I:
3-7 Gitamrtam.Sans.&Engl. Text and Notes
AT AaE|nmaEBgvtE vas¤dEvay tEjsE .
b#'am¦trsanÓd½£g¤âÇyaE¢traE¢m¢t
.. 3 ..
p#NvaEmab#'¢vïa ADInar£Sãpt: .
Am¥tI:Þvp#kaS| yt¯ ½£g¤âÇyaE¢traE¢m¢t .. 4 ..
èÜyjÓm¢ÞT¢tlya: BasÓtE
yæO mayya .
A¹Wtam¦tãp| yt¯ ½£g¤âÇyaE¢traE¢m¢t .. 5..
p¥NaIKÎfsdanÓdp#Ïyg¹yãpt: .
åOanam¦tsm¤d#aÁy½£g¤âÇyaE¢traE¢m¢t .. 6 ..
¢nÞæOªg¤ÎyÞvãpEN g¤Ng#:svIk]Åc yt¯ .
yaEgam¦taÏmWÀysar| ½£g¤âÇyaE¢traE¢m¢t .. 7 ..
AT AaE¢m¢t . AaE|karàaT SÖdà ¹avEt¬ b#'N: p¤ra i¢t vcnat¯ ma|g¢lk¬ SÖd¬ .
m|gl| jnnmrNa¢n l¤na¢t ¢CÓdt£¢t . l¥
i¢t Æa¢vkrN Dat¤: CEdnaTI: la¢t
g¦ÿat£¢tva . svaIvakqÛyvharÞya¢p
svIkarNB¥tS¢³ãpÇyaE¢trEv b¦ht¯ b#' .
AparS¢³mt¯
ÇyaE¢t: gayæO£ S¢³mäOdaE| . AaE|kar ev
¢pta gayæO£ tt¯p#Ba mata
tÞmat¯
¢pt¦mat¦ãpEN ½£g¤ârEv BastE . Akar ukar mkarãpEN
BasmanE AaE|karE
ukarmkar AakarãpEN umaÁya uäOmaS¢³: parmEár£ BastE .
tÞmat¯
AaE¢mÏyEkmÓæOat¯
¢SvS¢³myat¯ g¢TtaEp¢nxdady: sØB¥ta: i¢t
b#'p#Nva¹WtåOanyaEgaÏmkp·am¦tmyaE ¢h
g£tam¦tmhaEd¢D: . At ev
g#ÓT¢vxya A¢p u³a Bv¢Ót p·aáasBEdt: .
Bgv¹as¤dEvtEjÞyEv
svI| p#¢t¢¿t| . vas¤dEvÞsvI¢m¢t
g£taE¢³r¢p svI| èÜy| na¢Þt vas¤dEvÞsvIæO
vs¢t smÞt|c vsÏyæO i¢t vas¤dEvaÏmk| tEj:
vs¤dEvaÁy¢vS¤¼sÏv ev
S¥¼aÓt:krN ev p#t£ytE Bgvan¯ vas¤dEv: ½£BagvtaE³: . sÏv| ¢vS¤¼|
vs¤dEvs|¢åOt| yd£ytE tæO p¤manpav¦t: i¢t . ¢k·
vas¤dEvanÓda i¢t
½£k]ÝNanÓd¢SÝya: AÞmé^âB¥ta: . up¢nxt¯b#'E|d#mZgt½£ramc|d#E|d#¢SÝya:
½£k]ÝNanÓda i¢t AÞmäOatpatg¤rv: gNp¢tAg#haÁyg#ammZE ¢s¢¼|gta:.
At:
g¤ânms¯¢@ya k]ta Bv¢t tt¯ÞmrNEnad¬ . prmanÓds|daEhaE vas¤dEvaE{hmaE¢m¢t .
Bgvan¯
vas¤dEv i¢t . Þva¢t¢r³Þva¢vïatt¯kayIp#p·BjIgÏvat¯
ÞvB¥t¢vÝN¤pdgm¢yt¦Ïvat¯
vrEÎyvrN£ySrNarqhÞvm¦tãpÏvat¯
BkargkarvkaraNa|
rhÞy|c BgvÅCÖdE ¢nâÅymanÏvat¯ . vas¤dEvÞsvI¢m¢t
An¤BvÞy
¢v¢S¾tya g£ta¢vDanaÅc .
AaE|
nmaE BgvtE vas¤dEvayE¢t ¹adSaXrmÓæOÞyaÔyad¬ ÞmrN|k]t|
Bv¢t .
¢k·
A¾aEäOrshÞa#mhavaÀyrÏnavÚyÓtE{¢p vas¤dEvEÓd#s|åO| t|
n¬¢m svaIÏmk| mh:
i¢t p¢ZtÏvaÅc . tt¯Þt¤¢tr¢p iÏT| èÜytE .
y: p¥ÇyaE y¢t¢B: ÞvDmI¢nrtW: Òyay¢Ót y| yaE¢gnaE
yEnaäO|
¢ngmaÓtvEïm¢nS| yÞmW h¢vd£IytE .
yÞmat¯
ÞTavrj|gm| smBvt¯ yÞya|SmaæOaE vr:
y¢Þmn¯ l£n¢md| p#N¬¢m stt| ½£vas¤dEv| g¤â| ..
i¢t jgta| svIlaEkanam¢p ek ev g¤â: jgÏp¢t:
p#a¢Nb¤¼£nam¢p p¢tr¢Dp¢tà . nmÜSÖdÞy
eEÀyvackÏvat¯ nmaE BgvtE i¢t
BgvdWÀymEvaÏmn:
p#¢tpaïtE . yTa Ah| b#'aÞm£¢t
mÓæOÞy b#'aEpnynkal
ev ¢v¢htaE Bv¢t . svaIrØBE{¢p
svIjgÏkarNB¥tp·b#'aÏmkdEvp#NvaEpa¢ÞtrEv
S¤²a|brDrEÏya¢d
mhamÓæOª¢vI¢hta Bv¢t .
