अश्वधाटी-stotra

[Usha Sanka]

Namaste

Here is another beautiful stotra of dEvI.. showing a very beautiful rhythm. The web page says, its vRtta is अश्वधाटी.

http://sanskritdocuments.org/all_unic/devipraNava_sa.html 

I used to hear it sung in her vibrant voice, by my paternal grand mother and would feel happy for reason unknown to me, then.

Well, now I know it. :)

Please listen to it here- 

https://www.youtube.com/watch?v=ylOA9wq64L4

(Explanation a little in the beginning, and script in Telugu, but sung beautifully. Stotra lyrics can be had from below in this mail)

Just wanted to share and wanted to know-

1. Where is this stotra found, in which work?

2. Where can I get it with the correct Samskrt grammatical words?

3. Where can I find its meaning?

With hearty दुर्गाष्टमी-महानवमी-विजयदशमी- शुभाशयाः to all the group members-

-vinItA

उषा

​----------------------------------

॥ देवी दशश्लोकी स्तुती ॥
 
चेटी भवन्निखिल केटी कदम्ब वनवाटीषु नाकपटली
कोटीर चारुतर कोटीमणी किरण कोटीकरञ्जित पदा
पाटीर गन्धि कुच शाठी  कवित्व परिपाटीमगाधिपसुताम्
घोटीकुलादधिक धाटी मुदारमुख वीटीर सेनतनुताम् ॥ १ ॥
द्वैपायन प्रभृति शापायुध त्रिदव सोपान धूळि चरणा
पापाप ह्रस्व मनु जापानुलीन जन तापाप नोद निपुणा
नीपालया सुरभि धूपालका दुरित कूपादुदन्चयतुमाम्
रूपाधिका शिखरि भूपाल वंशमणि दीपायिता भगवती ॥ २ ॥
याळी भिरात्त तनुराळी लसत्प्रिय कपाळीषु खेलति भवा
चूलीनकुल्य सित चूळी भराचरण धूळी लसन्मुणिगणा
याळी भृतिस्रवसिताळी दळम् वहति याळीकशोभि तिलका
साळी करोतु मम काळी मनः स्वपदनालीकसेवन विधौ ॥ ३ ॥
बालामृतांशु निभ फालामना गरुण चेलानितम्बफलके
कोलाहलक्षपित कालामराकुशल कीलाल शोषण रविः
स्थुलाकुचे जलद नीलाकचे कलित लीलाकदम्ब विपिने
सूलायुध प्रणुति शैला विधात्रृ हृदि शैलाधिराज तनया ॥ ४ ॥
कम्बावती वस विडम्बागणेन नव तुम्बाङ्ग वीण सविधा
बिम्बाधराविनत शम्भायुधादि निकुरुम्बा कदम्बविपिने
अम्बाकुरङ्ग मद जम्बाळरोचि रहलम्बाळका दिशतु मे
शम्भाहुळेय शशिबिम्बाभिराममुखि सम्भाधितस्तनभरा ॥ ५ ॥
न्यङ्काकरेवपुषि कङ्काळरक्तपुषि कङ्कादि पक्षि विषये
त्वङ्कामनामयसि किङ्कारणं हृदय पङ्कारिमेहि गिरिजाम्
शन्काशिलानिशित तङ्कायमान पद सङ्कासमान सुमनो
झङ्कारि भृंगतति मङ्कानुपेत शशि सङ्कासवक्त्र कमलाम् ॥ ६ ॥
दासायमान सुम हासा कदम्बवन वासाकुसुम्बसुमनो
वासाविपंचि कृत रासाविधूय मधुमासारविन्द मधुरा
कासारसूनतति भाषाभिराम तनुरासार शीत करुणा
नासमणि प्रवर वासा शिवातिमिर मासादयेतु परतिम् ॥ ७ ॥
झम्भारि कुम्भि पृथु कुम्भापहासि कुच सम्भाव्य हार लतिका
रम्भाकरीन्द्र कर डिम्भापहोरु गति दिम्बानुरन्जित पदा
शम्भावुदार परिकुम्भांकुरत्पुळक डम्भानुरागपिसुना
कम्भासुराभरण गुम्भासदादिशतु शम्भासुरप्रहरणा ॥ ८ ॥
दाक्षायनी दनुज शिक्षा विधौ वितत दीक्षा मनोहरगुणा
भिक्षाळिनोनटन वीक्षा विनोदमुखि दक्षाध्वरप्रहरणा
वीक्षाम् विदेहि मयि दक्षा स्वकीय जन पक्षाविपक्ष विमुखी
यक्षेश सेवित निराक्षेप शक्ति जयलक्ष्म्यावदानकलना ॥ ९ ॥
वन्दारु लोकवर सन्धायनी विमल कुन्दावदातरदना
बृन्दारबृन्दमणि बृन्दारविन्द मकरन्दाभिषिक्त चरणा
मन्दानिलाकलित मन्दारदामभिर मन्दारदाम मकुटा
मन्दाकिनी जवनबिन्दानवाजमरविन्दासना दिशतु मे ॥ १० ॥
यत्र आशयो लगति तत्र अगज वसतु कुत्र अपि निस्तुल शुका
सुत्राम काल मुख स त्रासक प्रकार सुत्राण कारि चरणा ।
चत्र अनिल अति रय पत्र अभिराम गुण मित्र अमरी सम वधूः
कु त्रास हीन मणि चित्र आकृति स्फुरित पुत्रादि दान निपुणा ॥ ११ ॥
कूला अति गामि भय तूला वलि ज्वलन कीला निज स्तुति विधा
कोला हल क्षपित काला अमरी कुशल कीलाल पोषण नभा ।
स्थूला कुचे जलद नीला कचे कलित लीला कदंब विपिने
शूला आयुध प्रणति शीला विभातु हृदि शैला अधिराज तनया ॥ १२ ॥
इंधान कीर मणि बंधा भवे हृदय बंधौ अतीव रसिका
संधावती भुवन संधारणे अपि अमृत सिंधौ उदार निलया ।
गंध अनुभाव मुहुः अंध अलि पीत कच बंधा समर्पयतु मे

