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Pandit Ub.Ve Sri Rama Ramanuja Achari
srimatham.com
13:09:2013
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PARIS, FRANCE, November 12, 2003: The oral tradition of Vedic chanting has been
declared an intangible heritage of humanity by UNESCO. In a meeting of jury members on
November 7, 2003, at Paris, Mr. Koichiro Matsuura, Director-General of UNESCO, declared
the chanting of Vedas in India an outstanding example of heritage and form of cultural
expressions. The proclamation says that in the age of globalization and modernization when
cultural diversity is under pressure, the preservation of oral tradition of Vedic chanting, a
unique cultural heritage, has great significance.

The jury members included Dr. Richard Kurin, Director of the Center for Folklore and
Cultural Heritage of the Smithsonian Institution (United Nations), Mr. Juan Goytisolo, Writer
(Spain), Mr. Yoshikazu Hasegawa (Japan), Ms. Olive W.M. Lewin. Pianist,
ethno!usicologist, Director of the Jamaica Orchestra for Youth (Jamaica).

The UNESCO declaration will bring international recognition to the excellence of the Vedic
chanting tradition of India, which has survived for centuries encoding the wisdo! contained
in the Vedas through an extraordinary effort of memorization and through elaborately worked
out mnemonic methods. The purity and fail-safe technique devised for Vedic chanting in the
olden days led to access to one of the ancient literatures of humanity in its entirety today.

The Department of Culture, Ministry of Tourism and Culture, took the initiative to put up the
candidature of the Vedic chanting to UNESCO. A presentation was prepared by Indira
Gandhi National Centre for Arts. The Department has also prepared a five-year action plan to
safeguard, protect, pro!ote and disseminate the oral tradition of Vedas in terms of their
uniqueness and distinctiveness, encourage scholars and practitioners to preserve, revitalize
and pro!ote their own branch of Vedic recitation as the custodians of their own traditions
and direct the efforts primarily to making the tradition survive in its own context.


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he Veda is considered to be infinite [ananto vai ved!h] in the beginning of creation there
was only one Veda and the number of revealed texts was far greater than we could
imagine, during the course of time due to the diminishing intelligence of mankind as
well as declining in strength health and loss of faith, many texts were lost and the Veda that is
known today is a mere fraction of the original Veda.

Towards the close of the Dv"para Yuga, it is believed, the Lord manifested as the sage Veda
Vysa, who in order to save the Veda fro! extinction, re-edited the Veda dividing it into 4 units.
Each unit was assigned to different classes of brahmins so that it would be easier to preserve
them. These 4 books are known as the Rik, Yajur, Sma and Atharvana Vedas. Seeing that only
the first 3 orders of society had access to the Vedas this excluded over half the population which
consisted of women and Sdras fro! spiritual knowledge. It is for their benefit that the Holy
Sage compiled the Puras and the Itihsas [Rmyaa and Mahbhrata which is known as the
Fifth Veda].

Had it not been for the work of this great Rishi, humankind with its deteriorating intellectual
capacity would have forgotten this massive sacred heritage. Veda Vysa had 4 disciples and to
each of them he taught one Veda. Paila mastered the Rik veda, Jaimini the Sma Veda,
Vaiamp"yana the Yajur Veda and the Atharvana Veda was learnt by Sumantu. Ro!aharana was
entrusted with the duty of transmitting the Puras and Itih"sas.

The Vedas transmitted by these sages to their disciple and in turn by the latter to theirs resulted
in the Vedas becoming diversified into many branches or schools through the disciplic
succession.

Each of the Vedas is divided into Sahita, Brhmaa, Arayaka and Upaiad. The Sahita is
the text which comprises of hymns used in the sacrifices. The Brhmaas are the theological
treatises which deal with the sacrificial details and gives the interpretation of the ritual. The
Arayakas and the Upaiads deal with a variety of topics related mainly to cosmology and
philosophy.

In addition each Vedic school had its own Ghya Stra which dealt with the performances of the
domestic rites and sacraments and its own rauta stra which dealt with the public rituals and
sacrifices of national import.

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VEDIC CHANT
he Vedic Chant is the oldest form of psalmody known. Very strict and complex methods of
instruction have made it possible to preserve the ritual chant unchanged, despite thousands of
years of wars, conquests and social upheavals.
The Rig Veda is chanted on 3 notes, the Yajur Veda on up to 5 notes and the Sma Veda on 7 notes.
The Sma is the only chant that is considered really musical per se and as such is considered to be
inferior to the other two Vedas. Because of it's 'worldly' character it is often forbidden in certain
rituals. It is also prescribed that if the Sma Veda is heard while the other two are being recited then
the recitation should stop immediately and only continue after the Sma has terminated.
According to the Taittiriya Upaiad ik-vai there are 6 main factors that need to be taken into
consideration:

1. Vara pronunciation
Correct pronunciation of the letters of the alphabet.
Differentiation between short and long vowels.
Sandhi Anusvara () changes according to the letter that follows it.

When followed by changes to
ka kha ga gha a
ca cha ja jha a
a ha a ha a
ta tha da dha na n
pa pha ba bha ma m
Any vowel
sa a a ha ya ra gu
samyukta akara (combined letter) gg

Visarga () also changes
When followed by sa, a, a, the visarga changes into those letters.
When followed by a p it changes into pha

2. Svara notes
The sma veda uses 7 musical notes.
Chanting of the k, yajur and atharvana veda is done using 3 notes only.

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Udtta the raised note indicated in the text by a vertical stroke over the letter.

(a!)
Anudtta the lowered note indicated by a line under the letter.

(a")
Svarita the neutral drone which is not indicated in the text

(a)
Nigdha a deviant note which is based on the udtta and is like a double udtta
with the second being slight raised above the first. In the ka yajur veda it is usually
marked by double perpendicular stokes above the letter.
(a#)
The udtta changes into a nigdha in the following situations:
When a mantra ends in a long udtta
When a mantra ends in a anusvara which carries the udtta
When the udtta is followed by a samyuktkara (combined letter such as k, stha, tv,
r, etc.
3. Mtra duration
ardha half when a word ends in a halanta.
hrasva short (the short vowels a, i, u, & )
drgha long (, , , e, ai o & au sometimes indicated by the digit 2 after the letter in a
text)
pluta extra long indicated by the digit 3 after the syllable
!" | +"|
4. Balam emphasis
Alpa pra soft these are all the regular vowels and consonants.
Mah pra hard these are all the aspirated consonants also a and ha.
5. Sma continuity
One must ensure a continuity and smooth flow of the chanting.
6. Santna punctuation
One must pause at the appropriate places - commonly indicated by (|)
In addition a slight pause is required:
After chanting OM
When a word ends in a vowel and is followed by a vowel.
When a visarga () is followed by ka
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All the Vedic texts as well as in two Brhmaas Taittiriya [and its Arayaka] and the
atapatha Brhmaa [including the Bhadarayaka Upaiad] are marked with the accent
[svara].
The Vedic chant is based upon these accents or svaras and consists of basically 3 notes; The
chief tone is the Udtta [raised] the other two being the Svarita [drone] and the Anudtta
[low].
Textual Markings;
There are 4 different methods of marking the svaras in the texts. In the Rik, Yajur and
Atharva Vedas and the Taittiriya Sahita & Brhmana the svarita is not marked at all
because it is the middle pitch.

