Call for poetry submissions
Venetia Kotamraju
Namaste
We are inviting submissions for an anthology of verses on the theme ‘night’ for a new kavya publishing house I have set up (www.rasalabooks.com). More details are in the email below and the attached pdf.
If you have any verses, either your own or those of your favourite poets, that you would like to submit please do get in touch. If your verse is selected you will be given a free copy of the book once published.
Dhanyavaadah
Venetia
----------------------------------------------------------------------------------
Namaskara
Rasala, a new Sanskrit publisher of India’s most beautiful forgotten poems, is bringing out an anthology entitled ‘Sharvari’. We would like to invite members of your institution to submit verses for this anthology, either their own or those of other poets ancient and modern.
Please refer to the attached invitation. We would be most grateful if you could publicise this in your institution.
Thank you
Venetia
Venetia Kotamraju
Rasala
A303 Raheja Regent
35 Coles Road, Fraser Town
Bangalore, 560 005
Nityanand Misra
This is a great effort? By when can the verses be submitted?
Thanks, Nityanand
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Nityānanda Miśra
http://nmisra.googlepages.com
|| आत्मा तत्त्वमसि श्वेतकेतो ||
(Thou art from/for/of/in That Ātman, O Śvetaketu)
- Ṛṣi Uddālaka to his son, Chāndogyopaniṣad 6.8.7, The Sāma Veda
Hnbhat B.R.
Namaste
We are inviting submissions for an anthology of verses on the theme ‘night’ for a new kavya publishing house I have set up (www.rasalabooks.com). More details are in the email below and the attached pdf.
If you have any verses, either your own or those of your favourite poets, that you would like to submit please do get in touch. If your verse is selected you will be given a free copy of the book once published.
Dhanyavaadah
Venetia
न्यन्तर्धानव्यसनरसिका रात्रिकापालिकीयम्।
द्वीपाद्द्वीपं भ्रमति दधती चन्द्रमुद्राकपाले
न्यस्तं सिद्धाञ्जनपरिमलं लाञ्छनस्य च्छलेन॥
Dr. Hari Narayana Bhat B.R. M.A., Ph.D.,
Research Scholar,
Hnbhat B.R.
Here is one verse I like containing a complete metaphor of a कापालिकी:‘ज्योत्स्नाभस्मच्छुरणधवला बिभ्रती तारकास्थी-
न्यन्तर्धानव्यसनरसिका रात्रिकापालिकीयम्।
द्वीपाद्द्वीपं भ्रमति दधती चन्द्रमुद्राकपाले
न्यस्तं सिद्धाञ्जनपरिमलं लाञ्छनस्य च्छलेन॥
Hnbhat B.R.
One more beautiful night:निरीक्ष्य विद्युन्नयनैः पयोदो मुखं निशायामभिसारिकायाः ।धारानिपातैः सह किं नु वान्तश्चन्द्रोऽयमित्पार्ततरं ररासऽfull of metaphoric expression, the faces of अभिसारिका-s during the night, conceived by the cloud as the moon effused from mouth of the cloud along with its pouring out of rain water and seeing it fell down, it cried aloud (with thunders).
