वॆदाः

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IÄUÉéÃzÀªÀÅ bÀAzÉÆçzÀݪÁzÀ ¥ÁæxÀð£É, ªÀtð£ÉUÀ½AzÀ PÀÆrzÀ ªÀÄAvÀæ¨Ás UÀ.

AiÀÄdĪÉÉÃðzÀªÀÅ AiÀÄdÕzÀ C£ÀĵÁ×£À ºÁUÀÆ DZÀgÀuÉUÉ ºÉZÀÄÑ ¥ÁæªÀÄÄRåvÉ PÉÆqÀÄvÀÛzÉ. E°è
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CxÀªÀðt ªÉÃzÀªÁVzÉ.

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ªÀÄvÉÛ £Á®ÄÌ «¨sÁUÀUÀ½ªÉ.

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«±ÉõÀ ªÀtð£É EgÀÄvÀÛzÉ. ¸ÁzsÁgÀtªÁV ¸ÀªÀiÁd¢AzÀ zÀÆgÀªÁV CgÀtåPÉÌ vÉgÀ½ CzsÀåAiÀÄ£À
ªÀiÁqÀĪÀ ªÉÃzÀzÀ ¨sÁUÀªÀÅ CgÀtåPÀªÉ¤¹zÉ. E£ÀÄß §æºÀä«zÉåAiÀÄ£ÀÄß ¥Àæw¥Á¢¸ÀĪÀ ºÁUÀÆ ªÉÃzÀzÀ
¸ÁgÀªÀ£ÀÄß ºÉÆA¢gÀĪÀ CAwªÀĨsÁUÀªÀÅ G¥À¤µÀvÀÄÛUÀ¼ÁVªÉ.

Muralidhara Avadhani 1
 Vedic literature is most ancient literature in the world. All visionaries
have approved the Vedas astheir Pramana (proof). The Vedas represent the
divine truth. They are eternal. They have not been composed by anybody.
That’s why they are called Apourusheya. The word Veda comes from the root
व ¥ÉÉlÉåwhich means to know’. The vedas are heap of knowledge visualized by

ancient sages by the power of their penance. Formally the entire Veda was one
unit. However Vyasamaharshi divided it into four divisions to make it easy for
performing the sacrifices and studies. The four famous Vedas are Rigveda,
Yajurveda, Samaveda and Atharvana Veda.

Rigveda, refers the Mantra pats of the Veda, Yajurveda deals with
performing of sacrifices.

The abundance of the mantras having tunes to facilitate singing is

Samaveda. Atharvaveda contains certain applications of mantras meant for
worldly usages.

We find four divisions in each veda viz. Samhitha, Brahmana, Aaranyaka,

and Upanishad. A group of mantras constitutes Samhitha. A detailed
elaboration of the mantras of the Samhitha is Brahmana. Generally being
away from the society and studying in the forests, the spiritual parts is
Aranyaka. The Upanishad is the last part of veda which deals with
Brahmavidya.

* * *

Muralidhara Avadhani 2
 पुराणािन

इितहास - पुराणा यां वॆदं समुपबृंहयेत् । EwºÁ¸À ¥ÀÄgÁtUÀ½AzÀ ªÉÃzÀzÀ CxÀðªÀ£ÀÄß

w½zÀÄPÉƼÀî¨ÉÃPÉA§ ªÀiÁvÀÄ ¥ÀÄgÁtUÀ¼À ªÀĺÀvÀéªÀ£ÀÄß ¸ÁgÀÄvÀÛªÉ. ¥ÀÄgÁtUÀ¼ÀÄ ªÉÃzÀUÀ¼À

¸ÀAzÉñÀUÀ¼À£ÀÄß PÀxÉUÀ¼À ªÀÄÆ®PÀ ¸ÁgÀÄvÀÛªÉ. ¨sÁgÀwÃAiÀÄ ¸Á»vÀåzÀ°è EªÀÅUÀ½UÉ ¥ÀæªÀÄÄR
¸ÁÜ£À«zÉ. ¥ÀæªÀÄÄRªÁV 18 ¥ÀÄgÁtUÀ¼À£ÀÄß £ÁªÀÅ PÁtÄvÉÛêÉ, CªÀÅ AiÀiÁªÀŪÉAzÀgÉ;

ªÀÄvÀìöå ¥ÀÄgÁt ªÀiÁPÀðAqÉÃAiÀÄ ¥ÀÄgÁt

¨sÀ«µÀå ¥ÀÄgÁt ¨sÁUÀªÀvÀ¥ÀÄgÁt

§æºÀä¥ÀÄgÁt §æºÀäªÉʪÀvÀð¥ÀÄgÁt

§æºÁäAqÀ¥ÀÄgÁt ªÁªÀÄ£À¥ÀÄgÁt

ªÀgÁºÀ¥ÀÄgÁt ªÁAiÀÄÄ¥ÀÄgÁt

«µÀÄÚ¥ÀÄgÁt CVߥÀÄgÁt

£ÁgÀzÀ¥ÀÄgÁt ¥ÀzÀä¥ÀÄgÁt

°AUÀ¥ÀÄgÁt UÀgÀÄqÀ¥ÀÄgÁt

PÀƪÀÄð¥ÀÄgÁt ¸ÁÌAzÀ¥ÀÄgÁt

सगः ितसग वंशॊ म वंतरािण च।

वंशानुच रतं चैव पुराणं पंचल णम्॥

¥ÀÄgÁtUÀ¼À ¥ÀæªÀÄÄR «µÀAiÀĪÀ¸ÀÄÛ JAzÀgÉ ¸ÀȶÖ, ¸ÀȶÖAiÀÄ «¸ÁÛgÀ, ®AiÀÄ, ¥ÀÄ£ÀB ¸ÀȶÖ,
¨ÉÃgÉ ¨ÉÃgÉ PÁ®zÀ°è £ÀqÉzÀ ªÀÄÄRå WÀl£ÉUÀ¼À «ªÀgÀ, ¨sÀÆ«ÄAiÀÄ°è zÉêÀvÉUÀ¼À CªÀvÁgÀ,
°Ã¯ÉUÀ¼À ªÀtð£É, ¥ÀæªÀÄÄR gÁdªÀA±ÀUÀ¼À ZÀjvÉæ. F J¯Áè ºÀ¢£ÉAlÄ ¥ÀÄgÁtUÀ¼À£ÀÄß ºÁUÀÆ
PÉ®ªÀÅ G¥À¥ÀÄgÁtUÀ¼À£ÀÄß ¨sÀUÀªÁ£ï ªÉÃzÀªÁå¸ÀgÀÄ §gÉzÀgÀÄ JA§ ¥ÀæwÃw¬ÄzÉ. ¥ÀÅgÁtUÀ¼ÀÄ
¨sÁgÀwÃAiÀÄ ¸ÀªÀiÁdzÀ PÀ£ÀßrAiÉĤ¹ªÉ. ªÉÃzÀUÀ¼À ¸ÀAzÉñÀªÀ£ÀÄß ¸ÀÄ®¨sÀ ¨sÁµÉAiÀÄ°è
d£À¸ÁªÀiÁ£ÀåjUÉ ¤ÃqÀ®Ä ¸ÀºÀPÁjAiÀiÁVªÉ.

Muralidhara Avadhani 3
 इितहास - पुराणा यां वॆदं समुपबृंहयेत् ।the meaning of vedas should be
understood by means of the history as well as Puranas. In Indian literature, the
Puranas have a special place. The meaning of the word Purana is ancient.

Mainly there are 18 Puranas. They are

Matsya Purana Markandeya Purana

Bhavishya Purana Bhagavatha Purana

Brahma Purana Brahmavaivartha Purana

Brahmanda Purana Vamana Purana

Varaha Purana Vayu Purana

Vishnu Purana Agni Purana

Narada Purana Padma Purana

Linga Purana Garuda Purana

Kurma Purana Skanda Purana

All these 18 puranas along with Upapuranas were assumed that they are
written by Veda Vyasa. The definition of Purana has been told thus ;

सगः ितसग वंशॊ म वंतरािण च।

वंशानुच रतं चैव पुराणं पंचल णम्॥
Creation, extension of the creation, destruction of the creation and
recreation, the description of main incidents and royal dynasties etc. can be
seen in the Puranas. The Puranas are great in many ways. The Puranas,
describe in a simple manner the Dharma told in the Vedas.

Philosophy of veda is composed in the form of stories in Puranas. The ancient

history of our country has been put in a faithful way in the Puranas.
Muralidhara Avadhani 4
 रामायणम् - महाभारतम्
gÁªÀiÁAiÀÄt ªÀĺÁ¨sÁgÀvÀUÀ¼ÉgÀqÀÆ ¨sÁgÀvÀzÀ LwºÁ¹PÀªÀÇ ¥ÀÆd¤ÃAiÀĪÀÇ DzÀ
ªÀĺÁPÁªÀåUÀ¼ÁVªÉ. F JgÀqÀÄ PÀÈwUÀ¼ÀÄ vÀªÀÄä £ÀAvÀgÀzÀ PÀ«UÀ½UÉ ¸ÀÆàwðzÁAiÀÄPÀªÁV, ºÀ®ªÀÅ
PÀÈwUÀ½UÉ ªÀÄÆ®UÀ¼ÀÆ DVªÉÉ.

ªÁ°äQ ªÀĺÀ¶ðUÀ¼ÀÄ §gÉzÀ gÁªÀiÁAiÀÄtªÀÅ D¢PÁªÀåªÉAvÀ¯Éà ¥Àæ¹zÀÞªÁVzÉ. ErÃ

PÁªÀåªÀÅ ¨Á®PÁAqÀ, CAiÉÆÃzsÁåPÁAqÀ, CgÀtåPÁAqÀ, Q¶ÌAzsÁPÁAqÀ, ¸ÀÄAzÀgÀPÁAqÀ,
AiÀÄÄzÀÞPÁAqÀ, GvÀÛgÀPÁAqÀ JA§ÄzÁV K¼ÀÄ «¨sÁUÀUÀ¼ÁV «¨sÀd£ÉAiÀiÁVzÉ.

gÁªÀiÁAiÀÄtªÀÅ 24000 ±ÉÆèÃPÀUÀ½AzÀ ¤§zÀÞªÁVgÀĪÀÅzÀjAzÀ ZÀvÀÄ«ðA±Àw ¸Áº¹æÃ

¸ÀA»vÁ JA§ÄzÁVAiÀÄÆ PÀgÉAiÀÄ®ànÖzÉ. gÁªÀÄ£À ¦vÀȪÁPÀå ¥Àj¥Á®£É, zsÀªÀÄð¤µÉ×, ¸ÀvÀå¥Á®£É,
¹ÃvÉAiÀÄ ¥Àj±ÀÄzÀÞvÉ, ¥ÀwªÀævÁzsÀªÀÄð, ®PÀëöät-¨sÀgÀvÀgÀ ¸ÀºÉÆÃzÀgÀ ¥ÉæêÀÄ, ºÀ£ÀĪÀÄAvÀ£À
¸Áé«Ä¤µÉ×, «©üõÀt-gÁªÀÄ-¸ÀÄVæêÀgÀ ªÉÄÊwæ, zÀĵÀÖvÉAiÀÄ ¸ÀAPÉÃvÀªÁV gÁªÀt£À ¸ÀAºÁgÀ
EªÉ®èªÀÅ gÁªÀiÁAiÀÄt ¤vÀåªÀÇ £ÀªÀÄUÉ ¤ÃqÀĪÀ ¸ÀAzÉñÀUÀ¼ÁVªÉ.

ªÀĺÁ¨sÁgÀvÀªÀÅ ªÉÃzÀªÁå¸ÀjAzÀ ¥ÀætÂÃvÀªÁzÀ LwºÁ¹PÀ PÁªÀå. PÁªÀåªÀÅ 14 ¥ÀªÀðUÀ¼À°è

«¨sÀPÀÛªÁVzÉ. 100000PÀÆÌ ºÉZÀÄÑ ±ÉÆèÃPÀUÀ½AzÀ PÀÆrgÀĪÀ ªÀĺÁ¨sÁgÀvÀªÀ£ÀÄß ±ÀvÀ ¸ÁºÀ¹æÃ
¸ÀA»vÁ JAzÀÆ PÀgÉAiÀįÁVzÉ.

«zÁéA¸ÀgÀ ¥ÀæPÁgÀ ªÀĺÁ¨sÁgÀvÀzÀ «PÁ¸ÀªÀÅ dAiÀÄ-¨sÁgÀvÀ ¸ÀA»vÁ-ªÀĺÁ¨sÁgÀvÀ

JA§ÄzÁV ªÀÄÆgÀÄ ºÀAvÀUÀ¼À°è DVzÉ. AiÀÄvÉÆà zsÀªÀÄðB vÀvÉÆà dAiÀÄB JA§ÄzÁV
ªÀĺÁ¨sÁgÀvÀªÀÅ ¤ÃqÀĪÀ ¸ÀAzÉñÀUÀ¼ÀÄ ªÉÃzÀ ¸ÀAzÉñÀUÀ½UÉ ¸ÀªÀiÁ£ÀªÁVªÉ. ¥ÀæzsÁ£À PÀxÉAiÀÄ
eÉÆvÉUÉ £ÀÆgÁgÀÄ G¥ÁSÁå£ÀUÀ¼ÀÄ, ¸Á«gÁgÀÄ G¥ÁSÁå£ÀUÀ¼ÀÄ ªÀĺÁ¨sÁgÀvÀzÀ°è
PÀAqÀħgÀÄvÀÛzÉ.

Ramayana and Mahabharatha are sources for later writers and they are
considered historical epics as well as Holi works of India.

Ramayana is written by sage Valmiki and it has influenced thousands of

writers from a very long time.

Muralidhara Avadhani 5
 There are seven divisions called Kandas in Ramayana. They are –
Balakanda, Ayodhyakanda, Aranyakanda, Kishkindakanda, Sundarakanda,
Yuddhakanda and Uttarakanda.

This Aadikavya is also called Chathurvimshathi Sahasree Samhitha as it is

composed with 24000 Shlokas.

In Ramayana, Rama has been delineated as one devoted to parents;

honest to kith and keen, protector of those who take refuge in him. Seetha
represent s purity and the sanctity of the women wood. Besides these,
Lakshmana and Bharatha’s brotherly affection, Hanuman’s devotions towards
his master, the friendship between Shri Ram and Sugreeva, Killing of Ravana,
who represented all the bad things etc. are the main points in Ramayana.

Mahabharatha is also historical and holy epic of India. It is composed by

Sage Vedavyasa and it is liked by all Mahabharatha is also inspiration for later
writers.

According to the scholars Mahabharatha’s development has taken place

in three stages. They are Jaya- Bharatha Samhitha and Maahbharatha.
Mahabharatha is also called Shatha Sahasree Samhitha as it is composed with
more than 1,00,000 Shlokas. Scholars have described Mahabharatha is the
work, which is heavy by knowledge, and important for one’s life.

यतॊ धमः ततॊ जयः। Mahabharatha is source of Dharma like veda. It

contains hundreds of stories and thousands of sub stories. The theme, variety
of characters, feelings, streams of sentiments, testing one’s own life etc. points
has made Mahabharatha a highly venerated work.

- * * * -

Muralidhara Avadhani 6
 पंचमहाका ािन
ªÀĺÁPÁªÀåUÀ¼À ®PÀëtªÀ£ÀÄß ºÉÆA¢gÀĪÀ LzÀÄ ¸ÀA¸ÀÌøvÀ PÁªÀåUÀ¼ÀÄ ¸ÀºÀÈzÀAiÀÄzÀ ªÉÄZÀÄÑUÉ
¥ÀqÉ¢zÀÄÝ CªÀÅUÀ¼ÀÄ ¥ÀAZÀ ªÀĺÁPÁªÀåUÀ¼ÉAzÀÄ ¸Á»vÀåªÀ®AiÀÄzÀ°è d£Àd¤vÀªÁVªÉ.

CªÀÅ AiÀiÁªÀŪÉAzÀgÉ, gÀWÀĪÀA±ÀªÀiï, PÀĪÀiÁgÀ¸ÀA¨sÀªÀªÀiï, QgÁvÁdÄð¤ÃAiÀĪÀiï,

²±ÀÄ¥Á®ªÀzsÀªÀiï, £ÉʵÀ¢üÃAiÀÄ ZÀjvÀªÀiï

1gÀWÀĪÀA±ÀªÀiï

PÁ½zÁ¸À §gÉ¢gÀĪÀ F ªÀĺÁPÁªÀåªÀÅ ªÁ°äÃQ gÁªÀiÁAiÀÄtªÀ£ÀÄß DzsÀj¹zÉ. MlÄÖ 19

¸ÀUÀðUÀ¼À°è ¸ÀÆAiÀÄðªÀA±ÀzÀ ¢°Ã¥À¤AzÀ »rzÀÄ CVߪÀtð£ÀªÀgÉUÉ MlÄÖ 21 gÁdgÀÄUÀ¼À
DzÀ±ÀðUÀ¼À£ÀÄß E°è ºÉüÀ¯ÁVzÉ.