The preceding anudtta is marked by a horizontal stroke below the syllable, and the
following udtta is marked by a perpendicular stroke above the syllable, two perpendicular
strokes together mean that there is an elongated double raised sound -nigdha. In some texts
the udtta is marked by a crescent above the syllable, when this is done then the elongated
double sound is marked by a singular perpendicular line.
The place of the principle accent the svarita is governed by grammatical rules. A udtta
always follows an svarita and is called the 'enclitic udtta. When an svarita is lost due to an
euphonic combination [sandhi] of the vowel into the corresponding semi-vowel e.g. kva =
kua then the udtta is called the 'independent udtta.
When an independent udtta is placed immediately before an svarita then it is accompanied
by the numeral 1 if the vowel is short and by the numeral 3 if the vowel is long; the numeral
itself being marked with both the udtta and the anudtta.
In the Sma Veda the figures 1, 2, & 3 are written above the accented syllable to mark the
svarita, udtta, & anudtta respectively.
When there are 2 successive svarita then the second is not marked but the following udttas
has a 2r written above. The independent udtta is also marked with a 2r, and the preceding
anudtta is marked with a 3k.
A peculiar feature of the Vedic chant is that the anusvara changes to a GU before the
following letters; a, ha, sa, sa, & r.
Example; sahita = saguhita, ( - ^
pada sad = padagu sad ( - ^

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Vedic recitation has assumed two distinct forms that evolved to preserve its immutable
character: Prkti and Vikti with sub-forms.
The pda pha forms the basis of a number of special recitations known as 'vikriti' or
'crooked' recitations. The text is recited backwards or forwards or the successive words are
chanted in specific combinations. These were originally designed to prevent the student fro
forgetting even one letter of the text, however through the ages these mnemonic techniques
became an end in themselves.
Prkti
1. Sahita pha continuous recitation
~ : " ^ " ^+ ^^ ^
2. Pda pha word for word recitation 1/2/3/4/5
1 2 3 4 5 6 7 8
: "^ : " ^ + ^^ ^
$"%& v&"sya!m i"da' sarva"( yat kica jaga!ty&"( jaga!t
3. Krama pha words recited in pairs 1 2 / 2 3 / 3 4 / 5 6 / 7 8 /.......
1 + 2 2 + 3 3 + 4 4 + 5 5 + 6
$"%& v&"sya!m v&"sya!m i"da' i"dagu' sarva"( sarva"( yat yat kica

In the Prkti form the words do not change their sequence
Vikti
There are 8 traditional vikriti combinations which are;
ja; 1 2 2 1 1 2 / 2 3 3 2 2 3 / 3 4 4 3 3 4 / 4 5 5 4 4 5 / .........
ml; 1 2 / 2 1 / 1 2 / 2 3 / 3 2 / 2 3 / 3 4 / 4 3 / 3 4 / ........
ikh; 1 2 2 1 1 2 3 / 2 3 3 2 2 3 4 / 3 4 4 3 3 4 5 / 4 5 5 4 4 5 6 / ..........
rekh; 1 2 / 2 1 / 1 2 / 2 3 4 / 4 3 2 / 2 3 / 3 4 5 6 / 6 5 3 4 / 3 4 / 4 5 6 7 8 / 8 7 6 5 4 /
4 5 / 5 6 7 8 9 10 / 10 9 8 7 6 5 / 5 6 / ......
dhvaja; 1 2 / 99 100 / 2 3 / 98 99 / 3 4 / 97 98 / 4 5 / 97 98 / 5 6 / 96 97 / ....... 97 98 / 3
4 / 98 99 / 2 3 / 99 100 / 1 2 .
daa; 1 2 / 2 1 / 1 2 / 2 3 / 3 2 1 / 1 2 / 2 3 / 3 4 / 4 3 2 1 / 1 2 / 2 3 / 3 4 / 4 5 / 5 4 3 2
1 ................


8
.
ratha; 1 2 / 5 6 / 2 1 / 6 5 / 1 2 / 5 6 / 2 3 / 6 7 / 3 2 1 / 7 6 5 / 1 2 / 5 6 / 2 3 / 6 7 / 3 4
/ 7 8 / 4 3 2 1 / 8 7 6 5 /.....
ghana; 1 2 2 1 1 2 3 3 2 1 1 2 3 / 2 3 3 2 2 3 4 4 3 2 2 3 4 / 3 4 4 3 3 4 5 5 4 3 3 4 5 / ........


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In India today there are 3 distinctive styles of Vedic chant;
1. Maharra Brahmins
2. Tamil Brahmins
3. Nambudiri Brahmins of Kerala
The northern tradition is characterized by a preponderance of the Sukla Yajur Veda of the
Madhydina recension, The Rik Veda of the Sakala recension and Sma Veda of the
Kauthuma Ranayaniya recension and very little Atharva Veda.

The Southern tradition is characterized by the Ka Yajur Veda of the Taittiriya recension,
along with the Rik and Sma Vedas of the same school. Atharva Veda is non-existent in the
south.

In the Nambudiri tradition the Rik Veda belongs entirely to the Vskala recension
[Kauitaki]. The Yajur Veda is exclusively Taittiriya but the recitation differs fro that of the
Tamils. The Sma Veda belongs entirely to the Jaiminiya school which is not found
elsewhere.

MUDRAS

When teaching the method of chanting there are certain movements of the hands which are
designed to help the memory;

1. udtta - right hand to shoulder
anudtta - hand to knee
svarita - hand moved to 45 degree angle to the body

2. udtta - head up
anudtta - head down
svarita - head turned slightly to the side

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3. udtta - palm turned up
anudtta - palm down
svarita - hand moved horizontaly to the right

4. udtta - thumb on index finger
anudtta - thumb on little finger
svarita - thumb on ring finger




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Rhyme is not used in the Rig-veda.
The metres are regulated by the number of syllables akaras in the stanza (k), which
consists generally of 3 or four Pdas, measures, divisions, or quarter verses, with a distinctly
marked interval at the end of the second Pda, and so forming two semi-stanzas of varying
length.

