the authoredby withouteyesightsinceinfancy ... · i i i i i i i i sample mahāvīrī...
TRANSCRIPT
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaWithout eyesight since infancy the Jagadguru holds PhD and DLitt degreesin Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā willbe welcomed by the many devoted reciters of this praise-poem who wouldlike to explore its deeper meanings Buttressing his insights with numerouscitations of authoritative Sanskrit texts and the principal writings of TulasīdāsaSvāmī Rāmabhadrācārya both situates the cālīsā in the ancient Hindu literarytradition and also shows it to contain a veritable distillation or essence of theRāmayaṇa Kathā Nityānanda Miśrarsquos careful English translation scholarly yetreadable will make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`300 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
Author of Mahāvīrī
Jagadguru SvāmīRāmabhadrācārya
Svāmī Rāmabhadrācārya is a Guru scholar poetpolyglot author singer composer playwrightphilosopher commentator educationist andKathā artiste based in Chitrakoot India Bornas Giridhar Mishra at Shandikhurd village inJaunpur district on 14 January 1950 he lost hiseyesight at the age of two months and had noformal education till the age of seventeen
He received BA (1974) MA (1976) PhD (1981)and DLitt (1997) degrees in Sanskrit fromSampurnanand Sanskrit University VaranasiHe was initiated as a Virakta Saṃnyāsī in 1983and anointed as Jagadguru Rāmānandācārya in1988 He is the founder and lifelong chancellorof the Jagadguru Rambhadracharya HandicappedUniversity (JRHU) a university exclusively forthe differently-abled at Chitrakoot
He has authored more than 100 booksmdashincludingfour epics (Arundhatī SrībhārgavarāghavīyamAṣṭāvakra Gītarāmāyaṇam) and commentaries onmajor Upaniṣad‑s Bhagavad Gītā Brahma SūtraAṣṭādhyāyī Rāmacaritamānasa Bhaktamāla andHanumān-Cālīsāmdashin Sanskrit and Hindi
He has been awarded Padma Vibhushan (2015)Yash Bharati (2015) Devbhumi Award (2011)Vachaspati Award (2007) Vani Alankaran (2006)Sahitya Akademi Award (2005) PresidentrsquosCertificate of Honour (2004) Mahamahopadhyay(2000) and many other honours and awardsHe is one of Prime Ministerrsquos Navaratna‑s for theSwachh Bharat Abhiyan
Translator of Mahāvīrī
Nityānanda Miśra
Nityānanda Miśra is a quantitative analystworking in the investment banking industry inMumbai He specializes in statistical and timeseries analysis equity market microstructurealgorithmic trading and portfolio analytics Inhis spare time he studies Sanskrit and editsarticles and books on Sanskrit grammar as well asclassical medieval and modern literature of India
Born at Lucknow in 1982 he received anengineering degree from Gujarat University(2004) and a management diploma from IIMBangalore (2007) He has worked in India andHong Kong with several firms including TataConsultancy Services Goldman Sachs MorganStanley and Citigroup where he still works
He has edited four books in Sanskrit and HindilsquoMahāvīrī Hanumān-Cālīsā Demystifiedrsquo is his firstbook in English
Cover art by B G Sharma (1924ndash2007) usedwith permission of the B G Sharma Art GalleryUdaipur India
Published byNiraamaya Publishing Services Pvt LtdMumbai Indiawwwnpsbookscom
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MAHĀVĪRĪ HANUMĀN-CĀLĪSĀ DEMYSTIFIED
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MahāvīrīHanumān-Cālīsā Demystified(Gosvāmī Tulasīdāsarsquos timeless hymn to Hanumān
with word-by-word meanings translationcommentary explanatory notes prosody
musical notation verse index and word index)
Based on the Hindi bookŚrīhanumānacālīsā Mahāvīrī Vyākhyā
byJagadguru RāmānandācāryaSvāmī Rāmabhadrācārya
Translated expanded and annotated byNityānanda Miśra
Niraamaya Publishing Mumbai2015
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Published byNiraamaya Publishing Services Private Limited804 Viva Hubtown Western Express HighwayJogeshwari (East) Mumbai 400060 India
wwwnpsbookscom
First edition Mumbai September 2015
copy 2015 by Nityanand Misra
Originally published asŚrīhanumānacālīsā Mahāvīrī Vyākhyā
copy Jagadguru Rāmānandācārya Svāmī Rāmabhadrācārya
ISBN-13 978-81-931144-0-7ISBN-10 81-931144-0-X
Cover art by B G Sharmacopy B G Sharma Art Gallery UdaipurCover design by Nityanand Misra
Typeset in Charis SIL and Sanskrit 2003using TeX Live XƎLATEX and GNU LilyPondby Nityanand Misra
Ornaments from Vectorian Free Vector Pack by Webalyswwwvectoriannet
Printed in India byDhote Offset Technokrafts Private Limited
2nd Floor Paramount EstateGoregaon (East) Mumbai 400063 India
wwwdhoteoffsetnet
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
ii
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ii
SAMPLE
Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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ii
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SAMPLE
Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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MAHĀVĪRĪ HANUMĀN-CĀLĪSĀ DEMYSTIFIED
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MahāvīrīHanumān-Cālīsā Demystified(Gosvāmī Tulasīdāsarsquos timeless hymn to Hanumān
with word-by-word meanings translationcommentary explanatory notes prosody
musical notation verse index and word index)
Based on the Hindi bookŚrīhanumānacālīsā Mahāvīrī Vyākhyā
byJagadguru RāmānandācāryaSvāmī Rāmabhadrācārya
Translated expanded and annotated byNityānanda Miśra
Niraamaya Publishing Mumbai2015
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Published byNiraamaya Publishing Services Private Limited804 Viva Hubtown Western Express HighwayJogeshwari (East) Mumbai 400060 India
wwwnpsbookscom
First edition Mumbai September 2015
copy 2015 by Nityanand Misra
Originally published asŚrīhanumānacālīsā Mahāvīrī Vyākhyā
copy Jagadguru Rāmānandācārya Svāmī Rāmabhadrācārya
ISBN-13 978-81-931144-0-7ISBN-10 81-931144-0-X
Cover art by B G Sharmacopy B G Sharma Art Gallery UdaipurCover design by Nityanand Misra
Typeset in Charis SIL and Sanskrit 2003using TeX Live XƎLATEX and GNU LilyPondby Nityanand Misra
Ornaments from Vectorian Free Vector Pack by Webalyswwwvectoriannet
Printed in India byDhote Offset Technokrafts Private Limited
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wwwdhoteoffsetnet
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
ii
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ii
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SAMPLE
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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MAHĀVĪRĪ HANUMĀN-CĀLĪSĀ DEMYSTIFIED
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MahāvīrīHanumān-Cālīsā Demystified(Gosvāmī Tulasīdāsarsquos timeless hymn to Hanumān
with word-by-word meanings translationcommentary explanatory notes prosody
musical notation verse index and word index)
Based on the Hindi bookŚrīhanumānacālīsā Mahāvīrī Vyākhyā
byJagadguru RāmānandācāryaSvāmī Rāmabhadrācārya
Translated expanded and annotated byNityānanda Miśra
Niraamaya Publishing Mumbai2015
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Published byNiraamaya Publishing Services Private Limited804 Viva Hubtown Western Express HighwayJogeshwari (East) Mumbai 400060 India
wwwnpsbookscom
First edition Mumbai September 2015
copy 2015 by Nityanand Misra
Originally published asŚrīhanumānacālīsā Mahāvīrī Vyākhyā
copy Jagadguru Rāmānandācārya Svāmī Rāmabhadrācārya
ISBN-13 978-81-931144-0-7ISBN-10 81-931144-0-X
Cover art by B G Sharmacopy B G Sharma Art Gallery UdaipurCover design by Nityanand Misra
Typeset in Charis SIL and Sanskrit 2003using TeX Live XƎLATEX and GNU LilyPondby Nityanand Misra
Ornaments from Vectorian Free Vector Pack by Webalyswwwvectoriannet
Printed in India byDhote Offset Technokrafts Private Limited
2nd Floor Paramount EstateGoregaon (East) Mumbai 400063 India
wwwdhoteoffsetnet
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
ii
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
ii
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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ii
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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ii
ii
ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
ii
ii
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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ii
ii
ii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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MahāvīrīHanumān-Cālīsā Demystified(Gosvāmī Tulasīdāsarsquos timeless hymn to Hanumān
with word-by-word meanings translationcommentary explanatory notes prosody
musical notation verse index and word index)
Based on the Hindi bookŚrīhanumānacālīsā Mahāvīrī Vyākhyā
byJagadguru RāmānandācāryaSvāmī Rāmabhadrācārya
Translated expanded and annotated byNityānanda Miśra
Niraamaya Publishing Mumbai2015
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Published byNiraamaya Publishing Services Private Limited804 Viva Hubtown Western Express HighwayJogeshwari (East) Mumbai 400060 India
wwwnpsbookscom
First edition Mumbai September 2015
copy 2015 by Nityanand Misra
Originally published asŚrīhanumānacālīsā Mahāvīrī Vyākhyā
copy Jagadguru Rāmānandācārya Svāmī Rāmabhadrācārya
ISBN-13 978-81-931144-0-7ISBN-10 81-931144-0-X
Cover art by B G Sharmacopy B G Sharma Art Gallery UdaipurCover design by Nityanand Misra
Typeset in Charis SIL and Sanskrit 2003using TeX Live XƎLATEX and GNU LilyPondby Nityanand Misra
Ornaments from Vectorian Free Vector Pack by Webalyswwwvectoriannet
Printed in India byDhote Offset Technokrafts Private Limited
2nd Floor Paramount EstateGoregaon (East) Mumbai 400063 India
wwwdhoteoffsetnet
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
viii
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
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Appendices Musical Notation
201
ii
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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MahāvīrīHanumān-Cālīsā Demystified(Gosvāmī Tulasīdāsarsquos timeless hymn to Hanumān
with word-by-word meanings translationcommentary explanatory notes prosody
musical notation verse index and word index)
Based on the Hindi bookŚrīhanumānacālīsā Mahāvīrī Vyākhyā
byJagadguru RāmānandācāryaSvāmī Rāmabhadrācārya
Translated expanded and annotated byNityānanda Miśra
Niraamaya Publishing Mumbai2015
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Published byNiraamaya Publishing Services Private Limited804 Viva Hubtown Western Express HighwayJogeshwari (East) Mumbai 400060 India
wwwnpsbookscom
First edition Mumbai September 2015
copy 2015 by Nityanand Misra
Originally published asŚrīhanumānacālīsā Mahāvīrī Vyākhyā
copy Jagadguru Rāmānandācārya Svāmī Rāmabhadrācārya
ISBN-13 978-81-931144-0-7ISBN-10 81-931144-0-X
Cover art by B G Sharmacopy B G Sharma Art Gallery UdaipurCover design by Nityanand Misra
Typeset in Charis SIL and Sanskrit 2003using TeX Live XƎLATEX and GNU LilyPondby Nityanand Misra
Ornaments from Vectorian Free Vector Pack by Webalyswwwvectoriannet
Printed in India byDhote Offset Technokrafts Private Limited
2nd Floor Paramount EstateGoregaon (East) Mumbai 400063 India
wwwdhoteoffsetnet
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
ii
ii
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Published byNiraamaya Publishing Services Private Limited804 Viva Hubtown Western Express HighwayJogeshwari (East) Mumbai 400060 India
wwwnpsbookscom
First edition Mumbai September 2015
copy 2015 by Nityanand Misra
Originally published asŚrīhanumānacālīsā Mahāvīrī Vyākhyā
copy Jagadguru Rāmānandācārya Svāmī Rāmabhadrācārya
ISBN-13 978-81-931144-0-7ISBN-10 81-931144-0-X
Cover art by B G Sharmacopy B G Sharma Art Gallery UdaipurCover design by Nityanand Misra
Typeset in Charis SIL and Sanskrit 2003using TeX Live XƎLATEX and GNU LilyPondby Nityanand Misra
Ornaments from Vectorian Free Vector Pack by Webalyswwwvectoriannet
Printed in India byDhote Offset Technokrafts Private Limited
2nd Floor Paramount EstateGoregaon (East) Mumbai 400063 India
wwwdhoteoffsetnet
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
ii
ii
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
viii
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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ii
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SAMPLE
Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
ii
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
ii
