BHAKTAMAR STOTRA MEANING PART 1 OF 2

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The Seventh recitation of
the Nine Smaranas.
BHAKTÄMARA STOTRA
Part 1 of 2
Bhaktamar = Bhakt + Amar
Bhakt is a true devotee,
Amar is an immortal person

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Bhaktamara stotra has been composed in
praise of the first Tirthankara,
The Lord Rishabhadeva Bhagvan.
Rishabhadeva is also known as Ädinatha
because he was the first and happened to
'begin' or show every art and craft
to mankind.
The word ädi means the first or the
beginning of time.
BHAKTÄMARA STOTRA

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BHAKTÄMARA STOTRA (1)
This stotra is composed by a devotee
Ächärya Mäntunga-Soori (944 -1044 AD)
to praise Lord Rishabhadeva.
In the stotra he has mark the path to reach
the Divine Soul.
A true devotee is the only one, who can reach
the Lord. A true devotee is the one who can
devote fully by his own self-efforts,
to get rid of all his or her Kashayas
(attachment, aversion, anger, ego, deceit, greed etc.).

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This is the true Bhakti (devotion).
When the devotee is totally
engrossed in devotion and at the stage when
he/she attains
enlightenment, there is
no distance between the devotee and The Lord.
To realize the purest form of the soul
is when there is
"no distance between the devotee and the Lord”.

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In other words, the devotee and
God become one.
To praise his Lord in true devotion,
is called Strotra.
When Mantug Acharyaji became
enlightened, words flew out of his heart as
he had marked his path to the Lord.

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Therefore for a devotee to reach this stage of
enlightenment is simply called Bhaktamar.
This highly auspicious poem is in the
form of a four line stanzas, written in
devotion to his Lord.
This song makes him immortal.
He is an ideal for every true devotee.

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The Stotra is :
* a devotional poem par excellence.
* an unparalleled lustrous gem of
grand poetry (alankära).
* a beautiful masterpiece of
composition.
* a poet‟s enlightening devotion and
infinite faith in the Lord.

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The Stotra is:
* a Magical power, a great solace to the
devotee in trouble.
* immensely powerful and can free from all
sorts of worries and difficulties.
capable to make a devotee immortal.*

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Poetry in the Stotra
The Bhaktämara Stotra is composed in the
aksharmel chhanda.
The chhanda (meter) is defined as rhythmic
pattern of a poetic line in Sanskrit poetry.
The chhanda measures the length of time
required to pronounce syllables, regardless of
their stress, combinations of long and short
syllables form the basic rhythmic units.
The aksharmel chhanda, is related to the
number of letters/syllables.

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Poetry in the Stotra (1)
This composition within the aksharmel chhanda
is written in the Vasant-tilkä chhanda.
In the Vasant-tilkä each line must have 14
letters/syllables.
That is why each of the stotra's four lines
have 14 letters/syllables.
The Vasant-tilkä also has one more
characteristic in that it also contains the
composition of mäträs within it.

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This way a mäträ (emphasized as well as
non-emphasized letters) is measured.
The emphasized letter/syllable takes slightly
longer time in pronunciation and the singing is
affected, which is why the unit of
measurement is a mäträ.
This way matras are counted and not the
number of letters.

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Let us see the first four lines of the first
stanza of the Stotra with fourteen syllables.
Bha kta ma ra -pra na ta- mau li ma ni -pra bha na
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Bhaktämara-pranata-maulimani-prabhana

15
Mudyotakam dalita-päpa-tamovitänam |
Mu dyo ta kam da li ta -pa pa- ta mo vi ta nam
1 2 3 4 5 6 7 8 9 10 11 12 13 14

16
samyak pranamya jina pädayugam yugäda
sam yak pra na mya ji na pä da yu gam yu gä dä
1 2 3 4 5 6 7 8 9 10 11 12 13 14

17
va lam ba nam bha va ja le pa ta täm ja nä näm
1 2 3 4 5 6 7 8 9 10 11 12 13 14
välambanam bhavajale patatäm janänäm || 1||

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Let us see the composition of mäträs within
first line of first stanza.
Each line has four groups of three syllables
each and the last two are short syllables.
In each group the letter is to be identified as
short or long syllable.
In Sanskrit poems a letter/syllable can have
one or two mäträs. A normal and easy way is to
check the pronunciation.

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The letter/syllable on its own, or a short one,
is considered short with one mäträ, and
the one with a long pronunciation is considered
one having two mäträs.
In the Vasant-tilkä form, four groups and two
single syllables are like this:
S S L S L L L S L L S L S S
( S for short and L for long mäträ )

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One can check the whole poem and see that the
Bhaktämara Stotra does follow the rules of the
Vasant-tilkä meter.
It can be seen that writing poetry and sticking
to a particular composition was not an easy task.
The methods above explain how a Vasant-tilkä
meter is composed.
Once the pronunciation time is fixed,
pronunciation length of a sentence is
synonymous with the pattern of syllables used.

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Thus the measurement in terms of the
pronunciation time creates a link, more
technically mapping, between the singing time
and the measured syllable lengths.
This is a central idea in Sanskrit chhanda
poetry making the poem tunable and providing
a rhythmic sound.