The most common metres consist of 8, 9, 10, 11, 12, syllables (akaras) is each pda these
are known as anuubh, bhati, pakti, triup, jagati.

The anutubh is the prevailing form of metre in the Dharma-sastras, the Mahabharata, the
Ramayana, and all the Puranas.

The Pdas of a stanza are generally of equal length and of more or less corresponding
prosodial quantities: but sometimes two or more kinds of metre are employed in one stanza,
and then the Pdas vary in quantity and length.

Summary of the Metres
1. Astup, anuup or Anuubh: 4 Pdas of 8 akaras each, 2 Pdas forming a line.
Jayanti magal kali, bhadra kal kaplin |
durg iv kam dhtr, svh svadh namostu te ||

2. Tristup or Tristubh: = 4 Pdas of 11 akaras each.
gurn ahatv hi mahnubhvn
reyo bhoktu bhaikyam apha loke |
hatvrtha kms tu gurn ihaiva
bhujya bhogn rudhira-pradigdhn || 5 ||

3. Pakti: 5 Pdas of 8 akaras like Anuup with an additional Pda.
4. Gyatri: the stanza usually consists of 24 akaras, variously arranged, but generally as a triplet of 3
Pdas of 8 akaras each, or in one line of 16 akaras and a second line of 8.
o tatpuruya vidmahe |
mahdevya dhmahi |
tanno rudra pracodayt ||

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Brhati: 4 Pdas ( 8 + 8 + 12 + 8) containing 36 akaras in the stanza.
Jagati: 48 akaras arranged in 4 Pdas of 12 akaras each, 2 Pdas forming a line or hemistich.
Anuup Pipilikamadhya: a species of Anuup, having the second Pda shorter than the
first and third (8 akaras+ 4+8+ 8).
Anuub-garbha: a metre of the Usnih class: the first Pda containing 5 akaras, and the 3
following Pdas of 8 akaras each.
Nastarupi: a variety of Anuup.
Asti: consisting of 4 Pdas of 16 akaras each, or 64 akaras in the stanza.
Astrapaikti: consisting of 2 Pdas of 8 akaras each, followed by two Pdas of 12 akaras
each.
Atidhrti: 4 Pdas of 19 akaras each = 76 akaras.
Atincrti: consisting of 3 Pdas containing respectively seven, six, and seven akaras.
Atiakvari: 4 Pdas of 15 akaras each.
Atyasti: 4 Pdas of 17 akaras each.
Brhati: 4 Pdas ( 8 + 8 + 12 + 8) containing 36 akaras in the stanza.
Purastadbrhati: a variety of Brhati with twelve akaras in the first Pda.
Caturvimsatika Dvipda: a Dvipda containing 24 akaras instead of 20.
Dhrti: consisting of seventy-two akaras in a stanza.
Ekapda Tristup: a Trstup consisting of a single Pda or quarter stanza.
Ekapda Viraj: a Viraj consisting of a single Pda.
Gyatri: the stanza usually consists of 24 akaras, variously arranged, but generally as a
triplet of 3 Pdas of eight akaras each, or in one line of sixteen akaras and a second line of
eight.
There are eleven varieties of this metre, and the number of akaras in the stanza varies
accordingly fro nineteen to 33.
Dvipda Viraj: a species of Gyatri consisting of two Pdas only (12+8 or 10+10 akaras);
inadequately represented in the translation by two decasyllabic iambic lines.
Vardhamana: a species of Gayatri; 6 + 7 + 8 = 21 akaras.
Jagati: a metre consisting of 48 akaras arranged in 4 Pdas of twelve akaras each, two
Pdas forming a line or hemistich which in the translation is represented by a double
Alexandrine.
Atijagati: 4 Pdas of 13 akaras each.
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Kakup or Kakubh: a metre of 3 Pdas consisting of 8, 12, and 8 akaras respectively.
Kakubh Nyakusira; consisting of 3 Pdas of 9+12+4 akaras.
Krti: a metre of 4 Pdas. of 20 akaras each.
Madhyejyotis: a metre in which a Pda of 8 akaras stands between two Pdas of 12.
Mahibrhati: 4 Pdas of 8 akaras each, followed by one of 12.
Mahapdapakti: a 2-lined metre of 31 akaras, the first line consisting of 4 Pdas of five
akaras each, and the second being a Tristup of the usual eleven akaras.
Mah-pakti: a metre of forty-eight akaras 8 x 6 or 12 x 4.
Nyakusarini: a metre of 4 Pdas of 8 + 12 + 8 + 8 akaras.
Pdanicrt: a variety of Gayatri in which one syllable is wanting in each Pda: 7+3=21
akaras.
Pdapakti: a metre consisting of 5 Pdas of 5 akaras each.
Pakti: a metre of 5 Pdas of 8 akaras like Anuup with an additional Pda.
Paktyuttara: a metre which ends with a Pakti of 5 + 5 akaras.
Pipilikamadhya: any metre the middle Pda of which is shorter than the preceding and the
following.
Pragatha: a metre in Book VIII, consisting of strophes combining two verses, viz. a Brhati
or Kakup followed by a Satobrhati.
Prastarapakti: a metre of forty akaras: 12+12+8+8
Pratistha: a metre of 4 Pdas of 4 akaras each; also a variety of the Gyatri consisting of 3
Pdas of eight, seven, and six akaras respectively.
Pura-usnih: a metre of 3 Pdas, containing 12+8+8 akaras.
Sakvari: a metre of 4 Pdas of 14 akaras each.
Satobrhati: a metre whose even Pdas contain eight akaras each, and the uneven twelve:
12+8+12+8=40.
Mahasatobrhati: a lengthened form of Satobrhati.
Skandhogriva: consisting of Pdas of 8 + 12 + 8 + 8 akaras.
Tanusira: consisting of 3 Pdas of 11 + 11 + 6 akaras.
Abhisarini: a species of Trstup, in which two Pdas contain twelve instead of eleven akaras.
Uparistadbrhati: consisting of 4 Pdas of 12 + 8 + 8 + 8 akaras.
Uparistajjyotis: a Tristup stanza the last Pda of which contains only eight akaras.
Urdhvabrhati: a variety of Brhati.
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Urobrhati: a variety of Brhati: 8+12 8 + 8 akaras.
Usniggarbha: Gayatri of 3 Pdas of six, seven, and eleven akaras respectively.
Usnih: consisting of 3 Pdas of 8 + 8 + 12 akaras.
Viraj: a metre of 4 Pdas of ten akaras each.
Viparita: a metre of 4 Pdas resembling Vistarapakti.
Viradrupa: a Tristup metre of 4 Pdas, 11 + 11 + 11 + 7 or 8 akaras.
Viratpurva: a variety of Tristup.
Viratsthana: a variety of Tristup.
Visamapda: metre of uneven stanzas.
Vistarabrhati: a form of Brhati of 4 Pdas containing 8 + 10 + 10 + 8= 36 akaras.
Vistarapakti: a form of Pakti consisting of 4 pdas of 8+12+12+8-40 akaras.
Yavamadhya: a metre having a longer Pda between two shorter ones.


