Sunday, March 9, 2008

Modern Sanskrit Literature: Comments on "Matrigitikanjalih" Kavya of Harekrishna Meher

Modern Sanskrit Literature : ‘MĀTRIGĪTIKĀÑJALIH’ Gīti-kāvya 
मातृगीतिकाञ्जलिः (आधुनिक-संस्कृत-गीतिकाव्यम्) 
रचयिता : डॉ. हरेकृष्ण-मेहेरः 

Comments of some distinguished writers, poets and critics  
on Mātrigītikāñjalih - Kāvya of Harekrishna Meher : 
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“ I think, Harekrishna Meher possesses the impression of poetic genius from heredity. His grandfather Manohar Meher was a poet renowned for his sweet literary compositions and father Narayan Meher also a poet of extraordinary merit. Some people do not consider the power of poetic genius to be the impression acquired from heredity. They accept that an unseen power due to some divine grace is the cause of poetic genius and thus arises the impression. Whatever it may be, in both the cases, the impression is in Poet Harekrishna Meher. Resorted to the divine language Sanskrit, he presents his ‘Mātrigītikāñjalih’ - kavya attainable through scholarly proficiency with much practice in poetic sphere. * *I do expect, with the blessings of Goddess of Speech, compositions of Harekrishna Meher in the poetic garden will gradually shine with more and more beauty.”
Prof. Shriniwas Rath,
Former Professor and Head,
School of Studies in Sanskrit, Vikram University, Ujjain
and Ex-Director, Kalidasa Academy, Ujjain, Madhya Pradesh.
“ Similarities can be observed in the opinions of the two great poets Kālidāsa and Śūdraka regarding Gīti. Kālidāsa says : ‘Rāga-parivāhinī Gītih’ (Gīti has the overflow of Rāga) and Śūdraka opines : ‘Raktam Gītam’ (Song is set with Rāga). Kālidāsa shows ‘attractiveness’ (Hāritva) of Gīti in his statement ‘Gīta-rāgena hārinā’, while Śūdraka says : ‘Manoharam Gitam’ (Song is attractive to the mind). In Kālidāsa’s opinion, Gīti is composed with some special words (Virachita-pada), while Śūdraka describes it as ‘full of emotions’ (Bhāvānvita). With the words ‘madhura’ (sweet), ‘lalita’ (graceful), ‘sama’ (balanced) and ‘sphuta’ (distinct), though Śūdraka wants to explain some thing more, yet all these attributes such as sweetness etc. merge within the very specialities of Gīti expounded by Kālidāsa. * * *  The Gīti-kāvya ‘Mātrigītikāñjalih’ comprises twenty-five lyrics that are very graceful and based on various topics. Mind of the connoisseur gets extremely exhilarated with sentiments by reading these lyrics again and again.* * Composed with very simple lucid words capable of expressing exact emotions, these lyrics are verily endowed with the above-mentioned significant lyric-specialities that are ‘geyatva’, ‘manohāritva’, ‘lālitya’ and ‘bhāvānvitatva’. The noble-minded connoisseurs are real judges in this regard. Almost all the lyrics are marked with original thinkings. * *
For the learned litterateurs of Sanskrit, it is a matter of great pleasure that Poet Harekrishna Meher uses the words with grammatical propriety. I firmly believe, the treasure of Goddess of Learning will certainly be rich with the lyrics of this ‘Mātrigītikāñjalih’- kāvya. * * I expect, this kāvya-jewel will attain commendable appreciation in the modern circle of connoisseurs and that appreciation indeed will be the literary award for the poet. ”

Prof. Dr. Abhiraj Rajendra Mishra ['Triveni Kavi']
Shimla, Himachal Pradesh.
Ex-Vice Chancellor,
Sampurnananda Sanskrit University, Varanasi.
For more details, please see the Article of Prof. Mishra: 

“ I have received ‘Mātrigītikāñjalih’ – kāvya’ authored by you and have got quite satisfaction by reading it. Flow of your language is simple and replete with sentiments. The arrangement of words is very much graceful and is endowed with gravity of meaning. You really deserve thankful appreciations for writing this gem-like book.”
Prof. Dr. Satya Vrata Shastri,  New Delhi, 
(Ex-Vice Chancellor, Jagannath Sanskrit University, Puri
and Winner of Jnanapeeth Award).

“ I have received the book ‘Mātrigītikāñjalih’, the anthology of your lyric poems. I have gladly accepted it. Orissa Province is the prime source of Sanskrit lyric poems. Here ‘Gīta-Govindam’ of the great poet Jayadeva, which can be regarded as the First Gīti-kāvya in Sanskrit Literature, was composed and was endearingly dedicated to the Supreme Lord Sri Jagannātha. * *
Your Sanskrit writing is simple, fraught with sentiments, endowed with ‘alankāras’ and bears the beautiful figure of golden letters. Your Kāvya has been composed with proper grammatical rules and therefore reigns with excellence. Several gīti-kāvyas which are written in Sanskrit by the poets of the modern age, are generally filled with the lapses of grammar. Your Kāvya is free from such lapses and deserves appreciations. You also especially deserve congratulations for this composition.”
Sri S. Sundararajan, Retired I.A.S. 
Renowned Sanskrit Poet, Bhubaneswar. 