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Lustrous gem of the Poetry
The stotra is a unparalleled lustrous gem of
poetical charms (alankära) in Sanskrit Poetry.
The Alankaras are grand rhetorical texts
combining effective composition with the
elegance, force & sweetness of poetry.
Alankära adds the beauty of melodious singing
to the stotra. The stotra offers many many
alankäras in 48 stanzas.

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Lustrous gem of the Poetry (1)
Alankäras are broadly classified into
two categories:
(1) Alankäras of words
(2) Alankäras of meanings of words or
sentences and comparison.
Alankäras of words are of three types.
(1) repetition of one letter
(2) repetition of any one word
(3) rhyming of words

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Lustrous gem of Poetry (2)
Alankäras of repetition of one letter is called
anupräsa alankära.
tvamämananti munayah paramam pumänsa
Repetition of letter “m”

Lustrous gem of Poetry (2a)
This verse has anupräsa alankära.
i.e. the repeated use of the letter 'p' in six
different words adds to the beauty of
melodious singing.
p

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Alankäras of repetition of one word
Repetition of word “tubhyam”

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Alankäras of rhyming of words
rhyming of words ending with „am‟

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Alankäras of comparison
Verse No. 11 Comparison between ordinary
salty sea, and a legendary milky
sea, where one can find nectar
like milk.
Verse No. 22 Indirect comparison of the
mother & Easterly direction.
The use of the sun, the moon, the sea,
the spring, the lotus, the mountains and
the wind are used to compare the virtues of the
Lord in a spellbinding manner.

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The essence of the Poetry (1)
In this stotra, the poet Mäntungächärya, a
talented scholar, eminent visionary and
prodigious monk, has used many comparisons
while mentioning the virtues and attributes of
Lord Rishabhadeva.
The first thing to note is that natural forces or
natural (including astronomical) events are
mentioned repeatedly.

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The Essence of Poetry (2)
The sun, the moon, the sea, the spring, the
lotus, the mountain and wind are used in
comparison to the virtues of the Lord.
The different words used for the sun and the
moon and the other things are listed below.
This shows the richness of Sanskrit.
The numbers in brackets refer to the verse
number as to where the word appears per the
Digambara tradition.

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The Sun:
Mäntunga-Ächärya has used nine synonyms
when mentioning the sun.
Surya used nine times.
Surya (7) Shahastra-kiran (9)
Vivasvata (19) Shahastra-rashmi (22, 29)
Aaditya (23), Ravi (28) Bhanukar (31)
Diwäkar (38), Dinkruta (33)

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The Moon:
Mäntunga-Ächärya has used six synonyms when
mentioning the moon.
Moon used six times.
Indu (3) Shashänk (4, 14, 30, 31)
Shashikar (11) Nishäkar (13)
Shashi (19) Soma (34)

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The Sea:
Mäntunga-Ächärya has used seven synonyms
when mentioning the Sea.
Sea used seven times.
Samudra (4) Ambunidhi (4)
Sindhu (11) Jalanidhi (11)
Udadhi (26) Ambhonidhi (40)
Väridhi (43)

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The Lotus:
Mäntunga-Ächärya has used five synonyms
when mentioning the Lotus.
Lotus used six times.
Nalini (8) Abja (18)
Jaljäni (9) Pankaj (32, 39, 41),
Udadhi (26) Padma (32)

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Snake: Water: Lion:
Ahi (43) Jala (1) Mrugendra (5)
Fanin (37) Paya (28) Mrugaräj (43)
Näga (37) Harinädhip(35).
Some more examples:

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Mountain: Clouds:
Adri (15) Ambhodhar (17)
Tunga (29) Payodhara (28)
Surgiri (30) Jaladhara (19)
Achal (35). Väridän (18)

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The Bhaktamar Stotra has 48 stanzas.
Every stanza has four parts.
Every part has 14 letters.
(No wonder stotra is called Gem of Poetry)
Thus the complete panegyric is formed by
2888 letters.

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Composing of a Stotra
King Harsha ruled in the township of
Ujjaini in Mälvä.
There were some 500 scholars in his court but two
of those 500 were quite famous and occupied high
ranking positions in the kingdom.
Their names were Bäna and Mayura. Mayura in fact
was the father-in-law of Bäna.
Once Mayura saw that Bäna and his wife (who was
Mayura's daughter) were quarrelling over some
trivial matter.

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Composing of a Stotra (1)
Mayura scolded his daughter but the daughter
was very angry at this interference and
cursed her father Mayura.
Mayura developed leprosy due to the
curse and suffered greatly.
To free himself from the pain of leprosy
Mayura composed a
stotra, which was instrumental
in the eradication of his disease.

40
Mayura was a Hindu Pandit and everyone started
praising the miraculous powers of the Hindu Gods.
The story further mentions that at that time,
Jains were sidelined and
people even thought that Jainism was
an inferior religion.
Once King Harsha summoned some Jains and asked
them whether there was any Jain who could
perform a miracle.

41
Jain laymen suggested the name of
Mäntunga-Soori.
The King approached Mäntunga-Soori and asked
him about the power of the Jain
Mantras, whereupon Mäntunga-Soori proposed to
the king that the king's men, should bind him with
chains and lock him up in a dark room.
There he will perform a miracle and all his shackles
will be broken automatically.