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(The traditional method of instruction is for the teacher to pronounce once and the
students to repeat twice)

o' | 1 |
o' nama! ) |
o' namo" nama!) |
o' namo" nama! o' |
o' namo" nama! o' o' |
o' namo" nama! o' o' nama! ) ||

m& | 2 |
m& a"ham |
m& a"ham - a"ham |
m& a"ham - a"ham m& |
m& a"ham - a"ha' m& m&! |
m& a"ham - a"ha' m& m&! - a"ha' |

mayi! | 3 |
mayi! me"dh&m |
mayi! me"dh&' me"dh&m |
mayi! me"dh&' me"dh&' mayi! |
mayi! me"dh&' me"dh&' mayi" mayi! |
mayi! me"dh&' me"dh&' mayi" mayi! me"dh&m ||

s*rya!) | 4 |
s*ryo" bhr&ja!) |
s*ryo" bhr&jo" bhr&ja!) |
s*ryo" bhr&jo" bhr&ja!s s*rya!) |
s*ryo" bhr&jo" bhr&ja!s s*rya"s s*rya!) |
s*ryo" bhr&jo" bhr&ja!s s*rya"s s*ryo" bhr&ja!) ||

a"ham | 5 |
a"ham - annam# |
a"ham - a"nnam - annam# |
a"ham - a"nnam anna!m - a"ham |
a"ham - a"nnam anna!m - a"ham - a"ham |
a"ham - a"nnam anna!m - a"ham - a"ham - annam# ||
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nama! ) | 6 |
nama!%-%i"v&ya! |
nama!%-%i"v&ya! %i"v&ya" |
nama!%-%i"v&ya! %i"v&ya" nama!) |
nama!%-%i"v&ya! %i"v&ya" namo" nama!) |
nama!%-%i"v&ya! %i"v&ya" namo" nama!%-%i"v&ya! ||

savi"tu) | 7 |
savi"tur vare#+yam |
sa"vi"tur vare#+ya"' vare#+yam |
sa"vi"tur vare#+ya"' vare#+yagu' savi"tu) |
sa"vi"tur vare#+ya"' vare#+yagu' savi"tus-savi"tu) |
sa"vi"tur vare#+ya"' vare#+yagu' savi"tus sa!vi"tur vare#+yam ||

a"ham | 8 |
a"ha' mana! ) |
a"ha' mano" mana!) |
a"ha' mano" mano! a"ham |
a"ha' mano" mano! a"ham - a"ham |
a"ha' mano" mano! a"ham - a"ha' mana! ) ||

o,a!dhaya) | 9 |
o,a!dhaya"s-sam |
o,a!dhaya"s-sagu' sam |
o,a!dhaya"s-sagu' sam - o,a!dhaya) |
o,a!dhaya"s-sagu' sam - o,a!dhaya" o,a!dhaya) |
o,a!dhaya"s-sagu' sam - o,a!dhaya" o,a!dhaya"s sam ||

bhr&ja!) | 10 |
bhr&jo! dadh&tu |
bhr&jo! dadh&tu dadh&tu |
bhr&jo! dadh&tu dadh&tu bhr&ja!) |
bhr&jo! dadh&tu dadh&tu bhr&jo" bhr&ja!) |
bhr&jo! dadh&tu dadh&tu bhr&jo" bhr&jo! dadh&tu ||

a"ham |11|
a"ha' pr&"+am# |
a"ha' pr&"+a' pr&"+am# |
a"ha' pr&"+a' pr&"+am - a"ham |
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a"ha' pr&"+a' pr&"+am - a"ham - a"ham |
a"ha' pr&"+a' pr&"+am - a"ham - a"ha' pr&"+am# ||

mayi" | 12 |
mayi" s*rya!) |
mayi" s*rya"s-s*rya!) |
mayi" s*rya"s-s*ryo! mayi! |
mayi" s*rya"s-s*ryo! mayi! mayi! |
mayi" s*rya"s-s*ryo! mayi! mayi" s*rya!) ||

ca" | 13 |
ca" nama!) |
ca" namo" nama!) |
ca" namo" nama!%ca |
ca" namo" nama!%ca ca |
ca" namo" nama!%ca ca" nama!) |

a"ham | 14 |
a"ha' vi"j&nam# |
a"ha' vi"j&na' vi"j&nam# |
a"ha' vi"j&na' vi"j&nam a"ha' |
a"ham vi"j&na' vi"j&nam a"ha' - a"ham |
a"ham vi"j&na' vi"j&nam a"ham - a"ha' vi"j&nam# ||

ka"vim | 15 |
ka"vi' ka!v$"n&m |
ka"vi' ka!v$"n&' ka!v$"n&m |
ka"vi' ka!v$"n&' ka!v$"n&' ka"vim |
ka"vi' ka!v$"n&' ka!v$"n&' ka"vi' ka"vim |
ka"vi' ka!v$"n&' ka!v$"n&' ka"vi' ka"vi' ka!v$"n&m |