“ I have received your kāvya ‘Mātrigītikāñjalih’. It is a matter of great pleasure for me that this ‘Añjali’ filled with the fragrance of feelings undoubtedly enhances the beauty of literature. The setting of musical ‘rāga’ of this ‘Añjali’ will surely spread ‘anurāga’ (love) of the wise litterateurs, just like ‘parāga’ (pollen) of flowers. I am very much confident that in the coming days, this project of poems authored by you will prove its own originality and speciality among many Gīti-kāvyas. ”  
Prof. Dr. Ichchharam Dwivedi ['Pranava']  
Renowned Poet, Mainpuri, Uttar Pradesh.

" In Modern Sanskrit Literature, nowadays, creation of lyric poems is very much established and popular. New new lyric poems are being composed by the leading Sanskrit poets like Dr. Rajendra Mishra, Shrinivas Rath, Haridatta Sharma, Radhavallabha Tripathy, Pushpa Dikshit, Ramakant Shukla, Harshdev Madhav, Bhaskaracharya Tripathy and Ichchharam Dwivedi. Sri Harekrishna Meher also is a proficient poet and knower of music, in composing new lyric poems. His ‘Mātrigītikāñjalih’- kavya, an anthology of twenty five lyrics not only presents the songs based on new new themes, but also wins the minds of its readers. Very sweet feelings emerge herein from various topics such as devotion, faith, love, worship, literature, makers of literature, praise to gods, universe, woman, human life and the like. Here the poetic expression is naturally delicate and replete with sweetness of flow of sentiments, * * Poetic genius scintillates in his simple words, and thoughts also emanate, as in the verse : 'Sañchara dharme karmani yoge / Kiñchanāpi mani-kāñchana-yoge / Kuru nava-navamudbhāvanam / Jīvanam sundaram, Sundaram tanu-tapovanam //' Musical essence has been preserved by the poet in these lyrical compositions."
Dr. Harsh Dev Madhav,
Renowned Poet and Critic,
Chandkheda, Gandhinagar, Gujarat.

“ Of ‘Mātrigītikāñjalih’- kāvya, the simplicity of language, unique adeptness in arranging words, musical sweetness and the subtle craft of poetic grandeur make even a common reader like me oblivious of self by oscillating in the swing of sentiments. Artistic affinity of spirituality with philosophical trend has made the poems filled with gravity of emotions. If poem is a portrait of experiences, then the figure heightened with sentiments is observed herein. You are born-poet. Your birth has been endowed with the inherent quality and genius of poet. For realizing this inner sense, in this country and abroad, there will be no scarcity of readers who verily know the sentiments.”
Dr. Hemant Kumar Das, 
Famous Writer and Critic, Cuttack, Orissa

“ In Modern Sanskrit Gītikāvya ‘Mātrigītikāñjalih’, Dr. Harekrishna Meher presents twenty five songs with fine arrangements of ‘antyānuprāsa’. To sing these songs, musical modes, ‘tāla’ and ‘laya’, have been indicated by him in brackets at the end of the lyrics. Among these songs, the first one expresses praise for the Goddess of Speech. The second lyric depicts the worship of the Motherland Bhārata and bears the title ‘Mātri-gītikā’. In this song the word ‘Mātri’ has been used. For example, ‘Eka-Mātuh sutāh sarve bhrātri-sāmyam satkritam / Vijayatām no vandanīyam sundaram dhāmāmritam / Bhavya-bhuvanam Bhāratam’ //.I think, the title of this kāvya is based on the name of the second song. Further, it is also understood by ‘vyañjanā’ that all the lyrics are composed with ‘Mātrā’-Chhanda. In the lyrics of this kāvya, Glory of Mother India, Power of Woman, Worship of Three-eyed God Śiva, Song for Gāyatrī, Excellence of Poets and Artists and such other matters can be observed.”
Dr. Ramakant Shukla, 
Chief Editor, ‘Arvācheena-Sanskritam’
Deva Vani Parishad, New Delhi.


“ Harekrishna Meher is a successful poet in creating a distinct glorious place for himself in the tradition of Modern Sanskrit Gīti-kāvyas. In composing ‘Mātrigītikāñjalih’, his own style is different from the styles of other poets. There is no reason for perplexity in this matter. This anthology of poetry is adorned with various beautiful songs composed with the usage of his innovated new original mātrika metres based on tradition. These lyrics endowed with different musical modes, ‘tāla’ and ‘laya’, are apt to be presented in the style of classical and light music.
It is remarkable that Poet Meher himself is a lyricist and composer of tuning. The sweet words of Mātrigītikāñjalih bear ‘Vaidarbhī’- Rīti with ‘Prasāda’- Guna. This lovely Gīti-kāvya is far away from the complexities and difficulties for understanding the meaning. The unique wonderfulness emerging from the setting of very graceful dictions conducive to the emotional feelings, blended with the sweetness of music, is capable of easily attracting, captivating and gladdening the readers.”  

Dr. Banamali Biswal,  
Editor, ‘Drik’, Drig-Bharati, Jhusi, Allahabad.