अभ्यंकरकुलोत्पन्नः श्रीपादः
शर्वरी-रात्रि-निशा-विषये काञ्चित् श्लोकान् उद्धर्तुमिच्छामि -
१) श्रीमद्भगवद्गीतायाम् -
या निशा सर्वभूतानां तस्यां जागर्ति संयमी ।
यस्यां जाग्रति भूतानि सा निशा पश्यतो मुनेः ।।२-६९।।
२) सुभाषितम् -
रात्रिर्गमिष्यति भविष्यति सुप्रभातम् ।
भास्वानुदेष्यति हसिष्यति पंकजश्रीः ।
इत्थं विचारयति कोषगते द्विरेफे ।
हा हन्त हन्त नलिनीं गज उज्जहार ।।
३) कालिदासस्य मेघदूते
आधिक्षामां विरहशयने संनिषण्णैकपार्श्वाम् ।
प्राचीमूले तनुमिव कलामात्रशेषां हिमांशोः ।
नीता रात्रिः क्षण इव मया सार्धमिच्छारतैर्या ।
तामेवोष्णैर्विरहमहतीमश्रुभिर्यापयन्तीं ।।उत्तरमेघे - २६।।
अस्तु ।
सस्नेहम्
अभ्यंकरकुलोत्पन्नः श्रीपादः ।
"श्रीपतेः पदयुगं स्मरणीयम् ।"
संस्कृताध्ययनम् । http://slabhyankar.wordpress.com
उपनिषदध्ययनम् http://upanishat.wordpress.com
http://slez-musings.blogspot.com
संस्कृत-प्रसृतिः http://sanskritaprasruti.wordpress.com/
--
Vimala Sarma
Hnbhat B.R.
Is it form MeghadUta?
Vimala
Vimala Sarma
murthy
1.“वान्तश्चन्द्रोऽयमित्पार्ततरं ररासऽ “
Perhaps that should read
“वान्तश्चन्द्रोऽयमित्यार्ततरं ररास”
2. In regard to use of वान्तः, normally in good poetry use of “वम्” and its derivatives are eschewed
Regards
Murthy
Hnbhat B.R.
1.“वान्तश्चन्द्रोऽयमित्पार्ततरं ररासऽ “
Perhaps that should read
“वान्तश्चन्द्रोऽयमित्यार्ततरं ररास”
2. In regard to use of वान्तः, normally in good poetry use of “वम्” and its derivatives are eschewed
Regards
अभ्यंकरकुलोत्पन्नः श्रीपादः
साधु श्लोकः सुष्ठु लिखितः अपि ।
अस्य वृत्तस्य विश्लेषणम् भवति -
शशिना च निशा निशया च शशी । १२ वर्णाः
(१-१-२) (१ १-२) (१-१-२) (१ १-२) इति मात्राः ।
स-स-स-स इति गणाः ।
शशिना निशया च विभाति नभः।
कविना च विभुर्विभुना च कविः ।
कविना विभुना च विभाति सभा ॥
यथा आपटे-महाभागस्य शब्दकोषे विवृतं एतत् ताटक-वृत्तम् । अस्य लक्षण-पदम् - वद ताटकमब्धिसकारयुतम् ।
अस्तु ।
सस्नेहम्
अभ्यंकरकुलोत्पन्नः श्रीपादः ।
"श्रीपतेः पदयुगं स्मरणीयम् ।"
संस्कृताध्ययनम् । http://slabhyankar.wordpress.com
उपनिषदध्ययनम् http://upanishat.wordpress.com
http://slez-musings.blogspot.com
संस्कृत-प्रसृतिः http://sanskritaprasruti.wordpress.com/
आदरणीय 'अभ्यंकर' महो्दय,
नमो नमः
निशाविषये श्लोकमेकं स्मरामि।
शशिना च निशा निशया च शशी शशिना निशया च विभाति नभः।
कविना च विभुर्विभुना च कविः कविना विभुना च विभाति सभा॥
द्वितीयचरणः सम्यग्लिखितः वा न वेति न जाने।
यदि सम्यग्लिखितः वृत्तस्य नाम किम् ?
--------------------------------------
Webmaster-Translations:
http://freetranslationblog.blogspot.com
Venetia Kotamraju
Venetia Kotamraju
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Hnbhat B.R.