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ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
ii
ii
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
ii
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ii
ii
SAMPLE
ii
ii
ii
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SAMPLE
ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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To Nilayā the abode of virtues
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
viii
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
ii
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
ii
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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ii
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
ii
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
ii
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ii
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ii
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ii
SAMPLE
ii
ii
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
ii
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ii
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SAMPLE
Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
viii
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
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Appendices Musical Notation
201
ii
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Transliteration KeyFor transliteration of Hindi and Sanskrit words this book uses theInternational Alphabhet of Sanskrit Transliteration (IAST) with onemodification (nasalized vowel) and two additions (retroflex flaps)The transliteration characters with their Devanagari equivalentsbroad transcriptions as per the International Phonetic Alphabet (IPA)and examples are listed in the following table Languages are shownby their ISO 639-1 or ISO 639-2 code (DE German EN EnglishES Spanish FR French GD Scottish Gaelic HI Hindi PRA PrakritSA Sanskrit and SV Swedish)Vowelsa अ ə EN alone fathom SA ati (अित) mati (मित)ā आ aː EN art far HI āma (आम) SA rāma (राम)i इ i EN inner bin SA indra (इ) śiṣṭa (िश)ī ई iː EN each tree SA īśa (ईश) adhīśa (अधीश)u उ u EN Uzbek full SA ukta (उ) anukta (अन)ū ऊ uː EN ooze true HI ūpara (ऊपर) SA nyūna (न)ṛ ऋ r Like UK EN interesting SA ṛta (ऋत) kṛta (कत)
vocalic rṝ ॠ rː SA pitṝn (िपतन ) long vocalic rḷ ऌ l Like EN pickle SA kḷpta () vocalic le ए eː Like EN say DE Idee lesen zehn SA eka (एक)ai ऐ əi In SA Like EN might SA aikya (ऐ) vaira (वर)
aelig In STANDARD HI EN mat HI aise (ऐस ) baila (बल)o ओ oː Like EN no DE Ober FR chose SA cora (चोर)au औ əu In SA Like EN out SA aurasa (औरस) saura (सौर)
ɔː In STANDARD HI EN not HI aura (और) sau (सौ)Vowel modifiers (anusvāra anunāsika and visarga)ṃ - In SA pure nasal after a vowel as in haṃsa (हस)
In PRA HI homorganic nasal (ŋɲɳnm) ifa plosive follows pure nasal otherwise
FR bon vivant HI hā (हा) vowel nasalizationḥ ः - Like GD loch SA saḥ (सः) vowel aspiration
ii
ii
ii
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
ii
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
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SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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SAMPLE
Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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ConsonantsNote The Devanagari equivalents in the second column below areshown with the inherent vowel ək क k EN call black SA kalā (कला) rocaka (रोचक)kh ख kʰ Like EN workhorse SA khela (खल) mukha (मख)g ग ɡ EN go dog SA gīta (गीत) rāga (राग)gh घ ɡʱ Like EN doghouse HI ghanā (घना) bāgha (बाघ)ṅ ङ ŋ EN anger sing SA aṅga (अ) śaṅkā (शा)c च c EN chin catch HI pāca (पाच) SA cora (चोर)ch छ cʰ Like EN hitchhike HI chāpa (छाप) pūcha (पछ)j ज ɟ EN job badge SA janma (ज) gaja (गज)jh झ ɟʱ Like EN hedgehog HI jhūlā (झला) sūjha (सझ)ntilde ञ ɲ ES espantildeol FR oignon SA pantildeca (प)ṭ ट ʈ Like EN time SV karta SA ṭīkā (टीका) paṭa (पट)ṭh ठ ʈʰ Like EN guesthouse HI ṭhaga (ठग) gāṭha (गाठ)ḍ ड ɖ Like EN bird SV nord HI ḍara (डर) aḍīga (अिडग)ḍh ढ ɖʱ Like EN birdhouse HI ḍhāla (ढाल) buḍḍhā (बा)ṇ ण ɳ Like EN bent SA kaṇṭha (कठ) daṇḍa (दड)ḏ ड़ ɽ HI baḏā (बड़ा) sāḏī (साड़ी) retroflex flapḏh ढ़ ɽʱ HI paḏhāī (पढ़ाई) aspirated retroflex flapt त t ES tres FR tout SA taru (त) rati (रित)th थ t h Like EN bathhouse HI thoḏā (थोड़ा) hātha (हाथ)d द d ES dos FR Dieu SA dīpa (दीप) pada (पद)dh ध dʱ Like EN withhold SA dharma (धम) vadha (वध)n न n EN plinth ES cantar SA nṛtya (न) hīna (हीन)p प p EN pun top SA putra (प) kopa (कोप)ph फ pʰ Like EN upheaval SA phala (फल) kapha (कफ)b ब b EN big ebb HI saba (सब) SA bīja (बीज)bh भ bʱ Like EN clubhouse SA bhaya (भय) kṣobha (ोभ)m म m EN month brim SA mātā (माता) bhūmi (भिम)y य j EN yes canyon SA yoddhā (योा) vāyu (वाय )
viii
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r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
ii
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
ii
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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ii
ii
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
ii
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
ii
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
ii
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ii
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ii
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ii
SAMPLE
ii
ii
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
ii
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ii
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SAMPLE
Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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SAMPLE
Appendices Musical Notation
201
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SAMPLE
Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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SAMPLE
r र r Like EN red ES rey SA ravi (रिव) taru (त)l ल l EN law all SA loka (लोक) triśūla (िशल)v व w EN which cobweb SA vīra (वीर) kavi (किव)ś श ʃ EN ship push SA śīla (शील) paśu (पश )ṣ ष ʂ Like US EN marsh SV fors SA ṣaṭ (षट )s स s EN see yes SA senā (सना) prasūna (सन)h ह ɦ EN hand ahead SA hita (िहत) vihīna (िवहीन)
ix
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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SAMPLE
PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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SAMPLE
Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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ii
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SAMPLE
Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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ii
ii
ii
SAMPLE
Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
ii
ii
ii
ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
ii
ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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ii
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ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
ii
ii
ii
ii
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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ii
ii
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SAMPLE
Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
ii
ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
ii
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
ii
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ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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ii
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SAMPLE
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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ii
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SAMPLE
Appendices Musical Notation
201
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SAMPLE
Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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SAMPLE
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SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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AbbreviationsAK AmarakośaAR Adhyātma RāmāyaṇaBG Bhagavad-GītāBP Bhāgavata PurāṇaDA DohāvalīDP DhātupāṭhaGA GītāvalīHB Hanumān-BāhukaHC Hanumān-CālīsāK KirātārjunīyaKA KavitāvalīMB MahābhārataMSS MahāsubhāṣitasaṅgrahaMU Muṇḍaka UpaniṣadPMB Patantildejalirsquos MahābhāṣyaPP PrākṛtaprakāśaPS Pāṇinīya Sūtra (Aṣṭādhyāyī)RCM RāmacaritamānasaRRS RāmarakṣāstotraRV RaghuvaṃśaTS TarkasaṅgrahaTU Taittirīya UpaniṣadViPu Viṣṇu PurāṇaVP VinayapatrikāVR Vālmīki RāmāyaṇaYS Yoga Sūtra
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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SAMPLE
PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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SAMPLE
Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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ii
ii
SAMPLE
Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
ii
ii
ii
ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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ii
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ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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SAMPLE
Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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ii
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ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
ii
ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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ii
ii
ii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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SAMPLE
Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
ii
ii
ii
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SAMPLE
Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
ii
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ii
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
ii
ii
ii
SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
ii
ii
ii
SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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ii
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SAMPLE
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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ii
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SAMPLE
Appendices Musical Notation
201
ii
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SAMPLE
Musical Notation Appendices
202
ii
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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ii
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ii
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SAMPLE
ii
ii
ii
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SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
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SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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SAMPLE
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
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SAMPLE
ContentsForeword xvPreface xvii
MahāvīrīThe Hanumān-Cālīsā 3Devanagari text 3Transliterated text 6With Mahāvīrī meaning 10
Introduction 19The Mahāvīrī 33Commentatorrsquos invocation 33Invocatory dohā‑s 36Caupāī‑s 46Concluding dohā 155Commentatorrsquos conclusion 157
AppendicesNotes 161Prosody 185Musical notation 199Hemistich index 213Word index 217
ii
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
ii
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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ii
SAMPLE
PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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ii
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SAMPLE
Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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SAMPLE
Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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ii
ii
ii
SAMPLE
Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
ii
ii
ii
ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
ii
ii
ii
ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
ii
ii
ii
ii
SAMPLE
Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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SAMPLE