शम् दाम भानुम् अपि रुंधानम् आशु पद संधानम् अपि अनुगता ॥ १३ ॥

--

"-यद्गत्वा न निवर्तन्ते तद्धाम परमं मम"

[Hnbhat B.R.]

3. Where can I find its meaning?

If you know Telugu language, here is a link to the Stotra, with Telugu meaning (commentary), but not word to word meaning:

http://ia331338.us.archive.org/3/items/014703mbp/014703mbp.pdf

provided long ago in our group by a senior member, Mohan Rao K, who worked with the metre. The metre is interesting.

Wish you Happy Vijayadashami!

[Usha Sanka]

Sir, Do not know how to Thank you. I can only mention it.

The work is very beautiful with Word to Word Meaning as well. A very detailed commentary indeed. Now I can also find solution to the second issue- Samskrt grammatical wording. Thanks to Shri Mohan Rao sir. 

My grand mother's voice often lingered in my ears, but never knew lyrics of that stotra. Did not even know if it was a stotra or some song. So could not ask anyone by just telling them tune. Because of its popularity among Telugu people, a scholar happened to mention and explain it on a TV show- with objective (keeping in view non-Samskrt audience) that- "People often think only English songs and poetry has rhythm. But see this work.. such a beautiful rhythm!"

And then on searching, I got this. 

Now I am blessed to have this commentary in my own mother tongue.

Thanks again.

-vinItA

उषा

--
निराशीर्निर्ममो भूत्वा युध्यस्व विगतज्वरः।। (भ.गी.)
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[hnbhat]

On Thursday, 2 October 2014 19:54:39 UTC+5:30, Usha Sanka wrote:

Namaste

Here is another beautiful stotra of dEvI.. showing a very beautiful rhythm. The web page says, its vRtta is अश्वधाटी.

http://sanskritdocuments.org/all_unic/devipraNava_sa.html 

I used to hear it sung in her vibrant voice, by my paternal grand mother and would feel happy for reason unknown to me, then.