-
- नायं राकाशशी किन्तु स्थिता सन्दर्शनाया ते ।
- कराग्रे मुकुटं कृत्वा चतुरा रात्रिनायिका ॥
निद्रामुद्रितलोचने प्रतिगृहं मूकायमाने जने निर्द्वन्द्वोच्चरदुच्चदर्दुररवैः कोलाहलिन्यो निशाः १०.९ (२२३) - (सुभाषितरत्नकोशः)
सशाङ्कभाभिः शिशिरीकृताः पुनः।
विपाण्डुतारागणजिह्मभूषिता
जनस्य सेव्या न भवन्ति रात्रयः॥ ५-४|| (ऋतुसंहारे)
Ajit Gargeshwari
Hi,
I have attached some stotras composed by my Grand Father I hope the group finds it interesting.
Regards
Ajit Gargeshwari
Nityanand Misra
Here are two verses composed by a close friend of mine from Nepal,
Vishwambhar Shastri (birth name Ekraj Paudel), who dabbles in poetry.
Vishwambhar is a third year bachelors student of Vyakarana at the
Ramanuja Samskrita Mahavidyalaya in Varanasi. He can be reached at +91
73896 95290 or at +91 86047 29280. I am submitting the verses on his
behalf as he does not use the Internet. I liked the verses a lot, hope
you do the same.
Both verses are in the Mandakranta metre and employ the Rupaka figure
of speech throughout.
This is the first verse, comparing the moon to the Kamadeva
नक्तन्तारासुरवरवधूवेष्टितश्चन्द्रमारो
व्योमारण्ये तिमिरनिकरान् नाशयन् स्वान् विपक्षान् ।
रत्यङ्काङ्को दयितविरहाच्छुष्कहृद्ध्रादिनीं वै
सिञ्चञ्ज्योत्स्नामृतवरकणैस्तापयत्येष दीनान् ॥
Here is the translation in Hindi by the poet himself for your
reference. If you need help with translating the below in English, let
me know.
रात्रि में तारा रूपी अप्सराओं से वेष्टित (घिरा हुआ), आकाश रूपी वन में
अन्धकार समूह रूपी अपने विपक्षियों का नाश करता हुआ, रति रूपी अंक को गोद
में लिए, प्रियतम के विरह से शुष्क हुई हृदय रूप ह्रादिनी (नदी) को
ज्योत्सना रूपी श्रेष्ठ अमृत कणों से सींचता हुआ, यह चन्द्ररूप कामदेव
विरह के कारण दीन वियोगियों को तापित कर रहा है।
This is the second verse, comparing the night to a Nayika
दोषाऽऽयाता शशधरधवं ध्वान्तिकाभ्यन्तरीया
तुङ्गक्ष्माभृद्विलसदधरा मेघकेशा खसद्मा ।
विद्युन्नेत्रा भगणकृतचूडामणिर्वीचिजिह्वा
सुप्रत्यूषोऽरुणवलयभूषा मयूखोत्तरीया ॥
Here is the translation in Hindi by the poet himself for your
reference. If you need help with translating the below in English, let
me know.
अन्धकार ही जिसकी चारों ओर से लपेटी हुई साड़ी है, ऊँचे पर्वत ही जिसके
शोभायमान अधर हैं, मेघ ही जिसके केश हैं, आकाश ही जिसका घर है, विद्युत्
ही जिसके कटाक्षपूर्ण नेत्र हैं, नक्षत्रगण को जिसने अपनी चूडामणि किया
है, समुद्र की तरंगे ही जिसकी जिह्वा हैं, सुप्रभातकालीन लालिमा युक्त
अरुण ही जिसका वलय भूषण है, दिन की सूर्य की किरणें ही जिसका ऊपरी घूँघट
है (प्रभात की किरणों में रात्रि छुप जाती है) , ऐसी रात्रि अपने
चन्द्रमा रूप पति को प्राप्त की हुई है।
Thanks, Nityanand
Nityanand Misra
I had the fortune to be with my Guru, Jagadguru Ramanandacharya Swami
Rambhadracharya for the past few days. I narrated the letter in
Samskrita from Rasala Publications, and he immediately obliged by
reciting an extemporaneously composed verse in the Sragdhara metre for
your upcoming publication. I wrote down the verse and the notes (he
does not use either the Braille script or the Braille keyboard) and am
submitting the same to you on his behalf.