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SAMPLE
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SAMPLE
Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
ii
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SAMPLE
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
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SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
ii
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
ii
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SAMPLE
Musical Notation Appendices
202
ii
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ii
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ii
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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ii
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SAMPLE
ii
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
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SAMPLE
Foreword3 NYAYA MARG
MEMBER OF PARLIAMENT CHANAKYAPURI
(RAJYA SABHA) NEW DELHI ndash 110 021
Among the many deities that are held in high esteem byHindus around the world there are two zoomorphic deitiesGanesha and Hanuman These are perhaps the most popularin the Hindu pantheon No prayer or event can start withouta prayer to Ganesha Hanuman is also extremely popularnot only because he is so closely associated with Sri Ramaand the whole Ramayan epic but also because he is lookedupon as amanifestation of Shivarsquos eleven Rudras As a resultmagnificent temples to Hanuman have been built aroundthe country The most impressive one that I have seen is atSuchindram in Tamil Nadu which houses a massive statueof HanumanHanuman is depicted in two different ways The more
popular is as Ram Bhakta Hanuman an integral member ofthe Ram Darbar where he is seated in a posture of reverencebefore Sri Rama Sita and Lakshmana In another form he
ii
ii
ii
ii
SAMPLE
Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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ii
ii
ii
SAMPLE
PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
ii
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ii
SAMPLE
Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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ii
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ii
SAMPLE
Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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SAMPLE
Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
ii
ii
ii
ii
SAMPLE
Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
ii
ii
ii
ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
ii
ii
ii
ii
SAMPLE
Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
ii
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ii
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SAMPLE
ii
ii
ii
ii
SAMPLE
Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
ii
ii
ii
ii
SAMPLE
Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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ii
ii
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Foreword
is shown as Veer Hanuman standing alone and carrying hisgreat mace Needless to say he commands equal reverencein both these posturesDown through the ages a large number of hymns and
stotra‑s have been composed in honour of Hanumanmdashalsoknown as Mahavir Of these the most popular is GoswamiTulasi Dasrsquos famous forty-verse hymn to Hanuman calledthe Hanuman Chalisa This is recited by millions of Hinduseveryday around the world However analytical work onthis text is not easily available In the present book ShriNityanandMisra has translated and annotated the text basedon the acclaimed Hindi commentary Mahaviri (1983) bySwami Ramabhadracharya This throws a great deal of lighton the deeper meaning of Tulasi Dasrsquos famous work and willbe welcomed by scholars and laymen alike I commend ShriNityanand Misra for the devotion and dedication with whichhe has undertaken this work
Dr Karan SinghJuly 16 2015
xvi
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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PrefaceForty-three verses One thousand and forty-three syllablesOne thousand four hundred and twenty-four metricalinstants That is the length of one of the most popular Hinduprayers across the world For several hundreds of yearsthese 43 verses 1043 syllables and 1424 metrical instantsof the Hanumān-Cālīsā have been a source of hope peacestrength and spirituality for innumerable Hindus Millionsof Hindus (and many non-Hindus too) recite the Hanumān-Cālīsā every daymdashin northern India most practising Hindusknow its text by heart Many more Hindus and non-Hindushave recited it or heard it at least once in their lifetimeQuite like the majestic Hanumān who leaped across vastexpanses of ocean and land the Hanumān-Cālīsā transcendsacross diverse educational social linguistic musical andgeographical boundaries The most learned Brahmins recitethe Hanumān-Cālīsā with elaborate rituals lasting up to108 days and the most common masses recite it withminimal rituals on the community feast Tuesdays (BadaMangal days) of the Jyeṣṭha month (MayndashJune) in LucknowThe rich can buy theHanumān-Cālīsā printed as a book for asmuch as `40000 (US $605) by placing special orders withjewellers who use gold to write the text the middle class can
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
ii
ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
ii
ii
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
ii
ii
ii
SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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ii
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SAMPLE
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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ii
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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ii
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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ii
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SAMPLE
Appendices Musical Notation
201
ii
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SAMPLE
Musical Notation Appendices
202
ii
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ii
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ii
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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Preface
buy the lsquogold platedrsquo book for around `500 (US $756) frome-commerce websites the poor can buy the high qualitybook published by the Gita Press for as less as `5 (eightUS cents) and renunciant sādhu‑s are offered the cālīsābooks for free at religious congregations The cālīsā isin the Awadhi language which is spoken in central UttarPradesh by hardly three percent of Indiarsquos populace Andyet those who recite the cālīsā include speakers of HindiBengali Telugu Marathi Tamil Gujarati Kannada andnumerous other Indian and foreign languages Translationsand transliterations of the cālīsā are available in most majorlanguages and scripts of the world While the rendition ofthe cālīsā in the mellifluous voice of the late lsquoDadajirsquo HariOm Sharan is by far the most popular one across templesand homes of the devout the long list of singers who haverendered the cālīsā in their voice includes bhajan singers likeAnup Jalota and Ravindra Jain Hindustani vocalists likePandit Jasraj and Rajan and Sajan Mishra Carnatic vocalistslike M S Subbulakshmi celebrities like Amitabh Bachchan(in chorus with twenty other singers) and popular playbacksingers like lsquoBharat Ratnarsquo Lata Mangeshkar MahendraKapoor S P Balasubrahmanyam and Udit Narayan Thereis no region of India where people are not familiar withthe Hanumān-Cālīsā and with the Indian diaspora it hasreached most parts of the world in the twenty-first centuryLike many friends of mine the Hanumān-Cālīsā was one
of the first prayers I learned Over a period of more thantwenty-five years I have recited it or sung it thousands
xviii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
xix
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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SAMPLE
Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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SAMPLE
Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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Preface
of times and yet until two years ago I was yet to comeacross a scholarly exposition or commentary on the hymnWhile several good translations were available none of themcame close to the level of a traditional Indian commentary(ṭīkā) In the Indian literary tradition commentaries havea very important place starting right from the Veda‑s Asan example there is no lover of Kālidāsa who is notfamiliar with the commentaries of Mallinātha on the worksof Kālidāsa For more than one thousand years now everyserious student of Kālidāsa has been guided by Mallinātharsquoscommentaries With the correct anvaya (logical connectionof words) grammatical analysis supportive evidence fromscriptures and crystal-clear thinking a commentary givesits readers not only an accurate interpretation of the originaltext but also offers deep insights into the work which wouldotherwise take readers years and years to developIt was in 2013 that I finally got a copy of the long out-
of-print Mahāvīrī commentary in Hindi by my GurudevaJagadguru Rāmānandācārya Svāmī Rāmabhadrācāryamdashthe polymath and polyglot saint of our times Thisshort commentary first published in 1984 by KrishnadasCharitable Trust in New Delhi offers many esoteric insightsinto the seemingly simple verses of the Hanumān-Cālīsāwith evidences (pramāṇa‑s) and references from manyHindu scriptures including the Upaniṣad‑s the Bhagavad-Gītā Vālmīkirsquos Rāmāyaṇa the Mahābhārata the BhāgavataPurāṇa and other Purāṇa‑s Nyāya works Yoga works andthe vast literature of Gosvāmī Tulasīdāsa Scholarly and
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Preface
lucid at the same time the Mahāvīrī is replete with the mostprofound knowledge (jntildeāna) and the most sublime devotion(bhakti) The work was called lsquothe best explanation of theHanumān-Cālīsārsquo by Dr Ram Chandra Prasad in his dual-language translation of the Rāmacaritamānasa published byMotilal Banarsidass1 After the first edition of the Mahāvīrīwas sold out in the 1980s the book was not reprinted andit remained unavailable for around twenty-five years I hadbeen looking for the book since 2011 after reading aboutit in Prasadrsquos translation of the Rāmacaritamānasa but allefforts to locate the book and the publisher did not yieldany fruit In May 2013 the extensive search which lastedtwo years came to an end when a copy of the book wasmade available to me by Prabhat Kumar Dokay of ChhapraWithin a monthrsquos time the second edition of the book waspublished which I co-edited with Dr Ramadhar Sharma ofPatna In addition the commentary was digitized and madeavailable onlineAs the Mahāvīrī is in highly Sanskritized Hindi I thought
of translating it into English in order to benefit Hanumāndevotees who are unfamiliar with Sanskrit and HindiThe translation began towards the end of 2014 and wascompleted by March 2015 The average English readerdoes not have the same context as an average Sanskritor Hindi reader so the translation has been expandedat some places to facilitate better understanding Atseveral places additional interpretations from other worksof Gurudeva have been added The Hindi commentary
xx
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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ii
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ii
SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
ii
ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
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SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
ii
ii
ii
ii
SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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ii
SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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ii
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ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
ii
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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ii
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Preface