Well, now I know it. :)

Please listen to it here- 

https://www.youtube.com/watch?v=ylOA9wq64L4

(Explanation a little in the beginning, and script in Telugu, but sung beautifully. Stotra lyrics can be had from below in this mail)

Here is another rendering of the same by Nitya Santoshini, a popular singer in an album of Stotra-s on Devi:

http://www.mediafire.com/?sharekey=26e48914900300ddab1eab3e9fa335ca5a9702e240a79515

I had shared long ago it in another V-Bulletin forum.  For another Stotra in the same metre, you can check this V-Bulletin becoming a member of the forum:

http://www.geetham.net/forums/showthread.php?30471-Shri-Vidyabushana-Sacred-Chants&referrerid=35145

or  this thread:

http://www.geetham.net/forums/showthread.php?t=32721&highlight=vidyabhushana

or you can download directly, if you don't want to become a member in that gruoup:

http://www.mediafire.com/?kj2jxxmmyjh

It is a forum I had been a member since a long time, sharing music and sanskrit devotionals. The Stora in this link is by Vidyabhushana, a swamiji with a enchanting melogious voice:

04 DashavatharaSthuti - Sri Vidyabhushana. Llyrics composed by Vadiraha swamy of Madhva muth.

With regards and Best wishes for Navarathri,

[Nityanand Misra]

On Thursday, October 2, 2014 7:54:39 PM UTC+5:30, Usha Sanka wrote:

Namaste

Here is another beautiful stotra of dEvI.. showing a very beautiful rhythm. The web page says, its vRtta is अश्वधाटी.

http://sanskritdocuments.org/all_unic/devipraNava_sa.html 

No offence to the encoder/proofreader, but the version above is a marvel of editorial ineptitude. It is full of mistakes and excruciating to read (to say the least) - use of ळ instead of ल throughout, no respect for compounds, etc - it uses शैला अधिराज तनया?? instead of शैलाधिराजतनया (Kalidasa has used the word शैलाधिराजतनया: शैलाधिराजतनया न ययौ न तस्थौ, कुमारे ५-८५). The impression one would get from this page is that it is a Prakrit Stotra and not a Sanskrit Stotra. Somebody please request the website owners to have it edited which is badly needed.

 
 

[Nityanand Misra]

On Thursday, October 2, 2014 8:45:26 PM UTC+5:30, hnbhat wrote:

3. Where can I find its meaning?

If you know Telugu language, here is a link to the Stotra, with Telugu meaning (commentary), but not word to word meaning:

http://ia331338.us.archive.org/3/items/014703mbp/014703mbp.pdf

My interest arose in the book to see if it has a better edited version of the Stotra.

https://archive.org/stream/014703mbp#page/n8/mode/1up

The book attributes the Stotra to Kalidasa?? Is it so? Are there any reliable sources which say this Stotra is a work of Kalidasa? If not, then it is most likely written by somebody else much later and then claimed as written by Kalidasa.

https://archive.org/stream/014703mbp#page/n10/mode/1up

The original text in the book is better than the version on Sanskrit documents, but the editing here is also far from professional. No respect for compounds in Sanskrit is disappointing for any reader. My knowledge of Telugu script is rusty, but I did not proceed beyond the first line of the original text when I got to this -

చేటీ భవ న్నినిఖిల ఖేటీ కదంబ వన??
चेटी भव न्निखिल खेटी कदम्ब वन??

Would be great if somebody can point to a version which is properly edited and without mistakes.



Kalidasa (if he indeed is the composer of the Stotra)

[Usha Sanka]

Mishra Sir, Namaste

I am doing that job. A little time needed.
And that site has much material done by volunteers.
Owner is not responsible for that.
I understand your pain. Even I share it at same level.
But we all do understand limitations of regional languages. (where even standard dictionaries are not saved!!)
Desiraju Hanumantha Rao was a Telugu person. He did work that you see on valmikiramayan.net.. and also worked on gIta govindam. Only one of its kind..! Good, in fact great attempt. But all words broken non-Samskrt wise..!!  He concentrates more on meaning for lay persons. I am working on that as well.

I think, they did what they could. Let us volunteer to make things better. I am sparing some of my time in that. :)

Please see my 3 requests - that include help for standard Samskrt word-breaking as well.

Now that I got some translation help, let me attempt at it.

Thankyou for the links- let me see them and come back.

-vinItA

Usha.

--

निराशीर्निर्ममो भूत्वा युध्यस्व विगतज्वरः।। (भ.गी.)
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[Jsr Prasad]

Vidwan Nityanand ji,

Namaste.