The Verse:
राकाकान्तैककान्तिः कसितकुवलया कञ्जतल्पालिमाला
मालानक्षत्रमाला कुमुदितकुमुदा कोकशोकाऽप्यशोका ।
निद्रामित्राऽऽधिभीत्रा शिशिरकरकरा सच्चकोरार्यचित्रा
काचित्कान्तेव कान्तालककलितकला शर्वरी शं वृणोति ॥
Note on punctuation:
The space between शर्वरी and शं in the last foot is to be omitted for
the alternate meaning by श्लेष (as will be explained below) - and it
will be written as
काचित्कान्तेव कान्तालककलितकला शर्वरीशं वृणोति ॥
Alternately, one may omit all spaces in the verse as was done in old
manuscripts.
Meaning:
After composing the verse, the Guru then dictated notes in Sanskrit
and Hindi to assist with the English translation.
राकाकान्तैककान्तिः - राकाकान्तः चन्द्रः स एव कन्तिर्यस्याः सा
कसितकुवलया - कसितानि विकसितानि कुवलयानि यस्यां सा
कञ्जतल्पालिमाला - भँवरसमूहों के कमलों में शयन करने के कारण
मालानक्षत्रमाला - मां लक्ष्मीं लातीति माला नक्षत्राणां मालेति नक्षत्रमाला
कुमुदितकुमुदा - कौ पृथिव्यां मुदितानि कुमुदानि यस्यां सा कुमुदितकुमुदा
कोकशोकाऽप्यशोका - कोकेषु शोकः यस्याः कोकशोका स्वयं च अशोका
निद्रामित्राऽऽधिभीत्रा - निद्रा मित्रं यस्याः सा निद्रामित्रा
आधिभीभ्यां त्रायते इत्याधिभीत्रा - निद्रा में जीव आधि और भय से रहित
होता है
शिशिरकरकरा - शिशिरकरेण चन्द्रेण कं सुखं राति ददाति सा शिशिरकरकरा
सच्चकोरार्यचित्रा - सच्चकोराः आर्यचित्राः यस्यां सा सच्चकोरार्यचित्रा
काचित्कान्तेव - स्पष्टमेव
कान्तालककलितकला - सुन्दर अलकों से जिसकी कलाएँ सुशोभित हो रही हैं
शर्वरी शं वृणोति - रात्रि कल्याण का वरण कर रही है
शर्वरीशं वृणोति - रात्रि अपने ईश चन्द्र का वरण कर रही है
Figures of Speech:
The use of अनुप्रास, यमक, श्लेष and उपमा is obvious.
A final request:
If you decide to include the verse in your publication, I would like
to add a humble request from my side. Since the verse is from probably
the most (and certainly one of the most) prolific and seminal
composers in Samskrita in our age, and since the verse also contains
the words शर्वरी (the title of your publication) and माला (of 108
beads, the number of verses in your publication), I would like you to
extend your rosary (माला) in the form of anthology to 109 beads in the
form of 109 verses, and make the above verse the head bead (called the
सुमेरु).
Thanks, Nityanand
Nityanand Misra
(विश्वम्भर उपाध्याय शास्त्री). I had omitted "Upadhyay" below by
mistake.
Subrahmanian R
My respects to the learned composer.
But I think in the phrase
कुमुदितकुमुदा, the first syllable is from क = water. MW further lists कज = produced in or by water, watery, aquatic; कजं = a lotus, कद = 'water-giver', a cloud.And the kumuda flower thrives in ponds.
With respects
R. Subrahmanian
Nityanand Misra
The प्रातिपदिक कु means the earth - both Apte's and Monier Williams' dictionaries have this meaning. Consequently, कुपुत्र or कुज means the planet Mars. Here is the entry from M-W.