42
The king ordered his men to bind
Mäntunga-Soori with chains and
lock him in solitary confinement.
It is said that Mäntunga-Soori was in prison
of 48 cells and chained with 48 locks
(44 per the Swetamber account).
There in the dark and solitary room,
Mäntunga-Soori started composing a poem in
praise of the first Tirthankara Rishabhadeva.

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As he started reciting verses,
each of his shackles were broken on the
composition of each verse.
He composed forty-eight verses and
forty-eight chains were broken.
Thus the Goddess Chakreshvari,
who is the attendant deity of the
Tirthankara Rishabhadeva, released him.

44
The king had to realize the power of Janism and fell
down at the feet of Acharya, and he asked for
pardon for his mistake again and again.
After this, Acharya Mantunga entered the city of
Dhara, due to the effect of sermons and Tapa of
Mantunga, so many peoples accepted Jain Dharma.
At the end, he accepted „Sallekhana Vrat‟ and
gave up his body.

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Play CD or tape
If you have a CD of the Bhaktamar Stotra,
please play each verse after reviewing
slides of the corresponding verse,
(pause the youtube video to listen the verse) .
You can pause CD and view the next slide
and play next verse.

Bhaktamara- pranata- maulimani-prabhanam
Muddyotakam dalita- papa- tamovitanam.
Samyak pranamya jina padayugam yugada-
Valambanam bhavajale patatam jananam. (1)
Verse # 1-1
The poet bows down & declares intention of writing the Poem.

When the Gods bow down at the feet of
Bhagavan Rishabhdeva divine glow of his nails
increases shininess of jewels of their crowns.
Mere touch of his feet absolves
the beings from sins.
Verse # 1-2

He who submits himself at these feet is saved
from taking birth again and again (transmigration
of the samsára). I offer my reverential salutations
(namaskaar) at the feet of Bhagavan
Rishabhadeva, the first Tirthankar, the
propagator of religion at the beginning of this era.
Verse # 1-3

Verse # 1-4
Explanation:
Here the poet wants to bow down (namaskaar)
and praise the virtues of Lord Ädinätha.
The comparison of the brightness of the
jewels in the crowns of the Devas to the
brightness of the Lord's feet (the reflection
of light from his toenails) can be found in some
other stotras as well. The poet says that the
brightness of the Lord's feet surpasses the
brightness of the jewels.

Verse # 1-5
Explanation:
Even the jewels look quite dull when they are
seen near His feet.
It has to be mentioned here that almost all
ancient Indian texts talk of 'transmigration of
the samsára' (sometimes simply referred to as
samsára).
This has been compared with crossing a great
river or sea. The ordinary mortal is always
'swimming‟ in this sea.

Verse # 1-6
Explanation:
His ultimate goal is to cross this sea and
attain nirväna.
Nirväna or moksha in Jain terminology
means there is no more birth (or death).
The phrase of crossing the sea of samsára or
ending the cycle of births has also been
mentioned in other verses of the Bhaktämara.

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Praise of Lord
Rishabhadeva by
Devas.
Those who have
submitted to him are
saved from taking
birth in this turbulent
mundane ocean
, but those who
have kept away are
drowning.

Yah samstutah sakala-vangmaya-tatva-bodhat
Udbhuta buddhi patubhih suralokanathaih
Stotrairjagattritaya chitta-harairudaraih
Stoshye kilahamapi tam prathamam jinendram. (2)
Verse # 2-1
The poet bows down & declares intention of writing the Poem.

The Devas, who possesses a great deal of
knowledge of all the scriptures and
immense intelligence, praise Him and
sing the stotras so beautifully that,
Verse # 2-2

it captivates (by bringing joy) the people of three
worlds, I too will now endeavor to sing the
stotra in praise of the first Jinendra,
the first Tirthankara, Rishabhadeva. (2)
Verse # 2-3

Verse # 2-4
Explanation:
Poet now says, wise celestial lords, who
have acquired wisdom from all the canons,
have eulogized 'First Jinendra'
(Bhagavan Adinath) , with Hymns bringing
joy to the audience of three realms
(heaven, earth and hell).
I , Matungacharya, an humble man with
little wisdom shall be steadfast in my
endeavour to eulogize that first Tirthankar.

Verse # 2-5
Explanation:
It is worth noting that because of these
two words, 'First Jinendra' (prathamam
Jinendram), we know that this stotra is
composed in the praise of the first
Tirthankara, Rishabhadeva.
Nowhere else has the name of Rishabhadeva
been mentioned in this poem.

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Wise celestial lords
are singing hymns in
praise of Bhagavan
Adinatha.
An humble devotee
joins them to eulogize
the Bhagavan.

Buddhya vinaapi vibudharchita padapitha
Stotum samudyata matirvigata trapoaham.
Balam vihaya jala samsthita mindu bimbam
Manyah ka ichchhati janah sahasa grahitum. (3)
Verse # 3-1
Declaration of his humble attempt in composing the Stotra

O Lord, you are the one who is worshipped by the
most intelligent ones and I on the other hand am
trying to worship you (eulogize you) without
having any intelligence,
Verse # 3-2

this seems like an shameless act.
This is like an act of a child who
wants to get hold of an image of the moon
reflected in the water.
Verse # 3-3

Verse # 3-4
Explanation:
The poet says that I must be a shameless
person who tries to praise the Tirthankara who
has been usually praised by super-intelligent
ones, not by an ordinary being like me.
The poet also says that this is like a case of a
child who sees the image of the moon in the
water and tries to get hold of it.
The poet compares his attempt at composing
this recitation to that of the attempt of an
ignorant child.