The original text in the book is better than the version on Sanskrit documents, but the editing here is also far from professional. No respect for compounds in Sanskrit is disappointing for any reader. My knowledge of Telugu script is rusty, but I did not proceed beyond the first line of the original text when I got to this -

I really appreciate your interest in seeing strict grammatical behavior of Sanskrit, in all concerned things. Vavilla Press, Chennai has rendered yeomen service to Telugu community by publishing numerous Sanskrit books in Telugu script. I wonder, you may not believe that, even, some of their editions of transliterated Sanskrit books do not show any respect for 'compounds'. For instance, in one of their texts published in 1933, '...दुःख मनुभवतांपञ्चमहाभूत,' 'गृहान्तरेच'  etc., are examples of bad euphonic combination/disjunction of (compound) words. I assume that a Telugu speaker unaware of Devanagari script prefers to read a transliterated Sanskrit text, that is printed in typical Telugu conventional style. Person who knows Devanagari, prefers to read a Sanskrit text in that very script itself, than going for a transliterated version. However, we need an accurate version, at least in Sanskrit.

 

చేటీ భవ న్నినిఖిల ఖేటీ కదంబ వన??
चेटी भव न्निखिल खेटी कदम्ब वन??

I think, the above chandas  has a particular rhythm as it can be musically tuned. It is observed that Carnatic classical singers take liberty in making bad euphonic/compound disjunctions to render a lyric to fit in to certain raaga. I could only wish that the print media (especially daily Telugu news papers) would not improvise further to disjunct vibhakti-pratyayas of PoS :)

Regards,

Prasad

[K S Kannan]

I could not figure out whether a well edited version of the text in Devanagari of the stuti was located or not.

I can suggest one :

Ref. pp.390-391, entitled ambAs"Takam

(exactly eight verses) in the book :

Minor Works of  Sri Sankaracarya,

edited by Bhagavat HR,

pub:1952 (2nd edition), Oriental Book Agency, Poona (Total pages 584 + 8).

KSKannan

Please write to my new email id  ks.kann...@gmail.com
Dr. K.S.Kannan
Ex-Director, Karnataka Samskrit University,
Chamarajapet, Bangalore - 560018

[sunil bhattacharjya]

Nityanandaji,

There is another Dashasloki called "Shayamala dandakam" by Kalidasa. Could it be that the"Shyamala Dandakam" was by Kalidasa-II, the writer of three kavyas of the 1st century BCE and the "Aswaghati" was either by Kalidasa-I, the writer of the Abhijnana Shakuntalam or by Kalidasa-III, the writer of the Ritusamhara.

Regards,

Sunil KB

--

[sunil bhattacharjya]

Namaste,

It could also be that the sloka "Shyamala dandakam" was composed by Kalidasa-III in the 11 the century CE and the Aswaghati was composed by Kalidasa-II in the 1st century CE.  The scholars may please give their  considered opinion.

Regards,

[sadasivamurty rani]

Ashvadhati Stotra - Some observations

This stotra on Devi Jagadamba composed in Ashvadhaati metre is popularly known as AMBAASHTAKAM. 

In all the available sources this mentioned as a stotra written by Sri Shankaracharaya only.  May it be by the Adi Shankara or some other Sankaracharya. But this is a popular stotram in Sankara tradition.

Please find the following three attachments in which the extracts of AMBAASHTAKAM from different sources are attached.

1.  In Telugu script taken from the Brhat Stotra Ratnakara Part I (Devi Stotrani) published by Balasaraswati Book Dipot Karnool who are popular publishers of hundreds of volumes of Stotra Literature and Vrata kalpams in Telugu Script.

2. In Devanagari Script from the Brhat Stotra Ratnakara Part II published by Chokhamba Vidya Bhavan, Varanasi

3. Bhakti Stotras part of Sri Sankara's Minor works published by Oriental Book Agency, Poona in the year1938.

4. An Audio version of this also is attached here for the appreciation of the scholars. This audio version was produced under my supervision in the year 2002 in an album named "Devi Dasavatara Stotra Tarangini". 

I hope this attached material may be useful in the present context. 

With Warm Regards, 

 

Dr. Rani Sadasiva Murty

[Nityanand Misra]

On Monday, October 6, 2014 11:17:16 AM UTC+5:30, sadasivamurty rani wrote:

Ashvadhati Stotra - Some observations

This stotra on Devi Jagadamba composed in Ashvadhaati metre is popularly known as AMBAASHTAKAM. 

In all the available sources this mentioned as a stotra written by Sri Shankaracharaya only.  May it be by the Adi Shankara or some other Sankaracharya. But this is a popular stotram in Sankara tradition.