provided meanings of only difficult words in the śabdārtha(word-meaning) section This has been expanded to coverall words in the original verses so that readers can relateto each and every word in the cālīsā The introductionand the commentary together have more than 150 Sanskritand Hindi citationsmdashall of these have also been translatedinto English Eight verses in the introduction and thecommentary are the commentatorrsquos own compositionsmdashthese have also been translated into English For advancedreaders I have provided endnotes which further elaborateon the subject matter For the benefit of reciters singersand instrumentalists I have authored two appendices onthe cālīsārsquos prosody and the musical notation of its populartraditional melody A half-verse index and a word indexhave also been included to aid readers who want to look upa specific verse or a word in the cālīsāWhile authoring designing and typesetting this book it
has been my attempt to keep it free from all types of errorsI request readers to inform me of any inadvertent errorsthat may have remained in the book so that they can becorrected in future editionsThis book owes its existence to countless people and it is
impossible to name all of them I would first mentionmy lategrandparents Srimati Kausalya Devi Misra and Sri SrigopalMisra to whom I owe my love of the three treasures ofhumansmdashliterature music and art The list of authors andeditors of the many books and articles I have referred to isendless and I am indebted to everyone on the list Scholars
xxi
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SAMPLE
Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
ii
ii
ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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ii
ii
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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ii
ii
SAMPLE
Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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SAMPLE
Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
ii
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ii
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SAMPLE
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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ii
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Preface
on the Bhāratīya-vidvat-pariṣat discussion group have beenmy friends philosophers and guides for the past few yearsand they have helped me with several academic sources andreferences used for the endnotes The selfless members ofthe TEX-LATEX Stack Exchange came to my rescue wheneverI ran into typesetting problems I am immensely grateful toDr Ramadhar Sharma of Patna and Prof Animesh Kumar ofIIT Bombay for proofreading the draft and offering manyuseful suggestions to improve it Ramesh Kalicharan ofNew York helped me get in touch with lsquoDidijirsquo NandiniSharan who was very kind to help me with the nuancesof the renditions of the cālīsā by lsquoDadajirsquo Hari Om SharanChandramouli Rotti of Gandhinagar offered invaluable helpwith the appendix onmusical notation Many improvementsin the aesthetics layout and presentation of the book weresuggested by Manish Modi of the Hindi Granth Karyalayin Mumbai I consider it an honour that this book carriesa painting by the late Bhanwarlal Girdharilal Sharma oneof Indiarsquos finest painters in the twentieth century on itsfront cover I am deeply indebted to Mukesh Sharma andHarsh Sharma of the B G Sharma Art Gallery in Udaipurfor their kind permission to use this artwork Special thanksgo to Prof Philip Lutgendorf Professor of Hindi and ModernIndian Studies at the University of Iowa for kindly readingone of the first drafts of this book and encouraging me withhis kind remarks From the beginning to the end my parentsand my family have supported this effort of mine in everypossible way and I can never repay the debt I owe them
xxii
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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ii
SAMPLE
Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
ii
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ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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ii
ii
ii
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
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ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
ii
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ii
ii
SAMPLE
ii
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ii
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SAMPLE
ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Preface
There are no words to express my gratitude tomy Gurudeva Jagadguru Rāmānandācārya SvāmīRāmabhadrācārya who blessed me by taking time outof his extremely busy schedule to answer my questionsthat had come up while translating the commentary andhis original verses I believe it is nothing but the graceof Hanumān Jī Mahārāja which made me embark on thisendeavour and I pray that may the same grace make meworthy of serving Lakṣmaṇa Mother Sītā and Lord Rāma
Nityanand MisraMumbai 29 August 2015
xxiii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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ii
ii
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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SAMPLE
Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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SAMPLE
Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
ii
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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SAMPLE
Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
ii
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SAMPLE
Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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Invocatory dohā 1 Mahāvīrī
Invocatory dohā‑sीग-चरन-सरोज-रज िनज-मन-मकर सधािरबरनउ रघबर-िबमल-जस जो दायक फल चािर
śrīguru-carana-saroja-rajanija-mana-mukura sudhāri
baranarsquou raghubara-bimala-jasajo dāyaka phala cāri
śrīguru-carana-saroja-raja 1 the dust in the form of pollen fromthe lotus-feet of the auspicious Guru 2 the dust in the form of pollenfrom the lotus-feet of the Guru named Śrī (Sītā) nija-mana-mukura mirror of my own mind sudhāri after cleansing baranarsquou [I] describe raghubara-bimala-jasa the unblemished fame ofRāma (literally lsquothe unblemished fame of the best among Raghursquosdescendants) jo which dāyaka bestower phala cāri fourfruits ie dharma (righteousness) artha (prosperity) kāma (wishes)and mokṣa (liberation from the cycle of birth and death)
lsquolsquoAfter cleansing the mirror of my own mind withthe dust in the form of pollen from the lotus-feet of theauspicious Guru (or the primordial Guru Mother Sītā)I describe Lord Rāmarsquos unblemished glory which is thebestower of the four fruitsrsquorsquoThe author of this Hanumān-Cālīsā is the venerable
Gosvāmī Tulasīdāsa Tulasīdāsa is the avatāra who purifiedeven this Kali age He is the crowning glory of the family
36
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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Mahāvīrī Invocatory dohā 1
of all Vaiṣṇava‑s the sovereign king amongst the wise andthe supreme devotee of Lord Rāma He is worthy of beingremembered every morning and is the adornment of theclan of poets Beginning the composition of the Hanumān-Cālīsā the extremely sacred gem of a stotra (hymn) whichadorns the Sanātana Dharma (Hindu faith) Tulasīdāsa usesthe word śrī to remember Śrī (Mother Sītā) who is the causeof all auspiciousness In the Rāmacaritamānasa Tulasīdāsasaysmdash
bāma-bhāga śobhati anukūlāādi-śakti chabi-nidhi jaga-mūlā
mdashRCM 11482
lsquolsquoOn the left side [of Lord Rāma] Mother Sītā shinesforth She is ever favourable the primordial power thetreasure of beauty and the original cause of the worldrsquorsquoThe same Mother Sītā manifests Herself in the auspiciousland of Mithilā with the purpose of increasing the fame ofKing Janaka Being resplendent on the left side of LordRāma She destroys any opposition in living beings towardsthe Lord The word śrī is compounded with the word guruin two ways to give two meanings explained as followsAs an elliptic and dependent determinative compound29
the word śrīguru is parsed as śriyā anugṛhītaḥ guruḥ itiśrīguruḥ which means lsquoa Guru who is favoured or blessedby [goddess] Śrī (Mother Sītā)rsquo The purport is that themind can be cleansed by the dirt from the feet of onlysuch a Guru who has been initiated in the tradition of Śrībecause the vices resulting from avidyā (ignorance) do not
37
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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Invocatory dohā 1 Mahāvīrī
go away without the grace of Śrī In other words the graceof Śrī is necessary since even though Śrī is not different fromthe Lord Gosvāmī Tulasīdāsa acknowledges Her as bhaktiherself in the Rāmacaritamānasamdash
lasata mantildeju-muni-maṇḍalī madhya sīya raghucandagyāna-sabhā janu tanu dhare bhagati saccidānanda
mdashRCM 2239
lsquolsquoAmidst the pleasant assembly of sages Mother Sītāand Lord Rāma are resplendent as if they are bhakti(devotion) and sat-cit-ānanda (existence consciousnessand bliss) incarnate in the assembly of personified jntildeāna(knowledge)rsquorsquoAs an appositional determinative compound30 the word
śrīguru is parsed as śrīḥ eva guruḥ iti śrīguruḥ meaning lsquoGuruwho is the goddess Śrī (Mother Lakṣmī or Sītā) Herselfrsquo Inthe Hindu tradition known as Śrīsampradāya the preceptorsRāmānuja and Rāmānanda acknowledge the goddess Śrī asthe supreme Guru Older preceptors have accepted MotherSītā to be the Guru of Hanumān It is said of Hanumānmdash
samasta-nigamācāryaṃ sītā-śiṣyaṃ gurorgurumlsquolsquoTo Hanumān who is the preceptor of all Veda‑s andVedic knowledge who is the disciple of Mother Sītā and
who is the Guru of even Bṛhaspati (the Guru of all deities)rsquorsquoTherefore the remembrance of Śrī (Mother Sītā) the
preceptor of Hanumān is extremely useful at the beginningof the Hanumān-Cālīsā which has been composed topropitiate Hanumān This appears to be the purport of the
38
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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SAMPLE
Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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SAMPLE
Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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SAMPLE
Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
SAMPLE
Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
ii
ii
ii
ii
SAMPLE
Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
ii
ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Mahāvīrī Invocatory dohā 1
word śrīguruThe word raja here stands for two meaningsmdash(1) the
pollen of the lotus (the object of comparison) and (2) thedust of the feet (the subject of comparison)31The mind has been called a mirror since just like a mirror
reflects the image of an object the mind reflects Lord Rāmarsquosform which captures the heart of all the fourteen worlds32The mirror of the mind is dirty as it is covered with algaeof sensual pleasures Says Tulasīdāsa in the Rāmacarita-mānasamdash
kāī biṣaya mukura mana lāgīmdashRCM 11151
lsquolsquoThe algae of sensual pleasures are spread on the mirrorof the mindrsquorsquoTherefore Tulasīdāsa cleanses the mind with the softpollen-like dust from the lotus-like feet of śrīguru and thenmakes a resolve to describe the fame of Lord Rāma so thatthe full moon of Lord Rāmarsquos fame can be reflected clearlyin the mirror of the pure mindThe phrase raghubara-bimala-jasa at the beginning of
the Hanumān-Cālīsā becomes a centre of curiosity to readersand appears incongruous to some people of average intellectBut the curiosity is easily resolved when one thinks about itThe majestic Hanumān is the foremost among devotees ofLord Rāma who have surrendered themselves in all respectsto the Lord He is not willing to accept even an iota of Hisexistence without Lord Rāma He says in the Rāmacarita-mānasamdash
39
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
ii
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SAMPLE
Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
ii
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ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
ii
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SAMPLE
ii