PÀĪÀiÁgÀ¸ÀA¨sÀªÀªÀiï

PÁ½zÁ¸À §gÉ¢gÀĪÀ ªÀÄvÉÆÛAzÀÄ CªÉÆÃWÀ ªÀĺÁPÁªÀå EzÁVzÉ. PÀxÁ ªÀÄÆ®ªÀÅ ²ªÀ

ºÁUÀÆ ¸ÁÌAzÀ¥ÀÄgÁtUÀ¼À°è PÀAqÀħgÀÄvÀÛzÉ. 17 ¸ÀUÀðUÀ½gÀĪÀ F PÀÈwAiÀÄ°è ²ªÀ-¥ÁªÀðwAiÀÄgÀ
«ªÁºÀ, PÀĪÀiÁgÀ£À d£À£À, vÁgÀPÁ¸ÀÄgÀ£À ¸ÀAºÁgÀ EvÁå¢ «ZÁgÀUÀ¼À£ÀÄß ªÀtÂð¸À¯ÁVzÉ.

QgÀÄvÁdÄð¤ÃAiÀĪÀiï

¨sÁgÀ«Ã §gÉ¢gÀĪÀ F ªÀĺÁPÁªÀåzÀ°è ªÀĺÁ¨sÁgÀvÀzÀ C¢¥ÀªÀðzÀ°è §gÀĪÀ PÀxÉAiÀÄÄ

EzÉ. MlÆÖ 18¸ÀUÀðUÀ¼À°è CdÄð£À ²ªÀ¤UÁV ªÀiÁrzÀ vÀ¥À¸ÀÄì, ²ªÀ CdÄð£À¤UÉ ¥Á±ÀÄ¥ÀvÁ¸ÀÛç
¤ÃrzÀ ¥Àæ¸ÀAUÀUÀ¼ÀÄ ªÀtÂð¸À®ànÖªÉ.

²±ÀÄ¥Á®ªÀzsÀªÀiï

ªÀiÁWÀ §gÉzÀ ²±ÀÄ¥Á®ªÀzsÀªÀiï UÀæAxÀzÀ PÀxÁªÀ¸ÀÄÛªÀÅ ªÀĺÁ¨sÁgÀvÀzÁÝVzÉ. AiÀÄÄ¢ü¶×gÀ£ÀÄ

gÁd¸ÀÆAiÀÄ AiÀiÁUÀ ªÀiÁrzÀ ¥Àæ¸ÀAUÀ, ²±ÀÄ¥Á®£ÀÄ PÀȵÀÚ¤AzÀ ºÀvÀ£ÁzÀ «ZÁgÀªÀÅ 18 ¸ÀUÀðUÀ¼À°è

ªÀtÂðvÀªÁVzÉ.

Muralidhara Avadhani 7
£ÉʵÀ¢üÃAiÀÄZÀjvÀªÀiï

²æúÀµÀð£ÉA§ PÀ« §gÉzÀ F UÀæAxÀzÀ°è ªÀĺÁ¨sÁgÀvÀzÀ £À¯ÉÆÃ¥ÁSÁå£ÀzÀ PÀxÉAiÀÄÄ

§gÀÄvÀÛzÉ. £À®-zÀªÀÄAiÀÄAwAiÀÄgÀ PÀxÉAiÉÄà 22 ¸ÀUÀðUÀ½gÀĪÀ F PÁªÀåzÀ ¥ÀæªÀÄÄR ªÀ¸ÀÄÛªÁVzÉ.

Five Mahakavya are contained all the characteristics of an epic and

recognised by scholar.

They are Raghuvamsham, Kumarasambhavan, Kiratharjuneeyam,

Shishupalavadham and Naishadhiyacharitham.

Raghuvamsham:

Foremost among the Five major epics of Samskrit literature is

Raghuvamsham. It is composed by Mahakavi Kalidasa. This epic is based on
Valmiki’s Ramayana 19 sargas of the work reveal us the description of 19 kings
of solar dynasty, commencing from Dilipa and ending with Agnivarnathe 21st
king.

Kumarasambhavam:

Kavikula Guru Kalidasa has composed this work based on the theme of
shiva and skanda Puranas. Marriage of lord shiva and Parvathi, the birth of
Kumara, killing the demon called Tharaka are described in 17 sargas.

Kiratharjuneeyam:

This work is written by Bharavi and story base is Adiparva of

Mahabharatha. Arjuna’s penance in favour of lord Shiva, getting
Pashupathastra from lord shiva etc. points are main highlights of the work. The
work is composed with 18 Sargas.

Muralidhara Avadhani 8
Shishupalavadham:

This epic is written by Magha, based on Mahabharatha. The story begins

with Yudishthira’s Rajasuya Yaga and ends with killing demon called Shishupala
by lord Krishna.

Naishadhiya Charitham:

This epic is based on Nalopakhyana of Mahabharatha and written by Shri

Harsha. Here we can see the story of Nala and damayanthi. The work is
composed in 22 sargas.

* * *

Muralidhara Avadhani 9
 कथासािह यम् - तॊ सािह यम्
PÀxÉUÀ½UÉ ¨sÁgÀvÀªÀÅ vÀªÀgÀĪÀÄ£É EzÀÝ ºÁUÉ. ¸Á«gÁgÀÄ ªÀµÀðUÀ½AzÀ £ÀªÀÄä zÉñÀzÀ°è
PÀxÉUÀ¼À ªÀÄÆ®PÀªÉà ²PÀëtUÀ¼À£ÀÄß ¤ÃqÀ¯ÁUÀÄwÛvÀÄÛ. «±ÀéPÉÌ ¨sÁgÀvÀªÀÅ ¤ÃrzÀ §ºÀÄ zÉÆqÀØ ¸Á»wåPÀ
PÉÆqÀÄUÉAiÉÄAzÀgÉ PÀxÉUÀ¼ÀÄ.

¸ÀA¸ÀÌøvÀ ¸Á»vÀåzÀ°è PÀxÁ¸Á»vÀåPÉÌ §ºÀ¼À ªÀÄÄRå ¸ÁÜ£À«zÉ. ªÀÄ£ÀgÀAd£ÉAiÀÄ eÉÆvÉUÉ

fêÀ£À ªÀiË®åUÀ¼À£ÀÄß gÁdQÃAiÀÄ ¤ÃwUÀ¼À£ÀÄß ºÉüÀĪÀÅzÀÄ PÀxÁ ¸Á»vÀåzÀ ¥ÀæªÀÄÄR
GzÉÝñÀªÁVvÀÄÛ. «µÀÄÚ±ÀªÀÄð §gÉ¢gÀĪÀ ¥ÀAZÀvÀAvÀæ ºÁUÀÆ £ÁgÁAiÀÄt ¥ÀArvÀ §gÉ¢gÀĪÀ
»vÉÆÃ¥ÀzÉñÀUÀ¼ÀÄ ¥ÀæªÀÄÄR UÀæAxÀUÀ¼ÁVzÀÄÝ, «±ÀézÀ £Á£Á ¨sÁµÉUÀ½UÉ C£ÀĪÁzÀUÉÆArªÉ.

G½zÀAvÉ, UÀÄuÁqsÀå£À §ÈºÀvï PÀxÁ, ¸ÉÆêÀÄzÉêÀ£À PÀxÁ¸ÀjvÁìUÀgÀB, EvÁå¢ UÀæAxÀUÀ¼ÀÄ

¥ÀæªÀÄÄRªÁVªÉ.

¸ÉÆÛÃvÀæUÀ¼ÀÄ JAzÀgÉ ¥ÁæxÀð£É JAzÀxÀð. AiÀiÁªÀÅzÉà «µÀAiÀÄzÀ PÀÄjvÀÄ £ÁªÀÅ ªÀiÁqÀĪÀ

ªÀÄ£À«AiÉÄà ¥ÁæxÀð£É J¤ß¸ÀÄvÀÛzÉ. ¨sÀUÀªÀAvÀ£À PÀÄjvÁV £ÀªÀÄä EµÁÖxÀð ¹¢Þ¸À®Ä ªÀiÁqÀĪÀ
¥ÁæxÀð£ÉAiÉÄà ¸ÉÆÛÃvÀæ ¸Á»vÀåzÀ wgÀļÁVzÉ.¨sÁgÀvÀ PÀAqÀ ºÀ®ªÁgÀÄ ¸ÀAvÀgÀÄ, «¨sÀÆw¥ÀÄgÀĵÀgÀÄ
¸ÀgÀ¼À ¸ÀA¸ÀÌøvÀ ¨sÁµÉAiÀÄ°è ¸ÉÆÛÃvÀæ ¸Á»vÀå §gÉzÀÄ d£ÀgÀÄ ¸ÀgÀ¼ÀªÁV ¨sÀUÀªÀAvÀ£À ¸Á¤zsÀå
¥ÀqÉAiÀÄ®Ä C£ÀĪÀÅ ªÀiÁrPÉÆnÖzÁÝgÉ.

¥ÀĵÀàzÀAvÀ£À ²ªÀªÀÄ»ªÀÄ߸ÉÆÛÃvÀæ, ±ÀAPÀgÁZÁAiÀÄðgÀ ¸ËAzÀAiÀÄð®ºÀjÃ, PÀÄ®±ÉÃRgÀ£À

ªÀÄÄPÀÄAzÀªÀiÁ¯Á, °Ã¯Á±ÀÄPÀ£À PÀȵÀÚ PÀuÁðªÀÄÈvÀ, ªÉAPÀmÁzÀéjAiÀÄ ®QëöäøÀºÀ¸Àæ EvÁå¢ UÀæAxÀUÀ¼ÀÄ
¥ÀæªÀÄÄR ¸ÉÆÛÃvÀæ ¸Á»vÀåªÁVªÉ.

The Kathas are prevalent from thousand years. India is the homeland for
the stories. The great contribution of India to the world is literature of stories.
The Katha or stories were in vogue right from the vedic times. Later it
developed as the main stream of literature.

The purpose of this type of literature is to entertain people and teach

values of life and Dharma. Panchathantra of Vishnusharma and Hithopadesha

Muralidhara Avadhani 10
of Narayana Pandith are observed as Major Katha Sahitya in samskrit literature
world. Many works like Gunadhya’s Bruhatkatha, kathasarithsagara of
somadeva etc. have brought development in this field.

Prarthana means requesting for something. The devotees request the

all-pervading and omnipresent god to grant them the desired thing and this is
called Prarthana. The literature, which contains this type of Prarthana is called
Sthotra Sahithya in Samskrit literature.

Pushpadantha’s Shivamahimna Sthotra, Shankaracharya’s Soundarya

Lahari, Kulashekhara’s Mukundamala Sthotra, Leelashuka’s
Krishnakarnamrutham, Vedanthadeshika’s

Varadarajapanchashat, Appayya Dixit’s Varadarajasthavam etc. works

are famous in this literature.

* * *

Muralidhara Avadhani 11
 सुभािषतिन
GvÀÛªÀĪÁzÀ ªÀiÁvÀÄUÀ¼ÀÄ ¸ÀĨsÁ¶vÀªÉ¤¹ªÉ. ¸ÀĨsÁ¶vÀUÀ¼ÀÄ ±ÉÆèÃPÀgÀƦAiÀiÁVzÀÄÝ, ¸ÀgÀ¼À,
ªÀÄ£ÉÆúÀgÀ ±ÉÊ°AiÀÄ°è §gÉAiÀÄ®ànÖªÉ. §ºÀÄvÉÃPÀ ¸ÀĨsÁ¶vÀUÀ¼ÀÄ ¨ÉÃgÉ ¨ÉÃgÉ PÀ«UÀ¼À UÀæAxÀUÀ¼À°è
G¥À®§ÞªÁUÀĪÀ C£ÀĨsÀªÀ ¸ÁgÀUÀ¼À ¸ÀAUÀæºÀªÉà DVzÉ. DzÀgÉ PÉ®ªÀÅ PÀ«UÀ¼ÀÄ
¸ÀĨsÁ¶vÀUÀ½UÁVAiÉÄà UÀæAxÀUÀ¼À£ÀÆß gÀa¹zÁÝgÉ.

¸ÀĨsÁ¶vÀUÀ¼ÀÄ fêÀ£ÀzÀ zÁj¢Ã¥ÀUÀ¼ÁVªÉ. fêÀ£ÀªÀiË®åUÀ¼À eÉÆvÉUÉ gÁd¤Ãw,

CxÀð¤Ãw, zsÀªÀÄð±Á¸ÀÛç EvÁå¢UÀ¼À£ÀÄß ¸ÀĨsÁ¶vÀUÀ¼ÀÄ ¨ÉÆâü¸ÀÄvÀÛªÉ.

gÁd±ÉÃRgÀ£À ¸ÀÆQÛªÀÄÄPÁÛªÀ°Ã, ¸ÁAiÀÄuÁZÁAiÀÄðgÀ ¸ÀĨsÁ¶vÀ¸ÀÄzsÁ¤¢ü, ²æÃzsÀgÀzÁ¸ÀgÀ

¸ÀzÀÄQÛ PÀuÁðªÀÄÈvÀ EvÁå¢ UÀæAxÀUÀ¼ÀÄ ¥ÀæªÀÄÄRªÁVªÉ.

¨sÀvÀÈðºÀjAiÀÄÄ ¸ÀĨsÁ¶vÀ ¸Á»vÀåPÉÌ PÀ®±À¥ÁæAiÀÄ£ÁVzÀÄÝ CªÀ£À ¸ÀĨsÁ¶vÀ ¸ÀAPÀ®£ÀUÀ¼ÀÄ

¸ÀA¸ÀÌøvÀ ¸Á»vÀå ªÀ®AiÀÄzÀ°è ±ÀvÀPÀvÀæ¬Äà JAvÀ¯Éà ¥Àæ¹zÀÞªÁVzÉ.±ÀÈAUÁgÀ ±ÀvÀPÀ, ªÉÊgÁUÀå ±ÀvÀPÀ
ºÁUÀÆ ¤Ãw±ÀvÀPÀ JA§ÄzÁV £ÀÆgÀÄ ¥ÀzÀåUÀ¼À MlÄÖ ªÀÄÆgÀÄ UÀæAxÀUÀ¼ÀÄ EzÀgÀ°èªÉ.

Good words are called Subhashitha. Generally we can observe

Subhashithas in many Samskrit works written by several poets. Subhashitha
teaches morals or values of life, political thoughts, righteousness through
Shlokas, which are simple and attractive.

The Subhashithas are the results of the poet’s experiences in life and
they attract one and all.Among the Subhashithas, Rajashekhara’s
Sukthimukthavali, Saayanacharya’s Sharngadharapaddhathi, Vedanthadesika’s
Subhashitha neevi, Basavaprabhu’s Subhashitha Suradhruma are some of the
important Subhashitha works we come across.

The crown among all the Subhashitha Sahitya is Subhashitha Thrishathi,

which has three divisions of hundreds viz. Neethi Shathaka, Shrungara
Shathaka andVairagya Shathaka. It is composed by Bhartruhari.

Muralidhara Avadhani 12
 नाटकािन
PÁªÀå ¥ÀæPÁgÀUÀ¼À¯Éè®è £ÁlPÀªÀÅ CvÀåAvÀ gÀªÀÄåªÁzÀÄzÀÄ. N¢£À eÉÆvÉUÉ C©üAiÀÄ£ÀUÀ¼À
ªÀÄÆ®PÀ £ÉÆÃqÀ®Æ §ºÀÄzÁVgÀĪÀÅzÀjAzÀ £ÁlPÀ ¸Á»vÀåªÀÅ §ºÀ¼À »A¢£À PÁ®¢AzÀ®Æ
¥Àæ¹¢ÞUÉ §AzÀªÀÅ.

¸ÀA¸ÀÌøvÀ ¸Á»vÀåªÀÅ ¨sÁgÀwÃAiÀÄ gÀAUÀ¨sÀÆ«ÄUÉ ªÀÄÆ®ªÉ¤¹zÉ. Qæ¸ÀÛ¥ÀƪÀð

±ÀvÀªÀiÁ£ÀUÀ¼À°èAiÉÄà ¨sÁgÀvÀzÀ°è gÀAUÀ¨sÀÆ«Ä ¥ÀæªÀzsÀðªÀiÁ£ÀPÉÌ §A¢vÀÄ JA§ÄzÀÄ ¸ÀA¸ÀÌøvÀ
£ÁlPÀUÀ¼À ªÀÄÆ®PÀ w½AiÀÄÄvÀÛªÉ. PÉ®ªÀÅ ¥ÀæªÀÄÄR ¸ÀA¸ÀÌøvÀ £ÁlPÀPÁgÀgÀÄ:

¨sÁ¸À:

Qæ¸ÀÛ¥ÀƪÀð 5 CxÀªÁ 6£Éà ±ÀvÀªÀiÁ£À JA§ÄzÁV ¨sÁ¸À£À PÁ®ªÀ£ÀÄß

CAzÁf¸À¯ÁUÀÄvÀÛzÉ. ¥ÀÆtð¥ÀæªÀiÁtzÀ°è G¥À®§Þ«gÀĪÀ ¸ÀA¸ÀÌøvÀ £ÁlPÀUÀ¼À°è ¨sÁ¸À£À
£ÁlPÀUÀ¼Éà ºÉZÀÄÑ ¥ÁæaãÀªÁzÀÄzÀÄ. n UÀt¥Àw ±Á¹ÛçÃUÀ½UÉ zÉÆgÉvÀ 13 £ÁlPÀUÀ¼ÀÄ ¨sÁ¸À£ÀªÀÅ
JAzÀÄ CAzÁf¸À¯ÁVzÉ.