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The efforts of an
ignorant to eulogize
the Jina,
revered by the Gods,
appears to be a
childish impudence of
trying in vain to
grab the reflection of
the moon in water.

Vaktum gunan gunasamudra shashankakantan
Kaste kshamah suraguru pratimoapi buddhya.
Kalpanta kala pavanoddhata nakra hakram
Ko va taritum alam ambunidhim bhujabhyam (4)
Verse # 4-1
Declaration of his humble attempt in composing the Stotra

O ocean of virtues! Even the guru of celestial
beings (brihaspati), with his immense wisdom is not
capable of praising your virtues,
which are as blissful as the moon.
Verse # 4-2

Who can swim across the ocean, which is infested
by crocodiles and is lashed by the hurricane wind
blowing at the time of the destruction of the
universe, with his bare hands ? (No one can).
Verse # 4-3

Verse # 4-4
Explanation:
The poet has used the word ocean twice
(once as samudra and then as ambunidhi).
The first time he says you are the ocean of
virtues & the second time he talks about the
ocean which is raging with fierce storms. Both
of these oceans are hard to cross/attain.
The first ocean is the ocean of virtues that an
ordinary mortal cannot fathom and the other
ocean is the ocean we know, the mighty sea.

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Ocean of virtues of
the Jina !
Ocean
(mundane), raging
with fierce storms.
Both these oceans
are hard to
cross/attain.

Soaham tathapitava bhakti vashanmunisha
Kartum stavam vigatashaktirapi pravrittah.
Prityatma viryam avicharya mrigi mrigendram
Nabhyeti kim nijashishoh paripalanartham (5)
Verse # 5-1
Comparison with a deer who would protect her own offspring.

O, Apostle of apostles !
I am incapable of narrating your infinite virtues.
Still, inspired by my devotion for you,
I intend to compose a hymn in your praise.
Verse # 5-2

This is like an act of a mother deer who would
forget about her own strength, and because of
the love towards her offspring, confront a lion if
it comes to protecting the child from that lion.
Verse # 5-3

Verse # 5-4
Explanation:
The poet says that I am like that deer.
I too, have no ability but because of the
devotion, I have now prepared myself to sing
your praises.
Therefore the reason for the composition of
this stotra is only one, devotion (bhakti) to
the Lord.

73
Comparison with a
deer who would
protect her own
offspring and is
willing to confront a
Lion, knowing it is a
difficult task.

Alpashrutam shrutavatam parihasadhama
Tvadbhakti-reva mukhari kurute balanmam.
Yat kokilah kila madhau madhuram virauti
Tachchamra charu kalika nikaraika-hetuh. (6)
Verse # 6-1
Comparison with a cuckoo bird.

I possess little knowledge and therefore
I am an object of ridicule to the scholars but
my bhakti to you makes me (or compels me)
sing hymns in praise of you.
Verse # 6-2

This is like a cuckoo who,
in springtime, suddenly starts singing with
a sweet voice (melodious coo) on
seeing the mango sprouts.
Verse # 6-3

Verse # 6-4
Explanation:
There is always one pitfall, when one opens
his mouth in front of the other learned
ones, and that he may be ridiculed by the
people surrounding him.
Mäntungächärya says here that his devotion
provides the solid reasons why he embarked
upon composing this verse.

78
As cuckoo bird starts
cooing after tasting
the mango buds, an
ignorant devotee
starts singing hymns
out of his devotion for
the Jina, even in the
presence of scholars.

Tvat-sanstavena bhavasantati sannibaddham
Papam kshanat-kshayam upaiti sharirabhajam
Akranta-loka malinilam asheshamashu
Suryamshu bhinnamiva sharvaram andhakaram (7)
Verse # 7-1
Poet narrates what happens when singing praise to the Lord.

O Lord, by singing your hymn,
the sins of mortals,
which have been accumulated in various births,
is automatically annihilated in a moment.
Verse # 7-2

Just as the bright rays of the sun
dispel the darkness of the night
even if it (the darkness) was as
black as the bumblebees.
Verse # 7-3

82
The malignant Karmas
(kashaya, anger, gree
d etc) accumulated by
the living beings are
instantaneously wiped
out by eulogizing you.
Just as the piercing
sun rays dispel the all
enveloping dense
darkness which is as
black as a bumble-bee.

Matveti nath ! tava samstavanam mayeda
Marabhyate tanudhiyapi tava prabhavat
Cheto harishyati satam nalinidaleshu
Muktaphala dyutim upaiti nanudabinduh (8)
Verse # 8-1
Believes that his poem will be liked by all.