Mātrigītikāñjalih is composed by Harekrishna Meher, one of the modern Sanskrit lyricists, who is renowned for his numerous literary writings, research articles and translations of some famous literary works. Here in this gīti-kāvya, the distinct qualities are simplicity in meaning, flow of language and loveliness in arrangement of words. Beauty elucidated in ‘Jīvana-Gītikā’ of this kāvya really has some distinct feature. * *
The purpose of composing this kāvya is to enhance the popularization of Sanskrit, which is obvious from its verse ‘Pravardhanāya lokeshu samskritasya samādriteh.’ Here figures of speech, ‘alankāra’ such as Upamā, Anuprāsa, Arthāntaranyāsa and others express literary beauty in each word. This book has propensity towards Oriental phenomena. Hope, this Gīti-kāvya bearing beautiful deliberations of the poet will earn popularity among the noble-minded readers. " 

Dr. Sunil Kumar Pradhan,  
Critic, ‘Aranyakam’, Arrah, Bihar.
= = = = = = = = 

* ‘Abhimatam’ of Prof. Shriniwas Rath and ‘Bhumika’ of Prof. A. Rajendra Mishra
    placed in ‘Matrigitikanjalih’ Kavya Book;
* ‘Mitam cha Saaram cha : Harekrishna Meher Ki Matrigitikanjalih : Vidvaanon Ki
   Saarasvat Pratikriyaa’ (Drik-17th Issue, 2007, pages 129-131, Drig Bharati, Allahabad).   
* * * * 

Related Links : 
‘Prastavikam’ of  ‘Matrigitikanjalih’ Kavya :
‘Matrigitikanjalih’ Kavya Complete : Link :
Contributions of Harekrishna Meher to Sanskrit Literature :

* * * * 

Wednesday, March 5, 2008

Siva-Tandava-Stotra: Oriya Version: Dr. Harekrishna Meher

शिव-ताण्डव-स्तोत्र /
ओड़िआ पद्यानुवाद : हरेकृष्ण मेहेर 
'Siva-Tandava-Stotra' authored by Ravana is very popular in view of the devotional worship of the Auspicious God Siva in Indian culture. Observing the 'Tandava' Dance of Lord Siva, His devotee Ravana, the ten-headed demon-king of Lanka, is supposed to have composed the hymns of praise with gorgeous setting of words having heroic inspirations. This Stotra finds a place of prominence in delineating both theistic and literary values. 

The Sanskrit metres used in this Stotra are ‘Pañcha-Chāmaram’ (1 -14 verses)
and ‘Vasanta-Tilakam’ (15th verse).
The metrical Oriya Translation of this Stotra was done by me on 7th November 1977, while I was studying in Banaras Hindu University, Varanasi. Its First Edition was published in 1978 by Bani Bhandar, Berhampur, Orissa and later on several editions have seen the light of the day.
My ORIYA TRANSLATION is presented here
(For convenience in reading,
Oriya letters have been shown in Devanagari Script) 

रावण-विरचितं शिव-ताण्डव-स्तोत्रम् /  
ओड़िआ पद्य-रूपान्तर : हरेकृष्ण मेहेर 
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गलेऽवलम्ब्य लम्बितां भुजङ्ग-तुङ्ग-मालिकाम् ।
चकार चण्ड-ताण्डवं तनोतु नः शिवः शिवम् ॥
जटा-रूपी बनुँ बिनिःसृत गङ्गा-
निर्झरणे परिपूत,
कण्ठ-देशे निज लम्बाइ बिशाळ
सर्प-माळा अदभुत ।
डिबि डिबि डिबि डम्बरु बाइ य़े
कले प्रचण्ड ताण्डब,
निरते आम्भर कल्याण करन्तु
से प्रभु पार्बती-धब ॥ (१)
_ _ _ _ _ _ _
विलोल-वीचि-वल्लरी-विराजमान-मूर्द्धनि ।
किशोर-चन्द्र-शेखरे रतिः प्रतिक्षणं मम ॥
जटाजूट रूपी कटाहरे बेगे
भ्रमित स्वर्ग-गङ्गार,
तरळ तरङ्ग- भङ्गीरे रुचिर
उत्तमाङ्ग शोहे य़ार ।
धक धक धक बह्नि जळुअछि
य़ार ललाट पटरे,
से चन्द्र-मउळि शिब ठारे मोर
मन रमु निरन्तरे ॥ (२)
_ _ _ _ _ _ _
स्फुरद्-दिगन्त-सन्तति-प्रमोदमान-मानसे ।
क्वचिद् दिगम्बरे मनो विनोदमेतु वस्तुनि ॥
गिरीश-जेमार बिळास-बान्धब
शिरोमणिर भास्वती,
दीप्ति बळे दिग समुज्ज्वळ देखि
प्रसन्न सदा य़ा मति ।
य़ार कृपा-दृष्टि निबारण करे
अशेष बिपत्ति घोर,
एपरि कौणसि दिगम्बर तत्त्वे
मानस बिहरु मोर ॥ (३)
_ _ _ _ _ _ _
कदम्ब-कुङ्कुम-द्रव-प्रलिप्त-दिग्वधू-मुखे ।
मनो विनोदमद्भुतं बिभर्त्तु भूत-भर्त्तरि ॥
जटाजूट-गत सर्पङ्कर फणा-
मणिर आभा पिङ्गळ,
दिगङ्गना-मुखे बोळिदिए सुखे
कुङ्कुम-लेप मङ्गळ ।
प्रमत्त हस्तीर दोळायित चर्म-
उत्तरीये स्निग्ध बर्ण,
भूतेश्वर ठारे अद्भुत भाबरे
बिनोद करु मो मन ॥ (४)
_ _ _ _ _ _ _
प्रसून-धूलि-धोरणी-विधूसराङ्घ्रि-पीठ-भूः ।
भुजङ्गराज-मालया निबद्ध-जाटजूटकः
श्रियै चिराय जायतां चकोर-बन्धु-शेखरः ॥
महेन्द्र प्रमुख देबता समस्त
प्रणाम कले बिनीत,
किरीटरु पुष्प- रेणु पाते य़ार
पाद-पीठ धूसरित ।
नागराज-हारे बिभूषित य़ार
जटाजूट परिसर,
चिर अइश्वर्य़्य दिअन्तु से प्रभु
शिब शशाङ्क-शेखर ॥ (५)
_ _ _ _ _ _ _