Thanks Dr. Rani Sadasiva Murthy Ji.

After going through your sources, this [so-called] Daśaślokī Stuti attributed to Kālidāsa by Sh. Donepudi Venkayya has eight verses which are exactly the same as the eight verses of the Ambāṣṭakam attributed to Śrī Śankarācārya in publications like Bṛhatstotraratnākaraḥ. If majority of the sources do attribute this to Ādya Śankarācārya, it might be worthwhile to check with Sh. Donepudi Venkayya what internal or external evidence led him to attribute this to Kālidāsa. It might be the case that it was authored by neither Kālidāsa nor Ādya Śankarācārya.

Whoever the author is, the two publications from Varanasi and Poona are very well edited and do not have the numerous mistakes of spelling and compounds that the Sanskrit Document versions has. The only "mistakes" I can think of are the uses of Anusvāra in place of the Pañcamavarṇa conjuncts at places like गंध, कदंब etc.

At least Ms. Usha Sanka's job is now much easier (for eight verses that is), she needs to just look at the version in the Varanasi/Poona publication and make the changes.

[Sivasenani Nori]

On 5 October 2014 20:50, Jsr Prasad <jsrap...@gmail.com> wrote:

I really appreciate your interest in seeing strict grammatical behavior of Sanskrit, in all concerned things. Vavilla Press, Chennai has rendered yeomen service to Telugu community by publishing numerous Sanskrit books in Telugu script. I wonder, you may not believe that, even, some of their editions of transliterated Sanskrit books do not show any respect for 'compounds'. For instance, in one of their texts published in 1933, '...दुःख मनुभवतांपञ्चमहाभूत,' 'गृहान्तरेच'  etc., are examples of bad euphonic combination/disjunction of (compound) words. I assume that a Telugu speaker unaware of Devanagari script prefers to read a transliterated Sanskrit text, that is printed in typical Telugu conventional style. 

Sir

Namaste.

If I be allowed to speculate, the reason for what appears today as "arbitrary" space in the middle of compound words in Telugu print (this feature is common for words in both Sanskrit and Telugu) might be the difficulty of printing Telugu ligatures, especially the samyuktaaksharas, in the early days of printing technology where each page was composed by putting together each letter by hand. Ideally each letter must occupy a fixed width, but this is always not possible, so there might be the need to use two "standard-widths" to represent one akshara. It is difficult to control seemingly empty spaces in this kind of situation eventually leading to a situation where space is inserted as per convenience. Even in Roman, we see the difference in space occupied by "i" and "m" if we allot fixed width for each character. There are certain fonts like Courier New where this is possible. When we use such fonts, the text looks like it were typed on a typewriter, like the first sentence in this paragraph (if the email is seen with text formatting and not as plain text). Therein, the space around "i" in the word "arbitrary" above is so much more than the one between "m" and "m" in "common". If we had a letter like "rtsny" in English, obviously the space meant for one letter would not be sufficient and it would have to spill over.

There are other features which support this line of reasoning. Some Telugu presses, when they printed Sanskrit texts, consistently used the maatras of short "e" and short "o" in place of the correct longer "e" and "o". I remember one discussion I had with SalakshaNa- GhanapaaThee Srimaan Pandurangacharyulu garu about one edition of Krishnayajurveda printed by GomaTham, Mysore (which is sought after because it has very few printing mistakes). This edition uses the shorter "e" and "o". When I asked the GhanapaaThee garu about this, his answer was that since short "e" and "o" do not occur in Sanskrit, there is no harm in using them and it makes the svara marking easier to read. The reader was expected to read every short "e" or "o" properly as the long "e" or "o". "Space" was never a punctuation mark in the Indian tradition. For instance many Devanagari manuscripts start with "श्रीगणेशायनमः॥" without a space separating the two words therein. So, traditionally word boundary was not meant to be indicated by space, but was to be known by the users themselves. This expectation from the user might be the reason for space in the middle of a word.

Finally in Madras (where Telugu printing was largely concentrated), in the early days of printing Telugu text, English was a major influence. In writing English, a space is inserted in the middle of a compound word. For instance "Prime Minister". We still write our names in that way, like in Vira Venkata Satyanarayana, Srinivasa Sarma and so on. So, space in the middle of a printed word might not have been considered as incorrect in representing a spoken word.