%a"t&yu!) | 16 |
%a"t&yu") (f) puru!,a) |
%a"t&yu") (f) puru!,a) (f) puru!,a) |
%a"t&yu") (f) puru!,a) (f) puru!,a%-%a"t&yu!) |
%a"t&yu") (f) puru!,a) (f) puru!,a%-%a"t&yu!%-%a"t&yu!) |
%a"t&yu") (f) puru!,a) (f) puru!,a%-%a"t&yu!%-%a"t&yu!) (f) puru!,a) ||

a"ham | 17 |
a"ham - &"nandam# |
17
a"ham - &"nandam - &"nandam# |
a"ham - &"nandam - &"nandam - a"ham |
a"ham - &"nandam - &"nandam - a"ham - a"ham |
a"ham - &"nandam - &"nandam - a"ham - a"ham - &"nandam# ||

de"v& | 18 |
de"v& bu!dhyante |
de"v& bu!dhyante bu!dhyante |
de"v& bu!dhyante bu!dhyante de"v& |
de"v& bu!dhyante bu!dhyante de"v& de"v& |
de"v& bu!dhyante bu!dhyante de"v& de"v& bu!dhyante ||

o' namo pr&" +&ya! pr&"+&ya" nama" o' | 19 |
o' namo a"p&"n&ya! a"p&"n&ya" nama" o' |
o' namo vy&"n&ya! vy&"n&ya" nama" o' |
o' namo u"d&"n&ya! u"d&"n&ya" nama" o' |
o' namo sa"m&"n&ya! sa"m&"n&ya" nama" o' | oggas sv&h&# ||

o' pr&+a me! %udhya"nt&"m | 20 |
o' &p&na me! %udhya"nt&"m |
o' vy&na me! %udhya"nt&"m |
o' sam&n& me! %udhya"nt&"m |
o' ud&na me! %udhya"nt&"m |
o' sarva paca me! %udhya"nt&"m |
o' pr&+&p&na vy&nod&na sam&n& me! %udhya"nt&"m ||

o' bh*' - bh*myai" nama!) | 21 |
o' va' - varu!+&ya" nama!) |
o' ram - agnaye" nama!) |
o' ya' - v&yave" nama!) |
o' ham - &k&!%&ya" nama!) |
o' am - &tm&!ya" nama!) ||

o' mitr&ya" nama!) | 23 |
o' ravaye" nama!) |
o' s*ry&ya" nama!) |
o' bh&nave" nama!) |
o' khag&ya" nama!) |
o' p*,+e" nama!) |
o' hira+ya-garbh&ya" nama!) |
18
o' mar$caye" nama!) |
o' &dity&ya" nama!) |
o' savitre" nama!) |
o' ark&ya" nama!) |
o' bh&skar&ya" nama!) ||

Laghu Ny&sa
a"gnir me! v&"ci %ri"ta) | v&g-h-da!ye | h-da!ya"' mayi! | a"ham a"m-te# |
a"m-ta"' brahma!+i || 1 ||
v&"yur me! pr&"+e %ri"ta) | pr&+o h-da!ye | h-da!ya"' mayi! | a"ham a"m-te# |
a"m-ta"' brahma!+i || 2 ||
s*ryo! me" cak,u!,i %ri"ta) | cak,u"r h-da!ye | h-da!ya"' mayi! | a"ham a"m-te# |
a"m-ta"' brahma!+i || 3 ||
ca"ndram&! me" mana!si %ri"ta) | mano" h-da!ye | h-da!ya"' mayi! | a"ham
a"m-te# | a"m-ta"' brahma!+i || 4 ||
di%o! me" %rotre# %ri"t&) | %rotra"gu"' h-da!ye | h-da!ya"' mayi! | a"ham a"m-te#
| a"m-ta"' brahma!+i || 5 ||
&po! me" reta!si %ri"t&) | reto" h-da!ye | h-da!ya"' mayi! | a"ham a"m-te# |
a"m-ta"' brahma!+i || 6 ||
p-"thi"v$ me" %a!r$re %ri"t&) | %a!r$ra"gu"' h-da!ye | h-da!ya"' mayi! | a"ham
a"m-te# | a"m-ta"' brahma!+i || 7 ||
o",a"dhi" va"na"spa"tayo me" lo'a!su %ri"t&) | lo'&!ni" h-da!ye | h-da!ya"' mayi! |
a"ham a"m-te# | a"m-ta"' brahma!+i || 8 ||
indro! me" bale! %ri"t&) | bala"gu"' h-da!ye | h-da!ya"' mayi! | a"ham a"m-te# |
a"m-ta"' brahma!+i || 9 ||
pa"rjanyo! me m*"rdhni %ri"ta) | m*"rdho h-da!ye | h-da!ya"' mayi! | a"ham
a"m-te# | a"m-ta"' brahma!+i || 10 ||
19
$%&!no me ma"nyau %ri"tah | ma"nyur h-da!ye | h-da!ya"' mayi! | a"ham
a"m-te# | a"m-ta"' brahma!+i ||
&"tm& ma! &"tmani %ri"ta) | &"tm& h-da!ye | h-da!ya"' mayi! | a"ham a"m-te# |
a"m-ta"' brahma!+i || 11 ||
puna!r ma &"tm& puna"r &yur&g&#t | puna!) pr&"+a) puna"r &k*#tam &g&#t |
vai"%v&"na"ro ra"%mabhi!r-v&-v-dh&"na) | a"ntas-ti,thatv-a"m-ta!sya go"p&) ||

