiscus, a jewel, a coral and the dawn
- একম্ (ekam)single
- প্ৰলম্বোদৰম্ (pralambodaram)with a hanging belly
- ৱক্ৰতুণ্ডৈকদন্তম্ (vakratuṇḍaikadantam)with a curving trunk and one tusk
- গণাধীশম্ (gaṇādhīśam)the lord of the ganas
- ঈশানসূনুম্ (īśānasūnum)the son of Ishana
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya একম্ প্ৰকাশজ্জপাৰক্তৰত্নপ্ৰসূনপ্ৰৱালপ্ৰভাতাৰুণজ্যোতিঃ প্ৰলম্বোদৰম্ ৱক্ৰতুণ্ডৈকদন্তম্ গণাধীশম্ ঈশানসূনুম্ তম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
জপা hibiscus — The red hibiscus, the standard measure of deep red in Sanskrit and the flower offered to him.
note Four red things are named in one breath: the flower, the jewel, the coral and the dawn.
কিৰীটোল্লসচ্চন্দ্ৰৰেখাৱিভূষম্ ।
ৱিভূষৈকভূশং ভৱধ্ৱংসহেতুং
গণাধীশমীশানসূনুং তমীডে ॥ ৪॥
- ৱিচিত্ৰস্ফুৰদ্ৰত্নমালাকিৰীটম্ (vicitrasphuradratnamālākirīṭam)whose crown carries a wonderful sparkling string of jewels
- কিৰীটোল্লসচ্চন্দ্ৰৰেখাৱিভূষম্ (kirīṭollasaccandrarekhāvibhūṣam)adorned with the streak of moon that shines on that crown
- ৱিভূষৈকভূষম্ (vibhūṣaikabhūṣam)the one ornament of all ornaments
- ভৱধ্ৱংসহেতুম্ (bhavadhvaṃsahetum)the cause of the ending of birth and death
- গণাধীশম্ (gaṇādhīśam)the lord of the ganas
- ঈশানসূনুম্ (īśānasūnum)the son of Ishana
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya ৱিচিত্ৰস্ফুৰদ্ৰত্নমালাকিৰীটম্ কিৰীটোল্লসচ্চন্দ্ৰৰেখাৱিভূষম্ ৱিভূষৈকভূষম্ ভৱধ্ৱংসহেতুম্ গণাধীশম্ ঈশানসূনুম্ তম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
ভৱ birth and death — Bhava is becoming, the round of being born and dying. It is also a name of Shiva, so the word looks two ways at once.
note The line is printed ৱিভূষৈকভূশম্; it is read ৱিভূষৈকভূষম্.
চ্চলদ্ভ্ৰূলতাৱিভ্ৰমভ্ৰাজদক্ষম্ ।
মৰুত্সুন্দৰীচামৰৈঃ সেৱ্যমানং
গণাধীশমীশানসূনুং তমীডে ॥ ৫॥
- উদঞ্চদ্ভুজাৱল্লৰীদৃশ্যমূলোচ্চলদ্ভ্ৰূলতাৱিভ্ৰমভ্ৰাজদক্ষম্ (udañcadbhujāvallarīdṛśyamūloccaladbhrūlatāvibhramabhrājadakṣam)his creeper arms raised, his creeper eyebrows arching, his eyes bright with their play
- মৰুত্সুন্দৰীচামৰৈঃ (marutsundarīcāmaraiḥ)with the whisks of the lovely women of the sky
- সেৱ্যমানম্ (sevyamānam)being served
- গণাধীশম্ (gaṇādhīśam)the lord of the ganas
- ঈশানসূনুম্ (īśānasūnum)the son of Ishana
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya উদঞ্চদ্ভুজাৱল্লৰীদৃশ্যমূলোচ্চলদ্ভ্ৰূলতাৱিভ্ৰমভ্ৰাজদক্ষম্ মৰুত্সুন্দৰীচামৰৈঃ সেৱ্যমানম্ গণাধীশম্ ঈশানসূনুম্ তম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
ৱল্লৰী a creeper — Arms and eyebrows are both called creepers here, for the way they curve and move.