ev|c ekmEv ¢ng¤IN| ÇyaE¢t: svaI¢BBvhEt¤k|
g£tam¦tmhaEd¢Ds|åO| AÓtÞT| AmEy|
ekam¦tmEv j¢ngÏya¢d Òv|skg¤Ng#asg¤v£I m¥¢tI:
jgé^ârEvWár| prm| tÏvmEv Aad¬
g¤âÇyaE¢tp·kE p·aáasam¦tmyE
iÏy¤³E: . p#NvaEmE¢t . etÞyWvÇyaE¢tx: Þvp#kaSktya ADInar£áraÏmk umap#Nv¬
pavIt£prmEár¬ vagTaI¢vv s|p¦³a¢v¢t ka¢ldasEna¢p
vrk¢vna p¢Zt¬ . At: s¢vSEx
b#'ãptya yѤ³| tdEv ¢n¢vISExprmaÏmkÇyaE¢t:
sg¤NE¢p ÛyapkÏvat¯ ÛyaÔyÛyapktaya:
¢mÐyaÏv¢s¼ÏvaÅc . ev| c b#'p#Nvam¦tÞy
ÇyaE¢tx: A¹WtãpÏvat¯ tæOªv jÓm¢ÞT¢t
B|ga:
rÇj¤spI iv èÜymana: l£ymanaà ma¢ykmEvE¢t gÎytE .
A¹WtaÏmÞvãptyavÞTanmEv
sa¢ÏvkåOan¢m¢t g£taSaÞæOE rhÞytya Þp#¤z£k]tÏvat¯
tæOªv
¢nÞæOªg¤ÎyÞvãpE mnaE¢nyaEjn| yaEg i¢t AæO AÓÏyaáasE ups|¶taE Bv¢t .
exWv svI¢vïE¢t A¢dtEn¤mÓyÞvE¢t tdn¤m¢t: p#aÐyItE . åOanaÂÓy¤pa¢Þtp#krNEÝv¢p
åOa¢nn: prmaÏmn: sa¢ÏvkåOanÞy A¢BtaE
gØymanÏvat¯ svIæOa¢p p¤raEga¢mÏv|
upcyItE . t¼avtaEÓyanÏyE¢t¢t¿t¯ i¢t ½¤tE: . ev|
g¤âÞmrNnm Aa¢d¢B: yÓmn:
Þva¢t¢r³vasna¢vrEcnEn
p¢væO£k]t| Bv¢t. tÞy saDnct¤¾ys|p°Þy AæO
A¢
n kÞya¢p g#ÓTE p#v¦¢äO: . g#ÓTÞy
¢vxy: AaÏmWÀyåOan| . etÞy p#¢tpaïÞy
p#¢tpadkÏvs|bÓD:
g#ÓTÞy . A¢Dka¢rp#aÔyEn A¹WtaÏmWÀyåOanPlEn yaEjkÏvs|bÓD:
g#ÓTÞy . At¹Yav¦äya baEÒybaEDkBavaE{¢p
kÚpn£yaE Bv¢t . g#ÓTÞy p·b#'aÏmkÏv|
AæO
¢nãÔytE . tTa¢p Am¦taEdDE:
AKÎfp¥NIÏvat¯ n ¢vBagarqha Bv¢t . ekÞyWvaEdDE:
¢nÞtr|gÞy
p·¢vDdSInmaæO| p#¢tpaïtE n BEd¢vvXya .
I-
3 to7:
These five verses are referred to as guru-pancakaM by the author. His guru
zri-vAsudevAnandAH is the object of this stuti. The author takes
every such opportunity to introduce the most abstruse advaita concepts.
Here is a poem of praise on the guru, with the refrain zri-gurur-jyotiro-miti
at the end of each zloka. The name vAsudeva itself sends the
author into rhapsodies and recollections like vAsudeva-ssarvam (from the
gItA) and satvam vizuddham vasudeva-saMJitaM (from the bhAgavataM) . The stuti itself begins with the twelve-lettered mantra
oM namo bhagavate vAsudevAya
. The stotra visualizes the guru as a five-fold nectar
(amRtaM) , namely, brahmAmRtaM,
praNavAmRtaM, advaitAmRtaM, JanAmRtaM and yogAmRtaM. These five nectars
constitute also this work which is gitAmrTaM and therefore it is called
the great ocean of the Gita-nectar. Thus the stuti already foretells the
five chapters constituting this work, the chapters getting the titles in terms
of the different nectars. Further the upAsanA of praNava which is
usually done at the beginning of any study is also indicated by the second
verse of this stuti. brahmAmRtaM is the
nectar that flows from the transcendental Absolute; it is nothing but the
nectar of the praNava itself, because the praNava is the symbol
for nirguNa-brahman. The Light of this Absolute is unique and non-dual
and therefore anything else that is observed is only an appearance. This
realisation is the nectar of JAna, which is the subject of the third
chapter. The fixing of the mind on this attributeless Absolute is what is
called yoga in the gItA and this is elaborated in the last
chapter of this work. To take the properly motivated reader and unite him with
the object of this work,. namely,
the realisation of the oneness of the Atman, is the plan of this work. Though
there are five chapters called by different names, they are all the same Ocean
of the same Effervescence and so no distinction may be made among the different
nectars constituting the gitAmRta-mahodadhiH.
Notation for Transliteration of Sanskrit
words in the Comments
Back to Titlepage Back to Links to Slokas of Chapter 1
Ó Copyright V. Krishnamurthy Dec.5, 2000. Revised