PÁ°zÁ¸À:

PÀ«PÀÄ®UÀÄgÀÄ J¤¹zÀ PÁ°zÁ¸À£À G¥À®§Þ«gÀĪÀ K¼ÀÄ PÀÈwUÀ¼À ¥ÉÊQ ªÀÄÆgÀÄ UÀæAxÀUÀ¼ÀÄ

£ÁlPÀUÀ¼Éà DVªÉ. CªÀÅ ªÀiÁ®«PÁVß «ÄvÀæA, «PÀæªÉÆêÀð²ÃAiÀÄA ºÁUÀÆ
C©üeÁÕ£À±ÁPÀÄAvÀ®ªÀiï, PÁ°zÁ¸À£À C©üeÁÕ£À±ÁPÀÄAvÀ®ªÀiï PÀÈwAiÀÄ «±ÀéªÀÄlÖzÀ°è ºÉÆUÀ½PÉUÉ
¥ÁvÀæªÁVzÉ.

±ÀÆzÀæPÀ:

PÁ°zÁ¸À£À ¸ÀªÀÄPÁ°Ã£À£Éà DVzÀÝ ±ÀÆzÀæPÀ£ÀÄ §gÉzÀ ªÀÄÈZÀÒPÀnPÀ £ÁlPÀªÀÅ GvÀÛªÀÄ

¸ÁªÀiÁfPÀ ¸ÀAzÉñÀªÀ£ÀÄß ¤ÃqÀĪÀ ªÀÄÆ®Ì ¥Àæ¹zÀÞªÁVzÉ.F PÀÈwAiÀÄ ¥ÁæaãÀ ¨sÁgÀvÀzÀ PÁ£ÀÆ£ÀÄ
ªÀåªÀ¸ÉÜAiÀÄ ªÉÄÃ¯É ¨É¼ÀPÀÄ ZÉ®ÄèvÀÛzÉ.

Muralidhara Avadhani 13
¨sÀªÀ¨sÀÆw:

¨sÀªÀ¨sÀÆwAiÀÄ ¸ÀA¸ÀÌøvÀ ¸Á»vÀåzÀ ±ÉæõÀ× £ÁlPÀPÁgÀgÀ®°è M§â. DvÀ §gÉzÀ ªÀiÁ®wÃ

ªÀiÁzsÀªÀ, GvÀÛgÀgÁªÀÄZÀjvÀªÀiï ºÁUÀÆ ªÀĺÁ«ÃgÀZÀjvÀªÀiï £ÁlPÀUÀ¼ÀÄ ¥Àæ¹zÀÞªÁVzÉ.

का यॆषु नाटकं र यम ् । It is said that among all the types of literature

Dramas are best. Genarally the Samskrit Dramas are called Rupaka.

Specially of Samskrit drama is generally they end with happy note. There
will be mixture of Samskrit and Prakrit. As per Kalidasas word- drama is a sole
platform, which entertains people of different tastes.

We come across dramas of great dramatists like Bhasa, Kalidasa,

Shudraka, Bhavabhuthi and many more.

Basa:

Basa is most ancient dramatist of India. He had written a number of

plays in samskrit with verities of them. Swapnavasavadattham, Prathima
Natakam, Pancharatram and other 10 works are assumed that they are written
by Bhasa.

Kalidasa:

Kalidasa was very popular poet in Samskrit literature.

Malavikagnimitram, Vikramorvashiyam and Abhijnanashakuntalam are three
plays written by Kalidasa. Abhijnashakunthalam is prised woth by the scholars.

Muralidhara Avadhani 14
Shudraka:

Shudraka was a popular dramatist of 3rd century. He has written

Mricchakatikam, a fictitious story, which explains about ancient Indian law.
This work implies the view of Indian society.

Bhavabhuthi:

Bhavabhothi had written three plays. They areMalathi Madhavam,

Uttara Rama Charitham and Mahaveera Charitham.

कृ तयः कवयः
रामायणम् uÉÉsqÉÏÌMüqÉWûÌwÉïÈ

महाभारतम् uÉåSurÉÉxÉÈ

रघुवंषम्

कु मारसंभवम्

मालिवकाि िम म्

िव मॊवशीयम् MüÉÍsÉSÉxÉÈ

अिभ ाशाकु तलम्

मेघदूतम्

ऋतुसंहारम्

करातजुनीयम् pÉÉUuÉÏ

िशशुपालवधम् qÉÉbÉÈ

नैषधीयच रतम् ´ÉÏWûwÉïÈ

नवसाहसा कच रतम् mÉ©aÉÑmiÉÈ

िव मा कदेवच रतम् ÌoÉsWûhÉÈ

Muralidhara Avadhani 15
राजतरि गणी MüsWûhÉÈ

कु मारपालच रतम् WåûqÉcÉÇSìÈ

सा वा युदयम् UÉeÉlÉÉjÉÈ

मधुरािवजयम् aÉÇaÉÉSåuÉÏ

वासवद म् xÉÑoÉÇkÉÑÈ

हषच रतम्
oÉÉhÉpÉOèOûÈ
काद बरी

दशकु मारच रतम ShQûÏ

च पूरामायणम् pÉÉåeÉUÉeÉÈ

प त म् ÌuÉwhÉÑvÉqÉÉï

िहतोपदेशः lÉÉUÉrÉhÉ mÉÎhQûiÉÈ

कथास र सागरः xÉÉåqÉSåuÉÈ

ÍvÉuÉqÉÌWûqlÉxiÉÉå§ÉÇ पु पद तÈ

सौ दयलहरी vÉXçMüUÉcÉÉrÉïÈ

मुकु दमाला MÑüsÉvÉåZÉUÈ

कृ णाकणामृतम् sÉÏsÉÉvÉÑMüÈ

वरदराज वम् uÉåSÉliÉSåÍvÉMüÈ

नारायणीयम् lÉÉUÉrÉhÉpÉOèOûÈ

प लहरी eÉaɳÉÉjÉ mÉÎhQûiÉÈ

सूि मु ावली UÉeÉvÉåZÉUÈ

सुभािषतसुधािनिधः xÉÉrÉhÉÉcÉÉrÉïÈ

सदुि कणामृतः ´ÉÏkÉUSÉxÉÈ

vÉÉXçaÉïkÉUmÉ®ÌiÉÈ vÉÉXçaÉïkÉUÈ

Muralidhara Avadhani 16
lÉÏÌiÉvÉiÉMüÇ

शा गारशतकम् pÉiÉ×ïWûËUÈ

वैरा यशतकम्

मृ छक टकम् vÉÔSìMüÈ

महावीरच रतम्

मालतीमाधवम् भवभूितः

उ ररामच रतम

* * *

Muralidhara Avadhani 17
 िॆ व व
ॆ ॆ दत ॆ

1.LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ|

1. ²å Ìuɱå Måü?

²å Ìuɱå mÉUÉ AmÉUÉ cÉ |

2. pÉÑuÉlÉxrÉ aÉÉåmiÉÉ MüÈ?

pÉÑuÉlÉxrÉ aÉÉåmiÉÉ oÉë¼É |

3. AQèaÉÏÈ MüxqÉæ oÉë¼ÌuɱÉÇ mÉëÉå£üuÉÉlÉç?

AQèaÉÏÈ pÉÉU²ÉeÉÉrÉ oÉë¼ÌuɱÉÇ mÉëÉå£üuÉÉlÉç?

4. qÉWûÉvÉÉsÉÈ MüÈ?

qÉWûÉvÉÉsÉÈ vÉÉælÉMüÈ|

5. uÉåSÉXçaÉÉÌlÉ MüÌiÉ?

uÉåSÉXçaÉÉÌlÉ wÉOè |

6. AaÉëÉ½Ç ÌMüÇ ?

AaÉëɽqÉç A¤ÉUqÉç |

7. ÌuɵÉÇ MüxqÉÉiÉç xÉÇpÉuÉÌiÉ?

ÌuɵÉÇ A¤ÉUÉiÉç xÉÇpÉuÉÌiÉ?

2. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. oÉë¼ÌuɱÉrÉÉÈ mÉUÇmÉUÉÇ ÍsÉZÉiÉ |

J®è «zÉåUÀ½UÀÆ ªÀÄÆ®ªÉ¤¹zÀ §æºÀä«zÉåAiÀÄ£ÀÄß §æºÀä£ÀÄ vÀ£Àß eÉåõÀ×¥ÀÄvÀæ£ÁzÀ

CxÀªÀð¤UÉ ªÉÆzÀ®Ä ºÉýPÉÆlÖ£ÀÄ.£ÀAvÀgÀ CxÀªÀð£ÀÄ CAVUÉ, CAVAiÀÄÄ ¸ÀvÀåªÀºÀ£ÁzÀ
¨sÀgÀzÁéd¤UÉ, ¨sÀgÀzÁéd£ÀÄ CAVgÀ¸À¤UÉ ºÉýzÀ£ÀÄ.EzÀÄ §æºÀä«zÉåAiÀÄ ¥ÀgÀA¥ÀgÉ.

Muralidhara Avadhani 18
 Brahmavidya is basis of all knowledge, was taught by Brahma to his
yielder son Atharva. Later Atharva taught it to Angi leter on angi taught it to
Satyavaha

Bharadvaja than Bharadvaja to Angiras. This is the succession of

Brahmavidya.

2. AmÉUÉrÉÉÇ ÌuɱÉrÉÉÇ Måü AliÉpÉïuÉÇÌiÉ ?

C¥ÀgÁ «zÉåAiÀÄÄ IÄUÉéÃzÀ, AiÀÄdĪÉðÃzÀ, ¸ÁªÀĪÉÃzÀ, CxÀªÀðtªÉÃzÀ ²PÁë, ªÁåPÀgÀt

bÀAzÀ, ¤gÀÄPÀÛ eÉÆåÃwµÀå, PÀ®à EªÀÅUÀ¼À£ÀÄß M¼ÀUÉÆArzÉ.

Apara Vidya includes All the Vedas that Rigveda, Yajurveda, Samaveda,
Atharvanaveda and also Shiksha, Vyakarana, Chandas, Niruktha, Jyothishya,
Kalpa.
3. oÉë¼hÉÈ xuÉÃmÉÇ uÉhÉïrÉiÉ |

§æºÀä£ÀÄ PÀtÂÚUÉ UÉÆÃZÀgÀ£ÁUÀĪÀÅ¢®è, CªÀ¤UÉ UÉÆÃvÀæ«®è, ªÀtð«®è, CªÀ£ÀÄ

C«£Á²AiÀÄÆ, ¤vÀå£ÀÄ ¸ÀªÀðUÀvÀ£ÀÆ, ¸ÀÆPÀëöä£ÀÆ DVzÁÝ£É. CªÀ¤UÉ PÀtÂÚ®è, Q« E®è
PÉÊPÁ®ÄUÀ¼À°è, CªÀ£ÀÄ J®è «zsÀzÀ ¸ÀȶÖUÀÆ ªÀÄÆ®ªÁVzÁÝ£É.

Brahma is beyond the range of all sense organs, beyond one’s grasp, he
has No roots, He is Imperishable, he has no eyes, no colours, no ears, no hands,
no limbs. He is source of all creation.

4. ÌuɵÉxrÉ EimÉͨÉÈ MüjÉÍqÉÌiÉ xÉÉåSÉWûUhÉÇ ÍsÉZÉiÉ |

ºÉÃUÉ eÉÃqÀªÀÅ vÀ£ÉÆß¼ÀV£À £ÀÆ®£ÀÄß vÉUÉzÀÄ §¯É ºÉuÉAiÀÄÄvÀÛzÉ, ºÉÃUÉ ¨sÀÆ«ÄAiÀÄ°è

¸À¸ÀåUÀ¼ÀÄ ºÀÄlÄÖvÀÛªÉ, ºÉÃUÉ fëUÀ¼À°è PÀÆzÀ®Ä ªÀÄvÀÄÛ ¨Á®UÀ¼ÀÄ ¨É¼ÉAiÀÄÄvÀÛªÉ ºÁUÉAiÉÄà CPÀëgÀ
vÀvÀé¢AzÀ F dUÀvÀÄÛ ºÀÄlÄÖvÀÛzÉ.

Muralidhara Avadhani 19
 As the spider forth and draws in its thread, as plants grow on the earth,
as hair and tail grow on the body of existing being in same manner everything
in the universe arise from the imperishable- deathless.

3. mÉÉPûlÉÉqÉ EÎssÉZrÉ MüÈ MüÇ mÉëÌiÉ AuÉSiÉç CÌiÉ xÉÇxM×iÉpÉÉwÉrÉÉ ÍsÉZÉiÉ |

1. xÉuÉïÍqÉSÇ ÌuÉ¥ÉÉiÉÇ pÉuÉiÉÏÌiÉ |

CSÇ uÉÉYrÉÇ ²å Ìuɱå uÉåÌSiÉurÉå CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | vÉÉælÉMüÈ AXçaÉÏUxÉÇ mÉëÌiÉ mÉ×cNûÌiÉ |

2. mÉUÉ cÉæuÉÉmÉUÉ cÉ |

CSÇ uÉÉYrÉÇ ²å Ìuɱå uÉåÌSiÉurÉå CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | AXçÌaÉUxÉÈ vÉÉælÉMüÇ mÉëÌiÉ AuÉSiÉç |

3.rÉ°ÕiÉrÉÉåÌlÉÇ mÉËUmÉvrÉÇÌiÉ kÉÏUÉÈ |

CSÇ uÉÉYrÉÇ ²å Ìuɱå uÉåÌSiÉurÉå CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | AXçÌaÉUxÉÈ vÉÉælÉMüÇ mÉëÌiÉ AuÉSiÉç |

4. qÉgeÉÔwÉÉiÉÈ xÉÔ£üÇ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. oÉë¼É SåuÉÉlÉÉÇ mÉëjÉqÉÈ xÉÇoÉpÉÔuÉ |

2. xÉuÉïÌuɱÉmÉëÌiɸÉqÉç AjÉuÉÉïrÉ erÉå¸mÉѧÉÉrÉ mÉëÉWû |

3. vÉÉælÉMüÉå Wû uÉæ qÉWûÉvÉÉsÉÉåÅÎXçaÉUxÉÇ ÌuÉÍkÉuÉiÉç EmÉxɳÉÈ mÉmÉ×cNû |

4. rÉjÉÉ mÉ×ÍjÉurÉÉqÉç AÉæwÉkÉrÉÈ xÉqpÉuÉÎliÉ |

5. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

AjÉuÉÉï erÉå¸mÉѧÉÈ

mÉÑÂwÉÉiÉç MåüvÉsÉÉåqÉÉÌlÉ

xÉirÉuÉWûÈ pÉÉU²ÉeÉÈ

Muralidhara Avadhani 20
 A¤ÉUqÉç xÉÑxÉÔ¤qÉqÉç

ÍvɤÉÉ AmÉUÉ

* * *

आदशगुणाः

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. UÉqÉÈ MüÎxqÉlÉç uÉÇvÉå eÉÉiÉÈ ?