The question of asadhutva does not arise because rules (of Siksha and Vyakaranam) are for the spoken language. A given symbol may stand for more than one pronunciation. For instance many modern editions use the same sign as visarga for the upadhmaaneeya and jihvaamUleeya (others use semi-circles arranged like in an hourglass; some traditionalists use semi-circles which are like the Roman "c" and the inverse of it, arranged one below another). Taittireeyas pronounce the anudaatta at the end of three or more anudaattas slightly differently (with more emphasis) than the other anudaattas - for instance in साशनानशने अभि (3.12.2, TaittireeyaaraNyakam) in Purushasukta, but the sign for these two does not differ. Other similar instances in other versions of Vedas may also be found. 

(Further in Vedic texts printed in Telugu characters - the prolonged anusvaara such as in पुरुष एवेद सर्वम्  (in Purushasukta) is printed as an anusvaara with the consonant "g" preceding it. This may be taken simply as a convention of printing, rather than a "mistake".)

Given the huge influence of the early texts, it is not a surprise that their usage persists even though modern technology has overcome the initial constraints. We find such inertia everywhere. For instance the QWERTY layout of the keyboard was originally necessitated to slow down the typing speed (that is why the most common vowel "e" is at a most inconvenient position, as are other vowels and common consonants like "s") to minimize the jamming of those early typewriters. Today the electronic keyboards are faster, they do not jam, but we still use the inconvenient QWERTY. Similarly early cars used all four limbs, partly because the means of transport they replaced, the horse, was controlled using the legs (to prod the horse to go faster) as well as hands (steering and braking). A train engine, much more powerful than a car, has but one lever with many forward and reverse positions (for different speeds). We have the technology to make car driving simpler, but because of "network effects" we cannot change that. If today HP makes laptops with keys in keyboards arranged in a logical manner, people would have to train themselves afresh, so they would not buy it. Since people might not buy it, HP does not make it. This is one version of the "network effect". So we are all stuck with much older technological constraints.

This is not to suggest that we should not change over. The more closely print represents pronunciation, the better it is. However changing old practices may not be always as simple as it seems.

Regards

N. Siva Senani 

 

[sadasivamurty rani]

Thank you NItyanand Ji...for your lightening speed of observation and response.  Yes...As as you observed the use of Anusvara instead of Varga Panchamakshara is a frequently occurred mistake.

Here also I would like add some of my observations for the occurrence of mistakes of this kind.

1. In most of the manuscripts of a century and half span back it can be observed that the scribes very often usued Anusvara instead of Varga Panchamakshara. I have some Sanskrit Manuscripts on Music, Dance and Mantra Sastra in my personal collection. There I have scene this type of occurrence very often. 

2. In most of the manuscripts I have scene the split of compounds in the middle also is often seen. 

The main reason for this may be the knowledge limits of the scribes of those times just as that of the DTP operators of present day and letter composers in old printing presses.

Regards, 

 Dr. Rani Sadasiva Murty

[Usha Sanka]

Namaste

Murty sir, THANKYOU so much for your help.. otherwise stotra would have waited longer time.. I had to look hard into that Telugu book.. for meaning and other issue-resolving. You made my job easier sir. Please accept my hearty praNAms for that.

This is the stotra (Docx. file attached)- proof read twice. 

Please excuse me if anything remains in spite of that.

Ambashtakam from Sankara Bhakti stotrani -- has been taken as source.

I thought one is enough. If others are also needed to be looked into and compared, please let me know.

The anusvaras are left as they are in the source text because, it is easy to read, and we have seen lately that it is not that non-Samskrtam as I thought it was..! And this makes stotra easy to be read.

Please tell me what the stotra should be named - अम्बाष्टकम्, अश्वधाटीस्तुतिः? or anything else?

I agree with Sivasenani sir in his points. Thanks to all elders for guidance on this on and off post.

I will also send a copy to the site people, once it is approved here. Please let me know if any issues are there.

I pray to that karuNAmayI devI bless us all. Now we can sing in her praise in good standard Samskrtam without grammatical mistakes. :)

-vinItA

उषा

[Usha Sanka]

Prasad sir, Namaste

Rightly pointed out.

Yes, indeed, Vavilla Press books are really great. Are they publishing now? I do not exactly remember seeing any new books of theirs.