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SAMPLEAppendices
ii
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
ii
ii
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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ii
ii
ii
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
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ii
ii
SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
ii
ii
ii
ii
SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
ii
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ii
ii
SAMPLE
ii
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ii
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SAMPLE
ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Invocatory dohā 1 Mahāvīrī
nātha jīva tava māyā mohāso nistararsquoi tumhārehi chohātā para mai raghubīra dohāī
jānarsquou nahi kachu bhajana upāīmdashRCM 432ndash3
lsquolsquoO master Each living being is stupefied by Your māyā(deluding power) A living being can be rescued from māyāby Your grace alone O [Rāma] the foremost warrior in therace of Raghu Even then I swear that I do not know anymeans of bhaktirsquorsquoThe purport of Hanumānrsquos words ismdashlsquoYou Yourself aremy means and You Yourself are my goal and there is noexistence of me without Yoursquo Therefore in the descriptionof Lord Rāmarsquos fame the description of Hanumānrsquos fameis also accomplished Secondly Vaiṣṇava devotees donot like being praised Therefore Hanumānrsquos happinessis possible only by the description of Lord Rāmarsquos fameKeeping this goal in mind Tulasīdāsa propitiated Hanumānin the Hanumān-Cālīsā by literally describing the fame ofLord Rāma In addition with the act of describing thefame of Lord Rāma Tulasīdāsa sang the glory of Hanumānindirectly and thus made the Hanumān-Cālīsā a cause ofhappiness for Lord Rāma also Therefore Tulasīdāsa startsby saying that he is describing the fame of Lord Rāma andwill also end the Hanumān-Cālīsā by requesting Hanumān toreside in his heart with Lord Rāma Lakṣmaṇa and MotherSītā33There is another way raghubara-bimala-jasa can be
40
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
ii
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ii
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SAMPLEAppendices
ii
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SAMPLE
ii
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
ii
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ii
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ii
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ii
SAMPLE
ii
ii
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
ii
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ii
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SAMPLE
Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Mahāvīrī Invocatory dohā 1
explained By taking it as an exocentric compound34 it canbe understood to mean lsquothe cause of Rāmarsquos unblemishedfamersquo ie Hanumān35 The words baranarsquou raghubara-bimala-jasa then meanmdashlsquoI describe the one because ofwhom Lord Rāmarsquos unblemished fame [exists]rsquoThis fame of Lord Rāma bestows four fruitsmdashdharma
(righteousness) artha (prosperity) kāma (wishes) andmokṣa (liberation from birth and death) In other wordsHanumān is pleased with the singing of Lord Rāmarsquos fameand bestows the set of four human objectives upon thosewho recite the Hanumān-Cālīsā Or Hanumān grantsthe fruits of four types of liberationmdashsālokya (in whichthe liberated being resides in the same loka or world asthe Lord) sāmīpya (in which the liberated being residesvery close to the Lord) sāyujya (in which the liberatedbeing enjoys the same offerings as the Lord) and sārūpya(in which the liberated being gets the same form as theLord) Or Hanumān grants the fruits of the four typesof bhakti (devotion)mdashaviralā (steadfast devotion) anapāyinī(incessant devotion)36 nirbharā (immeasurable devotion)and premā (devotion characterized by pure love) OrHanumān grants the four fruits of dharma (righteousness)jntildeāna (knowledge) yoga (suppression of the streams ofthe mind) and japa (repetition of the Lordrsquos name) OrHanumān bestows the fourfold means upon the adherentsof the doctrine of jntildeāna (knowledge)37
41
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
ii
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
ii
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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ii
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Invocatory dohā 2 Mahāvīrī
बि-हीन तन जािनक सिमर पवनकमारबल बिध िबा द मोिह हर कलश िबकार
buddhi-hīna tanu jānikaisumirau pavanakumāra
bala budhi bidyā dehu mohi harahu kaleśa bikāra
buddhi-hīna without buddhi (intellect)38 tanu [subtle] bodyjānikai after knowing sumirau [I] remember pavanakumāra Hanumān (literally lsquothe son of [the wind god] Pavanarsquo or lsquothe sonof Vāyursquo) bala [spiritual] strength budhi buddhi or intellect39bidyā learning knowledge dehu [you] give mohi meharahu [you] remove [you] take away kaleśa afflictions painsbikāra perturbations passions
lsquolsquoKnowing my [subtle] body to be devoid of intellectI remember Hanumān [O Hanumān] give me spiritualstrength a discerning intellect and knowledge and takeaway the [five] afflictions and the [six] passionsrsquorsquoThe word buddhi in the first half of the verse refers to the
intellect which is helpful in the service of the Lord and tanurefers to the subtle body (sūkṣma śarīra) since the intellecthas been accepted in Indian philosophy as a constituentelement of the subtle body Tulasīdāsa says that his intellecthas turned away from the auspicious lotus-feet of LordRāma due to the abundance of tamas40 and therefore heremembers Hanumān the son of Pavana The name pavana
42
ii
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
ii
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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SAMPLE
Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
ii
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Mahāvīrī Invocatory dohā 2
is derived as punāti iti pavanaḥ41 meaning lsquopavana is onewho purifiesrsquo Hanumān is the son of Pavana As per theTaittirīya Upaniṣad the fire element (agni) is born from thewind element (vāyu)mdash
vāyoragniḥmdashTU 211
lsquolsquoFrom the wind element the fire element [was born]rsquorsquoTherefore being the son of Vāyu Hanumān is the fireelement personified Therefore Tulasīdāsa implores HimmdashlsquoLike the fire spread the supreme light in my intellectand burn my impuritiesmdashthe five afflictions and the sixpassionsrsquoIn this verse Gosvāmī Tulasīdāsa beseeches Hanumān for
three thingsmdash(1) bala or strength The word bala here stands for
internal or spiritual strength which is devoid of desires andattachment as Lord Kṛṣṇa tells Arjuna in the Gītāmdash
balaṃ balavatāṃ cāhaṃ kāma-rāga-vivarjitammdashBG 711
lsquolsquoI am the essential strength free of desires and passionof those whose strength is acclaimedrsquorsquoThis very spiritual strength is the means for reaching Godas the Muṇḍaka Upaniṣad saysmdash
nāyamātmā balahīnena labhyaḥmdashMU 324
lsquolsquoThis supreme Self cannot be attained by those withoutinternal strengthrsquorsquo(2) budhi (Sanskrit buddhi) or intellect Here the43
ii
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SAMPLE
Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
ii
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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SAMPLE
Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
ii
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SAMPLE
Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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ii
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SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
ii
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ii
SAMPLE
ii
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SAMPLE
ii
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Invocatory dohā 2 Mahāvīrī
intellect which has taken refuge in Lord Rāma is to beunderstood As the sage Atri prays to Lord Rāma in theRāmacaritamānasamdash
carana-saroruha nātha jani kabahu tajai mati morimdashRCM 34
lsquolsquoO master May my intellect never leave Your lotus-feetrsquorsquo(3) bidyā (Sanskrit vidyā) or learning Here learningendowed with humility is desired Such learning gives riseto discriminative ability or wisdom (viveka) of establishinga relationship with Lord Rāma42 The Viṣṇu Purāṇa saysmdash
sā vidyā yā vimuktayemdashViPu 11941
lsquolsquoVidyā is that which is for final liberationrsquorsquoIn the Rāmacaritamānasa also Tulasīdāsa saysmdashbidyā binu bibeka upajāe
śrama phala kie paḏhe aru pāemdashRCM 3219
lsquolsquoWithout giving birth to wisdom learning and [alongwith it] the fruit of labour of practising studying andobtaining it [are soon destroyed]rsquorsquoThe purport of Tulasīdāsarsquos prayer ismdashmay Hanumāngive us the ability to experience the beauty theomnipotence and the sweetness of Lord Rāma by giving usspiritual strength a discerning intellect and learning withwisdomThe five afflictions or kleśa‑s aremdashavidyā (ignorance)
asmitā (personal ego) rāga (desire or affection) dveṣa44
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
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Appendices Musical Notation
201
ii
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Mahāvīrī Invocatory dohā 2
(dislike or aversion) and abhiniveśa (attachment to lifeor fear of death) These are listed in the Yoga Sūtra ofPatantildejalimdash
avidyāsmitā-rāga-dveṣābhiniveśāḥ pantildeca kleśāḥmdashYS 23
The six passions or vikāra‑s aremdashkāma (lust) krodha(anger) lobha (avarice) moha (delusion or mortalattachment) mada (pride) and mātsarya (jealousy)In the Rāmacaritamānasa Lord Rāma tells Nārada thefollowing qualities of saintsmdash
ṣaṭa-vikāra-jita anagha akāmāmdashRCM 3477
lsquolsquo[Saints are] those who have conquered the six passions(vikāra‑s) who are sinless and who have no desiresrsquorsquoThus the five afflictions and the six passions add up toeleven enemies which are to be destroyed Hanumān is thecombined avatāra (incarnation) of the eleven Rudra‑s In theVinayapatrikā Tulasīdāsa describes Hanumān asmdash
rudra-avatāra saṃsāra-pātāmdashVP 253
lsquolsquo[Hanumān] the avatāra of Rudra‑s and the protectorof the worldrsquorsquoTherefore Tulasīdāsa prays that may Hanumān destroyour eleven enemies
45
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SAMPLEAppendices
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
ii
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
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Appendices Musical Notation
201
ii
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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SAMPLEAppendices
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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SAMPLE
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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SAMPLE
Notes1 Ram Chandra Prasad (1990) Shri Ramacharitamanasa The Holy
Lake of the Acts of Rama (2nd ed 2008 reprint) Delhi MotilalBanarsidass ISBN 978‑81‑208‑0443‑2 p 849 footnote 12 This verse is in the śārdūlavikrīḍita metre each foot of which hasthe prosodic pattern ma-sa-ja-sa-ta-ta-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the twelfth and nineteenth syllables3 Though the inscription is old it is not from the time of GosvāmīTulasīdāsa4 A sampuṭa literally lsquoa hemispherical bowlrsquo is the refrain sungor recited before and after a text or a set of verses As it is usedboth before and after the recitation of the main text it lsquoenclosesrsquo orlsquowrapsrsquo the text from both sides like the two hemispherical halves ofa spherical vessel5 This composition is very popular in the Hindustani classicalmusic tradition It has been rendered by many accomplishedvocalists including Dattatreya Vishnu Paluskar Lata MangeshkarPurushottam Das Jalota and Anup Jalota6 This figure of speech in which the subject and object ofcomparison are the same is called ananvaya in Indian poetics Thedefinition given by Bhāmaha is yatra tenaiva tasya syādupamānopa-meyatā asādṛśya-vivakṣātas-tamityāhurananvayam (Kāvyālaṅkāra345) loosely translated as lsquowhere on account of a desire to expressthe lack of similarity [with anyone or anything else] there is [anexpression of] someonersquos or somethingrsquos subject-object relationshipwith themselves or itself that [figure of speech] is called ananvayarsquo7 The verse is rāma bāma disi jānakī lakhana dāhinī ora dhyāna
