amarakosha 31-40

[dhaval patel]

Verse 31:

खण्डपरशुः - 

गजासुरवधे खण्डाः परशवोऽस्येति । "खण्डपरशुः परशुरामे शङ्करे चूर्णलेपिनि ।" इति चतुरक्षरे विश्वप्रकाशः ।

Verse 32:

उग्रः - 

प्रलयकाले रौद्ररसावस्थित उद्धतः सर्वोपरि वर्तत इति उग्रः ।उच समवाये । ऋज्रेन्द्राग्रवज्र- (उ० २.३१) इत्यादिना औणादिको रन्‌ गश्चान्तादेशो गुणाभावश्च निपात्यते ।

वामः - 

लोकाचारविपरीतत्वाद्वामः ।

Verse 33:

धूर्जटिः  - 

धुरः त्रैलोक्यचिन्ताभारमस्य जटिः सङ्घातोऽस्मिन्निति धूर्जटिः ।

हरः - 

प्रलये कृत्स्नं हरतीति हरः ।

व्योमकेशः - 

गंगाधारणार्थं व्योमव्यापी केशो जटाभारीभृतोऽस्येति व्योमकेशः ।

स्थाणुः - 

प्रलयेऽपि तिष्ठतीति स्थाणुः । 'स्थो णुः' (उ० ३.३७) इति णुप्रत्ययः ।

Verse 34:

कपर्दः - 

कस्य गङ्गाजलस्य पूरणेन दायति शुध्यतीति कपर्दः ।

जटाजूटः - 

जूटो बन्धः ।

पिनाकः - 

त्रिपुरदाहे शरानलज्वालाजालैर्नाकमपिहितवानिति पिनाकः । अथवा पातीति पिनाकः । 'पिनाकादयश्च' (उ० ४.१५) इति आकप्रत्ययः इत्वं नुमागमश्च निपात्यते ।

अजगवम्‌ - 

अजकवमिति वा । 'गाण्ड्यजकात्‌ संज्ञायाम्‌ (५.२.११०) इति मत्वर्थीयो वः । अजो विष्णुः । को ब्रह्मा । ज्योत्स्नाद्यणि 'स्थाणोर्धनुराजकवम्‌' इति नाममालायां दीर्घादिश्च । "धनुरजगवं पिनाकं पुंसि च वृषभेऽजकावमपि पुण्यम्‌"" । " इति संसारावर्तः ।

Verse 35:

"ब्राह्मी च वैष्णवी चैन्द्री रौद्री वाराहिका तथा । कौबेरी चैव कौमारी मातरः सप्त कीर्तिताः ॥"

Verse 36:

"अणिमा लघिमा प्राप्तिः प्राकाम्यं महिमा तथा । ईशिता वशिता चैव तथा कामावशायिता ॥"

"उ मेति मात्रा तपसो निषिद्धा पश्चादुमाख्यां सुमुखी जगाम ।" (कु.सं १.२६)

Verse 38:

द्वैमातुरः - 

दुर्गया चामुण्डया च पालितत्वाद्द्वयोर्मात्रोरपत्यमिति द्वैमातुरः ।

एकदन्तः - 

कार्त्तिकेयेनोत्पाटितदन्तत्वादेकदन्तः ।

हेरम्बः 

हे महेश्वरसमीपे रम्बते अनेकार्थत्वाद्धातृनां तिष्ठतीति हेरम्बः ।

Verse 39:

शरजन्मा, अग्निभूः -

 पुरा किल तारकोपप्लुतानां देवानां रक्षणाय शिवेन स्वकं दहनरूपं बीजं वह्निमुखे संभृतम्‌ ।तेनापि तत्कृत्तिकासु सञ्चारितम्‌ । ताश्च देवागतगर्भभरसत्रपाः शरवणं प्रविश्य प्रसूताः । तेनाग्निभूरित्याख्या तस्य ।

गुहः - 

गोपायत्यात्मसैन्यमिति गुहः ।

Verse 40:

बाहुलेयः - 

बहुलाः कृत्तिकाः । तासु जातो बाहुलेयः ।

कुमारः - 

"यस्मात्क्रीडति सोऽत्यर्थं कुमारस्तेन कीर्तितः।" इति । 'कुमार क्रीडायाम्‌' । पचाद्यच्‌ । सदा बालत्वाद्वा कुमारः । तथा च स्कान्दपुराणे । "पुत्रस्ते भविता देवि महायोगबलान्वितः । सदा बालोऽथ सुभगो धर्मज्ञो धर्मवत्सलः ॥" न पुनरनूढतया कुमारः । यतोऽनेन देवसेना विवाहिता । तथा च वायुपुराणे - "शतक्रतो रूपवती देवसेनेति वै सुता । सा महेन्द्रेन रत्यर्थं भार्यात्वेनोपपादिता ॥ उदीर्णसेनापतये महासेनाय सुव्रत ।" इति । अथवा 'कमु कान्तौ' 'कमेरुच्चोपधायाः' (उ० ३.१३८) इति बाहुलक आरन्प्रत्ययः उकारश्चोपधायाः ।

Dr. Dhaval Patel

www.sanskritworld.in

[Aditya B.S.A]

नमो नमः

Also, what is the story behind कलिन्दीभेदन:?  