UÉqÉÈ C¤uÉÉMÑüuÉÇvÉå eÉÉiÉÈ |

2. vɧÉÑÌlÉoÉWïûhÉÈ MüÈ ?

vɧÉÑÌlÉoÉWïûhÉÈ UÉqÉÈ|

3. irÉÉaÉå UÉqÉÈ MåülÉ xÉqÉÈ ?

irÉÉaÉå UÉqÉÈ kÉûlÉSålÉ xÉqÉÈ |

4. UÉqÉÈ MüÉlÉç xuÉeÉlÉuÉiÉç mÉvrÉÌiÉ ?

UÉqÉÈ mÉÉæUÉlÉç xuÉeÉlÉuÉiÉç mÉvrÉÌiÉ |

5. UÉqÉÈ MüÉlÉç AÌuÉÎeÉirÉ xÉXçaÉëÉqÉÉiÉç lÉ ÌlÉuÉiÉïiÉå ?

UÉqÉÈ AxÉÑUÉlÉçç AÌuÉÎeÉirÉ xÉXçaÉëÉqÉÉiÉç lÉ ÌlÉuÉiÉïiÉå |

6. uÉÉxÉuÉÈ MåüwÉÉÇ UÉeÉÉ ?

uÉÉxÉuÉÈ SåuÉÉlÉÉqÉç UÉeÉÉ |

2. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

´ÉÏUÉqÉxrÉ aÉÑhÉÉlÉç xÉXçaÉ×½ ÍsÉZÉiÉ |

Muralidhara Avadhani 21
 ²æÃgÁªÀÄ£À DzÀ±ÀðUÀÄtUÀ¼À£ÀÄß £ÁªÀÅ AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå¨sÁUÀzÀ°è PÁt§ºÀÄzÀÄ.F
¥ÀzÀå¨sÁUÀªÀ£ÀÄß ªÁ°äÃQ ªÀĺÀ¶ðUÀ¼ÀÄ §gÉzÀ gÁªÀiÁAiÀÄt UÀæAxÀ¢AzÀ Dj¸À¯ÁVzÉ.

gÁªÀiÁAiÀÄtzÀ ¨Á®PÁAqÀ, CAiÉÆÃzsÁå PÁAqÀ, CgÀtåPÁAqÀUÀ¼À°è ¨ÉÃgÉ ¨ÉÃgÉ

¸ÀAzÀ¨sÀðUÀ¼À°è ²æÃgÁªÀÄ£À £Á£Á UÀÄtUÀ¼À §UÉUÉ ºÉüÀ¯ÁVzÉ.

CªÀ£ÀÄ EPÁë÷éPÀÄ ªÀA±ÀzÀ°è d¤¹zÀªÀ£ÀÄ. ¥ÀæeÉUÀ½AzÀ gÁªÀÄ JA§ÄzÁV

PÀgɹPÉƼÀÄîªÀªÀ£ÀÄ.¸ÀvÀåªÁ¢AiÀÄÄ, ªÀĺÁ«ÃAiÀÄð£ÀÄ, ¤AiÀÄvÁvÀä£ÀÄ, zsÉÊAiÀÄðªÀAvÀ£ÀÄ DVzÀÝ£ÀÄ.

gÁªÀÄ£ÀÄ §Ä¢ÞªÀAvÀ£ÀÄ, ¸Àäøw ¤AiÀĪÀÄUÀ¼À£ÀÄß CjvÀªÀ£ÀÄ, ªÀiÁvÀÄUÁgÀ£ÀÄ UËgÀªÁºÀð£ÀÄ,

±ÀvÀÄæ ¸ÀAºÁgÀPÀ£ÀÄ DVzÀÝ£ÀÄ, DvÀ£ÀÄ «¸ÁÛgÀªÁzÀ ¨sÀÄdUÀ¼À£ÀÄß, §®ªÁzÀ vÉÆüÀÄUÀ¼À£ÀÄß,
±ÀĨsÀ¸ÀÆZÀPÀ ±ÀASÁPÀÈwAiÀÄ PÉÆgÀ¼À£ÀÄß CUÀ® zÀªÀqÉAiÀÄ£ÀÄß ºÉÆA¢zÀÝ£ÀÄß.

gÁªÀÄ£ÀÄ vÀ£Àß zsÀªÀÄðzÀ gÀPÀëPÀ£ÀÄ, ¸Àéd£ÀgÀ gÀPÀëPÀ£ÀÄ DVzÀÝ£ÀÄ.ªÉÃzÀ-ªÉÃzÁAUÀUÀ¼À£ÀÄß §®èªÀ£ÀÄ,

©°ézÉåAiÀÄ°è ¤µÁÚvÀ£ÀÆ DVzÀÝ£ÀÆ.J®è ±Á¸ÁÛç¢UÀ¼À£ÀÄß CxÉðʹPÉÆAqÀªÀ£ÀÄ ¸ÀäøwUÀ¼À£ÀÄß
CjvÀªÀ£ÀÆ, ¥Àæw¨sÁªÀAvÀ£ÀÆ, J®èjUÀÆ ¦æAiÀĪÁzÀªÀ£ÀÆ, ¸ÁzsÀĪÀÅ, ¢Ã£ÀgÀPÀëPÀ£ÀÄ, ¥ÀArvÀ£ÀÆ
DVzÀÝ£ÀÄ. ¸ÀªÀÄÄzÀæªÀÅ vÀ£Àß §½ §AzÀ £À¢UÀ¼À°è ¨ÉgÉAiÀÄĪÀAvÉ gÁªÀÄ£ÀÄ AiÀiÁªÁUÀ®Æ vÀ£Àß
JzÀÄjUÉ §AzÀ ¸ÀdÓ£ÀgÀ°è MAzÁV©qÀÄwÛzÀÝ£ÀÄ. vÁåUÀzÀ°è PÀĨÉÃgÀ£À ºÁUÉ EzÀÝ gÁªÀÄ£ÀÄ ¸ÀvÀåzÀ
gÁªÀÄ£ÀÄ «ZÁgÀzÀ°è E£ÉÆßAzÀÄ zsÀªÀÄðªÉà CªÀ£ÉA§wzÀÝ£ÀÄ. ¥ÀæeÉUÀ½UÉ ¸ÀÄR ¤ÃqÀĪÀ
«ZÁgÀzÀ°è DvÀ£ÀÄ ZÀAzÀæ£À ºÁUÉ, PÀëªÀiÁUÀÄtzÀ°è ¨sÀÆ«ÄvÁ¬ÄAiÀÄ ºÁUÉ, §Ä¢ÞAiÀÄ°è
§ÈºÀ¸ÀéwAiÀÄ ºÁUÉ, «ÃAiÀÄðzÀ°è ¸ÁPÁëvï EAzÀæ£À ºÁUÉ EzÀÝ£ÀÄ.

gÁªÀÄ£ÀÄ ªÀiÁwUÉ ¥ÀƪÀð ªÀÄAzÀºÁ¸À ©ÃgÀÄwÛzÀÝ£ÀÄ ¥ËgÀgÀ PÀıÀ®UÀ¼À£ÀÄß PÉüÀÄwÛzÀÝ£ÀÄ

±ÉæÃAiÀĸÀì£ÀÄß ºÉÆ¢zÀªÀ£ÁVzÀÝ£ÀÄ.ªÀÈxÁ PÀ®ºÀ, d®à£À, «xÀAqÀªÁzÀUÀ¼À£ÀÄß ªÀiÁqÀÄwÛgÀ°®è.

gÁªÀÄ£ÀÄ ªÀÄÆwð¸ÀégÀÆ¥À£ÀÄ, zsÀªÀÄðªÀAvÀ£ÀÆ ¸ÀvÀå¥ÀgÁPÀæªÀÄ£ÀÄ DVzÀÝ£ÀÄ.EAzÀæ£ÀÄ zÉêÀvÉUÀ½UÉ

gÁd¤gÀĪÀAvÉ, gÁªÀÄ£ÀÄ J®è ¯ÉÆÃPÀUÀ½UÀÆ gÁd£ÀÄ.

The ideal Good qualities of Shri Rama are told in the poetry
partAÉSvÉïaÉÑhÉÉÈ which is extracted from Shrimad Ramayanam written by

Muralidhara Avadhani 22
Valmiki Maharshi. Several times Balakanda and Ayodhya Kanda describe the
good qualities of Rama.

Shri Rama, who was born in the clan of Ikshvaku, was self-controlled,
great valour, bright, one who is steadfast and submissive. He is intelligent,
well-versed in all the knowledge and orator. He is glorious, destroyer of
enemies. He has got broad shoulder, strong arms, a conch shaped neck and big
jaw.

He is truthful; he is the one who is involved in the protection of the

people, coming to him seeking help, one who always thinks of the ultimate
truth.

He had studied all the vedas and shastras and expert at archery. He had
good memories. Like the ocean that is approached by the rivers, he was easily
approachable by the good people.

In giving happiness to his subjects he was like the moon, in the matter of
forgiveness he was like the earth, in the matter of intelligence he was like
Bruhaspathi and in the matter of bravery he was absolutely like Indra.

He would go to battle field along with Lakshmana, and would never

return without conquering enemies. He was protector of righteousness as well
as his own people. He would ask the welfare of his own kith and kin as well as
his subjects. He used to approach people with smile; he would never waste
time in idle talk.

In sum, Shri Rama was idol of Dharma, like Indra who was lord of all the
gods, he was King of all the worlds.

3. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. kÉqÉï¥ÉÈ xÉirÉxÉlkÉ¶É mÉëeÉÉlÉÉÇ cÉ ÌWûiÉå UiÉÈ |

2. xÉXçaÉëÉqÉÉiÉç mÉÑlÉUÉaÉirÉ MÑügeÉUåhÉ UjÉålÉ uÉÉ |

3. UÉqÉÉå ÌuÉaÉëWûuÉÉlÉç kÉûqÉïÈ |

Muralidhara Avadhani 23
4. mÉÉPûlÉÉqÉ EÎssÉZrÉ vsÉÉåMüÉlÉÉqÉç AlÉÑuÉÉSÇ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ MÑÂiÉ |

1. kÉqÉï¥ÉÈ xÉirÉxÉlkÉ¶É mÉëeÉÉlÉÉÇ cÉ ÌWûiÉå UiÉÈ |

rÉvÉxuÉÏ ¥ÉÉlÉxÉqmɳÉÈ vÉÑÍcÉuÉïvrÉÈ xÉqÉÉÍkÉqÉÉlÉç ||
F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

gÁªÀÄ£ÀÄ zsÀªÀÄðUÀ¼À£ÀÄß w½zÀªÀ£ÀÄ, ¸ÀvÀåªÀAvÀgÀÄ, ¥ÀæeÉUÀ¼À »vÀzÀ°è D¸ÀQÛ G¼ÀîªÀ£ÀÆ,

AiÀıÀ¹éAiÀÄÄ, eÁÕ£À¸ÀA¥À£ÀߣÀÄ ±ÀaAiÀÄÄ ªÀ±Àå£ÀÆ, ¢Ã£ÀgÀPÀëPÀ£ÀÄ.

This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:

He (Rama) knows righteousness and truthful. He was involved in the

welfare of his subjects. He has attained fame, he was rich in knowledge he is
pure, he is humble and he was involved in the protection of the people,
coming to him seeking help.

2. UͤÉiÉÉ xuÉxrÉ kÉqÉïxrÉ xuÉeÉlÉxrÉ cÉ UͤÉiÉÉ |

uÉåSuÉåSÉXçaÉiÉiuÉ¥ÉÉå kÉlÉÑuÉåïSå cÉ ÌlÉ̸iÉÈ ||
F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:
gÁªÀÄ£ÀÄ vÀ£Àß zsÀªÀÄðzÀ gÀPÀëPÀ£ÀÄ ºÁUÀÆ ¸Àéd£ÀgÀ gÀPÀëPÀ£ÀÄ DVzÁÝ£É. ªÉÃzÀ-ªÉÃzÁAUÀUÀ,
vÀvÀéUÀ¼À£ÀÄß w½zÀªÀ£ÀÄ, ©°ézÉåAiÀÄ°è ¤µÁÚvÀ£ÀÄ.

Muralidhara Avadhani 24
This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:
He is protector of his own duties as well as his own people. He had
known all the Vedas, the accessories of vedas and philosophy. He was expert in
archery.

3. xÉuÉïvÉÉx§ÉÉjÉïiÉiuÉ¥ÉÈ xqÉ×ÌiÉuÉÉlÉç mÉëÌiÉpÉÉlÉuÉÉlÉç |

xÉuÉïsÉÉåMüÌmÉërÉÈ xÉÉkÉÑUSÏlÉÉiqÉÉ ÌuÉcɤÉhÉÈ ||
F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

gÁªÀÄ£ÀÄ J®è ±Á¸ÀÛçxÀðUÀ¼À£ÀÄß w½zÀªÀ£ÀÄ, ¸ÀäøwUÀ¼À£ÀÄß w½zÀªÀ£ÀÄ, ¥Àæw¨sÁªÀAvÀ£ÀÄ

DVzÁÝ£É. J®è d£ÀjUÀÆ ¦æAiÀĪÁzÀªÀ£ÀÄ ¸ÁzsÀĪÀÅ, GvÀÄìPÀ£ÀÄ, ¥ÀArvÀ£ÀÄ DVzÁÝ£É.

This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:

He is well knower of all the Shastras and their meaning. He knows the
code of laws. he is bright and has presence of mind. He is liked by all the
people, he is gentle, cheerful, and wise.

4. mÉëeÉÉxÉÑZÉiuÉå cÉÇSìxrÉ uÉxÉÑkÉÉrÉÉÈ ¤ÉqÉÉaÉÑhÉæÈ |

oÉÑSèkrÉÉ oÉ×WûxmÉiÉåxiÉÑsrÉÉå uÉÏrÉåï xÉɤÉÉcNûcÉÏmÉiÉåÈ||

F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

gÁªÀÄ£ÀÄ ¥ÀæeÉUÀ½UÉ ¸ÀÄRªÀ£ÀÄß PÉÆqÀĪÀzÀgÀ°è ZÀAzÀæ¤UÉ, PÀëªÀiÁUÀÄtzÀ°è ¨sÀÆ«ÄUÉ,

§Ä¢ÞAiÀÄ°è §ÈºÀ¸ÀàwUÉ ¸ÀªÀÄ£ÀÄ. «ÃAiÀÄðzÀ°è ¸ÁPÁëvï EAzÀæ£Éà DVzÁÝ£É.

Muralidhara Avadhani 25
This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:

In bringing happiness to his subjects he is like the moon. In the matter of

forgiveness he is like the earth. With regard to intelligence He is like
Bruhaspathi. In respect of bravery he is obsoletely like Indra.

5. qÉ×SÒ¶É ÎxjÉUÍcÉ¨É¶É xÉSÉ pÉurÉÉåÅlÉxÉÔrÉMüÈ |

ÌmÉërÉuÉÉSÏ cÉ pÉÔiÉÉlÉÉÇ xÉirÉuÉÉSÏ cÉ UÉbÉuÉÈ ||
F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

gÁªÀÄ£ÀÄ ªÀÄÈzÀÄ ¸Àé¨sÁªÀzÀ£ÀÄ, ¹ÜgÀavÀÛ£ÀÄ, AiÀiÁªÁUÀ®Æ ¸ÀÄAzÀgÁAUÀ£ÀÄ DVzÁÝ£É.

EvÀgÀzÀ°è C¸ÀÆAiÉÄ ¥ÀqÀzÀªÀ£ÀÄ, J®ègÉÆA¢UÉ ¦æAiÀĪÁzÀ ªÀiÁvÀÄUÀ¼À£ÁßqÀĪÀªÀ£ÀÄ,
¸ÀvÀåªÁ¢AiÀÄÆ, gÁWÀªÀ£ÀÆ DVzÁÝ£É.

This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:

He is Soft (by nature) and stable minded. He is handsome, He is always

free from jealousy. He speaks lovable words. He speaks truth to all the beings.

6. ÎxqÉiÉmÉÔuÉÉïÍpÉpÉÉwÉÏ cÉ kÉqÉïÇ xÉuÉÉïiqÉlÉÉ Í´ÉiÉÈ |

xÉqrÉarÉÉå£üÉ ´ÉårÉxÉÉÇ cÉ lÉ ÌuÉaÉ×½ MüjÉÉÂÍcÉÈ ||

F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ: gÁªÀÄ£ÀÄ ªÀiÁwUÉ ¥ÀƪÀðzÀ°è ªÀÄÄUÀļÀßUÀÄwÛzÀÝ£ÀÄ.zsÀªÀÄðªÀ£ÀÄß J®è «zsÀzÀ®Æè

D±Àæ¬Ä¹zÀÝ£ÀÄ.±ÉæÃAiÀĸÀì£ÀÄß ¸ÀjAiÀiÁV ºÉÆA¢zÀªÀ£ÀÄ, ªÀÈxÁ PÀ®ºÁ¢UÀ¼À°è D¸ÀQÛ E®èzÀªÀ£ÀÄ
DVzÀÝ£ÀÄ.

Muralidhara Avadhani 26
This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:

His talk is preceded by a smile. He resorts to righteousness at all costs. He is

much attached to righteousness deeds. He never holds himself to idle
conversations.

7. UÉqÉÉå ÌuÉaÉëWûuÉÉlÉç kÉqÉïÈ xÉÉkÉÑÈ xÉirÉmÉUÉ¢üqÉÈ |

UÉeÉÉ xÉuÉïxrÉ sÉÉåMüxrÉ SåuÉÉlÉÉÍqÉuÉ uÉÉxÉuÉÈ ||
F ±ÉÆèÃPÀªÀ£ÀÄß AÉSvÉïaÉÑhÉÉÈ JA§ ¥ÀzÀå ¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

gÁªÀÄ£ÀÄ ªÀÄÆwðªÀAvÀ£ÀÄ, zsÀªÀÄðªÀAvÀ£ÀÆ, ¸ÁzsÀĪÀÅ, ¸ÀvÀåzÀ «µÀAiÀÄzÀ°è ¥ÀgÁPÀæ«ÄAiÀÄÄ

DVzÁÝ£É. ºÉÃUÉ EAzÀæ£ÀÄ J®è zÉêÀvÉUÀ¼ÀUÉ gÁd£ÉÆà ºÁUÉà gÁªÀÄ£ÀÄ J®è ¯ÉÆÃPÀUÀ½UÉ
gÁd£ÀÄ.