Vir&ja Homa mantras
pr&+&p&+a vy&nod&na sam&na me! %udhya"nt&"(
jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" +** -" .&$+* /(012' )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2
'4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
v&.g mana%-cak,u%-%rotra-jihv&-ghr&+a-reto-budhy&-k*tis sa.kalp&
me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" -" '3221%= -&,5= '&:%$= $+'$2= '-2**= '225= &,$2**21$= &,$2,$&(, +,5 +&- )21(-2
340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+
+,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
tvak-carma-m&g(sa-rudhira-medo-majj&-sn&yavo-sth&ni
me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" -" '2.2, )(5&*" 1(-3(,2,$' )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25
8&$% $%2 '4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
%ira)-p&+i-p&da-p&r%va-p-,/hor-udara-ja.gh&-%i%no-pastha-p&yavo
me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" *&-)'= %2+5= %+,5'= /22$= '&52'= )+1;= $%&:%'= +)5(-2,= '%+,;'= :2,20+$&.2
(0:+,' +,5 $%2 021$4- +** )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2 9&:%$
)202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
utti,/ha puru,a harita pi.gala lohit&k,i dehi dehi dad&payit&
me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
20
> ?&.&,2 @20'(,= 8%( &' 5+0; )*42 +,5 )0(8,= 8&$% 025 2"2'= -+;2 %+'$ $( /+.(40 -26 A0+,$ $%+$ 7
-+" )21(-2 340&/&256 A0+,$ -2 ;,(8*25:2= +,5 340&$" $%0(4:% $%2 -25&4- (/ -" 302123$(06 B+"
-" $%(4:%$' )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2 9&:%$ )202/$ (/ +**
()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
p-thivyap-tejo-v&yur-&k&%& me! %udhya"nt&"(
jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" $%2 /&.2 1(,'$&$42,$ 2*2-2,$' (/ -" )(5" )21(-2 340&/&256 7 30+" $%+$ 7 -+"
)21(-2 /&**25 8&$% $%2 '4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02'
$%+$ 7 %+0)(406
#abda spar#a r$pa rasa gandh" me! %udhya"nt&"(
jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" $%2 C4+*&$&2' (/ '(4,5= $(41%= .&'&(,= $+'$2= +,5 '-2** )21(-2 340&/&256 7 30+"
$%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2<
$%2 52'&02' $%+$ 7 %+0)(406
mano-v"k-k"ya karm"%i me! %udhya"nt&"(
jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" +** $%2 +1$' +11(-3*&'%25 $%0(4:% )(5"= '3221% +,5 -&,5 )21(-2 340&/&256 7
30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0
1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
avyakta-bh&vair-a!ha.k&"rai"r jyoti!r-a"ha(
vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
B+" 7 ,($ %+.2 +," '43302''25 /22*&,:' (/ 2:(&'-6 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2
9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
&tm& me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" -" )(5" )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2
9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
antar&tm& me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas
sv&h&# ||
!" $%&' ()*+$&(, -+" +** -" &,$20,+* (0:+,' )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$%
$%2 '4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
21
param&tm& me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas
sv&h&# ||
!" $%&' ()*+$&(, -+" -" &,/&,&$2 D2*/ )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2
'4302-2 9&:%$ )202/$ (/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
k,u"dhe sv&h&# | k,ut-pi!p&s&ya" sv&h&# | vivi!//yai" sv&h&# | -g-vi!dh&n&ya"
sv&h&# | ka",o!t-k&ya" sv&h&# | oggas sv&h&# ||
7 -+;2 $%&' ()*+$&(, $( %4,:20= $( $%2 1(,E(&,25 52&$&2' (/ %4,:20 +,5 $%&0'$= $( $%2 (",&302'2,$
D4302-2= $( $%2 (05+&,20 (/ $%2 F&; 1%+,$'= $( $%2 >,2 8%( &' &,.2'$25 &, G&' 30(E21$&(, (/ $%2
4,&.20'2= 7 +- $%2 $04$% 2H302''25 )" $%2 30+!+.+6
k,u"t-pi"p&"sa-ma!la' jye",/h&"m alak,m$r n&%a!y&"myaham |
abh*!tim asa!m-ddhi"' ca" sarv&n ni!r+uda me p&pm&!naggas sv&"h& ||
> 9(05 $%0(4:% "(40 :0+12 7 02-(.2 /0(" -2 $%2 +//*&1$&(, (/ %4,:20= $%&0'$= -&'/(0$4,2= +5.20'&$"=
3(.20$" +,5 *+1; (/ 30(:02'' 2$16 I//+12 -" '&,'6
anna-maya pr&+a-maya mano-maya vij&na-mayam &nanda-mayam
&tm& me! %udhya"nt&"( jyoti!r-a"ha( vi"raj&! vip&"pm& bh*!y&sa"ggas sv&h&# ||
!" $%&' ()*+$&(, -+" -" /&.2J/(*5 '2*/ 1(,'&'$&,: (/ $%2 '%2+$%' (/ ,(40&'%-2,$= 02'3&0+$&(,= -&,5=
&,$2**21$= +,5 )*&'' )21(-2 340&/&256 7 30+" $%+$ 7 -+" )21(-2 /&**25 8&$% $%2 '4302-2 9&:%$ )202/$
(/ +** ()'$041$&,: ;+0-+ +,5 $%2&0 1+4'2< $%2 52'&02' $%+$ 7 %+0)(406
22
0ivapac&k,ar$ mantra)
1. sa'hit& p&/ha) nama! ) %i"v&ya! ca |

2. padap&/ha) nama! ) | %i"v&ya! | ca" |

3. kramap&/ha) nama! ) %i"v&ya! | %i"v&ya! ca |

4. ja/&p&/ha)
nama!) %i"v&ya! %i"v&ya! ca namo" nama!) %i"v&ya! |
%i"v&ya! ca ca %i"v&ya! %i"v&ya! ca %i"v&ya! ca |

5. ghanap&/ha)
nama!) %i"v&ya! %i"v&ya" namo" nama!) %i"v&ya! ca ca %i"v&ya" namo" nama!)
%i"v&ya! ca | %i"v&ya! ca ca %i"v&ya! %i"v&ya! ca |

0atam&nam bhavati &%$rv&dam
1. sa'hit& p&/ha)
%a"tam&!na' bhavatu %a"t&yu") puru!,a%-%a"tendri!ya"
&yu!%ye"vendriye prati! ti,/hati ||

2. krama p&/ha)
%a"tam&!na' bhavatu |
%a"tam&!na"m iti! %a"ta -m&"na"m |
bha"va"tu" %a"t&yu!) |
%a"t&yu") puru!,a) |
%a"t&yu"r iti! %a"ta -&"yu") |
puru!,a% %a"tendri!ya) |
%a"tendri!ya" &yu!%i |
%a"tendri!ya"iti! %a"ta -indriya") |
&yu!%%ye"va |
e"va prati! |
prati! ti,/hati |
ti,/ha"t$ti! -ti,/hati ||
23
G&yatr$ mantra)
o! bh*) bhuva) suva) | tat sa!vi"tu) vare#+ya' bhargo! devasya dh$mahi
| dhiyo" yo na!) pracoday&#t ||
1. ghanap&/ha)
tat sa!vi"tus sa!vi"tus tat tat sa!vi"tur vare#+ya"' vare#+yagu' sa!vi"tus tat tat
sa!vi"tur vare#+ya' |
sa!vi"tur vare#+ya"' vare#+yagu' sa!vi"tus sa!vi"tur vare#+ya' bhargo" bhargo"
vare#+yagu' sa!vi"tus sa!vi"tur vare#+ya"' bharga!) |
vare#+ya"' bhargo" bhargo" vare#+ya"' vare#+ya"' bhargo! de"vasya! de"vasya"
bhargo" vare#+ya"' vare#+ya"' bhargo! de"vasya! |
bhargo! de"vasya ! de"vasya" bhargo" bhargo! de"vasya! dh$mahi dh$mahi
de"vasya" bhargo" bhargo! de"vasya! dh$mahi |
de"vasya! dh$mahi dh$mahi de"vasya! de"vasya! dh$mahi | dh$"ma"h$ti!
dh$mahi |
dhiyo" yo yo dhiyo" dhiyo" yo no! no" yo dhiyo" dhiyo" yo na!) |
yo no! no" yo yo na!) praco"day&#t praco"day&#n no" yo yo na!) praco"day&#t |
na") pra"co"day&#t pracoday&#n no na) praco"day&"t |
pra"co"day&"d iti pra-co"day&#t ||
Karoti R*p&+i
1. sa!hit" p"#ha$
ka"ro"ti r*"p&+i! juhoti r*"pair e"vain&"gu'" sama!rdhayati tasy&! upo"tth&ya"
kar+a"m& ja!pe"di1e" rante'di!te" sara!svati priye" preya!si mahi vi%ru!tye"t&ni! te
aghniye" n&m&!ni su"k-ta!' m& de"ve,u! br*t&"d iti! de"vebhya! e"vaina"m&
ve!daya"tyanve!na' de"v& bu!dhyante |