कु
(H1) कु 1 [p= 285,3] [L=50905] a pronom. base appearing in क्/उतस् , क्/उत्र , कुव्/इद् , क्/उह , क्व्/अ , and as a prefix implying deterioration , depreciation , deficiency , want , littleness , hindrance , reproach , contempt , guilt
[L=50905.1] originally perhaps कु signified " how (strange!) "
[L=50905.2] as a separate word कु occurs only in the lengthened form 3. क्/ऊ q.v.
(H1) कु 2 [p= 286,3] [L=51238] f. the earth A1ryabh. VarBr2S. VarBr2. BhP. vi , 1 , 42
[L=51239] the ground or base of a triangle or other plane figure , Comm. on A1ryabh.
[L=51240] the number " one. "
(H1) कु 3 [L=51269] » √1. कू.
(H2) कु [p= 1324,3] [L=328060] (in comp.)
Furthermore, Apte gives the व्युत्पत्ति of कुमुद as कौ (locative form of कु) मोदते इति कुमुदम्.
If the first syllable is from क = water, the word would be कमुदितकुमुदा (with the विग्रह as के जले मुदितानि कुमुदानि यस्याम्) and not कुमुदितकुमुदा (which has the विग्रह as कौ पृथिव्यां मुदितानि कुमुदानि यस्याम्). Both forms preserve the meter and both make sense. जल and पृथिवी have the अवयवावयविसंबंध - so "the water lilies on the surface of the earth" implies "the water lilies in water bodies on the surface of the earth". In English this usage is known as the Synecdoche figure of speech (specifically totum pro parte, or using something to refer to a part of it), I do not know the Samskrit term for the same.
Having said that, I am sure the composer said कुमुदितकुमुदा and explained it as कौ पृथिव्यां मुदितानि कुमुदानि यस्याम्.
Regards, Nityanand
Subrahmanian R
Thank you very much for your elucidation. I stand corrected.
Hnbhat B.R.
कञ्जतल्पालिमाला - भँवरसमूहों के कमलों में शयन करने के कारण
--
Nityanand Misra
I believe the word कुवलय is used here for the "blue water-lily" (species Nymphaea stellata L., shown here), while the word कुमुद is used for the "white water-lily" (species Nymphaea pubescens L., shown here). Apte and Monier Williams both confirm this. There is a post by Venetia on water lilies in Samskrita litearature which notes this distinction -
http://venetiaansell.wordpress.com/2010/10/02/water-lilies/
I think even the verse you pointed Amarkosha makes the distinction as it uses सित (white) as a qualifier for कुमुद and कैरव.
The two flowers कुवलय and कुमुद, though belonging to the same genus, are different species and both bloom at the night. I therefore do not see any repetition - the first quarter refers to the blue lily flowers and the second refers to the white ones.
To double confirm, I reheard the voice recording of the session in which the Guru was explaining the verse. He explained कसितकुवलया in Hindi as "रात्रि के कमल जिसमें खिले हुए हैं" - which makes it clear that the flower referred to was indeed Nymphaea pubescens L., or the blue water-lily (also called the blue lotus in English and नीलकमल in Hindi). As you may already know, some lily species in the Nymphaea genus are called lotus in common parlance, though strictly speaking lotuses are flowers of the Nelumbo genus.
Regarding your alternate parsing of कसितकुवलया, it could be a possibility. Interestingly, the व्युत्पत्ति of कुवलयम् is कौ वलयमिव. If कसितकुवलया is alternately interpreted as you have pointed out, then this is another instance of श्लेष figure of speech apart from शर्वरीशंवृणोति.
