Mahishasur Mardini Stotra

[Anand Ghurye]

Dear Friends , 

The following stanza  from Mahishasurmardini Stotra seems the only one that does not follow the meter of all other stanzas . Is my understanding correct ? Please help . Thanks in andvance .

​

कनकलसत्कलसिन्धुजलैरनुषिञ्चति तेगुणरङ्गभुवम्
भजति स किं न शचीकुचकुम्भतटीपरिरम्भसुखानुभवम् ।
तव चरणं शरणं करवाणि नतामरवाणि निवासि शिवम्
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १९ ॥
Kanaka-Lasat-Kala-Sindhu-Jalair-Anussin.cati Te-Gunna-Rangga-Bhuvam
Bhajati Sa Kim Na Shacii-Kuca-Kumbha-Tattii-Parirambha-Sukha-[A]nubhavam |
Tava Carannam Sharannam Kara-Vaanni Nata-Amara-Vaanni Nivaasi Shivam
Jaya Jaya He Mahissaasura-Mardini Ramya-Kapardini Shaila-Sute || 19 ||

Meaning:
19.1: (Salutations to the Divine Mother) When a Devotee Washes the Place where Your Attributes are Exhibited (i.e. Your Place of Worship) with Water from River which is Shininglike Gold and Flowing Softly ...
19.2: Will He not Feel the Joy of Your All-Embracing Grace contained in Your Pitcher-Like Bosom?
19.3: I Take Refuge at Your Feet, O Vani (Devi Mahasaraswati), and I Prostate before You, O Eternal Vani (Devi Mahasaraswati), in Whom Resides All Auspiciousness.
19.4: Victory to You, the Destroyer of the Demon Mahishasura, Who has Beautiful Locks of Hair and Who is the Daughter of the Mountain.





20. Maa Durga - Whose Pure Moon-Like Face Subdues our Impurities

तव विमलेन्दुकुलं वदनेन्दुमलं सकलं ननु कूलयते
किमु पुरुहूतपुरीन्दु मुखी सुमुखीभिरसौ विमुखीक्रियते ।
मम तु मतं शिवनामधने भवती कृपया किमुत क्रियते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ २० ॥
Tava Vimale[a-I]ndu-Kulam Vadane[a-I]ndu-Malam Sakalam Nanu Kuula-Yate
Kimu Puruhuuta-Purii-Indu Mukhii Sumukhiibhir-Asou Vimukhii-Kriyate |
Mama Tu Matam Shiva-Naama-Dhane Bhavatii Krpayaa Kimuta Kriyate
Jaya Jaya He Mahissaasura-Mardini Ramya-Kapardini Shaila-Sute || 20 ||

Meaning:
20.1: (Salutations to the Divine Mother) Your Moon-Like Face is the Abode of Spotless and Stainless Purity which Certainly Subdues All Impurities.
20.2: Otherwise, Why have my Mind Turned Away from the Moon-Faced Beautiful Ladies like those present in Indra's Castle?
20.3: According to My Opinion; Without Your Grace, How is it possible to Discover theTreasure of Shiva's Name within us?
20.4: Victory to You, the Destroyer of the Demon Mahishasura, Who has Beautiful Locks of Hair and Who is the Daughter of the Mountain.

​

Regards ,

Anand Ghúryé

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Space Page : 9820489416

[अभ्यंकरकुलोत्पन्नः श्रीपादः]

कनकलसत्कलसिन्धुजलैरनुषिञ्चति तेगुणरङ्गभुवम्
भजति स किं न शचीकुचकुम्भतटीपरिरम्भसुखानुभवम् ।
तव चरणं शरणं करवाणि नतामरवाणि निवासि शिवम्
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १९ ॥

At http://sanskritdocuments.org/sites/snsastri/mahishasuramardini-eng.pdf the above stanza is numbered 18.

Also, the first line reads as -

कनकलसत्कलसिन्धुजलैरनुषिञ्चति तेऽङ्गणरङ्गभुवम्

Anyway there are 23 letters in each line in this stanza also. The prosodic analysis becomes -

कनकलसत्कलसिन्धुजलैरनुषिञ्चति तेऽङ्गणरङ्गभुवम्

(1-1-1)-(1-2-1)-(1-2-1)-(1-2-1)-(1-2-1)-(1 2-1)-(1-2-1)-1-2

न, ज, ज, ज, ज, ज, ज, ल, ग 

भजति स किं न शचीकुचकुम्भतटीपरिरम्भसुखानुभवम् ।

(1-1-1) (1 2 1) (1-2-1)-(1-2-1)-(1-2-1)-(1-2-1)-(1-2-1)-1-2

न, ज, ज, ज, ज, ज, ज, ल, ग

तव चरणं शरणं करवाणि नतामरवाणि निवासि शिवम्

(1-1 1)-(1-2 1)-(1-2 1)-(1-2-1) (1-2-1)-(1-2-1) (1-2-1) (1-2)

न, ज, ज, ज, ज, ज, ज, ल, ग

जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते 

(1-1 1)-(1 2-1)-(1-2-1)-(1-2-1)-(1 2-1)-(1-2-1)-(1 2-1)-1-2

न, ज, ज, ज, ज, ज, ज, ल, ग

The pattern is in good discipline in all lines !

Since the last line is common in all stanzas and pattern of that line is same in other lines also, this stanza seems to be in good order.

सस्नेहम्
अभ्यंकरकुलोत्पन्नः श्रीपादः ।
"श्रीपतेः पदयुगं स्मरणीयम् ।"

[Subrahmanian R]

I agree with Sri Abhyankar mahasayas statement that in अयिगिरि नन्दिनि the pattern is in good discipline in all lines, but I beg to differ from him as to the reasons for justification.

A पद्य is a वृत्त or जाति. A वृत्त is a stanza, the metre of which is regulated by the number and position of syllables in each पाद or quarter. A जाति is stanza the metre of which is regulated by the number of syllable instants in each quarter.

अयिगिरि नन्दिनि sloka falls in the latter category. One may further say that each line or पाद consists of eight portions, each of the first seven portions has four syllabic instants, while the eighth portion consists of one long syllable (गुरु). The two stanzas quoted conform to this norm, as do the other stanzas of this sloka.

Incidentally, Kavi Kalidasa's का त्वम् बाले, the नाम रामयण (शुद्धब्रह्म परात्पर राम्), मधुराष्टकम् (अधरं मधुरं वदनं मधुरम्), and the Hindi (or Marathi?) रघुपति राघव राजाराम etc fall in this जाति type of metre. Its characteristic reminds one of the चतुस्र गति of कर्नाटक संगीत. Out of the above only in  मधुराष्टकम्, the last portion of each line also contains four syllabic instants.

However, I am perplexed as to how, in का त्वम् बाले - the last portion क ख ग घ conforms to the metre or prosody. All the four are short syllables or लघु. Also in Raghupati raghava, a vowel in पतित and भगवन् appear to have been elongated to पतीत and भगवान्. Possibly it conforms to the local language in which it is composed.

　With profound respect to all

    R Subrahmanian

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[Anand Ghurye]

Thanks for your reply.  All other stanzas are ending with ते while this one is ending in म . That is why the query .

[अभ्यंकरकुलोत्पन्नः श्रीपादः]

The pronunciation of म् at line-ending gets mixed with the letter previous to it. Hence the ending म् is not to be considered as extra letter.