Could you please let me know if any stotra book is there under their publications? I tried for scanned books on stotras in DLI.. could not find any thing relevant. And if possible, please let me know if any stotra books of standard publications are there along with meanings?

I am interested for Telugu script, because it will be useful for non-Devanagari-knowers in my in-circles.

Thankyou in advance

--
निराशीर्निर्ममो भूत्वा युध्यस्व विगतज्वरः।। (भ.गी.)
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[sadasivamurty rani]

Chy. Usha,

I am happy that the texts mailed by me could be of some use in your pursuit.  

As found in all the available sources it is popularly known as AMBAASHTAKAM only.  Since it is composed in Ashvadhati Vrtta ASHVADHAATI STUTI also can be considered as in case of Siva Bhujangaprayata Stotra, Ganesha Bhujangaprayata Stotra and so on. 

Regarding the stotras in Telugu script You can rely up on two sources:

1. Bala Sarsvathi Book Depot, Karnool. They are popular publishers  for all kinds of Stotra, Kalpa and Purana Texts. They got rights from Vavilla Press to reprint and publish all stotra sahityam in the name of Bala sarasvathi Book Depot. 

Particular they published ;Brhat Stotra Ratnakaram in Three Volumes : Part I Devi Stotrams Part 2 Vishnu Stotrams Part3 Siva Stotrams. Each of these three volumes is of more than 600 pages giving all kinds of Stotras pertaining to these three Deities. This is really a treasure house of stotrams.

Blessings and Best wishes, 

 

Dr. Rani Sadasiva Murty

[sadasivamurty rani]

Chy Usha,

In my previous mail I forgot to mention the second source for stotrams in Telugu script.

It is Sri Rama Book Depot, Secunderabad. They also brought out many books on stotra literature. 

Blessings, 

 

Dr. Rani Sadasiva Murty

[Usha Sanka]

Oh, Thankyou sir for the info. on books.

I can get them now. 

"rights from Vavilla Press to reprint and publish"

Does that mean Vavilla are no more publishing books (on stotras or otherwise subjects)?

"I am happy that the texts mailed by me could be of some use in your pursuit." 

You sent so many sources, for the same stotra, that someone could actually write a research paper on the stotra. :)

[Meera H R]

Respected Scholars,

I have been following the mail chain about this stotra. I have a humble suggestion.

I think it would be a healthy practice to give credits where due. Till Prof. K S Kannan pointed out the correct title (as Ambashtakam) and the author as Shankaracharya (and an authentic edition as from Oriental Book Agency, Poona), none in the chain spoke of these details. The gratitude expressed only go out to the other, later, contributors to the mail chain (who provided additional details based on this info first provided).

As many budding scholars subscribe to this list, it would set a healthy precedent and a good practice to acknowledge the first information providers, as well as those who add further details. This will inculcate an intellectual honesty and a sense of propriety in the young scholars.

I felt like drawing your attention to this, since I have noticed similar lapse once or twice earlier as well. 

Please correct me if I am wrong.

Namamsi.

Meera

[Ajit Gargeshwari]

Dear Meera H.R.

I don't think any one is taking away any credit from any of the posters to a mail. As mails get clubbed in a thread all posts posted on a given subject line is known to all. A particular post may be of greater interest than another post on the same thread to a particular poster. This doesn't mean previous posters posts were not acknowledged All posts by scholars and members are acknowledged.. Please note some receive mails as a digest format and some receive all mails and some prefer to view mails on line  so it may not be possible to top posts with acknowledgement without careful addition to the relevant posts.

​

Regards
Ajit Gargeshwari
न जायते म्रियते वा कदाचिन्नायं भूत्वा भविता वा न भूयः।
अजो नित्यः शाश्वतोऽयं पुराणो न हन्यते हन्यमाने शरीरे।।2.20।।

[Jsr Prasad]

Namaste Senani garu,

I said it briefly about the Telugu convention of writing Sanskrit words. You have, further, wonderfully exposed the intricacies involved in such a behavior. It is rational too. You tried to give examples ranging from scribal errors in palm leaf manuscripts to written convention of upadhmAnIya and jihvAmUlya to Vaidika svaras with a correlation to QWERTY layout in type writers. You'd also rightly said that <"The question of asadhutva does not arise because rules (of Siksha and Vyakaranam) are for the spoken language".>.  In such a situation, one cannot adjudge whether an vernacular edition is professional or far from professional.