I have composed this panegyric verse
with the belief that,
though I have less intelligence
owing to your divine powers,
Verse # 8-2

this work of mine will attract the
attention of noble people just as
even a drop of water shines like a pearl
when resting on the petal of a Lotus.
Verse # 8-3

Verse # 8-4
Explanation:
This way good people will appreciate my
verses because the verses have been
composed in praise of you.
It will certainly please noble people due to
your influence, just like a drop of water looks
like a pearl when it is sitting (influence of
being near) on the edge of a lotus petal.

87
Just as under the
influence of a
lotus leaf a dew
drop gleams
like a pearl,
so too under the
divine influence
of the Jina,
simple devotional
words become
pearls of wisdom.

Astam tava stavanam astasamasta dosham
Tvat samkathapi jagatam duritanihanti
Dure sahasrakiranah kurute prabhaiva
Padmakareshu jalajani vikasha bhanji (9)
Verse # 9-1
Poet has the confidence in the power of the Lord's name.

O Jina ! Let alone the immeasurable powers
of your eulogy, mere utterance of your
name with devotion destroys the sins of
the mundane beings and purifies them.
Verse # 9-2

The brilliant sun makes the lotus buds
in the lakes bloom (at dawn)
even though it is millions of miles away.
Verse # 9-3

91
The brilliant sun is
far away; still, at
dawn its soft glow
makes the drooping
lotus buds bloom.
Similarly, mere
utterance of your
name with devotion
destroys the sins of
the mundane beings
and purifies them.

Natyadbhutam bhuvana bhushana ! bhutanatha
Bhutairgunairbhuvi bhavantam abhishtuvantah
Tulya bhavanti bhavato nanu tena kim va
Bhutyashritam ya iha natmasamam karoti (10)
Verse # 10-1
The poet reaffirms the benefits of praying.

O the Lord of all beings
(bhootnätha), O the jewel of the
universe! (bhuvan-bhushan), it is not surprising
that people who praise you become
virtuous, adorned with merits, like
yourself.
Verse # 10-2

What is the use of benevolent master
who does not make others,
who have taken refuge unto him,
as prosperous as Himself.
Verse # 10-3

Verse # 10-4
Explanation:
This verse is remarkable in its poetic
composition because the syllable 'bhoo' has
been used repetitively.
(nathyadbhootam bhoovan bhushan
bhootnäth, bhootairgunai bhoovi.......)
In Indian poetry such repetitions are called
anupräsha.
Other examples of anupräsha can bee seen in
verses # 26 and # 38.

96
A devotee singing in
praise of the Jina
gradually attains the
exalted position
(from ordinary to
great to the ultimate).
The master gives
wealth to his
subjects and makes
them his equals.

Drishtava bhavantam animesha vilokaniyam
Nanyatra toshamupayati janasya chakshuh.
Pitva payah shashikaradyuti dugdha sindhoh
ksharam jalam jalnidhe rasitum ka ichchhet? (11)
Verse # 11-1
Comparing the Lord‟s name to an auspicious ocean.

Peoples' eyes do not get any
satisfaction elsewhere once they
have seen you with their unblinking eyes.
Verse # 11-2

Who would like to taste the
salty water of an ordinary sea after
drinking the water of the „Milky-Ocean‟
shining like the rays of the moon? (No one.)
Verse # 11-3

Verse # 11-4
Explanation:
In terms of the poetic charm of the 'jewel in
the poetry' (alankära) mentioned here is
arthäntar-nyäs. Two different things have
been mentioned here, one is the ordinary sea,
the water of which is always salty, and the
other is a legendary milky ocean where one can
find nectar like milk or milky water.
There is no comparison between the virtues of
these two. This is known as arthäntar nyäs in
Sanskrit poetry.

101
The devotee
continues to stare at
the hypnotizing
magnificence of
the Jina.
A person drinking
fresh water
(milk-like water) from
the divine stream
rejects saline and
unbootable sea water.

Yaih shantaragaruchibhih paramanubhistavam
Nirmapitastribhuvanaika lalamabhuta
Tavanta eva khalu teapyanavah prithivyam
yatte samanam aparam na hi rupam asti (12)
Verse # 12-1
The good karma (atoms) of the Lord.

O Jewel in the crown of the three worlds!
In this universe, certainly there are only as
many particles possessing the
melodious peace (shänträga ruchi),
Verse # 12-2

as you are formed of,
because there is no one as
elegant (rupam) as yourself.
Verse # 12-3

Verse # 12-4
Explanation:
Here a unique statement is made.
The poet assumes that there are good and
bad atoms in this universe.
Some people are made of good atoms and
some are made of bad.
All atoms that are pure and good in the
universe are occupied by Lord Adinath
Bhagavan.

Verse # 12-5
Explanation:
Lord Rishabhadeva is made only of atoms that
are pure and good.
In regards to poetry, the poet has used a
'jewel in poetry' (alankära) called anumän
(presumption).
It is assumed that the Lord is made of the
particles which have certain divine qualities.

107
There is no one as
elegant (rupam) as
yourself.
The good karma
(atoms) of the Lord.
Angels and humans
are bowing to the
Jina, the unique
embodiment of peace
and harmony.

Vaktram kva te sura naroraga netra hari
Nihshesha nirjita jagat tritayopamanam.
Bimbam kalanka malinam kva nishakarasya
Yad vasare bhavati pandu palasha kalpam (13)
Verse # 13-1
Comparing the Lord with the moon.