Regards,

आदित्यः 

2012/2/17 dhaval patel <drdhav...@gmail.com>

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अभिनिवेशवशीकृतचेतसां बहुविदामपि सम्भवति भ्रमः।
तदिह भागवतं गतमत्सरा मतमिदं विमृशन्तु विपश्चितः॥

[Aditya B.S.A]

typo, I meant कालिन्दीभेदन:

2012/2/18 Aditya B.S.A <amrd...@gmail.com>

[dhaval patel]

puranic index has the following entry, but i couldnt locate it in brahma purana version i have 

ब्रह्म १.९०(गोपियों के साथ विहार, यमुना का कर्षण , रेवती से विवाह)

[Hnbhat B.R.]

Here is the information related to Yamuna alias Kalindi, related to Balarama culled out of a web page dedicated to Yamuna:

Yamuna is visualized as a mournful, melancholy, dark goddess riding a turtle, quite totally unlike her bubbly and cheerful sister Ganga whose waters are white and who rides a dolphin. She is the embodiment of Radha, pining for her lost beloved. It is said that when Indraprastha was built Yamuna did not flow by its side. She forced her way towards the city after an unfortunate encounter with Balarama.
Krishna’s brother Balarama, who was paying a visit to the area long after Krishna had moved to Dwarka, felt like bathing in the river. But he was too drunk and too tired to walk to the river. He ordered Yamuna to come to her. She refused. Enraged, Balarama, raised his plough and dragged the river-goddess towards him. Khushwant Singh, in his book Delhi narrates the folk version according to which Balarama dragged Yamuna by the hair and had his way with her. Her struggles gave rise to the many bends of the river around Delhi. The story according to some anthropologists is suggestive of canal irrigation by the Surasena tribe. Balarama with his plough was their god of agriculture while Krishna with his cows was their god of animal husbandry; together they were the gods of the primary economic activities of a civilization that according to archaeologists thrived as early as 600 BC.
After being dragged to Indraprastha, Yamuna begged Krishna to make her his wife. Without him, no one cared for her. Nobody respected her. As Kalindi, she became one of Krishna’s eight principal wives. But he left her to flow in Vraj while he ruled far away in the island city of Dwarka. Still she waits for him. Hoping that Dwarka-pati, the Mathura-Nagar-Pati, will come back to Gokul. She hopes for the magic of the moonlight. The romance of the flute. The secret dance of Radha and the milkmaids. It is said that no man may join this dance. Shiva wanted to join it. Arjuna wanted to join it. Yamuna asked them to bathe in her, shed their masculinity, become women and dance with Krishna accepting them, as she did, as their supreme lord.

Here is the complete information link which gives additional information on the episode from different source too:

http://devdutt.com/by-the-banks-of-the-yamuna/

These episodes should be traced to Bhagavata Purana itself 10.65, This diversion of the route of Kalindi, is reflected by the epithet of Balarama, as कालिन्दीभेदन, or कालिन्दीकर्षण.

There may be other sources also.

--
Dr. Hari Narayana Bhat B.R. M.A., Ph.D.,
Research Scholar,

Ecole française d'Extrême-OrientCentre de Pondichéry

16 & 19, Rue Dumas

Pondichéry - 605 001

[Nityanand Misra]

Though he may be right at places, I tend to not trust Devadutt Pattanaik's work as a reliable source, and take him with several kilos of salt. Granted he is a bestselling author, but thats it. The very fact that the web page mentions vehicle of Ganga as dolphin (?) and not crocodile (makara) as seen in traditional paintings lowers the credibility of the article. He refers not to original Sanskrit texts, Khushwant Singh, who is another best seller but like Pattanaik or Wendy Doniger, can hardly be counted as an authority on Puranic texts or Hindu iconography. So I would always double check before taking these authors on face value.

Some of the stuff below (Balram drinking, having his way with Yamuna, et cetera) sounds like mental regurgitation and is sickening. Much like many of Doniger's readings into Hinduism. 

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Nityānanda Miśra
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|| 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