Thanks, Nityanand
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Nityānanda Miśra
Member, Advisory Council, Jagadguru Rambhadracharya Handicapped University
Chitrakoot, Uttar Pradesh, India
http://nmisra.googlepages.com
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Nityanand Misra
The same difference (I really like this Oxymoron) is noted in the Sankrit-German dictionary by Otto Böhtlingk
कुवलय eine blaue Wasserlilie (die Blüthe , die sich bei Nacht öffnet)
कुमुद die weisse Blüthe einer in der Nacht sich öffnenden Nymphaea
blaue=blue, weisse=white
Sent from my iPhone
Venetia Kotamraju
Nityanand Misra
Here are nine verses from the eighth canto of Kumārasambhavam of Kālidāsa, all in the Rathoddhatā metre, for your Anthology.
Sunset
The growing separation of the weeping Cakravāka birds in the lake, looking at each other with necks turned, is beautifully described (8.32)
दष्टतामरसकेसरस्रजोः क्रन्दतोर्विपरिवृत्तकण्ठयोः ।
निघ्नयोः सरसि चक्रवाकयोरल्पमन्तरमनल्पतां गतम् ॥
The state of the horses of the Sun during sunset, tired with heads bent down, as the Sun has drowned the day in the ocean (8.42)
सोऽयमानतशिरोधरैर्हयैः कर्णचामरविघट्टितेक्षणैः ।
अस्तमेति युगभुग्नकेसरैः संनिधाय दिवसं महोदधौ ॥
The red streak in the sky left by the sun is compared to a blood drenched sword in a war (8.54)
सान्ध्यमस्तमितशेषमातपं रक्तलेखमपरा बिभर्ति दिक् ।
संपरायवसुधा सशोणितं मण्डलाग्रमिव तिर्यगुत्थितम् ॥
Darkness
The darkness pervades everywhere, and one is unable to see anything anywhere as if a foetus in the womb (8.55, 8.56)
यामिनीदिवससन्धिसम्भवे तेजसि व्यवहिते सुमेरुणा ।
एतदन्धतमसं निरङ्कुशं दिक्षु दीर्घनयने विजृम्भते ॥
नोर्ध्वमीक्षणगतिर्न चाप्यधो नाभितो न पुरतो न पृष्ठतः ।
लोक एष तिमिरौघवेष्टितो गर्भवास इव वर्तते निशि ॥
The Moon
The rise of the moon, the king of the Brahmins, in the east - as if the sky were covered with Ketaka flowers to welcome this king (8.58)
नूनमुन्नमति यज्वनां पतिः शार्वरस्य तमसो निषिद्धये ।
पुण्डरीकमुखि पूर्वदिङ्मुखं कैतकैरिव रजोभिरावृतम् ॥
The moon appears to be kissing the night maiden, whose eyes are the closed lotuses (8.63)
अङ्गुलीभिरिव केशसञ्चयं सन्निगृह्य तिमिरं मरीचिभिः ।
कुड्मलीकृतसरोजलोचनं चुम्बतीव रजनीमुखं शशी ॥
The white water-lily blossoming fully after drinking the Rasa of the moonlight, emitting a bevy of bees (8.70)
एतदुच्छ्वसितपीतमैन्दवं सोढुमक्षममिव प्रभारसम् ।
मुक्तषट्पदविरावमञ्जसा भिद्यते कुमुदमा निबन्धनात् ॥
The union of the star and the moon compared to that of a newlywed bride and her groom (8.73)