निपीत-पञ्चसायकं नमन्निलिम्प-नायकम् ।
सुधा-मयूख-लेखया विराजमान-शेखरं
महाकपालि सम्पदे शिरो जटालमस्तु नः ॥
ललाट-अङ्गने ज्वळित अनळ-
स्फुलिङ्ग- तेजे किञ्चित,
पुष्पेषु कामकु भस्म करिछि य़े
सुरपति- सुपूजित ।
सुधामय चन्द्र- कळा- बिमण्डित
मुकुटरे शोभाबन,
बिराट- ललाट से शिब-मस्तक
हेउ ऐश्वर्य्य़- साधन ॥ (६)
_ _ _ _ _ _ _
धनञ्जयाहुतीकृत-प्रचण्ड-पञ्चसायके ।
प्रकल्पनैक-शिल्पिनि त्रिलोचने रति-र्मम ॥
कराळ ललाट- पटे धक धक
प्रकाशि अनळ द्युति,
परचण्ड बीर पञ्चशरकु य़े
ध्वंसिले करि आहुति ।
उमा-पयोधरे पत्र-भङ्गी पाइँ
चित्रकर एकमात्र,
त्रिनेत्र से प्रभु ठारे प्रीति लभु
मति मोर दिबारात्र ॥ (७)
_ _ _ _ _ _ _
कुहू-निशीथिनी-तमःप्रबन्ध-बद्ध-कन्धरः ।
निलिम्प-निर्झरीधरस्तनोतु कृत्ति-सिन्धुरः
कला-निधान-बन्धुरः श्रियं जगद्धुरन्धरः ॥
नब मेघमाळा- आच्छादित घोर
अमाबास्या त्रिय़ामार,
ब्यापक निबिड़ अन्धकार सम
श्यामबर्ण्ण कण्ठ य़ार ।
गज-चर्मधर देब बिश्वम्भर
दिअन्तु से हर मन्दाकिनी-धर
सुख सम्पद मङ्गळ ॥ (८)
_ _ _ _ _ _ _
बलम्बि-कण्ठ-कन्दली-रुचि-प्रबद्ध-कन्धरम् ।
स्मरच्छिदं पुरच्छिदं भवच्छिदं मखच्छिदं
गजच्छिदान्धकच्छिदं तमन्तकच्छिदं भजे ॥
बिकशित नीळ राजीब-राजिर
श्यामळ प्रभा समान,
कळङ्क छबिरे सुचिह्नित य़ार
कण्ठ- देश राजमान ।
मदन- दाहक त्रिपुर- नाशक
ध्याये दक्ष-य़ज्ञ- गजान्धक- ध्वंसी
य़म-भीति-संहारक ॥ (९)
_ _ _ _ _ _ _
रस-प्रवाह-माधुरी-विजृम्भणा-मधुव्रतम् ।
स्मरान्तकं पुरान्तकं भवान्तकं मखान्तकं
गजान्तकान्धकान्तकं तमन्तकान्तकं भजे ॥
गर्ब-बिरहिता पर्बत- दुहिता
शोभा रूपी कदम्बर,
कळिका-मधुर मकरन्द-धारा
आस्वादने य़े भ्रमर ।
भजे काम-ध्वंसी त्रिपुर-बिनाशी
दक्षय़ज्ञ- गज- अन्धक- संहारी
अन्तकर अन्तकारी ॥ (१०)
_ _ _ _ _ _ _
विनिर्गमत्- क्रम-स्फुरत्- कराल-भाल-हव्यवाट् ।
ध्वनि-क्रम-प्रवर्त्तित-प्रचण्ड-ताण्डवः शिवः ॥
अत्यन्त चञ्चळ भ्रमित सर्पङ्क
फुफुकार शबदरे,
ललाटर भीम अग्नि क्रमे क्रमे
ब्यापे य़ार मस्तकरे ।
धिमि धिमि धिमि मृदङ्गर मन्द्र
मङ्गळ नाद क्रमरे,
प्रचण्ड ताण्डबे बिभोळ शिबङ्क
जय हेउ सन्ततरे ॥ (११)
_ _ _ _ _ _ _
र्गरिष्ठ-रत्न-लोष्ठयोः सुहृद्-विपक्ष-पक्षयोः ।
तृणारविन्द-चक्षुषोः प्रजा-मही-महेन्द्रयोः
सम-प्रवृत्तिकः कदा सदाशिवं भजाम्यहम् ॥
पाषाणे आबर मञ्जुळ शयने
सर्पे तथा मुक्ता-हारे,
अमूल्य रतने तथा मृत्तिकारे
मित्रे अबा शत्रु ठारे ।
तृणराशि अबा तरुणी-गणरे
प्रजा तथा राजा ठारे,
सम भाब रखि केबे बामदेब
शिबङ्कु भजिबि बारे ॥ (१२)
_ _ _ _ _ _ _
कदा निलिम्प-निर्झरी-निकुञ्ज-कोटरे वसन्
विमुक्त-दुर्मतिः सदा शिरःस्थमञ्जलिं वहन् ।
विलोल-लोल-लोचनो ललाम-भाल-लग्नकः
शिवेति मन्त्रमुच्चरन् कदा सुखी भवाम्यहम् ॥
केबे अबा मुहिँ निबास बिरचि
स्वर्णदी- कुञ्ज अन्तरे,
दुर्बुद्धि उपेक्षि मस्तकरे थापि
कराञ्जळि बिनयरे ।
बिलोळ नयने सुललाट चन्द्र-
मौळि- पदे रखि लय,
'शिब शिब' मन्त्र उच्चारि बदने
सुखे य़ापिबि समय ॥ (१३)
_ _ _ _ _ _ _
इमं हि नित्यमेवमुक्तमुत्तमोत्तमं स्तवं
पठन् स्मरन् ब्रुवन् नरो विशुद्धिमेति सन्ततम् ।
हरे गुरौ सुभक्तिमाशु य़ाति नान्यथा गतिं
विमोहनं हि देहिनां सुशङ्करस्य चिन्तनम् ॥
एरूपे कथित उत्तमोत्तम ए
स्तब पढ़े य़ेउँ जन,
स्मरण करइ अबा बर्ण्णइ से
रहे निति शुद्ध मन ।
अचिरे शङ्कर- भक्ति लभे मोदे,
न पाए बिरुद्ध गति,
प्राणीङ्कर मोह नाश य़ाए य़ेणु
शिबे हेले दृढ़ मति ॥ (१४)
_ _ _ _ _ _ _
पूजावसान-समये दशवक्त्र-गीतं
यः शम्भु-पूजन-परं पठति प्रदोषे ।
तस्य स्थिरां रथ-गजेन्द्र-तुरङ्ग-युक्तां
लक्ष्मीं सदैव सुमुखीं प्रददाति शम्भुः ॥
पूजा- शेषकाळे सन्ध्या-बेळे य़े बा
दशानन- बिरचित,
ए शिब-पूजन- बिषयक स्तब
पाठ करे शुद्ध-चित्त ।
शम्भु-आराधने रथ-गज-अश्व-
सम्पन्न सतत स्थिर,
बिपुळ ऐश्वर्य़्य लभे से साधक
हर-प्रसादे अचिर ॥ (१५)
_ _ _ _ _ _ _
(Translator 's Conclusion)
महादेबङ्कर ताण्डब दर्शने
बिमुग्ध लङ्काधिपति,
बिरचिले श्लोके ए शिब-ताण्डब
प्रकाशि दृढ़ भकति ।
काशी-बिश्वनाथ सर्ब मनोरथ
करिबे शुभे पूरण,
ध्याये हरेकृष्ण मेहेर से हर-
मञ्जुळ- पद्म-चरण ॥
_ _ _ _ _ _ _
( इति श्री-रावण-कृतं शिव-ताण्डव-स्तोत्रं सम्पूर्णम् )
* * * 