sakala kalyānamaya surataru tulasī tora (DA 1) This is also versenumber 737 in the Rāmājntildeāpraśna and the first verse in the Vairāgya-sandīpanī8 The Rāmacaritamānasa (composed during 1574ndash1576 CE) pre-dates the Dohāvalī (dated 1581 CE)
ii
ii
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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SAMPLE
Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
ii
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SAMPLE
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
ii
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Musical Notation Appendices
202
ii
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Notes Appendices
9 I counted ninety-one verses in the Dohāvalī which are also inthe Rāmacaritamānasa The verse numbers in the Dohāvalī withthe corresponding verse numbers in the Rāmacaritamānasa aremdash6 (121) 9 (120) 11 (126) 25 (119) 26 (127) 30 (122)31 (125) 32 (124) 50 (129A) 101 (62) 105 (129B) 113 (772A)114 (725) 115 (648A) 116 (287) 123 (293) 124 (426)125 (734) 126 (7122A) 127 (7104A) 128 (7119B) 129 (63)130 (6MC21) 131 (546) 132 (761) 133 (790A) 134 (790B)135 (792B) 137 (789A) 138 (778A) 139 (2185) 156 (338)161 (719C) 163 (549B) 179 (7130A) 181 (128B) 185 (722)189 (1265) 193 (132B) 195 (131) 196 (110B) 199 (2126)205 (2231) 206 (2215) 217 (242) 237 (4MC21) 238 (4MC22)241 (277) 247 (292) 261 (770A) 262 (770B) 263 (771A)264 (340A) 265 (340B) 266 (345) 267 (247) 270 (538)271 (2180) 272 (678) 273 (7118B) 275 (789B) 276 (1140)338 (15) 340 (733) 347 (2281) 364 (17A) 369 (16)370 (795B) 372 (17B) 386 (778B) 407 (739) 421 (263)439 (1274) 450 (1159B) 480 (2172) 484 (616B) 503 (2179)522 (2315) 523 (2306) 524 (537) 540 (270) 541 (2174)542 (35A) 543 (543) 551 (798B) 552 (799A) 553 (799B)555 (7100B) 561 (7103B) 562 (7103A) and 565 (132)10 The verse is eka chatra eka mukuṭa-mani saba baranana para jou
tulasī raghubara-nāma ke barana birājata dou (RCM 120 DA 9)11 The verse is rāma-nāma nara-kesarī kanaka-kaśipu kali-kāla
jāpaka jana prahalāda jimi pālihi dali sura-sāla (RCM 127 DA 26)12 In the authoritative edition (prāmāṇika saṃskaraṇa) of the
Rāmacaritamānasa edited by the commentator and first publishedin 2005 there are fourteen caupāī‑s before the twelfth dohā of theAraṇyakāṇḍa13 See Ramchandra Shukla ed (1935) Jāyasī Granthāvalī [Jayasi
Anthology] (2nd ed) Prayag Indian Press Limited p 5 See alsoRamchandra Shukla (1950) Hindī Sāhitya kā Itihāsa [The History ofHindi Literature] (6th ed) Kashi Nagari Pracharini Sabha pp 95
162
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Appendices Notes
11214 See the appendix on prosody for more details15 Tulasīdāsa is popularly believed to be the reincarnation ofVālmīki and this belief existed in the time of Tulasīdāsa also In theKavitāvalī Tulasīdāsa says rāmanāma-ko prabhāu pāu mahimā pratāputulasī-so jaga maniata mahāmunī-so (KA 772) which means lsquoit is thepower of the name of Rāma that I got glory and brilliance [due towhich] even a person like Tulasīdāsa is considered like the great sage(Vālmīki) in the worldrsquo Nābhādāsa a contemporary of Tulasīdāsawrote about himmdashkali kuṭila jīva nistāra hita bālmīki tulasī bhaye(Bhaktamāla 129) meaning lsquofor the sake of liberation of crookedbeings in the Kali age Vālmīki became Tulasīdāsarsquo16 This verse is in the indravajrā metre each foot of which has theprosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) with caesuraeafter the fifth and eleventh syllables17 The tamāla tree (Garcinia xanthochymus) has a dark bark anddark foliage It is often used as the object of comparison (upamāna)for dark complexion in Sanskrit and Prakrit literature Lord Kṛṣṇais described as tamāla-varṇam (meaning lsquoto Him whose complexionis [dark] like the tamāla treersquo) in the Bhāgavata Purāṇa (BP 1933)Lord Rāma is described as tanu śyāma tamālā (meaning lsquo[His] body isdark as the tamāla treersquo) in the Rāmacaritamānasa (RCM 12091)18 This verse is in the bālāmetre which is one of the fourteen typesof upajāti metres formed by the admixture of the indravajrā and theupendravajrāmetres The first second and third feet of the bālāmetrehave the prosodic pattern ta-ta-ja-ga-ga (ndash ndash ndash ndash ndash ndash ndash) whilethe fourth foot has the prosodic pattern ja-ta-ja-ga-ga ( ndash ndash ndash ndash ndash ndash) Each foot has caesurae after the fifth and eleventh syllables19 This verse is in the śikhariṇī metre each foot of which has theprosodic pattern ya-ma-na-sa-bha-la-ga ( ndash ndash ndash ndash ndash ndash ndash ndash) with caesurae after the sixth and seventeenth syllables20 Giridhara is the name used by the commentator JagadguruRāmānandācārya Svāmī Rāmabhadrācārya who was born Giridhara
163
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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SAMPLE
Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
ii
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ii
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Notes Appendices
Miśra in 1950 and was known as Rāmabhadradāsa in 1984 when theMahāvīrī was first published in many poems21 In the third quarter of the verse the plural form āryacaritaiḥ
in the instrumental case can be interpreted as both lsquoby [singing]the noble acts [of Lord Rāma and Hanumān]rsquo and lsquoby [singing]the acts of the noble [Lord Rāma and Hanumān]rsquo In the formerinterpretation the word is taken as an appositional determinativecompound (karmadhāraya samāsa) and is explained as āryāṇi ca tānicaritāni iti āryacaritāni taiḥ āryacaritaiḥ In the latter explanation theword is taken as a dependent determinative compound (tatpuruṣasamāsa) in the genitive case (ṣaṣṭhī vibhakti) and is explained asāryayoḥ caritāni iti āryacaritāni taiḥ āryacaritaiḥ22 This verse is in themattagayanda (Sanskrit mattagajendra) metre
(a type of savaiyā) each foot of which has the prosodic pattern bha-bha-bha-bha-bha-bha-bha-ga-ga (ndash ndash ndash ndash ndash ndash ndash ndash ndash) with a caesura at the end23 Mother Sītā being the Guru of Hanumān (see page 38)
destroyed all His afflictions by bestowing seven benedictions uponHim (see page 136)24 The word gavīśā used for the sun is derived from the Sanskrit
word gavīśa which literally means lsquothe master of raysrsquo The wordis a dependent determinative compound (tatpuruṣa samāsa) in thegenitive case (ṣaṣṭhī vibhakti) parsed as gavām kiraṇānām īśaḥ gavīśaḥ25 This verse is in the mālinī metre each foot of which has the
prosodic pattern na-na-ma-ya-ya ( ndash ndash ndash ndash ndash ndash ndash) withcaesurae after the eighth and fifteenth syllables26 In the first interpretation the word atulita-bala is taken
as an appositional determinative compound (karmadhārayasamāsa) parsed as atulitaṃ ca tadbalam atulita-balam and meaninglsquoincomparable strengthrsquo In the second interpretation it is takenas an exocentric compound (bahuvrīhi samāsa) parsed as atulitaṃbalaṃ yasya saḥ atulita-balaḥ and meaning lsquoone with incomparablestrengthrsquo The derivation then proceeds as atulita-balasya dhāma
164
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
ii
ii
ii
SAMPLE
Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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ii
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Appendices Musical Notation
201
ii
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Appendices Notes
atulita-bala-dhāmā tam atulita-bala-dhāmam The lemma atulita-bala-dhāman being masculine and ending in the consonant n its accusativesingular form as per Pāṇinian grammar is atulita-bala-dhāmānamThe usage atulita-bala-dhāmaṃ can be justified as a śiṣta-prayoga(usage by a cultured or learned person) or an ārṣa-prayoga (usage bya sage) or can be derived alternatively using a different set of rules27 In both interpretations svarṇa-śaila is parsed as svarṇasya śailaḥ
svarṇaśailaḥ sumeruḥ and svarṇa-śailābha-deham as svarṇa-śailābhaḥdehaḥ yasya saḥ svarṇa-śailābha-dehaḥ taṃ svarṇa-śailābha-dehamThe difference is in the parsing of the compound svarṇa-śailābha Inthe first interpretation it is parsed as svarṇa-śailasya ābhā iva ābhāyasya saḥ (meaning lsquohe whose resplendence is like that of Sumerursquo)while in the second it is parsed as svarṇa-śailasya ābhā yasmāt saḥ(meaning lsquohe from whom Sumeru gets its resplendencersquo)28 In the first interpretation the word danuja-vana is taken asa metaphorical compound (rūpaka samāsa) parsed as danujāḥ evavanam danuja-vanam meaning lsquothe forest in the form of demonsrsquo Inthe second interpretation it is taken as a dependent determinativecompound (tatpuruṣa samāsa) in the genitive case (ṣaṣṭhī vibhakti)parsed as danujānām vanam danuja-vanam meaning lsquothe forest of thedemonsrsquo29 In Sanskrit an elliptic compound is called a madhyama-pada-
lopī samāsa while a dependent determinative compound is calleda tatpuruṣa samāsa (as mentioned in note 21) In this interpretationthe dependent determinative compound is in the instrumental case(tṛtīyā vibhakti)30 As mentioned in note 21 an appositional determinativecompound is called a karmadhāraya samāsa in Sanskrit31 This figure of speech where the same word stands for multiplemeanings simultaneously is called śleṣa in Sanskrit It is analogousto pun in English32 As per the Purāṇa‑s there are seven heavenly worldsmdash
Bhūr Bhuvas Svar Mahas Janas Tapas and Satya and
165
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Notes Appendices
seven netherworldsmdashAtala Sutala Vitala Gabhistamāna MahātalaRasātala and Pātāla Together they comprise the fourteen worlds33 The reference is to the second half of the concluding dohā rāma
lakhana sītā sahita hṛdaya basahu sura-bhūpa See page 155 for thecommentary34 Exocentric compounds are known as bahuvrīhi samāsa‑s in
Sanskrit35 In this case the compound is parsed in Sanskrit as raghuvarasya
vimalaṃ yaśo yena In Sanskrit this type of compound is knownas a karmadhāraya-garbha-bahuvrīhi translated as lsquoan exocentriccompound containing an appositional determinative compoundrsquo36 See pages 138ndash139 for a brief explanation37 The reference is to the followers of Ādi Śaṅkara who profess
the unqualified nature of Brahman They believe in four meansof attaining jntildeāna which aremdashnityānitya-vastu-viveka (discerningknowledge of perpetual and transient subjects) ihāmutrārtha-bhoga-virāga (indifference to enjoyment of prosperity in this world andthe next) śama-damādi-sādhana-sampat (sixfold wealth of meansincluding mental tranquillity control of external senses physicalendurance faith concentration of mind and cessation of distractiveactivities) and mumukṣutva (eagerness for liberation) The essenceis that the fame of Lord Rāma benefits even those who desire jntildeānamore than bhakti38 As per Hindu philosophy buddhi is the faculty of discrimination
Along with themanas (mind) which wishes the citta (memory) whichrecollects and the ahaṅkāra (ego) which identifies with the Ātman(Self) buddhi is a part of the fourfold internal organ (antaḥkaraṇa-catuṣṭaya)39 Note that the word in the first line is the pure Sanskrit form
buddhi whereas that in the second line is the derived or tadbhavaform budhi The only difference is prosodic The Sanskrit wordbuddhi is a trikala (having three metrical instants) while the derivedform budhi is a dvikala (having two metrical instants) The words
166
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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ii
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Appendices Notes
have the same meaning but their temporal lengths are different Thisneeds to be taken care of when rhythmically reciting or musicallyrendering the Hanumān-Cālīsā40 Sattva (quality of purity) rajas (quality of passion) and tamas(quality of ignorance) are the three qualities (guṇa‑s) of nature as perHindu philosophy41 The word is derived from the root pūntilde pavane (DP 1482) usingthe rule kṛtyalyuṭo bahulam (PS 33113) by which the suffix lyuṭ canbe ordained optionally in the sense of an agent42 See also the sixth verse in the introduction of the Hitopadeśa