কৃপাকোমলোদাৰলীলাৱতাৰম্ ।
কলাবিন্দুগং গীযতে যোগিৱৰ্যৈ-
ৰ্গণাধীশমীশানসূনুং তমীডে ॥ ৬॥
- স্ফুৰন্নিষ্ঠুৰালোলপিঙ্গাক্ষিতাৰম্ (sphuranniṣṭhurālolapiṅgākṣitāram)the pupils of whose tawny eyes roll, bright and hard
- কৃপাকোমলোদাৰলীলাৱতাৰম্ (kṛpākomalodāralīlāvatāram)whose coming down into play is soft and open-handed with kindness
- কলাবিন্দুগম্ (kalābindugam)who moves in the kala and the bindu
- গীযতে (gīyate)is sung
- যোগিৱৰ্যৈঃ (yogivaryaiḥ)by the best of yogis
- গণাধীশম্ (gaṇādhīśam)the lord of the ganas
- ঈশানসূনুম্ (īśānasūnum)the son of Ishana
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya স্ফুৰন্নিষ্ঠুৰালোলপিঙ্গাক্ষিতাৰম্ কৃপাকোমলোদাৰলীলাৱতাৰম্ কলাবিন্দুগম্ যোগিৱৰ্যৈঃ গীযতে গণাধীশম্ ঈশানসূনুম্ তম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
কলাবিন্দুগম্ who moves in the kala and the bindu — In the written syllable Om the kala is the crescent and the bindu the dot above it. Yogis hold the mind on those two, and the verse says he is what is found there.
note The verse sets the two sides of him together: eyes that are hard to meet, and a nature that is soft.
গুণাতীতমানন্দমাকাৰশূন্যম্ ।
পৰং পাৰমোঙ্কাৰমাম্নাযগৰ্ভং
ৱদন্তি প্ৰগল্-ভং পুৰাণং তমীডে ॥ ৭॥
- যম্ (yam)whom
- একাক্ষৰম্ (ekākṣaram)the one syllable
- নিৰ্মলম্ (nirmalam)unstained
- নিৰ্ৱিকল্পম্ (nirvikalpam)undivided
- গুণাতীতম্ (guṇātītam)past the three strands
- আনন্দম্ (ānandam)joy itself
- আকাৰশূন্যম্ (ākāraśūnyam)with no shape at all
- পৰম্ (param)the supreme
- পাৰম্ (pāram)the far shore
- ওঙ্কাৰম্ (oṅkāram)Om
- আম্নাযগৰ্ভম্ (āmnāyagarbham)holding the Veda inside it
- ৱদন্তি (vadanti)they call
- প্ৰগল্ভম্ (pragalbham)bold
- পুৰাণম্ (purāṇam)old beyond reckoning
- তম্ (tam)him
- ঈডে (īḍe)I praise
anvaya যম্ একাক্ষৰম্ নিৰ্মলম্ নিৰ্ৱিকল্পম্ গুণাতীতম্ আনন্দম্ আকাৰশূন্যম্ পৰম্ পাৰম্ ওঙ্কাৰম্ আম্নাযগৰ্ভম্ ৱদন্তি তম্ প্ৰগল্ভম্ পুৰাণম্ ঈডে
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
আম্নাযগৰ্ভম্ holding the Veda inside it — Amnaya is what is handed down, the Veda. The syllable Om is called its womb because the whole of it is held there.
নিৰ্ৱিকল্পম্ undivided — Vikalpa is the mind cutting one thing into two. What has no vikalpa is what is left when it stops.
note The hymn turns here from the shape of the god to what has no shape. The refrain drops away with it.