एष चारुमुखि योगतारया युज्यते तरलबिम्बया शशी ।
साध्वसादुपगतप्रकम्पया कन्ययेव नवदीक्षया वरः ॥
Thanks, Nityanand
Nityanand Misra
ततः स मध्यंगतमंशुमन्तं
ज्योत्स्नावितानं मुहुरुद्धमन्तम् ।
ददर्श धीमान् भुवि भानुमन्तं
गोष्ठे वृषं मत्तमिव भ्रमन्तम् ॥ ५.५.१ ॥
लोकस्य पापानि विनाशयन्तं
महोदधिं चापि समेधयन्तम् ।
भूतानि सर्वाणि विराजयन्तं
ददर्श शीतांशुमथाभियान्तम् ॥ ५.५.२ ॥
या भाति लक्ष्मीर्भुवि मन्दरस्था
यथा प्रदोषेषु च सागरस्था ।
तथैव तोयेषु च पुष्करस्था
रराज सा चारुनिशाकरस्था ॥ ५.५.३ ॥
हंसो यथा राजतपञ्जरस्थः
सिंहो यथा मन्दरकन्दरस्थः ।
वीरो यथा गर्वितकुञ्जरस्थ–
श्चन्द्रोऽपि बभ्राज तथाम्बरस्थः ॥ ५.५.४ ॥
स्थितः
ककुद्मानिव तीक्ष्णशृङ्गो
महाचलः
श्वेत इवोर्ध्वशृङ्गः ।
हस्तीव
जाम्बूनदबद्धशृङ्गो
रराज
चन्द्रः परिपूर्णशृङ्गः ॥ ५.५.५ ॥
विनष्टशीताम्बुतुषारपङ्को
महाग्रहग्राहविनष्टपङ्कः
।
प्रकाशलक्ष्म्याश्रयनिर्मलाङ्को
रराज
चन्द्रो भगवाञ्शशाङ्कः ॥ ५.५.६ ॥
शिलातलं प्राप्य यथा मृगेन्द्रो
महारणं प्राप्य यथा गजेन्द्रः ।
राज्यं समासाद्य यथा नरेन्द्र–
स्तथाप्रकाशो
विरराज चन्द्रः ॥ ५.५.७ ॥
प्रकाशचन्द्रोदयनष्टदोषः
प्रवृत्तरक्षःपिशिताशदोषः
।
रामाभिरामेरितचित्तदोषः
स्वर्गप्रकाशो
भगवान् प्रदोषः ॥ ५.५.८ ॥
Thanks, Nityanand
Nityanand Misra
The first has the Samāsokti and the Śleṣa figures of speech, where the evening Sandhyā (twilight) is equated to a Nāyikā. Cañcaccandrakara means the rays of the resplendent moon (for the Sandhyā), or the hands of the unsteady paramour (for the Nāyikā). Unmīlitatārakā means one whose stars are somewhat bright (Sandhyā) or one with dilated pupils (Nāyikā). Rāgavatī means red-colours (Sandhyā) or full of love (Nāyikā). Ambara means sky for the Sandhyā, and garment for the Nāyikā.
चञ्चच्चन्द्रकरस्पर्शहर्षोन्मीलिततारका
।
अहो
रागवती सन्ध्या जहाति स्वयमम्बरम् ॥ ४.३०.४५ ॥
The following verse compares night to a white-robed Nāyikā, whose mouth is the moon and whose eyes are the stars.
रात्रिः
शशाङ्कोदितसौम्यवक्त्रा
तारागणोन्मीलितचारुनेत्रा
।
ज्योत्स्नांशुकप्रावरणा
विभाति
नारीव
शुक्लांशुकसंवृताङ्गी ॥ ४.३०.४६ ॥
The verse below compares the clear and tranquil lake water in which a lonely swan asleep amidst the white water-lilies to the clear sky in which the full moon is surrounded by the stars.
सुप्तैकहंसं
कुमुदैरुपेतं
महाह्रदस्थं
सलिलं विभाति ।
घनैर्विमुक्तं
निशि पूर्णचन्द्रं
तारागणाकीर्णमिवान्तरिक्षम्
॥ ४.३०.४८ ॥
Thanks, Nityanand
hnbhat
यथा आपटे-महाभागस्य शब्दकोषे विवृतं एतत् ताटक-वृत्तम् । अस्य लक्षण-पदम् - वद ताटकमब्धिसकारयुतम् ।
अस्तु ।
सस्नेहम्
अभ्यंकरकुलोत्पन्नः श्रीपादः ।
"श्रीपतेः पदयुगं स्मरणीयम् ।"