For Roman Transliteration, please see :
* * *

Sunday, March 2, 2008

Bhartrihari's 'Vairagya-Sataka': Odia Version by Dr.Harekrishna Meher

Oriya ‘Vairagya-Sataka’  By Dr. Harekrishna Meher 
वैराग्य-शतक / डा. हरेकृष्ण मेहेर 
= = = = = = = = = = = =   
Extracts from My Complete Oriya Translation
of Sanskrit Kavya
“Vairagya-Sataka” of Poet Bhartrihari.

= = = = = 
Bhartrihari is a distinguished poet of Sanskrit Literature of 7th century A.D. 
He is popular for his Sanskrit Giti-kavya ‘Niti-Sataka’, ‘Sringara-Sataka’ and 
‘Vairagya-Sataka’. Combinedly the Giti-kavya of trio is known as 
Each Sataka contains One hundred Sanskrit Slokas.

In ‘Niti-Sataka’ various aspects of life such as Knowledge, Wealth, Deed, 

Duty, Destiny, God, Mundane Region, Noble Qualities, Good and Bad Persons 
with their works, Art, Literature, Music and the like have been portrayed marvellously.

In ‘Sringara-Sataka’ the poet has beautifully delineated different facets of Women, Love and Sentiment of Eros, Mundane Wealth, World in contrast with Brahman, the Almighty Supreme Being and Eternal Bliss.

In ‘Vairagya-Sataka’ detachment from worldly enjoyments, meditation and devotion towards God have been depicted. In all the three Satakas, experiences of life, hardships, struggles, downfall, deeds, success, achievements, goal of life, salvation and other related matters are observed with the humanistic approach.

Of all the three Satakas of Bhartrihari, My Complete Oriya Translations done in modern literary metres, have been published in several Puja Special Issues of ‘Bartika’, a distinguished Oriya Literary Quarterly of Dasarathpur, Jajpur, Orissa.
The Complete 'Vairagya Sataka' of mine appears published in 'Bartika',
Dasahara Special Issue, 1998.
= = = = = 

 'Niti Sataka'  posted separately on this site. Link: 