The comparison of your face to the moon does not
appear proper to me. How can your scintillating
face that pleases the eyes of
gods, angels, humans and serpent gods,
Verse # 13-2

be compared with the spotted moon that is dull
and pale, during the day, as the autumn leaves.
Indeed, even the best available analogy for
your face is lowly in comparison.
Verse # 13-3

Verse # 13-4
Explanation:
Here the poet attempts to compare the face
of Rishabhadeva with the moon but he himself
says that the comparison is futile because the
moon fades at dawn, whereas not only the
brightness on the face of Rishabhadeva
remains constant, the shine of which far excels
the all standards of comparison.

112
Looking at the divine
face of Shri
Adinatha, angels, huma
ns and other beings
become enchanted.
During the day the
moon looks pitted as
well as pale and dull
like autumn leaves.

Sampurna mandala shashanka kala kalapa
Shubhra gunastribhuvanam tava langhayanti
Ye sanshritastrijagadishvara! nathamekam
kastan nivarayati sancharato yatheshtam (14)
Verse # 14-1
Comparing the Lord's virtues to the full moon.

O Lord of the three realms !
Surpassing the glow of the full moon,
your infinite virtues are radiating throughout
the universe-even beyond the three realms;
Verse # 14-2

the hymns in praise of your virtues can be heard
everywhere throughout the universe.
Indeed, who can curb the freedom of movement
of devotees of the only omnipotent like you ?
(certainly no one is capable of doing so).
Verse # 14-3

116
The brilliance of the
full moon is spreading
all around crossing
mountains, rivers and
other obstacles
on the earth.
But the glory of the
infinite virtues of the
Jina spreads
everywhere in the
three realms.

Chitram kimatra yadi te tridashanganabhir
Nitam managapi mano na vikara margam.
Kalpanta kala maruta chalitachalena
kim mandaradri shikhiram chalitamkadachit (15)
Verse # 15-1
Comparison with the mountain Meru.

O Passionless ! Divine nymphs have tried their
best to allure you through libid gestures,
but it is not surprising that your tranquility
has not been disturbed even fractionally.
Verse # 15-2

Of course, the tremendous gale of
doomsday, that moves common hillocks,
can not disturb even the tip of the
great Sumeru mountain.
Verse # 15-3

120
Of course, the
tremendous gale of
the doomsday, that
moves common
hillocks, cannot
disturb even the tip
of the great Sumeru
mountain.
Divine nymphs have
tried their best to
allure you through
libid gestures.

Nnirdhumavartipavarjita taila purah
Kritsnam jagat trayamidam prakati karoshi.
Gamyo na jatu marutam chalitachalanam
Dipoaparastvamasi natha ! jagatprakashah (16)
Verse # 16-1
Comparison with a lamp.

O Lord !
You are an all enlightening divine lamp
that needs neither a
wick nor oil, and is smokeless,
Verse # 16-2

yet enlightens three realms,
Even the storm that moves the unmovable
(mountain) does not effect it.
You are the divine lamp, the light of the world.
Verse # 16-3

124
You are an all
enlightening
divine lamp that
needs neither a wick
nor oil, and
is smokeless,
yet enlightens
three realms.

Nastam kadachidupayasi na rahugamyah
Spashtikaroshi sahasa yugapajjaganti.
Nnambhodharodara niruddha maha prabhavah
Suryatishayimahimasi munindra! loke (17)
Verse # 17-1
Comparison with the sun.

O Lord of the ascetics!
Your glory is greater than that of the sun,
because while neither of you ever set,
you are not engulfed by the planet Rähu, nor
is your brightness (of omniscience) hindered by
any eclipse.
Verse # 17-2

Moreover you brighten the whole world
all of a sudden (in a flash) and your glorious
radiance is not obstructed by clouds.
Verse # 17-3

Verse # 17-4
Explanation:
As per ancient Indian belief, the planet Rähu
swallows the sun for the time that causes the
eclipse of the sun.
In a similar way the Rähu can eclipse the
moon also.
Here the composer of the poem has provided
us with few similarities.
The sun is the sun of omniscience.

Verse # 17-5
Explanation:
The omniscience of Lord does not wither or
set. Passions do not eclipse super knowledge.
His glory is not obstructed by the clouds of
karma.
Karma obstructs the true qualities of the soul.
Here in the case of the Tirthankara, the clouds
of karma cannot obstruct His shining glory.
Like the previous verse, the poet has also used
'exaggeration by comparison„ (vyatireka
alankära) in this verse.

Verse # 17-6
Explanation:
Your abounding glory is greater than that of
the sun. The sun rises every day but sets as
well, but the orb of your omniscience is ever
shining, it never sets.
The sun is eclipsed but you are passionless and
infinitely virtuous ; as such, no mundane passion
or desire eclipses the glory of your virtues.
The sun slowly rises over parts of the world,

Verse # 17-7
Explanation:
The sun slowly rises over parts of the world,
but the glow of your omniscience reaches every
part of the world at once.
The sunrays are obstructed by insignificant
clouds, but there is nothing that can obstruct
the radiance of your knowledge.