This Shloka is extracted from the lesson AÉSvÉïaÉÑhÉÉÈ

Translation:

Rama is idol righteousness, gentle, strong at truth, Like Indra, who is

King of all the gods Rama is King of all worlds.

* * *

Muralidhara Avadhani 27
 िववादः िवनाशाय

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. MüÌmÉgeÉsÉÈ MÑü§É uÉxÉÌiÉ xqÉ ?

MüÌmÉgeÉsÉÈ MüÎxqÉÇͶɲؤÉxrÉ MüÉåOûUå uÉxÉÌiÉ xqÉ |

2. cÉOûMüxrÉ lÉÉqÉ ÌMüqÉç ?

cÉOûMüxrÉ lÉÉqÉ MüÌmÉgeÉsÉÈ |

3. MüÌmÉgeÉsÉÈ ÌMüqÉjÉïqÉç AlrÉÇ SåvÉÇ aÉiÉÈ ?

MüÌmÉgeÉsÉÈ mÉëÉhÉrÉɧÉÉjÉïqÉçç AlrÉÇ SåvÉÇ aÉiÉÈ |

4. vÉÏaÉëaÉÈ MüÈ ?

vÉÏaÉëaÉÈ vÉvÉMüÈ |

5. vÉvÉ - MüÌmÉgeÉsÉrÉÉåÈ ÌuÉuÉÉSÌlÉhÉÉïrÉMüÈ MüÈ ?

vÉvÉ - MüÌmÉgeÉsÉrÉÉåÈ ÌuÉuÉÉSÌlÉhÉÉïrÉMüÈ AUhrÉqÉÉeÉÉïUÈ |

2. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. uÉÉrÉxÉÈ xÉÉå²åaÉÇ ÌMüqÉç AÍcÉliÉrÉiÉç ?

¸ÀAeÉAiÀiÁzÀgÀÆ PÀ¦Ad®£ÀÄ »A¢gÀÄUÀzÉà EzÁÝUÀ ªÁAiÀĸÀªÀÅ GzÉéÃUÀzÀ°è - EAzÀÄ

PÀ¦Ad®£ÉÃPÉ »A¢gÀÄUÀ°®è? AiÀiÁªÀÅzÁzÀgÀÆ §¯ÉAiÀÄ°è ©¢ÝgÀ§ºÀÄzÉ? CxÀªÁ
AiÀiÁjAzÀ¯ÁzÀgÀÆ PÉÆ®è®àlÖ£ÉÃ? E®è¢zÀÝgÉ CªÀ£ÀÄ £À£ÀߣÀÄ ©nÖgÀÄwÛgÀ°®è JAzÀÄ AiÉÆÃa¹vÀÄ.

When the sparrow Kapinjala did not return home even it was night,
exited crow thought that Kapinjala might have caught into a net or he might

Muralidhara Avadhani 28
even have been killed by someone. If he were alive, he would never leave the
company of the crow.

2. vÉvÉ - MüÌmÉgeÉsÉrÉÉåÈ uÉÉxÉxjÉÉlÉÌuÉwÉrÉMüÈ MüsÉWûÈ MüÈ ?

PÀ¦Ad®£ÉA§ UÀÄ©âAiÀÄÄ DºÁgÀªÀ£ÀÄß ºÀÄqÀÄQ ¨ÉÃgÉ zÉñÀPÉÌ ºÉÆzÁUÀ CzÀgÀ

ªÁ¸À¸ÀܼÀzÀ°è ²ÃWÀæUÀ£ÉA§ ªÉÆ®ªÀÅ §AzÀÄ ¸ÉÃjPÉÆArvÀÄÛ. PÀ¦Ad®ªÀÅ »A¢gÀÄVzÁUÀ CzÀÄ
vÀ£Àß ªÀÄ£É. CzÀ£ÀÄß ©qÀ¨ÉÃPÉAzÀÄ ²ÃWÀæUÀ¤UÉ ºÉývÀÄ. DUÀ ªÉÆ®ªÀÅ ¸ÀļÀî£ÁßqÀ¨ÉÃqÀ. EzÀÄ
£À£ÀßzÉà ªÀÄ£É, ¤£Àß ªÀÄ£ÉAiÀÄ®è JA¢vÀÄ. »ÃUÉ ªÁ¸À¸ÜÀ ¼ÀPÁÌV ±À±À-PÀ¦Ad®gÀ £ÀqÀÄªÉ PÀ®ºÀ
GAmÁ¬ÄvÀÄ.

One day, Kapinjala remembered his original dwelling place and came to
the burrow. He found that it was occupied by a rabbit. Kapinjala said to rabbit
that what he had one was wrong and demanded to vacate the burrow.
However, the rabbit nodded to the sparrow’s words and he said that the
burrow belongs to him. Thus, dispute arose between sparrow and rabbit.

3. ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ mÉÉPûxrÉvÉÏÌwÉïMüÉÇ xÉqÉjÉïrÉiÉ |

ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ ²Ã¶ðPÉAiÀÄ ‘PÀ®ºÀªÀÅ «£Á±ÀPÉÌ zÁj ªÀiÁrPÉÆqÀÄvÀÛzÉ’ JA§ÄzÁV

w½¸ÀÄvÀÛzÉ. ¥Àæ¸ÀÄÛvÀ ¥ÁoÀzÀ°è PÀ¦Ad®£ÉA§ UÀÄ©âAiÀÄÄ DºÁgÀªÀ£ÀÄß ºÀÄqÀÄQ ¨ÉÃgÉ zÉñÀPÉÌ
ºÉÆzÁUÀ CzÀgÀ ªÁ¸À¸ÀܼÀzÀ°è ²ÃWÀæUÀ£ÉA§ ªÉÆ®ªÀÅ §AzÀÄ ¸ÉÃjPÉÆArvÀÄÛ. PÀ¦Ad®ªÀÅ
»A¢gÀÄVzÁUÀ CzÀÄ vÀ£Àß ªÀÄ£É. CzÀ£ÀÄß ©qÀ¨ÉÃPÉAzÀÄ ²ÃWÀæUÀ¤UÉ ºÉývÀÄ. DUÀ ªÉÆ®ªÀÅ
¸ÀļÀî£ÁßqÀ¨ÉÃqÀ. EzÀÄ £À£ÀßzÉà ªÀÄ£É, ¤£Àß ªÀÄ£ÉAiÀÄ®è JA¢vÀÄ. »ÃUÉ ªÁ¸À¸ÀܼÀPÁÌV ±À±À-
PÀ¦Ad®gÀ £ÀqÀÄªÉ PÀ®ºÀ GAmÁ¬ÄvÀÄ.

±À±À-PÀ¦Ad®gÀ dUÀ¼ÀzÀ ¯Á¨sÀªÀ£ÀÄß ¥ÀqÉzÀ PÁqÀÄ ¨ÉPÀÄÌ CªÀgÀ£ÀÄß PÉÆAzÀÄ wA¢vÀÄ.

E°è dUÀ¼ÀªÀÅ ºÉÃUÉ £ÀªÀÄä£ÀÄß «£Á±ÀzÉqÉUÉ PÉÆAqÉÆAiÀÄÄåvÀÛzÉ JA§ÄzÀ£ÀÄß ªÀiÁ«ÄðPÀªÁV

«ªÀj¸À¯ÁVzÉ. DzÀÝjAzÀ¯Éà ¥Àæ¸ÀÄÛvÀ PÀxÀUÉ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ JA§ ²Ã¶ðPÉ ¸ÀÆPÀÛªÁVzÉ.

Muralidhara Avadhani 29
 ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉThe title suggests that the quarrel leads us to destruction.

Sparrow and rabbit has dispute regarding their shelter. They approached a wild
cat for justice and finally they became food for the canny cat. In the lesson it is
well told that how the quarrel between sparrow and rabbit led them to
destruction. So the titleÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉis very much suitable.

3. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. qÉÉeÉÉïUxrÉ kÉqÉÉåïmÉSåvÉÈ |

ªÀiÁeÁðgÀªÀÅ zsÀªÉÆðÃ¥ÀzÉñÀ ªÀiÁrzÀ «ZÁgÀªÀÅ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ ¥ÁoÀzÀ°è

§A¢zÉ.±À±À-PÀ¦Ad® vÀªÀÄä ªÁ¸À¸ÀܼÀzÀ PÀÄjvÀAvÉ GAmÁzÀ PÀ®ºÀzÀ £ÁåAiÀÄ PÉüÀ®Ä
zsÀªÀÄðªÁ¢AiÀÄ §½UÉ ºÉÆÃUÀÄwÛzÀÝgÀÄ. F «ZÁgÀªÀ£ÀÄß w½zÀ wÃPÀë÷ÚzÀAµÀÖç£ÉA§ PÁqÀĨÉPÀÄÌ
zsÀªÀÄðªÁ¢AiÀÄ ºÁUÉ £Àn¹vÀÄ. £À¢Ã vÀlzÀ°è CzsÀð¥ÁzÀªÀ£ÀÄß £É®PÉÌ Hj MAzÀÄ PÀtÚ£ÀÄß
ªÀÄÄaÑ, PÀıÀªÀ£ÀÄß zsÀj¹, ¸ÀÆAiÀÄð£À PÀqÉ £ÉÆÃqÀÄvÁÛ zsÀªÉÆðÃ¥ÀzÉñÀªÀ£ÀÄß ªÀiÁrvÀÄ.

‘F ¸ÀA¸ÁgÀªÀÅ ¸ÁgÀgÀ»vÀªÁzÀÄzÀÄ, ¥ÁætªÀÅ PÀëtÂPÀªÁzÀÄzÀÄ, ¦æAiÀÄgÉÆA¢UÉ

¸ÀªÀiÁUÀªÀĪÀÅ ¸Àé¥Àß PÀAqÀ ºÁUÉ, PÀÄlÄA§zÀ°è MnÖVgÀĪÀÅzÉAzÀgÉ EAzÀæeÁ®«zÀÝAvÉ. DzÀÝjAzÀ
zsÀªÀÄðzÀ ºÉÆgÀvÁV £ÀªÀÄUÉ ¨ÉÃgÉ UÀw¬Ä®è’

‘£ÀªÀÄä ±ÀjÃgÀªÀÅ C¤vÀåªÁzÀÄzÀÄ, ¸ÀA¥ÀvÀÄÛ ±Á±ÀévÀªÀ®è, ¤vÀåªÀÅ ¸ÁªÀÅ ºÀwÛgÀªÁUÀÄvÁÛ

ºÉÆÃUÀÄvÀÛzÉ.DzÀÝjAzÀ zsÀªÀÄð¸ÀAUÀæºÀªÀ£ÀÄß ªÀiÁqÀ¨ÉÃPÀÄ’.

‘zsÀªÀÄðªÀ£ÀÄß ¸ÀAPÉëÃ¥ÀªÁV ºÉüÀ¯ÁVUÉ, «¸ÁÛgÀªÁV ºÉüÀĪÀÅzÉäzÉ?¥ÀgÉÆÃ¥ÀPÁgÀªÀÅ

¥ÀÄtå ¥Áæ¦ÛUÉ PÁgÀtªÁzsÀgÉ, EvÀgÀgÀ£ÀÄß ¦Ãr¸ÀĪÀÅzÀjAzÀ ¥Á¥ÀªÀÅ §AzÀAvÁUÀÄvÀÛzÉ ‘.

CA»¸Á¥ÀƪÀðPÀªÁzÀÄzÀÄ zsÀªÀÄðªÀÅ. ºÉãÀÄ, wUÀuÉAiÀÄAvÀºÀ aPÀÌ aPÀÌ QÃnUÀ¼À£ÀÄß £ÁªÀÅ

gÀQë¸À¨ÉÃPÀÄ. AiÀÄdÕzÀ°è AiÀiÁgÀÄ ¥À±ÀÄUÀ¼À£ÀÄß §°PÉÆqÀÄvÁÛgÉÆà CªÀgÀÄ ªÀÄÆRðgÉà ºÉÆgÀvÀÄ
ªÉÃzÀzÀ ¤eÁxÀðªÀ£ÀÄß w½zÀÄPÉÆArgÀĪÀÅ¢®è. ‘CeÁ’ JAzÀgÉ K¼ÀÄ ªÀµÀðUÀ½UÉƪÉÄä ©qÀĪÀ
zsÁ£ÀåªÉà ºÉÆgÀvÀÄ ¥À±ÀÄ JAzÀÄ CxÉÊð¹PÉƼÀî¨ÁgÀzÀÄ.’ »ÃUÉ CgÀtå ªÀiÁeÁðgÀªÀÅ ±À±À-
PÀ¦Ad®jUÉ zsÀªÉÆðÃ¥ÀzÉñÀªÀ£ÀÄß ªÀiÁrvÀÄ.

Muralidhara Avadhani 30
 Theekshnadamshtra, the deceithful cat pretends to have renounced the
worldly pleasers and begins to talk about Dharma in order to tempt sparrow
and rabbit to go near him. Knowing the dispute of sparrow and rabbit, the
cunny cat sat on the banks of the river that was on the way, taking sacred
Kusha grass, closing its one eye, turning its face upwards, touching the earth
with its half foot and turning to the sun.

The cat taught dharma thus, oh this life has no essence. The life is
perishable Meeting a dear one is like a dream. Taking up the family is like a
magic. Therefore, except dharma there is no way’.

‘The bodies are impermanent. Properties are not permanent. Death is

very close constantly. Therefore one should accumulate Dharma. Dharma is
told briefly. Helping others is conducive to religious merit while harassing
others contributes to incurring sin’.

Thus the cat talked about practicing dharma. Further the cat points out
that the dharma should be preceded by non-violence. For that matter, even
those small insects like lice, bed bug also be protected. Those who kills animals
in sacrifices are wrong. They are foolish and don’t know the actual meaning of
Veda. Aja here means, grains which will be cropped once in seven years and
not goat.

Thus the the Dharmopadesha of cat is told in the lesson. ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ

2. qÉÉeÉÉïUÈ vÉvÉ – MüÌmÉgeÉsÉrÉÉåÈ MüjÉÇ urÉÉmÉÉSrÉÌiÉ ?

±À±À-PÀ¦Ad®gÀ £ÀqÀÄ«£À ªÁ¸À¸ÀܼÀzÀ PÀÄjvÁzÀ PÀ®ºÀzÀ ¯Á¨sÀ ¥ÀqÉzÀ PÁqÀĨÉPÉÆÌAzÀÄ

CªÀÅUÀ¼À£ÀÄß PÉÆAzÀÄ wAzÀ «ZÁgÀªÀÅ ¥ÁoÀzÀ°è §A¢zÉ.PÀ¦Ad®£ÉA§ UÀÄ©âAiÀÄÄ DºÁgÀªÀ£ÀÄß
ºÀÄqÀÄQ ¨ÉÃgÉ zÉñÀPÉÌ ºÉÆzÁUÀ CzÀgÀ ªÁ¸À¸ÀܼÀzÀ°è ²Ã¥sÀæUÀ£ÉA§ ªÉÆ®ªÀÅ §AzÀÄ
¸ÉÃjPÉÆArvÀÄÛ.CzÀÄ ªÁ¥À¸ÁzÁUÀ vÀ£Àß ªÀÄ£É CzÀ£ÀÄß ©qÀ¨ÉÃPÉAzÀÄ PÀ¦Ad®£ÀÄ ºÉýzÁUÀ

Muralidhara Avadhani 31
ªÉÆ®ªÀÅ ¸ÀļÀî£ÁßqÀ¨ÉÃqÀ.EzÀÄ £À£Àß ªÀÄ£ÉAiÉÄÃ, ¤£Àß ªÀÄ£ÉAiÀÄ®è JA¢vÀÄÛ.»ÃUÉ ªÁ¸À¸ÀܼÀPÁÌV
±À±À-PÀ¦Ad®gÀ £ÀqÀÄªÉ PÀ®ºÀ GAmÁ¬ÄvÀÄ.