Extracts from My Oriya Rendering of ‘ Vairagya-Sataka’.
For convenience in reading,
Oriya letters have been shown here in Devanagari Script.
भर्त्तृहरि-शतक-त्रय (वैराग्य-शतक)
मूल संस्कृत काव्य : महाकवि भर्त्तृहरि
ओड़िआ पद्यानुबाद : डा. हरेकृष्ण मेहेर
= = = = = = = = = = = 
जय जय शिब महेश्वर,
शिरोभूषा चारु चन्द्र-लेखार
खर शिखारे य़े बिभास्वर ।
अनायासे निज दीप्ति बळे,
य़ेहु चञ्चळ काम-पतङ्ग भस्म कले ।
मङ्गळमय दशार -
अग्रभागरे उज्ज्वळ य़ार प्रसार ।
हरन्ति य़ेहु                   अन्तरे भरा
मोहान्धकार अपरिमित ;
य़ोगि-बृन्दर                 मन-मन्दिरे
ज्ञान-दीप से त उद्भासित ॥
गुप्त धनर              लाभ-लाळसारे
भूमि-तळ केते खोळिलि ;
शैळज नाना          धातु आणि मुहिँ
अनळे फुङ्कि जाळिलि ।
पाराबार हेलि पारि,
राजामानङ्क             मन तोषाइलि
करि सुय़त्न भारि ।
बिबिध मन्त्र साधने मति बळाइ,
केते केते राति   बिताइलि मुहिँ
शमशान- भूमे थाइ ।
एतिकिरे काणी           कउड़िटिए बि
मोते त मिळिला नाहिँ केबे ;
तृष्णा गो ! तोर
कामना पूर्ण हेउ तेबे ॥
लुळित चर्मे मुख बिबर्ण्ण
   शिर बि पक्व केशरे पूर्ण्ण 
शिथिळ हेलाणि
शरीरे अङ्ग सकळ ।
मातर तरुणी
साजिछि तृष्णा केबळ ॥
आशा नामे अछि सरिता,
मनोरथ तार            सलिळ , से परा
तृष्णा- लहरी- पूरिता ।
राग- कुम्भीर  रहिछि भितरे ताहार,
नाना बितर्क-          बिहग-पन्ति
तहिँ करन्ति बिहार ।
धैर्य़्य- तरुकु  उत्पाटइ समूळ ;
मोह-आबर्त्त  य़ोगुँ दुस्तर
अति गभीर से  तटिनी आबर
उच्च उच्च चिन्ता ताहार कूळ ।
निर्मळ-मना  य़ोगीन्द्रमाने  अक्लेशरे ;
लङ्घि से नदी  रमन्ति महाआनन्दरे ॥
बदने आबोरि दैन्य शत,
क्षुधारे आतुर बिळाप-रत
शिशुगण सदा          जीर्ण्ण बसन
टाणुथिबे जननीर ;
अन्न-बिहीने             बिधुरा एपरि
दुःखिनी घरणीर -
स्वरूपकु य़दि मरते
देखु न थान्ता आरते,
तेबे मनस्वी  पुरुष के अबा काहिँकि
आपणा दग्ध  उदर पूरण पाइँकि,
य़ाचना निजर  ब्यर्थ हेबा भयरे
बिकळ गळित  गद्-गद बचनरे,
कहन्ता मुहँ खोलि,
'किछि दिअ दिअ' बोलि ?
रोग- भय अछि भोगरे,
बिच्युति- भय कुळरे ;
धने राज-भय         रहिछि आहुरि
दैन्य-भय त मानरे ।
बळ थिले अछि        भय अरातिर,
रूप थिले जरा-भय पुण ;
शास्त्र थिले त      बादी-भय अछि,
खळ-भय थिले सद्-गुण ।
रहिअछि य़ेबे कळेबर,
भय सदा तहिँ मरणर ।
सकळ बस्तु  अटइ जगते  सभय ;
नर पाइँ बइराग्य केबळ  अभय ॥
ग्रासिछि जन्म उपरे मरण धरारे,
सुन्दर तरुणिमा झरिय़ाए जरारे ।
सम्पद-लाभ               कामनारे सदा
सन्तोष कबळित ;
शान्ति सुख त             प्रगल्भ नारी-
बिभ्रमे बिदळित ।
मत्सरी-जन- गरासे रुद्ध  सुगुणाबली,
हिंस्र भुजग- य़ोगे असुस्थ  बनस्थळी ।
दुर्जन-चापे  राजा बशीभूत आबर,
बैभब- राशि  अस्थिरतारे कातर ।
केउँ बस्तु बा
रहिछि मर्त्त्य शयळे,
ग्रस्त न होइ
अन्य काहारि कबळे ?
तरङ्ग परि  क्षण-भङ्गुर  ए जीबन,
अळप दिबस  पाइँ सुन्दर  य़उबन ।
धन धान्यादि अर्थ सकळ
बाञ्छा समान सदा चञ्चळ ।
जागतिक य़ेते भोग दरब,
जळद-काळर     बिजुळि-चमक  
परि सरब ।
प्रेयसी-बिहित हर्षदायी,
निबिड़ कण्ठ-     आलिङ्गन बि    
क्षणस्थायी ।
ब्रह्मे मानस          मज्जाअ तेणु
 पारि हेबा पाइँ            संसार-भय-
  पाराबार ॥
बाघुणी पराए        जरा त निजर
आगरे गर्जि डराए, 
प्रहार करइ        रोग-राशि निति
शरीरे बैरी पराए ।
छिद्र-य़ुकत          कळसरु जळ
परि झरि चाले आयुष, 
तथापि जगते पुरुष,
तत्पर सदा           रहिअछि निजे
आचरिबा लागि अहित ।
बड़ बिचित्र एहि त ॥
थिला से नगरी सुन्दर,
तहिँ थिले सेइ चक्रबर्त्ती नरबर ।
सेइ सामन्त मण्डळी
थिले ताङ्कर महाबळी ।
सेइ बिदग्ध              परिषद परा
ताङ्क पारुशे थिला,
थिले से चन्द्र-        बदना बामाए
आचरि रङ्ग-लीळा ।
थिले से अनेक उद्दाम बीर राजसुत, 
स्तुति- पाठक से            बन्दी-निकर
सेइ कथाबळी अद्भुत ।
एइ समस्त  य़ाहारि बशरे
स्मरण- बिषय  हेले बिश्वरे,