Regards,
Prasad

On Mon, Oct 6, 2014 at 11:47 AM, Sivasenani Nori <sivas...@gmail.com> wrote:

On 5 October 2014 20:50, Jsr Prasad <jsrap...@gmail.com> wrote:

If I be allowed to speculate, the reason for what appears today as "arbitrary" space in the middle of compound words in Telugu print (this feature is common for words in both Sanskrit and Telugu) might be the difficulty of printing Telugu ligatures, especially the samyuktaaksharas, in the early days of printing technology where each page was composed by putting together each letter by hand.

--
Dr. Jsra Prasad,
Asst. Professor, Dept. of Sanskrit Studies
University of Hyderabad, Prof. C.R. Rao Road,
Hyderabad - 500 046 Tel: 040-2313 3803

[Jsr Prasad]

Dear Ms. Usha,

Rights of some of their old books have been sold out to a Rajahmandry publisher, as I heard. But not sure. Apart from this, Vavilla Press has started to publish a few books with ISBN, with revived printing techniques. For example, Jus. Alladi Kuppuswami's 'Mahabharata' in 2010. I think, Prof. Murthy garu has already provided you with required details on stotra books.

Even, www.archive.org has uploaded only a few books (5-6) of Vavilla Press.

Thanks,

Prasad

[sadasivamurty rani]

Respected Meera Ji!

Namaste!

At the outset I should express my sincere thanks to Sri Ajit ji for extending an excellent support to the members participated in the discussion on this Aswadhati Stuti. 

In fact after the statements from Sri Ajit ji there is no need of adding any further words by a member like me. But Meera Ji's comments are causing such a humiliation in me to respond in this situation. I request Meera Ji to pay attention to the following words of mine.

1. I personally have high regard for Prof. KS Kannan ji and Kannan Ji also knows well who Rani Sadasiva Murty is. 

2. The posting of Prof. KS Kannan ji hasn't under any circumstances inspired Rani Sadasiva Murty to steal the due credits to that professor or to post Sadasiva Murty's thoughts on Ambashtakam. The precedence of Prof. Kannan Ji's posting and the successive status of my postings is just an accidental coincidence. 

3. Moreover While Kannan ji mentioned only Oriental Book Agency I gave reference to two other sources more in my mail. 

4. One proof which I present here may help you Meeraji to be convinced in this context. Along with the text files I uploaded I have uploaded an audio file also in my morning posting. That audio file of Ambashtakam was recorded in the year 2002. I was the MUSIC COMPOSER of that album on DEVI LALITAMBIKA. 

By the time I composed music to AMBASHTAKAM in 2002 I was not known to Prof. Kannan Ji and I too didn't know him. 

So I humbly request MEERA Ji to think of to what extent Sadasiva Murty deserves to be the object of such vehement comments. 

With Warm Regards, 

Dr. Rani Sadasiva Murty

[Meera H R]

Respected Prof. Sadashivamurthy Rani-ji,

I apologise if my comment sounded harsh. It was not intended to give anyone even the slightest offence.

I went purely on the basis of the chronology of the mail-chain : none of the over half-a-dozen prior postings betrayed any clear knowledge of the exact title/author/authentic publisher.

You needn't have given such a detailed explanation, Sir - I am deeply embarrassed that my comments occasioned such a response from a scholar like you. I personally have a very high regard for your scholarship as well as your integrity. 

I was concerned only about the possibility of a trend that may arise of not giving due credits, even if unintentionally. While most of the scholars are generally careful in their acknowledgements, a few may take advantage of an unwitting/inadvertent bad precedent. 

I hope nobody mistakes my well-intentioned comment. It was not against anyone in particular, least of all, your good self, Sir. I hope you accept my apologies.

Namamsi.

Meera

P.S: Dear Sri.Ajit, your explanation was very fair. Thank you.

[Usha Sanka]

Namaste

With due respect and thanks to all members who participated in this discussion, 

HN Bhat sir, Mishra sir, Murty sir, Prasad sir, Kannan sir, Sunil sir, Sivasenani sir, Ajit sir, and Meera (sorry for the missed acknowledgement which was really due my side)-

I would like to ask if the stotra which is attached needs any corrections at all or can it be sent to the site?

For convenience of reference, same file is attached again.

Thankyou

[Usha Sanka]

PS. Title change as suggested will be made.