vidyā dadāti vinayaṃ vinayādyāti pātratām pātratvāddhanamāpnotidhanāddharmaṃ tataḥ sukham Translation lsquoLearning giveshumility from humility one attains worthiness from worthiness oneobtains wealth from wealth [one gets] good merit and from that[one obtains] blissrsquo43 Mahādeva literally lsquothe great deityrsquo is a popular name of Śiva44 The word is cited in a vārttika (supplementary rule) byKātyāyana on the sūtra (aphorism) 2169 in Pāṇinirsquos Aṣṭādhyāyī(literally lsquoset of eight chaptersrsquo) the standard Sanskrit grammarwork containing nearly four thousand mathematical rules whichdescribe Sanskritrsquos formal structure Patantildejalirsquos Mahābhāṣya(literally lsquothe great commentaryrsquo) explains the word as śākabhojīpārthivaḥ or lsquoa king whose nature is to eat vegetable foodrsquo BhaṭṭojīDīkṣitarsquos Vaiyākaraṇa-siddhānta-kaumudī (literally lsquothe illuminator ofgrammatical principlesrsquo) gives the meaning as śākapriyaḥ pārthivaḥ orlsquoa king to whom vegetable food is dearrsquo45 The word māṃsa in Sanskrit can mean either animal meat orthe fleshy part (pulp) of fruits In the context of na māṃsaṃ rāghavobhuṅkte (VR 53641) it means animal flesh and the statement meanslsquoRāma never eats fleshrsquo Wherever there is reference to Lord Rāmataking māṃsa in scriptures (eg Lord Rāma asking Lakṣmaṇa to getaiṇeyaṃ māṃsam in VR 25622) the second meaning (fruit pulp)is to be understood This is because Lord Rāma lived without meat
167
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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ProsodyIn this appendix verses of the Hanumān-Cālīsā are cited using asimple notation ID followed by the number 1 or 2 refers to thecorresponding invocatory dohā C followed by a number from1 to 40 refers to the corresponding caupāī and CD refers to theconcluding dohā
SyllablesIn Prakrit and Sanskrit poetry the basic prosodic unit is avarṇa or a syllable which is a sound consisting of a singlevowel This vowel can optionally be preceded by one ormore consonants and can optionally be followed by a terminalconsonant (at the end of the hemistich or verse) or a vowelmodifier Vowel modifiers include the anusvāra (pure nasalsound) the anunāsika (nasalization of the vowel) and thevisarga (aspiration of the vowel)Some examples of a prosodic varṇa from theHanumān-Cālīsā
follow below There is no prosodic varṇa ending in a terminalconsonant or the visarga in the Hanumān-Cālīsā However suchvarṇa‑s are found in other works of Gosvāmī Tulasīdāsa
1 A solitary vowel like a in amiddottumiddotlimiddotta (C2) ā in āmiddottumiddotra (C7)i in semiddoti (C35) ī in jāmiddotī (C34) u in umiddotra (C11) ū in jamiddotnemiddotū(C5) and e in bhamiddote (C17)
2 A consonant followed by a vowel like ra in ramiddotja (ID1) sāin sāmiddotgamiddotra (C1) ti in kumiddotmamiddotti (C3) nī in gumiddotnī (C7) su in
ii
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
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Appendices Musical Notation
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Musical Notation Appendices
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Prosody Appendices
amiddotsumiddotra (C10) nū in bhāmiddotnū (C18) hṛ in hṛdaya (CD) rein paimiddotsāmiddotre (C21) vai in pāmiddotvai (C33) ko in komiddotī (C38)and gau in gaumiddotrīmiddotsā (C39)
3 Two or three consonants followed by a vowel likekra in bimiddotkramiddotma (C3) nhā in kīmiddotnhā (C16) ddhi inbumiddotddhi (ID2) śrī in śrīmiddotgumiddotru (ID1) lyo in līmiddotlyo (C18)kṣma in sūmiddotkṣma (C9) ndra in rāmiddotmamiddotcamiddotndra (C10)and ntra in mamiddotntra (C17) A group of two or moreconsonants without any vowel in between is called aconjunct consonant (saṃyukta vyantildejana in Sanskrit)
4 A vowel followed by the anusvāra or the anunāsika likeyaṃ in svamiddotyaṃ (C6) ha in mamiddotha (C40) hā in kamiddothā(C15) hi in lamiddothamiddothi (C22) hī in nāmiddothī (C19) hu in timiddothu(C1) te (C26) kai in samiddotkai (C15) and ro in cāmiddotro (C29)
Short and long syllablesBased on the time taken for its pronunciation a varṇa is eitherlaghu or guru The prosodic unit to measure the pronunciationtime of syllables is the mātrā or the kalā often translated aslsquosyllabic instantrsquo or simply lsquoinstantrsquo A laghu (short or light)syllable has one mātrā and a guru (long or heavy) syllable hastwo mātrā‑s Knowing if a syllable is short or long is necessaryfor the correct pronunciation of a poetic work especially ifit is being rhythmically recited or musically rendered If asingle short syllable is stretched or if a single long syllable isshortened the rhythm of the metre breaks down For example
186
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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SAMPLE
Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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SAMPLE
Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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Appendices Musical Notation
201
ii
ii
ii
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
ii
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ii
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
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ii
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ii
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ii
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ii
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ii
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
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SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
ii
ii
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ii
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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ii
SAMPLE
Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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SAMPLE
Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
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ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
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ii
SAMPLE
Appendices Musical Notation
201
ii
ii
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SAMPLE
Musical Notation Appendices
202
ii
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SAMPLE
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
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ii
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SAMPLE
ii
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SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
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SAMPLE
ii
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ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Appendices Prosody
Prosodic mapThis edition of the Hanumān-Cālīsā consists of 1043 syllablesout of which 662 are short and 381 are long They add upto 1424 metrical instants (662times1 + 381times2) across threedohā‑s and forty caupāī‑s (3times48 + 40times32) The prosodicmap that follows gives the length (short or long) of all the1043 syllables of this edition of the cālīsā and can serve asa rhythm guide for reciters singers and instrumentalists Asin the previous section a short syllable is denoted by the brevesign () and a long syllable by the macron sign (ndash) Followingmodern conventions syllables which are originally short buthave become long on account of being followed by a conjunctare shown with all but the last consonant of the followingconjunct
ndash ndash ID1 śrī gu ru ca ra na sa ro ja ra ja ndash ni ja ma na mu ku ra su dhā ri ba ra na u ra ghu ba ra bi ma la ja sandash ndash ndash jo dā ya ka pha la cā rindash ndash ndash ndashID2 bud dhi hī na ta nu jā ni kai ndash su mi ra u pa va na ku mā ra ndash ndash ndash ba la bu dhi bid yā de hu mo hi ndash ndash ha ra hu ka le śa bi kā ra ndash ndash ndash C1 ja ya ha nu mā na jntildeā na gu ṇa sā ga ra ndash ndash ndash ja ya ka pī śa ti hu lo ka u jā ga ra
193
ii
ii
ii
ii
SAMPLE
Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
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Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
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SAMPLE
Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
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SAMPLE
Appendices Musical Notation
201
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
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Prosody Appendices
ndash ndash ndash ndashC2 rā ma dū ta a tu li ta ba la dhā māndash ndash ndash ndashantilde ja ni put ra pa va na su ta nā mā ndash ndash ndash ndash ndashC3 ma hā bī ra bik ra ma ba ja raṅ gī ndash ndash ndash ndashku ma ti ni vā ra su ma ti ke saṅ gīndash ndash ndash ndashC4 kantilde ca na ba ra na bi rā ja su be sāndash ndash ndash ndash ndashkā na na kuṇ ḍa la kuntilde ci ta ke sāndash ndash ndash ndash ndashC5 hā tha baj ra a ru dhva jā bi rā jaindash ndash ndash ndash ndash ndash ndashkā dhe mū ja ja ne ū chā jaindash ndash ndash ndash ndash C6 śaṅ ka ra sva yaṃ ke sa rī nan da nandash ndash ndash ndash te ja pra tā pa ma hā ja ga ban da nandash ndash ndash ndash ndash C7 bid yā vā na gu nī a ti cā tu randash ndash ndash ndash ndash rā ma kā ja ka ri be ko ā tu ra ndash ndash ndash ndashC8 pra bhu ca rit ra su ni be ko ra si yāndash ndash ndash ndashrā ma la kha na sī tā ma na ba si yāndash ndash ndash ndashC9 sū kṣma rū pa dha ri si ya hi di khā vā ndash ndash ndash ndashbi ka ṭa rū pa dha ri laṅ ka ja rā vāndash ndash ndash ndashC10 bhī ma rū pa dha ri a su ra sa hā rendash ndash ndash ndash ndash ndashrā ma cand ra ke kā ja sa vā rendash ndash ndash ndashC11 lā ya sa jī va ni la kha na ji yā yendash ndash ndash ndashśrī ra ghu bī ra ha ra ṣi u ra lā ye ndash ndash ndash ndashC12 ra ghu pa ti kī nhī ba hu ta ba ḏā ī ndash ndashtu ma ma ma pri ya bha ra ta hi sa ma bhā ī ndash ndash ndashC13 sa ha sa ba da na tu mha ro ja sa gā vai ndash ndash ndash ndasha sa ka hi śrī pa ti kaṇ ṭha la gā vai
194
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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SAMPLE
Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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SAMPLE
Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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ii
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
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Musical Notation Appendices
202
ii
ii
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ii
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ii
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ii
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
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ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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ii
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ii
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ii
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
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Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
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MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
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SAMPLE
Appendices Prosody
ndash ndash ndash ndash ndashC14 sa na kā di ka brah mā di mu nī śāndash ndash ndash ndashnā ra da sā ra da sa hi ta a hī śā ndash ndash ndash ndashC15 ja ma ku be ra di ga pā la ja hā te ndash ndash ndash ndashka bi ko bi da ka hi sa kai ka hā te ndash ndash ndash ndashC16 tu ma u pa kā ra su grī va hi kī nhāndash ndash ndash ndash ndashrā ma mi lā ya rā ja pa da dī nhā ndash ndash ndash ndash ndashC17 tu mha ro mant ra bi bhī ṣa na mā nāndash ndash ndash ndashlaṅ ke śva ra bha e sa ba ja ga jā nā ndash ndash ndash ndashC18 ju ga sa has ra jo ja na pa ra bhā nūndash ndash ndash ndash ndashlī lyo tā hi ma dhu ra pha la jā nū ndash ndash ndash ndash ndashC19 pra bhumud ri kā me li mu kha mā hī ndash ndash ndashja la dhi lā ghi ga ye a ca ra ja nā hī ndash ndash ndash ndash ndashC20 dur ga ma kā ja ja ga ta ke je te ndash ndash ndash ndashsu ga ma a nug ra ha tu mha re te tendash ndash ndash ndash ndashC21 rā ma du ā re tu ma ra kha vā rendash ndash ndash ndash ndash ndashho ta na ā jntildeā bi nu pai sā re ndash ndash ndashC22 sa ba su kha la ha hi tu mhā rī śa ra nā ndash ndash ndash ndash ndashtu ma rak ṣa ka kā hū ko ḍa ra nāndash ndash ndash ndash ndash ndashC23 ā pa na te ja sa mhā ro ā pendash ndash ndash ndash ndash ndash ndashtī nau lo ka hā ka te kā pendash ndash ndash ndashC24 bhū ta pi śā ca ni ka ṭa na hi ā vai ndash ndash ndash ndash ndashma hā bī ra ja ba nā ma su nā vai