±À±À-PÀ¦Ad®gÀÄ vÀªÀÄä ªÁ¸À¸ÀܼÀzÀ PÀÄjvÀAvÉ GAmÁzÀ PÀ®ºÀzÀ §UÉUÉ £ÁåAiÀÄ PÉüÀ®Ä

zsÀªÀÄðªÁ¢AiÀÄ §½ ªÉÆgÉ ºÉÆÃUÀ®Ä ¤zsÀðj¹ ºÉÆgÀlgÀÄ.F «ZÁgÀªÀ£ÀÄß w½zÀ
wÃPÀë÷ÚzÀAµÀÖç£ÉA§ PÁqÀĨÉPÀÄÌ zsÀªÀÄðªÁ¢AiÀÄ ºÁUÉ £Àn¹vÀÄ.C»A¸Á¥ÀƪÀðPÀªÁzÀ zsÀªÀÄðzÀ
§UÉÎ G¥ÀzÉñÀªÀ£ÀÄß ªÀiÁrzÀÄzÀ®èzÉ, vÁ£ÀÆ £ÀgÀPÀ¥ÁvÀPÀ ªÀiÁUÀðªÁzÀ C»A¸ÉAiÀÄ£ÀÄß ©lÄÖ
§ºÀ¼À ¢£ÀUÀ¼ÁVªÉ JAzÀÄ CªÀgÀ£ÀÄß £ÀA©¹vÀÄ.zÀÆgÀzÀ°è ¤AwzÀÝ ±À±À-PÀ¦Ad®gÀ£ÀÄß
DPÁqÀĨÉPÀÄÌ ‘vÁ£ÀÄ ªÀÈzÀÞ£ÁVgÀĪÀ PÁgÀt zÀÆgÀzÀ°è ¤AvÀÄ ªÀiÁvÀ£ÁrzÀgÉ ¸ÀA¨ÁµÀuÉ
¸ÀjAiÀiÁV PÉüÀĪÀÅ¢®è. ¤ªÀÄä «ªÁzÀ CxÀðªÁUÀ¢zÀÝgÉ vÁ£ÀÄ £ÁåAiÀÄ ºÉüÀ¯ÁUÀĪÀÅ¢®è,
ºÁUÁV ºÀwÛgÀPÉÌ §¤ß’ JAzÀÄ CªÀj§âgÀ£ÀÆß ºÀwÛgÀPÉÌ PÀgɹPÉÆArvÀÄ. PÀ¥Àl ¨ÉQÌ£À ªÀiÁw£À°è
«±Áé¹vÀgÁzÀ ±À±À-PÀ¦Ad®gÀÄ D ¨ÉQÌ£À ºÀwÛgÀ ºÉÆÃzÀgÄÀ . DUÀ MªÉÄä¯Éà ¨ÉPÀÄÌ MAzÀ£ÀÄß vÀ£Àß
¥ÀÄAd¢AzÀ, E£ÉÆßAzÀ£ÀÄß vÀ£Àß UÀgÀUÀ¸ÀzÀAvÀºÀ ºÀ®ÄèUÀ½zÀÝ PÉÆAzÀÄ E§âgÀ£ÀÄß wA¢vÀÄ.

Kapinjala, the sparrow and the rabbit approached the cat to solve their
dispute. The sparrow had left its burrow vacant for a long time and a rabbit
had occupied it. One day when the sparrow returned and asked rabbit to
vacate its place. But the rabbit claimed that the burrow belonged to him. Thus,
a dispute arose between sparrow and rabbit about the ownership of the
burrow. Both went to Theekshnadamshtra, a wild cat who was deceitful and
put forth before him their case.

The cat begins to talk about Dharma in order to tempt sparrow and
rabbit to go near him. Cat explained about non-violence and made them to
believe him. When the sparrow and the rabbit stood at a distance the cat
asked them to go near him, as he could not hear their argument properly due
to the old age.

Muralidhara Avadhani 32
 Both the victims believed the words of cat and stood so close to him.
Simultaneously one was killed with its clause and one was killed with its teeth
and both the victims were easily eaten by the cunny cat.

4. mÉÉPûlÉÉqÉ EÎssÉZrÉ MüÈ MüÇ mÉëÌiÉ AuÉSiÉç CÌiÉ xÉÇxM×iÉpÉÉwÉrÉÉ ÍsÉZÉiÉ |

1. qÉrÉÉ Sì¹urÉÉåÅrÉÇ lrÉÉrÉÈ |

CSÇ uÉÉYrÉÇ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |

uÉÉrÉxÉÈ xuÉqÉlÉÍxÉ LuÉqÉç AÍcÉliÉrÉiÉç |

2. lÉlÉÑ xuÉpÉÉuÉiÉÉåÅxqÉÉMüÇ vɧÉÑpÉÔiÉÉåÅrÉqÉÎxiÉ|

CSÇ uÉÉYrÉÇ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |

MüÌmÉgeÉsÉÈ vÉÏaÉëaÉÇ mÉëÌiÉ AuÉSiÉç |

3. rÉÉå WûÏlÉuÉÉSÏ xÉ iÉå pɤrÉÈ |

CSÇ uÉÉYrÉÇ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |

vÉvÉ – MüÌmÉgeÉsÉÉæ iÉϤhÉSÇ·Ç / AUhrÉqÉÉeÉÉïUÇ mÉëÌiÉ AuÉSiÉÉqÉçç |

4. AÌWûÇxÉæuÉ kÉqÉïqÉÉaÉïÈ |

CSÇ uÉÉYrÉÇ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | iÉϤhÉSÇ·È / AUhrÉqÉÉeÉÉïUÈ vÉvÉ -

MüÌmÉgeÉsÉÉæ mÉëÌiÉ AuÉSiÉç |

5. iɳÉÉWûÇ pɤÉÌrÉvrÉÉÍqÉ |

CSÇ uÉÉYrÉÇ ÌuÉuÉÉSÈ ÌuÉlÉÉvÉÉrÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | iÉϤhÉSÇ·È / AUhrÉqÉÉeÉÉïUÈ vÉvÉ -

MüÌmÉgeÉsÉÉæ mÉëÌiÉ

Muralidhara Avadhani 33
5. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. MåülÉÉÌmÉ mÉÉvÉålÉ oÉ®È |

2. mÉUÉåmÉMüÉUÈ mÉÑhrÉÉrÉ mÉÉmÉÉrÉ mÉUmÉÏQûlÉqÉç |

3. ´ÉÑiÉåÈ mÉUqÉÉjÉïÇ qÉÔZÉÉïÈ lÉ eÉÉlÉÎliÉ |

4. oÉWÕûÌlÉ AWûÌlÉ AÌiÉ¢üÉliÉÉÌlÉ |

6. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. AÉuÉrÉÉåÈ ÌuÉuÉÉSÈ uÉiÉïiÉå |

MürÉÉåÈ ÌuÉuÉÉSÈ uÉiÉïiÉå ?

2. lÉUMümÉÉiÉMüqÉÉaÉÉïiÉç ÌlÉuÉרÉÉå qÉÉeÉÉïUÈ |

lÉUMümÉÉiÉMüqÉÉaÉÉïiÉç ÌlÉuÉרÉÈ MüÈ ?

3. lÉSÏiÉÏUå kÉqÉïuÉÉSÏ ÌiɸÌiÉ |

MÑü§É kÉqÉïuÉÉSÏ ÌiɸÌiÉ ?

4. AeÉÉuÉëÏWûrÉÈ xÉmiÉuÉÉÌwÉïMüÉÈ MüjrÉliÉå |

Måü xÉmiÉuÉÉÌwÉïMüÉÈ MüjrÉliÉå ?

* * *

Muralidhara Avadhani 34
 स वपरी ा

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. pÉÏqÉxÉålÉÈ MüÇ xuÉpÉëÉiÉÉ CÌiÉ uÉSÌiÉ ?

pÉÏqÉxÉålÉÈ WûlÉÑqÉliÉÇ xuÉpÉëÉiÉÉ CÌiÉ uÉSÌiÉ |

2. pÉÏqÉxÉålÉÈ MåülÉ xÉÈ iÉÑsrÉÈ ?

pÉÏqÉxÉålÉÈ WûlÉÑqÉiÉÉ xÉÈ iÉÑsrÉÈ |

3. pÉÏqÉxÉålÉÈ MåülÉ mÉÉÍhÉlÉÉ mÉÑcNûÇ eÉaÉëÉWû ?

pÉÏqÉxÉålÉÈ uÉÉqÉålÉ mÉÉÍhÉlÉÉ mÉÑcNûÇ eÉaÉëÉWû |

4. WûlÉÑqÉiÉÈ ÌmÉiÉÉ MüÈ ?

WûlÉÑqÉiÉÈ ÌmÉiÉÉ MåüxÉUÏ |

5. eÉaÉSÉrÉÑÈ MüÈ ?

eÉaÉSÉrÉÑÈ uÉÉrÉÑÈ |

6. qÉMüUÉsÉrÉÈ MüÈ ?

qÉMüUÉsÉrÉÈ xÉÉaÉUÈ |

2. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. pÉÏqÉxÉålÉÈ WûlÉÑqÉiÉÈ ÌuÉwÉrÉå ÌMüÇ uÉSÌiÉ ?

©üêÀĸÉãÀ£ÀÄ ºÀ£ÀĪÀÄAvÀ£À «µÀAiÀÄzÀ°è ‘DvÀ£ÀÄ £À£Àß ¸ÀºÉÆÃzÀgÀ£ÀÄ. vÀ£Àß UÀÄtUÀ½AzÀ

¥Àæ±ÀA¹vÀ£ÁzÀªÀ£ÀÄ §Ä¢Þ, ¸ÀvÀé, §¯Á¤évÀ£ÀÆ, gÁªÀiÁAiÀÄtzÀzÀ°è ¥ÀæSÁåvÀ£ÁVgÀĪÀªÀ£ÀÄ,
±ÀÆgÀ£ÀÄ, ±ÉæõÀ×£ÀÄ DVzÁݣɒ JA§ÄzÁV ºÉüÀÄvÁÛ£É.

Muralidhara Avadhani 35
Bhimaintroduces Hanuman that he is his brother, he is appreciated by his
qualities, and he is intelligent, he is efficient, popular in Ramayana, brave and
noble among all the monkeys.

2. pÉÏqÉxÉålÉÈ AÉiqÉÉlÉÇ MüjÉÇ mÉËUcÉÉrÉrÉÌiÉ ?

©üêÀĸÉãÀ£ÀÄ vÁ£ÀÄ ºÀ£ÀĪÀÄAvÀ£À ¸ÀºÉÆÃzÀgÀ£ÀÄ, CªÀ£À vÉÃd¹ìUÉ ¸ÀªÀiÁ£À£ÀÄ, §®, ¥ÀgÁPÀæªÀÄ

ºÁUÀÆ AiÀÄÄzÀÞzÀ°è ªÀÈzÀÞ PÀ¦AiÀÄ£ÀÄß ¤UÀ滸À§®èªÀ£ÀÆ JA§ÄzÁV vÀ£Àß §UÉÎ ºÉýPÉƼÀÄîvÁÛ£É.

Bhimasena introduces himself that he is brother of Hanuman; he is equal to

Hanuman’s brightness. In respect of valour, he is equal to hanuman.

3. pÉÏqÉxÉålÉÈ ÌMüqÉjÉïÇ WûlÉÔqÉiÉÈ ¤ÉqÉÉÇ rÉÉcÉÌiÉ ?

ªÉÆzÀ®Ä ©üêÀĸÉãÀ£ÀÄ ªÀÈzÀÞ PÀ¦AiÀÄ ªÉñÀzÀ°èzÀÝ ºÀ£ÀĪÀÄAvÀ£À §½ CºÀAPÁgÀzÀ

ªÀiÁvÀÄUÀ¼À£ÁßrgÀÄvÁÛ£É. AiÀiÁªÁUÀ CªÀ¤AzÀ ªÀÈzÀÞ PÀ¦AiÀÄ ¨Á® JvÀÛ¯ÁUÀ°®èªÉÇÃ, D PÀ¦
¸ÁªÀiÁ£ÀåªÀ®èªÉA§ÄzÀ£ÀÄß CjvÀÄ ©üêÀĸÉãÀ£ÀÄ PÀ¦AiÀÄ°è PÀëªÉÄ PÉÆÃgÀÄvÁÛ£É.

Bheemasena had shown his arrogance in front of the old monkey. When he
was unable to lift the old monkey’s tail, he realizes that some divine person has
come in the form of monkey. So he asks apology for the bad words he spoke
against him earlier.

4. WûlÉÑqÉÉlÉç xuÉmÉËUcÉrÉÇ MüjÉÇ MüUÉåÌiÉ ?

ºÀ£ÀĪÀÄAvÀ£ÀÄ ©üêÀĸÉãÀ¤UÉ ‘ºÉà PÀªÀÄ®¥ÀvÁæPÀë £Á£ÀÄ PÉøÀjAiÀÄ PÉëÃvÀæzÀ°è

dUÀzÁAiÀÄĪɤ¹zÀ ªÁAiÀÄÄzÉêÀ£À PÀȥɬÄAzÀ d¤¹zÀ ºÀ£ÄÀ ªÀiÁ£ï JA§ ºÉ¸Àj£À PÀ¦’
JA§ÄzÁV vÀ£Àß ¥ÀjZÀAiÀĪÀ£ÀÄß ªÀiÁrPÉÆqÀÄvÁÛ£É.

Hanuman introduces himself that he is Hanuman named a monkey, who was

born in the field of Kesari with the blessings of wind god, who is the very life of
all the beings.

Muralidhara Avadhani 36
3. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. pÉÏqÉxÉålÉxrÉ mÉɧÉÍcɧÉhÉqÉç |

©üêÀĸÉãÀ£À ¥ÁvÀæavÀætªÀ£ÀÄß xÉiuÉmÉUϤÉÉ ¥ÀzÀå¨sÁUÀzÀ°è £ÁªÀÅ PÁt§ºÀÄzÀÄ.F

¥ÀzÀå¨sÁUÀªÀ£ÀÄß ªÁå¸À ªÀĺÀ¶ðUÀ¼ÀÄ §gÉzÀ ªÀĺÁ¨sÁgÀvÀ¢AzÀ Dj¹ PÉÆqÀ¯ÁVzÉ.

¥Àæ¸ÀÄÛvÀ ¥ÀzÀå¨sÁUÀzÀ°è £ÁªÀÅ ©üêÀÄ£À ¥ÀæAiÀÄvÀ߲îvÉ, PÁAiÀÄðvÀvÀàgÀvÉ ºÁUÀÆ D±ÁªÁzÀUÀ¼À£ÀÄß

£ÉÆÃqÀ§ºÀÄzÁVzÉ.

©üêÀĸÉãÀ£ÀÄ zËæ¥À¢UÉ ¸ËUÀA¢üPÁ PÀĸÀĪÀĪÀ£ÀÄß vÀgÀ®Ä UÀAzsÀªÀiÁzÀ£À ¥ÀªÀðvÀzÀ

PÀqÉUÉ ºÉÆÃUÀÄwÛzÀÝ.DUÀ CªÀ£À zÁjUÉ CqÀدÁV MAzÀÄ ªÀÈzÀÞ PÀ¦ ªÀÄ®VvÀÄÛ.D PÀ¦
AiÀiÁgÉA§ÄzÀ£ÀÆß ¯ÉQ̸ÀzÉ CªÀ£ÀÄ CzÀgÀ eÉÆvÉ UÀªÀð¢AzÀ ªÀiÁvÀ£ÁrzÀ.vÁ£ÀÄ ºÀ£ÀĪÀÄAvÀ£À
¸ÀºÉÆÃzÀgÀ£ÀÄ, ±ÀQÛ±Á°AiÀÄÄ, vÀ£Àß ªÀiÁvÀ£ÀÄß PÉüÀzÀ D PÀ¦AiÀÄ£ÀÄß AiÀĪÀįÉÆÃPÀPÉÌ PÀ½¸ÀĪÀÅzÁV
ºÉýzÀ£ÀÄ, DvÀ£ÀÄ vÀ£Àß ¨ÁºÀħ®¢AzÀ PÉÆ©âzÀ ºÁUÉ DgÀA¨sÀzÀ°è PÀAqÀħgÀÄvÁÛ£É. PÀ¦ vÁ£ÀÄ
ªÀÈzÀÞ£ÀÄ, ªÉÄïÉüÀ®Ä DUÀĪÀÅ¢®è JAzÀÄ ºÉý ¨Á® ¸ÀgÀ¹ zÁjªÀiÁrPÉÆAqÀÄ ºÉÆÃUÉAzÁUÀ
D ¨Á®ªÀ£ÀÄß §UÉ §UÉAiÀiÁV JvÀÛ®Ä ¥ÀæAiÀÄwß¹zÀ.ªÁ¸ÀÛªÀzÀ°è D PÀ¦ ¸ÁPÁëvï ºÀ£ÀĪÀÄAvÀ£ÉÃ
JA§ÄzÀ£ÀÄß CjAiÀÄzÉà vÀ£Àß ¸ÁªÀÄxÀåðªÀ£ÀÄß £ÀA© ªÉÆzÀ®Ä JqÀUÉÊAiÀÄ°è CzÁUÀ¢zÁÝUÀ
EAzÁæAiÀÄÄzsÀ JvÀÄÛªÀAvÉ JgÀqÀÆ PÉÊUÀ¼À°è ±ÀQÛ §¼À¹, ªÀÄÄR QªÀÅa, ºÀħÄâ UÀAlQÌ JvÀÛ®Ä
ªÀÄÄAzÁzÀ. ¸ÀªÀð±ÀQÛAiÀÄ£Éß®è MUÉÆÎr¹zÀgÀÆ ¨Á®ªÀ£ÀÄß JvÀÛ®Ä ¸ÁzsÀåªÁUÀzÉà ºÉÆÃzÁUÀ EzÀÄ
¸ÁªÀiÁ£Àå PÀ¦AiÀÄ®è, §zÀ¯ÁV AiÀiÁªÀÅzÉÆà ¢ªÀå ±ÀQÛ vÀ£ÀߣÀÄß ¥ÀjÃQë¸À®Ä F gÀÆ¥ÀzÀ°è §A¢zÉ
JAzÀÄ vÀQð¹zÀ. FvÀ£ÀÄ zÉêÀgÉÆÃ, AiÀÄPÀë£ÉÆÃ, UÀAzsÀªÀð£ÉÆà JA§ÄzÁV §UÉ §UÉAiÀiÁV
PÀ¦AiÀÄ£ÀÄß ¥Àæ²ß¹zÀ. F ºÀAvÀzÀ°è ©üêÀÄ ¸ÀA¥ÀÆtðªÁV vÀ£Éß®è CºÀA¨sÁªÀªÀ£ÀÄß vÉÆgÉzÀÄ D
PÀ¦AiÀÄ §½AiÀÄ §½ vÀ¯É vÀVιPÉÆAqÀÄ «£ÀAiÀÄ¢AzÀ ªÀwð¹zÀ. zÀÄgÀÄPÀÛPÁÌV PÀëªÉÄ AiÀiÁa¹zÀ.
PÉÆ£ÉUÉ D PÀ¦AiÀÄÄ ºÀ£ÀÄAvÀ£Éà JA§ÄzÀÄ UÉÆvÁÛzÁUÀ vÀ£Àß ªÀÄ£ÀzÀ EAVvÀªÀ£ÀÄß DvÀ£À°è
ªÀåPÀÛ¥Àr¹zÀ. ¸ÁUÀgÉÆîèA¥sÀ£À ªÀiÁqÀĪÁUÀ ºÀ£ÀĪÀÄAvÀ zsÀj¹zÀÝ ªÀdæPÁAiÀÄzÀ zÉúÀªÀ£ÀÄß
vÉÆÃj¸ÀĪÀAvÉ PÉýPÉÆAqÀ. ºÀ£ÀÄAvÀ£À ¸ÀĪÀtð¥ÀªÀðvÀzÀAvÉ ºÉƼÉAiÀÄĪÀ §ÈºÀvï UÁvÀæzÀ
gÀÆ¥ÀªÀ£ÀÄß £ÉÆÃr ªÀÄUÀÄ«£ÀAvÁzÀ ¥ÀÄ£ÀB ¥ÀÄ£ÀB £ÉÆÃr ¥ÀļÀPÀUÉÆAqÀ.