G2 (//20' $( %20 /(0-'K .20&*" %2 4,&$2' 8&$% %20 /(0-'6 F&'&,: 43 %2 0232+$' &,$( %20 2+0< > 75+=
F+,$&= L5&$&= D+0+'.+$&= @0&"+= @02"+'&= B+%& M&'%04$&K $%2'2 > 7,.&(*+)*2 (,2 +02 $%" ,+-2'=
30(1*+&- -2 +-(,: $%2 :(5' +' $%2 5(20 (/ :((5 5225'6 M20&*" '%2 30(1*+&-' %&- +-(,: $%2 :(5'=
+,5 $%2 :(5' $+;2 ,($2 (/ %&-6 !"#$%%$&$'# )#*+$%# ,-.-/-012
24
karoti | r*p&+i | juhoti | r*pai) | eva | en&m | samiti | ardhayati |
tasy&) | upotth&ya kar+am | eti | japet | i1e | rante | adite | sarasvati
| priye | preyasi | mahi | vi%ruti | et&ni | te | aghniye | n&m&ni |
suk-tam | m& | deve,u | brut&t | iti | devebhya) | eva | enam | eti |
vedayati | anviti | dev&) | budhyante ||

2. krama p"#ha$

ka"ro"ti" r*"p&+i! | vi%ru!tye"t&ni! |
r*"p&+i! juhoti | vi%ru"t$ti vi - %ru"ti |
ju"ho"ti" r*"pai) | e"t&ni! te |
r*"pair-e"va | te" a"ghniye" |
e"vain&#m | a"ghniye" n&m&!ni |
e"n&"gu'" sam | n&m&!ni su"k-tam# |
sama!rdhayati | su"k-ta!' m& |
a"rdha"ya"ti" tasy&#) | su"k-ta"miti! su - k-"tam## |
tasy&! upo"tth&ya! | m& de"ve,u! |
upo"tth&ya" kar+am# | de"ve,u! br*t&t |
u"po"tth&yetyu!pa - u"tth&ya! | br*t&"d iti! |
kar+a"m& | iti! de"vebhya!) |
&ja!pet | de"vebhya! e"va |
jape"di1e# | e"vainam# |
i1e" rante# | ena"m& |
rantedi!te | & ve!dayati |
adi!te" sara!svati | ve"da"ya"tyanu! |
sara!svati priye# | anve!nam |
priye" preya!si | e"na"' de"v&) |
preya!si mahi! | de"v& bu!dhyante |
mahi vi%ru!ti | bu"dhya"nta" iti! budhyante ||
25
3. jata p"#ha$
ka"ro"ti" r*"p&+i! r*"p&+i! karoti karoti r*"p&+i! |
r*"p&+i! juhoti juhoti r*"p&+i! r*"p&+i! juhoti |
ju"ho"ti" r*"pai-r*"pair-ju!hoti juhoti r*"pai) |
r*"pair-e"vaiva r*"pai-r*"pair-e"va |
e"vain&!m-en&m-e"vai-vain&#m |
e"n&"gu'" sagu' same!n&m-en&"gu'" sam |
sama!rdhayaty-ardhayati sagu' sama!rdhayati |
a"rdha"ya"ti tasy&"s-tasy&! ardhayaty-ardhayati tasy&#) |
tasy&! upo"tth&yo!po"tth&ya" tasy&"s-tasy&! upo"tth&ya! |
u"po"tth&ya" kar+a"' kar+a!m upo"tth&yo!po"tth&ya" kar+am# |
u"po"tth&yety-u!pa - u"tth&ya! |
kar+a"m& kar+a"' kar+a"m& |
&ja!pet jape"d &jape#t |
jape"d-i1a" i1e! japej-jape"d-i1e# |
i1e" rante" ranta" i1a" i1e" rante# |
rantedite-di!te" rante" rante-di!te |
adi!te" sara!svati sara!sva"ty-adite-di!te" sara!svati |
sara!svati priye" priye" sara!svati sara!svati priye# |
priye" preya!si preya!si priye" priye" preya!si |
preya!si mahi mahi preya!si preya!si mahi! |
mahi vi%ru!ti vi%ru!ti mahi mahi vi%ru!ti |
vi%ru!tye"t&nye"t&ni vi%ru!ti vi%ru!tye"t&ni! |
vi%ru"t$ti vi - %ru"ti |
e"t&ni! teta e"t&nye"t&ni! te |
te" a"ghniye" a"ghniye" te" te" a"ghniye# |
a"ghni"ye" n&m&!ni n&m&#nyaghniye aghniye" n&m&!ni |
26
n&m&!ni su"k-tagu'! su"k-ta"' n&m&!ni n&m&!ni su"k-tam# |
su"k-ta!' m& m& su"k-tagu'! su"k-ta!' m& |
su"k-ta"miti! su - k-"tam## |
m&" de"ve,u! de"ve,u! m& m& de"ve,u! |
de"ve,u! br*t&t br*t&t de"ve,u! de"ve,u! br*t&t |
br*"t&"d it$ti! br*t&t br*t&"d iti! |
iti! de"vebhyo! de"vebhya" it$ti! de"vebhya!) |
de"vebhya! e"vaiva de"vebhyo! de"vebhya! e"va |
e"vaina!m enam e"vai-vainam# |
e"na"m aina!m ena"m& |
&ve!dayati vedaya"ty& ve!dayati |
ve"da"ya"ty-anvanu! vedayati vedaya"ty-anu! |
anve!nam-ena"m-anvan-ve!nam |
e"na"' de"v& de"v& e!nam-ena' de"v&) |
de"v& bu!dhyante budhyante de"v& de"v& bu!dhyante |
bu"dhya"nta" iti! budhyante ||