নমো ৱিশ্ৱকৰ্ত্ৰে চ হৰ্ত্ৰে চ তুভ্যম্ ।
নমোঽনন্তলীলায কৈৱল্যভাসে
নমো ৱিশ্ৱবীজ প্ৰসীদেশসূনো ॥ ৮॥
- চিদানন্দসান্দ্ৰায (cidānandasāndrāya)to you, thick with awareness and joy
- শান্তায (śāntāya)at peace
- তুভ্যম্ (tubhyam)to you
- নমঃ (namaḥ)salutation
- ৱিশ্ৱকৰ্ত্ৰে (viśvakartre)to the maker of the world
- চ (ca)and
- হৰ্ত্ৰে (hartre)to the one who takes it away
- চ (ca)and
- তুভ্যম্ (tubhyam)to you
- নমঃ (namaḥ)salutation
- অনন্তলীলায (anantalīlāya)whose play has no end
- কৈৱল্যভাসে (kaivalyabhāse)who shines as freedom itself
- নমঃ (namaḥ)salutation
- ৱিশ্ৱবীজ (viśvabīja)O seed of the world
- প্ৰসীদ (prasīda)be pleased
- ঈশসূনো (īśasūno)O son of Isha
anvaya চিদানন্দসান্দ্ৰায শান্তায তুভ্যম্ নমঃ ৱিশ্ৱকৰ্ত্ৰে চ হৰ্ত্ৰে চ তুভ্যম্ নমঃ অনন্তলীলায কৈৱল্যভাসে নমঃ ৱিশ্ৱবীজ ঈশসূনো প্ৰসীদ
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
কৈৱল্য freedom — Kaivalya is being alone in the sense of being wholly oneself, with nothing else mixed in.
note Only in this verse does the poet speak to the god directly, and only here does he ask for something.
পঠেদ্যস্তু মৰ্ত্যো লভেত্সৰ্ৱকামান্ ।
গণেশপ্ৰসাদেন সিধ্যন্তি ৱাচো
গণেশে ৱিভৌ দুৰ্লভং কিং প্ৰসন্নে ॥ ৯॥
- ইমম্ (imam)this
- সুস্তৱম্ (sustavam)fine hymn
- প্ৰাতঃ (prātaḥ)at dawn
- উত্থায (utthāya)having risen
- ভক্ত্যা (bhaktyā)with devotion
- পঠেত্ (paṭhet)recites
- যঃ (yaḥ)whoever
- তু (tu)and
- মৰ্ত্যঃ (martyaḥ)a mortal
- লভেত্ (labhet)gains
- সৰ্ৱকামান্ (sarvakāmān)everything he wants
- গণেশপ্ৰসাদেন (gaṇeśaprasādena)by Ganesha's grace
- সিধ্যন্তি (sidhyanti)come true
- ৱাচঃ (vācaḥ)his words
- গণেশে (gaṇeśe)when Ganesha
- ৱিভৌ (vibhau)the mighty
- দুৰ্লভম্ (durlabham)hard to get
- কিম্ (kim)what is
- প্ৰসন্নে (prasanne)is pleased
anvaya যঃ তু মৰ্ত্যঃ প্ৰাতঃ উত্থায ভক্ত্যা ইমম্ সুস্তৱম্ পঠেত্ [সঃ] সৰ্ৱকামান্ লভেত্ গণেশপ্ৰসাদেন ৱাচঃ সিধ্যন্তি ৱিভৌ গণেশে প্ৰসন্নে কিম্ দুৰ্লভম্
chandas Bhujaṅgaprayāta, 12 syllables in each of 4 pādas
সিধ্যন্তি ৱাচঃ his words come true — Vak-siddhi, the state in which what a person says simply happens. It is the gift asked of Ganesha more than any other.
সম্পূৰ্ণম্ ॥
- ইতি (iti)here ends
- শ্ৰীমচ্ছঙ্কৰাচাৰ্যকৃতম্ (śrīmacchaṅkarācāryakṛtam)made by the revered Shankaracharya
- গণেশভুজঙ্গপ্ৰযাতস্তোত্ৰম্ (gaṇeśabhujaṅgaprayātastotram)the Ganesha Bhujangaprayata hymn
- সম্পূৰ্ণম্ (sampūrṇam)complete
anvaya ইতি শ্ৰীমচ্ছঙ্কৰাচাৰ্যকৃতম্ গণেশভুজঙ্গপ্ৰযাতস্তোত্ৰম্ সম্পূৰ্ণম্
chandas Prose
note The colophon gives the hymn to Shankaracharya, as the tradition does with the other Bhujangaprayata hymns.