Muralidhara Avadhani 37
 The character sketching of Bheema sena can be seen in the
lesson.xÉiuÉmÉUϤÉÉ Bhimasena was the son of Kunthi, born of the wind god. He is

the middle among all the five Pandavas. He was on the way to
Gandhamadhana to bring Saugandhika folwer for Droupadi, who eagerly
desired for it. He proceeds. But on the way he sees an old monkey lying on the
way.

Mainly we can observe that Bheema was conscious of his own prowess
and hence he was proud of it. He equates himself with Hanuman, his brother,
and even goes to the extent of punishing the old monkey for having obstructed
his path. He even threatens the monkey with death if he does not leave the
path.

When Bheema was asked to lift the tail of old monkey, he tries to lift it
with all his ability. Here we can observe his effort. He realizes that some divine
person has come to test him in the form of old monkey. He became meek and
submissive and stands beside the monkey bending his head with shame. He
asks monkey’s apology for the rude words. At this moment we can even
observe the humbleness of Bheema.

Bheemasena was optimist. He was full of appreciation for his brother

Hanuman and when he comes to know that the old monkey is none other than
Hanuman he request him to show him the form which hanuman had at the
time of jumping over the ocean. When Hanuman obliges and assumes his real
form, bheema was astonished to see the form and thrilled again and again.

Muralidhara Avadhani 38
2. WûlÉÔqÉiÉÉ M×üiÉ pÉÏqÉxrÉ xÉiuÉmÉUϤÉÉ |

ºÀ£ÀĪÀÄAvÀ£ÀÄ ©üêÀÄ£À ¤dªÁzÀ PÀëªÀÄvÉAiÀÄ£ÀÄß ¥ÀjÃQë¹zÀ ¥Àæ¸ÀAUÀªÀÅ

ªÁå¸ÀªÀĺÀ¶ðUÀ½AzÀ ¥ÀætÂÃvÀªÁzÀ ªÀĺÁ¨sÁgÀvÀzÀ°è §A¢zÉ. D ¨sÁUÀªÀ£ÀÄß JA§ ¥ÀzÀå¨sÁUÀzÀ°è
£ÁªÀÅ PÁt§ºÀÄzÀÄ. MªÉÄä ©üêÀÄ£ÀÄ zËæ¥À¢UÉ ¸ËUÀA¢üPÁ ¥ÀĵÀàªÀ£ÀÄß vÀgÀ®Ä UÀAzsÀªÀiÁzÀ£À
¥ÀªÀðvÀPÉÌ ºÉÆÃUÀÄwÛzÁÝUÀ DvÀ£À ¸ÀvÀé¥ÀjÃPÉë ªÀiÁqÀ®Ä ºÀ£ÀĪÀÄAvÀ£ÀÄ ªÀÈzÀÞ PÀ¦AiÀÄ ªÉñÀzÀ°è
DvÀ£À zÁjUÉ CqÀدÁV ªÀÄ®VzÀÝ. ©üêÀÄ£ÀÄ D PÀ¦AiÀÄÄ ºÀ£ÀÄAvÀ£ÉA§ÄzÀ£ÀÄß CjAiÀÄzÉà vÁ£ÀÄ
ºÀ£ÀĪÀÄAvÀ£À ¸ÀºÉÆÃzÀgÀ£ÀÄ, CªÀ£À vÉÃd¹ìUÉ ¸ÀªÀiÁ£À£ÀÄ, §®, ¥ÀgÁPÀæªÀÄ, AiÀÄÄzÀÞUÀ¼À°è ¤£ÀߣÀÄß
¤UÀ滸À§¯Éè JA§ÄzÁV CªÀ£ÉzÀÄgÀÄ CºÀAPÁgÀzÀ ªÀiÁvÀÄUÀ¼À£ÀÄß DrzÀ. ©üêÀÄ£À UÀªÀðzÀ
£ÀÄrUÀ¼À£ÀÄß UÀªÀĤ¹zÀ ºÀ£ÀĪÀÄAvÀ£ÀÄ ºÀÈzÀAiÀÄzÀ°èAiÉÄà £ÀPÀÄÌ vÁ£ÀÄ ªÀÈzÀÞ£ÁVgÀĪÀ PÁgÀt
JzÉÝüÀ®Ä DUÀĪÀÅ¢®è, ¤Ã£Éà ¨Á®ªÀ£ÀÄß ¸Àj¹ zÁj ªÀiÁrPÉÆAqÀÄ ºÉÆÃUÀÄ JA§ÄzÁV
ºÉüÀÄvÁÛ£É.

©üêÀÄ£ÀÄ ªÉÆzÀ°UÉ DvÀ£À£ÀÄß ¤®ðQë¹ ¨Á®ªÀ£ÀÄß JqÀUÉÊAiÀÄ°è JvÀÛ®Ä

ªÀÄÄAzÁUÀÄvÁÛ£É. DzÀgÉ CzÀÄ ¸ÁzsÀåªÁUÀzÉà ºÉÆÃzÁUÀ ¥ÀæAiÀÄvÀ߲î£ÁV vÀ£ÉßgÀqÀÄ PÉÊUÀ½AzÀ
EAzÁæAiÀÄÄzsÀªÀ£ÀÄß JvÀÄÛªÀ ºÁUÉ ±ÀQÛAiÀÄ£ÀÄß MUÀÆÎr¹ JvÀÛ®Æ ¥ÀæAiÀÄw߸ÀÄvÁÛ£É. PÉÆ£ÉUÉ CªÀ£À
¥ÀæAiÀÄvÀß ¥sÀ°¸À¢zÁÝUÀ vÀ¯É vÀVι D PÀ¦AiÀÄ ¥ÀPÀÌPÌÉ ¤AvÀÄ, zÀÄgÀÄPÀÛPÁÌV PÀëªÉÄ PÉüÀÄvÁÛ£É. vÀ£ÀߣÀÄß
¥ÀjÃQë¸À®Ä ªÀÈzÀÞ ªÁ£ÀgÀ£À gÀÆ¥ÀzÀ°è ºÀ£ÀĪÀÄAvÀ §A¢zÁÝ£ÉAzÀÄ w½zÁUÀ DvÀ£À°è ªÀÄ£ÀzÀ
EAVvÀªÀ£ÀÄß vÉÆÃrPÉƼÀîvÁÛ£É. ºÀ£ÀĪÀÄAvÀ vÀ£Àß §ÈºÀvï gÀÆ¥ÀªÀ£ÀÄß ©üêÀĤUÉ vÉÆÃj¸ÀÄvÁÛ£É.

Bheema who comes across the monkey starching himself on the path,
thinks that the monkey is an ordinary one. However when Hanuman asks
Bheema to set aside his tail and make the way for himself. Bheema takes
things lightly and uses his left hand to lift the tail thereby indicating his
contempt for the monkey. He could not succeed. Then he threw up both his
arms and this time also he failed to lift the tail. Than knighting his eye brows
and contracting his face, he put forth all his strength to lift the tail and even
than he could not succeed. He got much fatigued and realized that some great
person should have come in the form of monkey. At once, remorse took over

Muralidhara Avadhani 39
him in the place of arrogance. He became meek and submissive. He requested
the old monkey to tell him who he was. Thus Hanuman tested the real worth
of Bheema and made him to realize that his opinion about monkey earlier was
wrong. On the side of Bheema, he realized the worth of Hanuman and was full
of respect for him.

3. WûlÉÔqÉSèpÉÏqÉxÉÇuÉÉSÈ |

ºÀ£ÀĪÀÄvï-©üêÀÄgÀ ¸ÀAªÁzÀªÀ£ÀÄß ¸ÀvÀÛ÷é ¥ÀjPÁë JA§ ¥ÀzÀå¨sÁUÀzÀ°è £ÁªÀÅ

PÁt§ºÀÄzÀÄ. vÀ£Àß zÁjUÉ CqÀدÁV ªÀÄ®VzÀÝ ªÁ£ÀgÀªÀÅ ºÀ£ÀĪÀÄAvÀ£ÉA§ÄzÀ£ÀÄß CjAiÀÄzÀ
©üêÀÄ£ÀÄ CªÀ£À ªÀÄÄAzÉ UÀªÀðzÀ ªÀiÁvÀÄUÀ¼À£ÁßqÀÄvÁÛ£É. ªÉÆzÀ°UÉ ©üêÀÄ£ÀÄ vÀ£Àß ¸ÀºÉÆÃzÀgÀ
ºÀ£ÀĪÀÄAvÀ£ÀÄ, ¸ÁUÀgÀªÀ£ÀÄß zÁnzÀªÀ£ÀÄ JA§ÄzÀ£ÀÄß ºÉýPÉÆArgÀÄvÁÛ£É. CzÀPÉÌ ºÀ£ÀĪÀÄAvÀ£ÀÄ
AiÀiÁgÀÄ D ºÀ£ÀĪÀÄAvÀ ¸ÁzsÀåªÁzÀgÉ DvÀ£À §UÉÎ ºÉüÀÄ JAzÀÄ PÉüÀÄvÁÛ£É. ©üêÀÄ£ÀÄ
ºÀ£ÀĪÀÄAvÀ£ÀÄ £À£Àß ¸ÀºÉÆÃzÀgÀ£ÀÄ, §Ä¢Þ, ¸ÀvÀé, §¯Á¤évÀ£ÀÆ ªÁ£ÀgÀ±ÉæõÀ×£ÀÆ, vÁ£ÀÄ CªÀ£À
vÉÃd¹ìUÉ ¸ÀªÀiÁ£À£ÀÄ, AiÀÄÄzÀÞ, §®, ¥ÀgÁPÀæªÀÄUÀ¼À°è vÁ£ÀÄ ¤£ÀߣÀÄß ¤UÀ滸À§¯Éè, vÀ£Àß ªÀiÁvÀ£ÀÄß
£ÉgÀªÉÃj¸ÀzÀ D PÀ¦AiÀÄ£ÀÄß AiÀĪÀįÉÆÃPÉÌ PÀ½¸ÀÄvÉÛãɒ JA§ÄzÁV ºÉüÀÄvÁÛ£É. DUÀ ºÀ£ÀĪÀÄAvÀ£ÀÄ
ªÀÄ£À¹£À°èAiÉÄà £ÀPÀÄÌ vÁ£ÀÄ ªÀÈzÀÞ£ÀÄ ªÉÄïÉüÀ®Ä DUÀĪÀÅ¢®è. ºÁUÁV £À£Àß ¨Á®ªÀ£ÀÄß JwÛ
¤Ã£Éà zÁj ªÀiÁqÉÆPÉÆAqÀÄ ºÉÆÃUÀÄ’ JAzÀÄ ©üêÀĤUÉ ºÉüÀÄvÁÛ£É.

©üêÀÄ JµÉÖà ¥ÀæAiÀÄwß¹zÀgÀÆ ¨Á® JvÀÛ®Ä DUÀzÉà EzÁÝUÀ ªÁ£ÀgÀ gÀÆ¥À zsÀj¹gÀĪÀ
¤Ã£ÀÄ AiÀiÁgÀÄ ? zÉêÀ£ÉÆà ? UÀAzsÀªÀð£ÉÆà ? AiÀÄPÀë£ÉÆà ? ’ JA§ÄzÁV ¥Àæ²ß¸ÀÄvÁÛ£É.
zÀÄgÀÄPÀÛªÁrzÀ vÀ£ÀߣÀÄß PÀë«Ä¸ÀÄ’ J£ÀÄßvÁÛ£É. DUÀ ºÀ£ÀĪÀÄAvÀ£ÀÄ £Á£ÀÄ PÉøÀjAiÀÄ PÉëÃvÀæzÀ°è
ªÁAiÀÄÄzÉêÀ£À PÀȥɬÄAzÀ d¤¹zÀ ºÀ£ÀĪÀiÁ£ï JA§ ºÉ¸Àj£À ªÁ£ÀgÀ£ÀÄ JA§ÄzÁV vÀ£ÀߣÀÄß
¥ÀjZÀ¬Ä¹PÉƼÀÄîvÁÛ£É.

vÀ£ÉßzÀÄgÀÄ EgÀĪÀÅzÀÄ ¸ÁPÁëvï ºÀ£ÀĪÀÄAvÀ£Éà JA§ÄzÀÄ w½zÁUÀ AiÀiÁªÀ gÀÆ¥ÀªÀÅ

ºÀ£ÀĪÀÄAvÀ¤UÉ ¸ÁUÀgÀ zÁlĪÁUÀ EvÉÆÛà D gÀÆ¥ÀªÀ£ÀÄß £ÉÆÃqÀ®Ä §AiÀĸÀÄvÉÛãɒ JA§ÄzÁV
ºÀ£ÀĪÀÄAvÀ¤UÉ vÀ£ÀߪÀÄ£ÀzÀ EAVvÀªÀ£ÀÄß ªÀåPÀÛ¥Àr¸ÀÄvÁÛ£É.

»ÃUÉ ¥Àæ¸ÀÄÛvÀ ¥ÀzÀå¨sÁUÀzÀ°è ºÀ£ÀĪÀÄzï- ©üêÀÄ ¸ÀAªÁzÀªÀÅ CzÀÄãvÀªÁV ªÀÄÆr §A¢zÉ.

Muralidhara Avadhani 40
 Bhimasena was the son of Kunthi, born of the wind god. He is the middle
among all the five Pandavas. He was on the way to Gandhamadhana to bring
Saugandhika flower for Droupadi, who eagerly desired for it. He proceeds. But
on the way he sees an old monkey lying on the way. That monkey was none
other than Hanuman who had come to test Bheema’s real worth.

Than the conversation starts between Hanuman and Bheemasena.

Firstly Bheema says about himself that he was brother of Hanuman, who
crossed ocean. He tells that his brother is full of excellence. He is endowed
with intelligence and he is full of prowess. He is the best among the monkeys
and that he is famous in Ramayana. He further points out to hanuman that his
brother is of great valor. He also points out that he can punish him if he does
not leave the way. Hanuman then says that he is bereft of strength to get up
and leave the path due to the old age, so that asks bheema to set aside his tail
and make the way, Bheema was unable to lift his tail even he tried by putting
all his efforts. Bhema asks apology for his rude words.

Bheema asks Hanuman that who he is. Whether he is god, or sage or he

is a YakSha. Than Hanuman speaks with very calm ‘hey the one, who have eyes
like lotus leaf, I am Hanuman named a monkey, who was born in the field of
Kesari with the blessings of Wind god’.