195
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Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
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Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
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Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
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ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
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Musical Notation Appendices
202
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Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
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SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
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Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
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SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
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SAMPLE
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ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Prosody Appendices
ndash ndash ndash ndash ndash ndashC25 nā sai ro ga ha rai sa ba pī rā ndash ndash ndashja pa ta ni ran ta ra ha nu ma ta bī rāndash ndash ndash ndash ndashC26 saṅ ka ṭa te ha nu mā na chu ḏā vai ndash ndash ndash ndashma na kra ma ba ca na dhyā na jo lā vai ndash ndash ndash ndashC27 sa ba pa ra rā ma rā ya si ra tā jā ndash ndash ndash ndashti na ke kā ja sa ka la tu ma sā jāndash ndash ndash ndash ndashC28 au ra ma no ra tha jo ko i lā vaindash ndash ndash ndashtā su a mi ta jī va na pha la pā vaindash ndash ndash ndash ndashC29 cā ro ju ga pa ra tā pa tu mhā rāndash ndash ndash ndashhai pa ra sid dha ja ga ta u ji yā rāndash ndash ndash ndash ndashC30 sā dhu san ta ke tu ma ra kha vā re ndash ndash ndash ndasha su ra ni kan da na rā ma du lā rendash ndash ndash ndash ndashC31 aṣ ṭa sid dhi na va ni dhi ke dā tā ndash ndash ndash ndash ndasha sa ba ra dī nha jā na kī mā tāndash ndash ndash ndash ndashC32 rā ma ra sā ya na tu mha re pā sāndash ndash ndash ndash ndashsā da ra ho ra ghu pa ti ke dā sā ndash ndash ndash ndash ndashC33 tu mha re bha ja na rā ma ko pā vai ndash ndash ndashja na ma ja na ma ke du kha bi sa rā vaindash ndash ndash ndashC34 an ta kā la ra ghu ba ra pu ra jā ī ndash ndash ndash ndash ndashja hā jan ma ha ri bhak ta ka hā īndash ndash ndash ndash ndashC35 au ra de va tā cit ta na dha ra ī ndash ndash ndashha nu ma ta se i sar va su kha ka ra īndash ndash ndash ndash ndashC36 saṅ ka ṭa ka ṭai mi ṭai sa ba pī rāndash ndash ndash ndashjo su mi rai ha nu ma ta ba la bī rā
196
ii
ii
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ii
SAMPLE
Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Appendices Prosody
ndash ndash ndashC37 ja ya ja ya ja ya ha nu mā na gu sā ī ndash ndash ndash ndashkṛ pā ka ra hu gu ru de va kī nā ī ndash ndash ndash ndash ndashC38 jo śa ta bā ra pā ṭha ka ra ko īndash ndash ndash ndash ndashchū ṭa hi ban di ma hā su kha ho īndash ndash ndash ndashC39 jo ya ha pa ḏhai ha nu mā na ca lī sāndash ndash ndash ndash ndash ndash ndashho ya sid dhi sā khī gau rī sā ndash ndash ndash ndash ndashC40 tu la sī dā sa sa dā ha ri ce rāndash ndash ndash ndash ndashkī jai nā tha hṛ da ya ma ha ḍe rā ndash CD pa va na ta na ya saṅ ka ṭa ha ra ṇandash ndash ndash maṅ ga la mū ra ti rū pandash ndash ndash rā ma la kha na sī tā sa hi ta ndash hṛ da ya ba sa hu su ra bhū pa
197
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Musical notationThe Hanumān-Cālīsā enjoys a special place in the classical folkand popular music traditions of India It has been renderedby many singers and instrumentalists in various melodies andrhythms The following musical notation of the Hanumān-Cālīsā is based on traditional melodies which have been usedin three popular renditionsmdash
1 Murli Manohar Swaroop (composer) Hari Om SharanPradeep Chatarjee Surinder Kohli and Amber Kumar(singers) (1974) ldquoShri Hanuman Chalisardquo Shri HanumanChalisa Hari Om Sharan The Gramophone Company ofIndia Limited S7LPE 4010 LP
2 Chander Lalit Sen (composers) Hariharan (singer)Gulshan Kumar (artiste) (1992) ldquoShree HanumanChalisardquo Shree Hanuman Chalisa (Hanuman Ashtak)Super Cassettes Industries Private Limited Music video
3 Hari Om Sharan (composer and singer) (1995) ldquoShreeHanuman Chalisardquo Shree Hanuman Chalisa (Jai Jai ShreeHanuman) Super Cassettes Industries Limited Audio CD
The melodies have been modified at some places to conformto the rhythm of the dohā and caupāī metres and to the textof the cālīsā as commented upon in the Mahāvīrī Along withthe staff notation the notes have been shown in Devanagarialso so that learners of both Western and Hindustani classical
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
music can easily follow the notation Following Bhatkhandersquossvaralipi flat notes (komala svara‑s) are shown by a line belowthe Devanagari representation of the note The sharp note tīvrama (F♯) is not used in the composition The octave (saptaka)is not shown in the Devanagari notation due to typesettingconstraintsThe composition is in the miśra khamāja rāga with the
second of the set of two black keys (kālī do) of the harmoniumtaken as the base note sā (as done in the renditions by HariOm Sharan) The same key (kālī do) is mapped to the basenote (middle C) of the C major scale in accordance withmusicological conventions for Hindustani classical musicAs each half of a caupāī has sixteen mātrā‑s (instants) with
a minor pause after the eighth instant the melody is bestaccompanied by an eight-mātrā rhythm like the kaharavā tālaor the bhajanī tāla For this reason a time signature with eightbeats per bar is used for the caupāī‑sHappy singing and playing
200
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Appendices Musical Notation
201
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Musical Notation Appendices
202
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Hemistich indexThis index lists all the eighty-six half-verses (six dala‑s and eightyardhālī‑s) of the Hanumān-Cālīsā The verse numbers along with thedala or ardhālī numbers are shown in parentheses For the versenumber the abbreviation ID followed by the number 1 or 2 refersto the corresponding invocatory dohā the abbreviation C followedby a number from 1 to 40 refers to the corresponding caupāī andthe abbreviation CD refers to the concluding dohā For the dala orardhālī number D1 and D2 respectively mean the first and seconddala‑s of a dohā while A1 and A2 respectively mean the first andsecond ardhālī‑s of a caupāī The page number for the explanation ofthe verse in the Mahāvīrī is shown at the extreme right
Aantildejaniputra-pavanasuta-nāmā (C2 A2) 50anta-kāla raghubara-pura jāī (C34 A1) 142āpana teja samhāro āpe (C23 A1) 118asa bara dīnha jānakī mātā (C31 A2) 135asa kahi śrīpati kaṇṭha lagāvai (C13 A2) 89aṣṭa siddhi nava nidhi ke dātā (C31 A1) 135asura-nikandana rāma-dulāre (C30 A2) 133aura devatā citta na dharaī (C35 A1) 144aura manoratha jo koi lāvai (C28 A1) 128
Bbala budhi bidyā dehu mohi harahu kaleśa bikāra (ID2 D2) 42baranarsquou raghubara-bimala-jasa jo dāyaka phala cāri (ID1 D2) 36bhīma rūpa dhari asura sahāre (C10 A1) 79bhūta piśāca nikaṭa nahi āvai (C24 A1) 121bidyāvāna gunī ati-cātura (C7 A1) 69bikaṭa rūpa dhari laṅka jarāvā (C9 A2) 76buddhi-hīna tanu jānikai sumirau pavanakumāra (ID2 D1) 42
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Hemistich index Appendices
Ccāro juga paratāpa tumhārā (C29 A1) 129chūṭahi bandi mahā-sukha hoī (C38 A2) 150
Ddurgama kāja jagata ke je te (C20 A1) 108
Hhai parasiddha jagata-ujiyārā (C29 A2) 129hanumata sei sarva sukha karaī (C35 A2) 144hātha bajra aru dhvajā birājai (C5 A1) 63hota na ājntildeā binu paisāre (C21 A2) 110hoya siddhi sākhī gaurīsā (C39 A2) 152
Jjahā janma hari-bhakta kahāī (C34 A2) 142jaladhi lāghi gaye acaraja nāhī (C19 A2) 106jama kubera digapāla jahā te (C15 A1) 93janama janama ke dukha bisarāvai (C33 A2) 140japata nirantara hanumata bīrā (C25 A2) 123jaya hanumāna jntildeāna-guṇa-sāgara (C1 A1) 46jaya jaya jaya hanumāna gusāī (C37 A1) 148jaya kapīśa tihu loka ujāgara (C1 A2) 46jo śata bāra pāṭha kara koī (C38 A1) 150jo sumirai hanumata balabīrā (C36 A2) 146jo yaha paḏhai hanumāna-calīsā (C39 A1) 152juga sahasra jojana para bhānū (C18 A1) 101
Kkabi kobida kahi sakai kahā te (C15 A2) 93kādhe mūja-janeū chājai (C5 A2) 63kānana kuṇḍala kuntildecita kesā (C4 A2) 60kantildecana-barana birāja subesā (C4 A1) 60
214
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Word indexThis index lists all the words used in theHanumān-Cālīsā The numberon the right shows the page number(s) corresponding to the meaningof the word and the explanation of the corresponding verse(s) inthe Mahāvīrī Long compounds like raghubara-bimala-jasa andraghubara-pura have been split for ease of lookup Exceptions arecompounds used as appellations like raghubara and pavanatanayawhich have not been split
Aacaraja 106ahīśā 91ājntildeā 110amita 128antildejaniputra 50anta 142anugraha 108āpana 118āpe 118aru 63asa 89 135aṣṭa 135asura 79 133ati 69atulita 50ātura 69aura 128 144āvai 121
Bbacana 124baḏāī 87
bahuta 87bajaraṅgī 54bajra 63bala 42 50balabīrā 146bandana 65bandi 150bara 135bāra 150barana 60baranarsquou 36basahu 155basiyā 73bhae 98bhāī 87bhajana 140bhakta 142bhānū 101bharatahi 87bhīma 79bhūpa 155bhūta 121
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
Word index Appendices
bibhīṣana 98bidyā 42bidyāvāna 69bikāra 42bikaṭa 76bikrama 54bimala 36binu 110bīrā 123birāja 60birājai 63bisarāvai 140brahmādi 91buddhi 42budhi 42
Ccalīsā 152carana 36cāri 36caritra 73cāro 129cātura 69cerā 153chājai 63chuḏāvai 124chūṭahi 150citta 144
Dḍara 116dāsā 138dātā 135
dāyaka 36dehu 42ḍerā 153devatā 144dhāmā 50dharaī 144dhari 76 79dhvajā 63dhyāna 124digapāla 93dikhāvā 76dīnha 135dīnhā 95duāre 110dukha 140dulāre 133durgama 108dūta 50
Ggaurīsā 152gāvai 89gaye 106guṇa 46gunī 69gurudeva 148gusāī 148
Hhai 129hāka 118hanumāna 46 124 148 152hanumata 123 144 146
218
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
SAMPLE
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-
ii
ii
ii
ii
MahāvīrīHanumān-Cālīsā Demystified
Translated expanded and annotated byNityānanda Miśra
With a foreword by Dr Karan Singh
MahāvīrīHanumān-CālīsāDemystified
NITYĀNANDAMIŚRA
The Mahāvīrī is a Hindi commentary on the Hanumān-Cālīsā authored byPadma Vibhushan Jagadguru Rāmānandācārya Svāmī RāmabhadrācāryaAlthough without eyesight since infancy the Guru holds PhD and DLittdegrees in Sanskrit speaks 22 languages and has authored over 100 books
Nityānanda Miśra works as a quant in the investment banking industryin Mumbai He studied management at IIM Bangalore Now at Citigrouphe has previously worked at Goldman Sachs and Morgan Stanley
lsquolsquoInspired in equal measure by profound devotion and immense knowledgethe Mahāvīrī commentary on the beloved and revered Hanumān-Cālīsā will bewelcomed by the many devoted reciters of this praise-poem who would like toexplore its deeper meanings Buttressing his insights with numerous citationsof authoritative Sanskrit texts and the principal writings of Tulasīdāsa SvāmīRāmabhadrācārya both situates the cālīsā in the ancient Hindu literary traditionand also shows it to contain a veritable distillation or essence of the RāmayaṇaKathā Nityānanda Miśrarsquos careful English translation scholarly yet readablewill make these insights accessible to a broader audiencersquorsquo
mdashPhilip Lutgendorf Professor of Hindi University of IowaTranslator Tulsidas The Epic of Ram (7 vols MCLI forthcoming)
lsquolsquoMy love and blessings to Nityānanda Miśra for this effortrsquorsquomdashSri Sri Ravi Shankar spiritual leader and humanitarian
lsquolsquoOne of the very few books which have inspired me to make positive changesin lifestyle Gives a new dimension to the world of devotion A must-readrsquorsquo
mdashPadma Shri Anup Jalota lsquoBhajan Samratrsquo
`299 US $995ISBN 978-81-931144-0-7
9 788193 114407
Niraamaya Publishinghttpwwwnpsbookscom
- Front cover13
- Title page13
- Dedication13
- Transliteration Key13
- Abbreviations13
- Contents13
- Foreword13
- Preface13
- Mahāvīrī13
-
- The Mahāvīrī13
-
- Invocatory 13dohā‑s
-
- Appendices13
-
- Notes13
- Prosody13
- Musical notation13
- Hemistich index13
- Word index13
-
- Back cover13
-