काळ से त महा्शकति, 
जणाइछुँ आमे
ताहारि चरणे प्रणति ॥
शेषे बञ्चइ             जणे एका तहिँ
बहु लोक थिले य़ेउँ घरे,
थिला जणे लोक       य़ेउँ घरे पुणि
तहिँ बहु लोक हेले परे ।
केहि जणे बि त परिणामे
रहिले नाहिँ ए मर-धामे ।
बेनि पशा-काठि करि 
चळाइ आपणा  हस्तरे एहिपरि,
जीबगणङ्कु  गॊटि रूपे थोइ
स्वेच्छारे खेळे       तत्पर होइ
पारि संसार-पशापालि सुबिशाळ,
अक्ष-खेळारे  दक्ष से महाकाळ ॥
गगने रबिर उदय अस्त सह
क्षय भजुअछि पराण त अहरह ।
अनेक कार्य़्य- भार-सङ्कुळ  ब्यबहारे,
प्रचळ काळ बि  जणा न पड़इ  संसारे ।
जनम जरार            कष्ट सहित
मरणकु निज आगे,
देखिले सुद्धा         प्राणीर मानसे
भय तिळे नाहिँ जागे ।
करि मोहमयी       प्रमाद- मदिरा
मत्ते पान,
प्रतीत हुअइ           सकळ जगत
मुह्यमान ॥
नर- परमायु          शत बत्सर
ताहारि अर्द्ध    काळ बितिय़ाए
रजनीरे ।
आउ अर्द्धेक     भाग य़ा रहिला
अर्द्ध तार,
समय बितइ        बाल्य आबर
बृद्धतार ।
अबशेष काळ  होइय़ाए अतिबाहित
रोग बिच्छेद  दुःख सेबादि सहित ।
जीबन ऊर्मि            परि चञ्चळ
चालिय़ाए चाहुँ चाहुँ ;
एपरि दशारे          मर्त्त्य पराणी
सुख बा लभिब काहुँ ?
क्षणक पाइँ से बाळक,
क्षणके से पुणि मदन-रसिक य़ुबक ।
क्षणक पाइँ से   निर्द्धन भबे
क्षणके से धनी  बिपुळ बिभबे । 
जरा-जर्जर जीर्ण्ण अङ्ग धरि, 
लुळित चर्म-          कळित शरीरे
मञ्चर नट परि ।
सा हेबा           परे आपणार  
ब-अभिनय ,
पुरीर               परदा भितरे 
परबेश रे मानब 
बल्कळ घेनि
मानस तुष्ट आमर,
दुकूळ पिन्धि
मानस तुष्ट तुमर ।
उभयङ्कर  सन्तोष एका समान,
एथिरे काहारि नाहिँ बिशेषता बिधान ।
तृष्णा य़ाहार       बिशाळ आकार,
दरिद्र जन सेइ परा ;
किए धनी अबा           किए दरिद्र
सन्तोषे मन थिले भरा ?
चित्त रे !  तुहि  
भ्रमुछु किलागि तुच्छारे ?
बिश्राम निअ केउँठारे ।
य़ेउँपरि य़ाहा घटिबार अछि सर्बथा,
सेहिपरि ताहा          घटे आपे आपे
केबे त नुहइ अन्यथा ।
न सुमरि मुहिँ    कथा अतीतर
बाञ्छा न करि      भबिष्यतर
बर्त्तमान हिँ करुइछि अनुभब ;
बिना शोचनारे            अकस्मात य़े
आगत भोग सरब ॥
शङ्करे थिब    अचळ भकति,
हृदयरे थिब जनम-मृत्यु-भय ;
बन्धु- जनरे   न थिब सेनेह,
न थिब आबर  मदन-बिकार-चय ।
थिब सङ्गति-दोष-बर्जित निर्जन
बनान्त-राजि  निज एकान्त निकेतन ।
अन्तरे बइराग्य जागिले  एइभळि,
किस बा रहिछि 
आन आकाङ्क्षा  एथुँ बळि ?
य़ाबत रहिछि सुस्थ नीरोग कळेबर
दूरे अछि जरा य़ेतेबेळ य़ाए मानबर,
इन्द्रिय ठारे   रहिछि य़ाबत
शकति सकळ   अप्रतिहत,
क्षीण होइ नाहिँ           य़ेतेबळ य़ाए
क्षण-भङ्गुर आयुष,
करिब आत्म-          कल्याण लागि
बिशेष य़त्न बिदुष ।
गृह य़ेतेबेळे 
अग्नि-कबळे ज्वळित,
कूप खोळिबार  
चेष्टा किपरि उचित ?
इच्छानुकुळ बिहार,
दैन्य-बिहीन आहार,
साधु सङ्गते अबस्थान ;
शान्ति बरत-       फळ-बिधायक
शास्त्र-राजिर चर्च्चामान ।
अन्तर्मुख मानसर,
बाह्य चळन मन्थर ।
एइ सबु कथा
अनेक दीर्घ समयरे,
बिचार कले बि
जाणि मुँ न पारेँ हृदयरे ।
अटन्ति एइ सकळ,
केउँ समुदार श्रेष्ठ तपर सुफळ ?
चउद लोकर  
अधीश्वर से उमा-बर,
सकळ भूतर  
अन्तरात्मा रमा-बर ।
हर हरि एइ बेनि मध्यरे
नाहिँ भेद भाब मोर अन्तरे,
तथापि भकति  
रहिछि मोहर हर ठारे, 
तरुण चन्द्र  
शोभइ य़ाहार मूर्द्धारे ॥
बिस्तृत चारु      शय़्या रहिछि
अबनी- तळ,
बिशाळ तकिआ   रहिछि आहुरि
बाहु य़ुगळ ।
चन्द्रातप ए गगन,
ब्यजन ए परा अनुकूळ धीर पबन ।
उज्ज्वळ दीप  शोभइ शारद चन्द्रमा,
आनन्दित य़े         घेनि सङ्गते
बिरति-रमणी मनोरमा ।
एभळि शान्त         मुनि सुख लभे
शय़्यारे करि बिजे,
बिपुळ अतुळ-         सम्पदशाळी
सम्राट परि निजे ॥
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Odia Script Image : Vairagya-Sataka : 
Link : 
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Related Link :
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Saturday, March 1, 2008