4. ghana p"#ha$
ka"ro"ti r*"p&+i! r*"p&+i! karoti karoti r*"p&+i! juhoti juhoti r*"p&+i! karoti
karoti r*"p&+i! juhoti |
r*"p&+i! juhoti juhoti r*"p&+i! r*"p&+i! juhoti r*"pair*"pair ju!hoti r*"p&+i!
r*"p&+i! juhoti r*"pai) |
ju"ho"ti r*"pai-r*"pair ju!hoti juhoti r*"pair e"vaiva r*"pair ju!hoti juhoti r*"pair
e"va |
r*"pair e"vaiva r*"pai r*"pair e"vain&!m en&m e"va r*"pai r*"pair e"vain&#m |
e"vain&!m en&m e"vai-vain&"gu'" sagu' same!n&m-e"vaivai n&"gu'" sam |
e"n&"gu'" sagu' same!n&m en&"gu'" sama!rdhayaty-ardhyati
27
same!n&m en&"gu'" sama!rdhayati |
sama!rdhayaty-ardhayati sagu' sama!rdhayati tasy&"s-tasy&!
ardhayati sagu' sama!rdhayati tasy&#) |
a"rdha"ya"ti tasy&"s-tasy&! ardhayaty-ardhayati tasy&!
upo"tth&yo!po"tth&ya" tasy&! ardhayaty-ardhayati tasy&! upo"tth&ya! |
tasy&! upo"tth&yo!po"tth&ya" tasy&"s-tasy&! upo"tth&ya" kar+a"' kar+a!m-
upo"tth&ya" tasya"s-tasy&! upo"tth&ya" kar+am# |
u"po"tth&ya" kar+a"' kar+a!m-upo"tth&yo!po"tth&ya" kar+a"m & kar+a!m
upo"tth&yo!po"tth&ya" kar+a" m& |
u"po"tth&yety-u!pa - u"tth&ya! |
kar+a"m & kar+a"' kar+a"m & ja!pej-jape"d& kar+a"' kar+a"m &ja!pet |
&ja!pet jape"d &ja!pe"d i1a"i1e! jape"d &ja!pe"d i1e# |
ja"pe"d i1a" i1e! japej-jape"d i1e" rante" ranta" i1e! japej-jape"d i1e"
rante# |
i1e" rante" ranta" i1a" i1e" rante dite di! te" ranta" i1a" i1e" rantedi!te |
rante-dite-di!te" rante" rante-di!te" sara!svati sara!sva"ty-adi!te" " rante-di!te"
sara!svati |
adi!te" sara!svati sara!sva"ty-adite-di!te" sara!svati priye" priye" sara!sva"ty-adite-
di!te" sara!svati priye# |
sara!svati priye" priye" sara!svati sara!svati priye" preya!si" preya!si priye"
sara!svati sara!svati priye" preya!si |
priye" preya!si preya!si priye" priye" preya!si mahi mahi preya!si priye" priye"
preya!si" mahi! |
preya!si mahi mahi preya!si preya!si mahi vi%ru!ti vi%ru!ti mahi preya!si
preya!si mahi vi%ru!ti |
mahi vi%ru!ti vi%ru!ti mahi mahi vi%ru!ty-e"t&ny-e"t&ni vi%ru!ti mahi mahi
vi%ru!ty-e"t&ni! |
28
vi%ru!ty-e"t&ny-e"t&ni vi%ru!ti vi%ru!ty-e"t&ni! teta e"t&ni vi%ru!ti vi%ru!ty-e"t&ni! te
| vi%ru"t$ti vi - %ru"ti |
e"t&ni! teta e"t&ny-e"t&ni! te aghniye aghniye ta e"t&ny-e"t&ni!te
aghniye |
te" a"ghniye" a"ghniye" te" te" a"ghniye" n&m&!ni n&m&#ny-aghniye te te aghniye"
n&m&!ni |
a"ghni"ye" n&m&!ni nam&#nyaghniye aghniye" n&m&!ni
su"k-tagu'! su"k-ta"' nam&#nyaghniye aghniye" n&m&!ni su"k-tam# |
n&m&!ni su"k-tagu'! su"k-ta"' n&m&!ni n&m&!ni su"k-ta!' m& m& su"k-ta"'
n&m&!ni n&m&!ni su"k-ta!' m& |
suk"-ta!' m& m& su"k-tagu'! su"k-ta!' m& de"ve,u! de"ve,u! m& su"k-tagu'!
su"k-ta!' m& de"ve,u! |
su"k-ta"miti! su - k-"tam## |
m&" de"ve,u! de"ve,u! m& m& de"ve,u! br*t&t br*t&t de"ve,u! m& m& de"ve,u!
br*t&t |
de"ve,u! br*t&t br*t&t de"ve,u! de"ve,u! br*t&"d it$ti! br*t&t de"ve,u! de"ve,u!
br*t&"d iti! |
br*"t&"d it$ti! br*t&t br*t&"d iti! de"vebhyo! de"vebhya" iti! br*t&t
br*t&"d iti! de"vebhya!) |
iti! de"vebhyo! de"vebhya" it$ti! de"vebhya! e"vaiva de"vebhya" it$ti! de"vebhya!
e"va |
de"vebhya! e"vaiva de"vebhyo! de"vebhya! e"vaina!m enam e"va
de"vebhyo! de"vebhya! e"vainam# |
e"vaina!m enam e"vaivaina"m aina!m e"vai vaina"m& |
e"na"m-aina!m-ena"m& ve!dayati vedaya"ty-aina!m-ena"m& ve!dayati |
&ve!dayati vedaya"ty& ve!daya"ty-anvanu! vedaya"ty& ve!daya"ty-anu! |
29
ve"da"ya"ty-anvanu!vedayati vedaya"ty-anve!nam ena"m-anu! vedayati
vedaya"tyanve!nam |
anve!nam-ena" manvan-ve!na' de"v& de"v& e!na"m-anvan-ve!na' de"v&) |
e"na"' de"v& de"v& e!nam-ena' de"v& bu!dhyante budhyante de"v& e!nam
ena' de"v& bu!dhyante |
de"v& bu!dhyante budhyante de"v& de"v& bu!dhyante |
bu"dhya"nta" iti! budhyante ||

Forgiveness for mispronunciation
yad ak,ara pada bhra,/ha' m&tr& h$na' tu yad bhavet |
tat sarva' k,amyat&' deva n&r&ya+a namostu te |
visarga bindu m&tr&+i pada pad&k,are,u ca |
ny*n&tirikta' yat kicit &bhirg$rbhir ud$rayet ||
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