132
Your glory is
greater than
that of the sun,
the orb of your
omniscience is
ever shining.

Nityodayam dalitamoha mahandhakaram
Gamyam na rahuvadanasya na varidanam.
Vibhrajate tava mukhabjamanalpakanti
Vidyotayajjagadapurvashashanka bimbam. (18)
Verse # 18-1
Comparison with the moon.

O Lord!. Your lotus like face is always shines
bright (in the sky), it has destroyed the
darkness of illusion (mohaniya karma). It
cannot be engulfed by the planet Rähu or
obstructed by clouds.
Verse # 18-2

Your lotus like face is like the moon with an
extraordinary shine. It possesses immense
luster and brightens the world.
Verse # 18-3

Verse # 18-4
Explanation:
After comparing the glory of the Tirthankara
with that of the sun, now the poet compares
Him with the moon in a similar way.
The poet here provides two similarities.
Here again, first the poet clearly uses the
word 'dalit moha' which means that illusion-
causing karma is destroyed.

Verse # 18-5
Explanation:
The moon which rises and sets in the sky has
waxing and waning phases but the lotus like
face of the Lord is so bright and is never
affected by such phases.
Again the use of 'exaggeration by comparison'
(vyatireka alankära) in poetry is seen here as in
the previous two verses.
The Lord's face has been compared with the
moon, but again the one which has been
compared is better than the object of
comparison.

138
Your lotus face is a
moon par-excellence.
The moon light
penetrates darkness
only to a limited
extent, your face
removes the universal
darkness of ignorance
and desire.

Kim sharvarishu shashinanhi vivasvata va
Yushman mukhendu daliteshu tamassu nath
Nishpanna shalivana shalini jiva loke
Karyam kiyajjaladharair jalabhara namraih. (19)
Verse # 19-1
No need for the sun or the moon.

O Lord of the Universe ! Where is the need of
the sun during the day and the moon during the
night when your ever radiant face sweeps away
the darkness of the world.
Verse # 19-2

Indeed, once the crop of rice is ripe,
what is the need of the
thundering rain clouds.
Verse # 19-3

Verse # 19-4
Explanation:
There is no need for rain to fall once the crop
is fully ripe. We do not need the brightness of
the sun or the moon when the Tirthankara is
here.
After comparing the Lord's glory with that of
the sun and the moon, the poet now says a
different thing.
He says: 'But why we need the sun and the
moon...when we have our Lord ?‟

Verse # 19-5
Explanation of the hidden word.
Read the 7th, 11th, 36th, 37th and 38th syllables.
The phrase 'Shivasälini' will become readable.
Shivasälini meaning, dispeller of fear of calamities.

144
No need of the sun
during the day and
the moon during the
night when your
ever-radiant face
sweeps away the
darkness of the
world.
Indeed, once the
crop is ripe what is
the need of the
thundering rain-
bearing clouds ?

Janam yatha tvayi vibhati kritavakasham
Naivam tatha Hari Haradishu nayakeshu.
Tejah sfuran manishu yati yatha mahattvam
Naivam tu kachashakale kiranakuleapi. (20)
Verse # 20-1
The lord‟s knowledge compared to precious gems.

The knowledge of Hari (Hindu God of sustenance-
Vishnu), Hara (Hindu God of destruction, Shankara)
and other Gods do not shine as bright as
they do in your case.
Verse # 20-2

Indeed, the luster and light of priceless gems
can hardly be seen in the glass pieces,
glittering in a beam of light.
Verse # 20-3

148
The pure, incessant
and complete
knowledge that you
have, cannot be found
in any other deity in
this world.
Indeed, the luster
and light of priceless
gems can hardly be
seen in the glass
pieces glittering in a
beam of light.

Manye varam Hari Haradaya eva drishta
Drishteshu yeshu hridayam tvayitoshameti
Kim vikshitena bhavata bhuviyena nanyah
Kashchinmano harati natha ! bhavantareapi (21)
Verse # 21-1
You are the Best.

O Supreme Lord ! It is good that I have seen
other mundane deities before seeing you;
because the discontent even after seeing them
has been removed by the glimpse of your
detached and serene expression.
Verse # 21-2

Now that I have witnessed the ultimate,
I can not be satisfied with anything
less in this and later lives.
Verse # 21-3

152
All deities have
been depicted as
indulging in
mundane activities.
But the Jina is
always seen in
detached and
serene state in
meditative posture.
He is exalted above
other gods.

Strinam shatani shatasho janayanti putran
Nanya sutam tvadupamam janani prasuta
Sarva disho dadhati bhani sahasrarashmim
Prachyeva digjanayati sphuradamshujalam. (22)
Verse # 22-1
Comparison with the sons of the other mothers.

Hundreds of women give birth to
hundreds of sons but there is no mother
whose son could be compared to you.
You are Unique.
Verse # 22-2

All directions shine with different stars or
constellations, but the East is the only direction,
which produces (or brings) the collection of
brightest rays (of the sun).
Verse # 22-3

Verse # 22-4
Explanation:
This beautiful comparison is known as
prativästupamä alankära in Sanskrit poetry.
In this type of alankära comparison is made
indirectly.
The poet does not actually say that the
Tirthankara's mother is like the easterly
direction.
He presents two things in front of us
separately and makes us compare one
with the other.