Koshali Song ' Tamke Daakuchhe I Maati ' / H K Meher

My Kosali Song : ' Dākuchhe I Māţi ’
[From My ‘Kośalī Gīta-Mālā’]
Lyrics and Tuning By : Dr. Harekrishna Meher

कोसली गीत :
' डाकुछे इ माटि '
गीत एवं स्वर-रचना : डॉ. हरेकृष्ण मेहेर
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जीबन्-डंगा बहि जाउछे समिआँ- नदीर् धारे,
निजर् गुन् बने करि चिन्हि देख आरे ।
कष्टे आरु नाइँ हुअना घाँटि रे !
तम्‌‌के डाकुछे इ माटि रे ।
डाकुछे इ माटि रे, डाकुछे इ माटि,
अन्धार्- जाल् दिअ सबु काटि रे !
तम्‌के डाकुछे इ माटि रे ॥ [0]
मुनुस्- जीबन् बड़ा उँचा,
नाइँ भाब रे ताके छुचा,
धुका गरेल् आस्‌ले घले
नाइँ दिअ रे पछ- घुँचा ।
आगेइ चाल पार् हेइ घाटि रे !
तम्‌के डाकुछे इ माटि रे ॥ [1]
लाग रे लाग कामे लाग,
कठिन् देखि नाइँ भाग,
एक्‌ता कथा भाब्‌ना कर
सभे मिशि जाग रे जाग ।
निजर् गोड़े नाइँ हुअना छाटि रे !
तम्‌के डाकुछे इ माटि रे ॥ [2]
मन्‌के सदा करि उषत्,
नाइँ हुअ रे केभे निसत्,
रख जातिर् देशर् नाआँ
जनम्- भूइँर् मान महत् ।
निअ लोकर् दुःख सुख बाँटि रे !
तम्‌के डाकुछे इ माटि रे !
तम्‌के डाकुछे इ माटि रे ॥ [3]

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[Published in : 'भरनि' त्रैमासिक पत्रिका, पुषपुनि संख्या 2007,
लोककबिरत्न हलधर सांस्कृतिक परिषद, धनुपालि, सम्बलपुर- 768005, ओड़िशा, भारत]

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English Rendering of Koshali Song
" Daakuchhe I Maati "
By the Author Dr. Harekrishna Meher.
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The Mother Earth is calling
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Life’s boat is floating
on the stream of Time-River.
O Dear ones ! With proper introspection,
try to recognize own merits and good qualities.
Further, do not get perplexed with distresses.
The Mother Earth is calling you all. (0)
Life of human being is very high.
Do not think it to be mean and useless.
Even if onslaughts of severe winds
come on the way towards goal,
do not keep your step backward.
Forge ahead surmounting all the hilly barriers.
The Mother Earth is calling you all.
Cut off all the nets of darkness.
The Mother Earth is calling you all. (1)
O Ye all, Be engrossed in proper duties.
Do not flee away seeing the works
very difficult and onerous.
Think over the matter of unity.
O Dear all, Awake !
Awake you all united.
Do not feel perturbed
by striking your own legs within.
The Mother Earth is calling you all.
Cut off all the nets of darkness.
The Mother Earth is calling you all. (2)
Always refreshing your mind with glee,
do not be overpowered by fatigue.
Keep the good name of mankind and country.
Keep the glory of your motherland.
Take other’s pains and pleasures
shared among yourselves.
The Mother Earth is calling you all.
Cut off all the nets of darkness.
The Mother Earth is calling you all.
The Mother Earth is calling you all. (3)
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[This Koshali Song Daakuchhe I Maati ’ was chorally presented with music as Opening Song in the Annual Day Celebration of Dramatic Society on February 5, 2010 during the Inaugural Function of Golden Jubilee Celebration of Government Autonomous College (CPE), Bhawanipatna, Orissa (February 1 to 6, 2010). Lyricist-cum-composer Dr.Harekrishna Meher and students of the College participated in singing.] (Updated : February 10, 2010)

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For Video of the Koshali Song " Daakuchhe I Maati "
Please see :

YouTube Ref :

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