157
O Unique One!
Numerous stars and
planets can be seen in
all directions but the
sun rises only
in the East.
Similarly innumerable
women give birth to
sons but an illustrious
son like you was born
only to one mother;
you are unique.

Tvamamanati munayah paramam pumamsha
Madityavaranam amalam tamasah purastat
Tvameva samyagupalabhya jayanti mrityu
Nanyah shivah shivapadasya munindra ! Panthah (23)
Verse # 23-1
Comparison with the sun again.

O Sage of sages ! All sages believe you to be the
supreme being beyond the darkness, and brilliant
as the sun. You are free of the malignancy of
attachment and aversion and
beyond the darkness of ignorance.
Verse # 23-2

One can conqueror death by only following your
path. O the leader of ascetics (munindra)!
There is no better path of purity
leading to salvation (Shiva-pada).
Verse # 23-3

Verse # 23-4
Explanation:
Here it is interesting to see the use of the
word 'Shiva'. Shiva means Lord Shankara in
Hindu philosophy.
In Sanskrit language, the word Shiva is used to
denote all that is auspicious and beneficial.
Here the poet uses 'Shiva' first to denote the
path and then to describe salvation.

Verse # 23-5
Explanation:
In Jain terminology the word Shiva-pada is
used while mentioning the 'abode of final
emancipation'.
Likewise Shiva-sukha is used as the eternal
happiness of salvation.

Verse # 23-6
Explanation:
The phrase used here to describe the
Rishabhadeva viz.: ('ädityavarnam tamsah
parastät': you have the bright colour of the
sun and you are beyond the realms of
darkness) has been found in the Hindu
scripture, Shukla Yajurveda.
Hemchandrächärya (11th Century Jain ächärya)
has also used this same phrase in his stotra
called the Veetaräga Stotra .

164
All saints chant hymns
of devotion to the Jina.
The aura acquired
through this devotion
and purity humbles the
god of death.
Thus conquering
death, the mendicant
forges ahead on the
path of purification.

Tvamavayam vibhumachintya masankhyamadyam
Brahmanamishvaramanantamanangaketum.
Yogishvaram viditayogamanekamekam
Jnanasvarupamanmalam pravadanti santah. (24)
Verse # 24-1
About the Lord's infinite virtues.

O Lord! You are addressed by the saints as:
imperishable (avyaya), omnipresent
(vibhu), incomprehensible (achintya), innumerable
(asankhya), first (ädhya), Brahma, God (Ishvara), infinite
(ananta), the comet which can destroy lust (anangketu),
Verse # 24-2

the Lord of yogis (yogishvaram),
well-versed in yoga (vidit yoga), many (anek),
one (eka), omniscient in form (gnän swarupam), and
pure (amalam).
Verse # 24-3

Verse # 24-4
Explanation:
This verse describes the qualities of the
Tirthankara. There are quite a few adjectives
here, which we will see below in translation.
Here is the further explanation of the terms.
Avyaya: Eternal as far as your soul is
concerned.
Vibhu: The one has become omniscient
because of destruction of his Karma.

Verse # 24-5
Explanation:
Achintya You have a form which is beyond
comprehension.
Asankhya The one who is uncountable.
Aadhya You are the first Tirthankara, the
first to teach the worldly affairs
to mankind.
Brahmänam The one with attributes of
Lord Brahma.

Verse # 24-6
Explanation:
Ishvara You have aishvarya, the divine halo
around you.
Ananta You are without end, the soul is
eternal and you have attained
liberation. God Vishnu is also
refereed to as ananta.
Anangketu You have destroyed sex instinct.

Verse # 24-7
Explanation:
Anekam The one with many virtues.
Ekam As the soul – substance,
you are only one.
Gnän swarupam You have attained kevala- gyän.
Amalam You are free from the dirt of karma
particles.

172
Your qualities
are endless.
You are
Avyaya, Vibhu, Achint
ya, Asankhya, Aadhya,
Brahmänam, Ishvara,
Ananta, Anangketu, An
ekam, Ekam, Gnän
swarupam And
Amalam.

173
Please read
Part 2 of 2 of
BHAKTÄMARA STOTRA

How to get most benefit.
To get most benefit from the stotra one should
recite with :
(a) Clear pronunciation
(b) Deep, Inexhaustible, Unbreakable faith
and Overflow of devotion
towards Arihant‟s teachings.

How to get most benefit.
To get most benefit from the stotra,
one should recite with
(c) Ultra pure mind, without even slightest
of raag (attachment) & dwesh (malice)
towards any Living beings.

Thank you &
Michhami Dukaddam
If we have made any mistakes
Please accept our sincere apologies.
http://www.jainworld.com
http://www.jaintirthankars.com and
Other Jain web sites, & books.
Material in this presentation is compiled data, using
“NINE SACRED RECITATIONS OF THE JAIN RELIGION” by
Shri Vinod Kapashi,

Thank you & Michhami Dukaddam
Please let us know,
if you have any suggestions to
improve this presentation or
for a copy of the presentation write to
bakulah@yahoo.com
Harshad, Bakula & Maniar family,
Please share this presentation.

BHAKTAMAR STOTRA MEANING PART 1 OF 2

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BHAKTAMAR STOTRA MEANING PART 1 OF 2