When Bheema was realized that is no other than Hanuman he asks to

show the form which Hanuman has at time when he jumped over the ocean.

This is the conversation between Hanuman and Bheema given in the lesson
xÉiuÉmÉUϤÉÉ

Muralidhara Avadhani 41
4. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. pÉëÉiÉÉ qÉqÉ aÉÑhÉvsÉÉbrÉÉå oÉÑÌ®xÉiuÉoÉsÉÉÎluÉiÉÈ |

2. oÉsÉå mÉUÉ¢üqÉå rÉÑ®å vÉ£üÉåÅWûÇ iÉuÉ ÌlÉaÉëWåû |

3. mÉëxÉÏS MüÌmÉvÉÉSÕïsÉ SÒ£üÇ ¤qrÉiÉÉÇ qÉqÉ |

4. ÃmÉqÉmÉëÌiÉqÉÇ uÉÏU iÉÌScNûÉÍqÉÌlÉUÏͤÉiÉÑqÉç |

5. iÉSìÖmÉÇ SvÉïrÉÉqÉÉxÉ rɲæ xÉÉaÉUsÉXçbÉlÉå |

5. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. pÉÏqÉÈ mÉÑcNûÇ cÉÉsÉÌrÉiÉÑÇ lÉ vÉvÉÉMü |

pÉÏqÉÈ MüÇ cÉÉsÉÌrÉiÉÑÇ lÉ vÉvÉÉMü ?

2. ÎZɳÉaÉɧÉÉåÅpÉuÉiÉç pÉÏqÉÈ |

ÎZɳÉaÉɧÉÉåÅpÉuÉiÉç MüÈ ?

3. MüÉæliÉårÉÈ mÉëÍhÉmÉirÉ uÉÉYrÉqÉoÉëuÉÏiÉç |

MüÈ mÉëÍhÉmÉirÉ uÉÉYrÉqÉoÉëuÉÏiÉç?

6. mÉÉPûlÉÉqÉ EÎssÉZrÉ vsÉÉåMüÉlÉÉqÉç AlÉÑuÉÉSÇ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ MÑÂiÉ |

1. pÉëÉiÉÉ qÉqÉ aÉÑhÉvsÉÉbrÉÉå oÉÑÌ®xÉiuÉoÉsÉÉÎluÉiÉÈ |

UÉqÉÉrÉhÉå AÌiÉÌuÉZrÉÉiÉÈ vÉÔUÉå uÉÉlÉUmÉÑXçaÉuÉÈ ||

¥Àæ¸ÀÄÛvÀ ±ÉÆèÃPÀªÀ£ÀÄß xÉiuÉmÉËU¤ÉÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ: CªÀ£ÀÄ £À£Àß ¸ÀºÉÆÃzÀgÀ£ÀÄ. vÀ£Àß UÀÄtUÀ½AzÀ ¥Àæ±ÀA¹vÀ£ÁzÀªÀ£ÀÄ, §Ä¢Þ, ¸ÀvÀé,

§¯Á¤évÀ£ÀÆ, gÁªÀiÁAiÀÄtzÀ°è ¥ÀæSÁåvÀ£ÁVgÀĪÀªÀ£ÀÄ, ±ÀÆgÀ£ÀÄ, PÀ¦ ±ÉæõÀ×£ÀÄ.

Muralidhara Avadhani 42
This Shloka is extracted from the poetry part

Translation:

He is My brother, appreciated by his qualities. He is endowed with

intelligence, efficiency and strength. He is brave he is the best among all the
monkeys.

2. Eͨɸ SåÌWû qÉå qÉÉaÉïÇ mÉvrÉ uÉÉ qÉåű mÉÉæÂwÉqÉç |

qÉcNûÉxÉlÉqÉMÑüuÉÉïhÉÇ iuÉÉÇ lÉåwrÉå rÉqɤÉrÉqÉç ||

¥Àæ¸ÀÄÛvÀ ±ÉÆèÃPÀªÀ£ÀÄß xÉiuÉmÉËU¤ÉÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ: JzÉÝüÀÄ £À£ÀUÉ zÁjAiÀÄ£ÀÄß ©qÀÄ. E®èªÁzÀgÉ £À£Àß ¥ËgÀĵÀªÀ£ÀÄß £ÉÆÃqÀÄ.£À£Àß

ªÀiÁvÀ£ÀÄß £ÉgɪÉÃj¸ÀzÀ ¤£ÀߣÀÄß AiÀĪÀiÁ®AiÀÄPÉÌ PÀ½¸ÀĪɣÀÄ.

This Shloka is extracted from the poetry part xÉiuÉmÉËU¤ÉÉ

Translation:

Get up and make me the way. Or else you will see today my prowess.

I Shall send you who would not follow my orders to the abode of Yama.

3. EÎccɤÉåmÉ mÉÑlÉSÉåïprÉÉïÍqÉlSìÉrÉÑ kÉÍqÉuÉÉåÎcNíûiÉqÉç |

ÎZɳÉaÉɧÉÉåÅpÉuÉSè pÉÏqÉÉå lÉ cÉÉå®iÉÑïÇ vÉvÉÉMü iÉqÉç ||

¥Àæ¸ÀÄÛvÀ ±ÉÆèÃPÀªÀ£ÀÄß ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

ªÀÄvÉÛ EAzÁæAiÀÄÄzsÀªÀ£ÀÄß JvÀÄÛªÀ ºÁUÉ vÀ£ÉßgÀqÀÆ PÉÊUÀ½AzÀ (¨Á®ªÀ£ÀÄß)

JwÛzÀ£ÀÄ.DzÀgÉ JgÀqÀÆ PÉÊUÀ½zÀA®Æ ªÀĺÁ§®£ÁzÀ ©üêÀĤUÉ ¸ÁzsÀåªÁUÀ°®è.

This Shloka is extracted from the poetry partxÉiuÉmÉËU¤ÉÉ

Muralidhara Avadhani 43
Translation:

Bheema of great strength, with his two arms, tried to lift up (the tail)
as one would try to lift the indra’s thunder Boult. But he could not do so even
with his tow arms.

4. AWûÇ MåüxÉËUhÉÈ ¤Éå§Éå uÉÉrÉÑlÉÉ eÉaÉSÉrÉÑwÉÉ |

eÉÉiÉÈ MüqÉsÉmɧÉÉ¤É WûlÉÔqÉɳÉÉqÉ uÉÉlÉUÈ ||

¥Àæ¸ÀÄÛvÀ ±ÉÆèÃPÀªÀ£ÀÄß ¸ÀvÀÛ÷é ¥ÀjÃPÁë JA§ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

ºÉà PÀªÀÄ®¥ÀvÁæPÀë ! £Á£ÀÄ PÉøÀjAiÀÄ PÉëÃvÀæzÀ°è dUÀzÁAiÀÄĪɹzÀ ªÁAiÀÄÄzÉêÀ£À

PÀȥɬÄAzÀ d¤¹zÀ ºÀ£ÀĪÀiÁ£ï JA§ ºÉ¸Àj£À PÀ¦.

This Shloka is extracted from the poetry partxÉiuÉmÉËU¤ÉÉ

Translation:

You, whose eyes resemble the petals of lotus, I am a monkey by name

Hanuman, I am born in the fields of Kesari, with the blessings of wind god, who

is very life of universe.

5. rÉiuÉåSSÉxÉÏiÉç msÉuÉiÉÈ xÉÉaÉUÇ qÉMüUÉsÉrÉqÉç |

ÃmÉqÉmÉëÌiÉqÉÇ uÉÏU iÉÌScNûÉÍqÉ ÌlÉUÏͤÉÂqÉç ||

¥Àæ¸ÀÄÛvÀ ±ÉÆèÃPÀªÀ£ÀÄß xÉiuÉmÉËU¤ÉÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

ºÉà «ÃgÀ£Éà ! AiÀiÁªÀ gÀÆ¥ÀªÀÅ ªÀÄPÀgÁ®AiÀĪÁzÀ ¸ÀªÀÄÄzÀæªÀ£ÀÄß ºÁgÀĪÁUÀ EvÉÆÛÃ

D gÀÆ¥ÀªÀ£ÀÄß £ÉÆÃqÀ®Ä EaÒ¸ÀĪÉ.

Muralidhara Avadhani 44
This Shloka is extracted from the poetry part xÉiuÉmÉËU¤ÉÉ

Translation:

Oh brave one, what matchless form you had assumed when you left
over the ocean, that is full of crocodiles, that form I want to see today.

6. ÌuÉÍxÉÎwqÉrÉå iÉSÉ pÉÏqÉÉå eÉÀûwÉå cÉ mÉÑlÉÈ mÉÑlÉÈ |

iÉqÉMïüÍqÉuÉ iÉåeÉÉåÍpÉÈ xÉÉæuÉhÉïÍqÉuÉ mÉuÉïiÉqÉç ||

¥Àæ¸ÀÄÛvÀ ±ÉÆèÃPÀªÀ£ÀÄß xÉiuÉmÉËU¤ÉÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À ÁVzÉ.

C£ÀĪÁzÀ:

¸ÀÆAiÀÄð£À ºÁUÉ vÉÃd¹ì¤AzÀ PÀÆrzÀ, ¸ÀĪÀtð ¥ÀªÀðvÀzÀAvÉ PÁtÄwÛgÀĪÀ

(ºÀ£ÀĪÀÄAvÀ£À gÀÆ¥ÀªÀ£ÀÄß) ©üêÀÄ£ÀÄ £ÉÆÃr D±ÀÑAiÀÄðUÉÆAqÀ£ÀÄ.¥ÀÄ£ÀB¥ÀÄ£ÀB ¥ÀļÀQvÀ£ÁzÀ£ÀÄ.

This Shloka is extracted from the poetry part xÉiuÉmÉËU¤ÉÉ

Translation:
Having seen the form of Hanuman, who looked like a golden
mountain and shined like Sun, bheema got wonderstruck and was horripilated.

* * *

Muralidhara Avadhani 45
 मह षवचनपालनम्

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. SvÉUjÉÈ MüxrÉ xÉmÉrÉÉïÇ MüUÉåÌiÉ ?

SvÉUjÉÈ ÌuɵÉÉÍqɧÉxrÉ xÉmÉrÉÉïÇ MüUÉåÌiÉ |

2. vÉUÉxÉlÉÍqɧÉÈ MüÈ ?

vÉUÉxÉlÉÍqɧÉÈ UÉqÉÈ |

3. xÉÑMåüiÉÑÈ MüÈ ?

xÉÑMåüiÉÑÈ rɤÉÈ |

4. uÉ×®´ÉuÉÈ MüÈ ?

uÉ×®´ÉuÉÈ ClSìÈ |

5. qÉÉUÏcÉÈ MüxrÉ vÉÉmÉÉiÉç MüÉæhÉmÉiÉÉqÉç AuÉÉmÉ ?

qÉÉUÏcÉÈ AaÉxirÉqÉÑlÉåÈ vÉÉmÉÉiÉç MüÉæhÉmÉiÉÉqÉç AuÉÉmÉ |

6. mÉÑÂwÉÉÌSlÉÏ MüÉ ?

mÉÑÂwÉÉÌSlÉÏ iÉÉOûMüÉ |

7. ÌuÉUÉåcÉlÉxrÉ mÉѧÉÏ MüÉ ?

ÌuÉUÉåcÉlÉxrÉ mÉѧÉÏ qÉljÉUÉ |

Muralidhara Avadhani 46
2. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. ÌuɵÉÉÍqɧÉxrÉ ÌuÉ¥ÉÉmÉlÉÇ iÉjÉÉ SvÉUjÉxrÉ ÌlÉhÉïrÉqÉç |

ªÀĺÀ¶ð «±Áé«ÄvÀægÀ «eÁÕ¥À£É ºÁUÀÆ zÀ±ÀgÀxÀ£À ¤tðAiÀÄzÀ PÀÄjvÁV

qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç ¥ÁoÀzÀ°è ºÉüÀ ÁVzÉ.

MªÉÄä «±Áé«ÄvÀæ ªÀĺÀ¶ðUÀ¼ÀÄ zÀ±ÀgÀxÀ£À D¸ÁÜ£ÀPÉÌ §AzÀgÀÄ. zÀ±ÀgÀxÀ£ÀÄ CªÀgÀ£ÀÄß

AiÉÆÃUÀåªÁV ¸ÀvÀÌj¹zÀ ªÉÄÃ¯É UÁqsÀºÀÈzÀAiÀÄgÁV CªÀgÀÄ zÀ±ÀgÀxÀ£À£ÀÄß PÀÄjvÀÄ vÀªÀÄä DUÀªÀÄ£ÀzÀ
PÁgÀtªÀ£ÀÄß w½¹zÀgÀÄ. vÁªÀÅ ªÀiÁqÀÄwÛgÀĪÀ AiÀÄdÕUÀ½UÉ GAmÁUÀÄwÛgÀĪÀ gÁPÀë¸ÀgÀ
vÉÆAzÀgÉAiÀÄ£ÀÄß ¤ªÁj¹ ªÀÄAUÀ¼À ¸ÁߣÀªÀ£ÀÄß ªÀiÁqÀ®Ä vÁªÀÅ §AiÀĹzÀÄÝ, F PÁgÀtPÁÌV
zÀ±ÀgÀxÀ£À ªÀÄUÀ£ÁzÀ gÁªÀÄ£À£ÀÄß vÀªÀÄä eÉÆvÉ PÁrUÉ PÀ¼ÀÄ»¹PÉÆqÀ¨ÉÃPÉAzÀÄ zÀ±ÀgÀxÀ£À°è
PÉýzÀgÀÄ. ¥ÀÄvÀæªÁåªÉÆúÀzÀ PÁgÀtPÁÌV ªÀĺÀ¶ð «±Áé«ÄvÀægÀ ªÀiÁvÀÄ zÀ±ÀgÀxÀ¤UÉ PÀtð
PÀoÉÆÃgÀªÉ¤¹vÀÄ.E£ÀÆß ¨Á®£ÁVgÀĪÀ vÀªÀÄä ªÀÄUÀ gÁªÀÄ£À£ÀÄß gÁPÀë¸ÀgÀ£ÀÄß PÉÆ®è°PÁÌV PÁrUÉ
PÀ¼ÀÄ»¸ÀĪÀÅzÉAvÀÄ JAzÀÄ ¸ÀAPÀl¥ÀlÄÖ ¥ÀjºÁgÀ PÁtzÉ, zÀ±ÀgÀxÀ£ÀÄ ¸ÀÆAiÀÄðªÀA±ÀzÀ »vÀ
PÁ¥ÁqÀĪÀ vÀªÀÄä ¥ÀÄgÉÆûvÀgÁzÀ ªÀ¹µÀ×gÀ£ÀÄß PÉýzÀ£ÀÄ.

ªÀ¹µÀ×gÀÆ PÀÆqÀ zÀ±ÀgÀxÀ¤UÉ gÁªÀÄ ºÁUÀÆ ®PÀëöätgÀ£ÀÄß PÁrUÉ PÀ¼ÀÄ»¹PÉÆrgÉAzÀÄ

¸À®ºÉAiÀÄ£ÀÄß ¤ÃrzÀgÀÄ.PÉÆ£ÉUÉ zÀ±ÀgÀxÀ£ÀÄ gÁªÀÄ ºÁUÀÆ ®PÀëöätgÀ£ÀÄß PÁrUÉ PÀ¼ÀÄ»¹ PÉÆqÀĪÀ
ªÀÄÆ®PÀ «±Áé«ÄvÀæ ªÀÄĤUÀ¼À ªÀÄ£ÉÆÃgÀxÀªÀ£ÀÄß ¥ÀÆgÉʹzÀ£ÀÄ.

Vishvamitra’s request and Dasharatha’s decision can be seen in the

lesson qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç

Vishvamitra was a great sage. He used to perform many sacrifices.

However, his sacrifice were being disturbed by demones. So he approached
King Dasharatha.

He requested Dasharatha to send Rama to forest to kill the demons

and protect the Sacrifices. On hearing, Vishvamitra’s words, Dasharatha, who
loved Rama, the most, got perturbed in mind. However, Vasishtha, the family

Muralidhara Avadhani 47
priest of the solar dynasty asked Dasharatha to send Rama and Lakshmana
along with Vishamitra. Thus Dasharatha got pacified and decided to send Rama
and Lakshmana to Forest along with Vishvamitra.

2. iÉÉOûMüÉuÉkÉxÉlSpÉåï ´ÉÏUÉqÉxrÉ xÉlSåWûÈ MüÈ ? xÉÈ MüjÉÇ ÌlÉuÉÉËUiÉÈ ?

PÁrUÉ PÀgÉzÀÄPÉÆAqÀÄ ºÉÆÃzÀ «±Áé«ÄvÀægÀÄ vÁlPÁ ªÀÈvÁÛAvÀªÀ£ÀÄß ºÉý CªÀ¼À£ÀÄß

¸ÀºÀPÀj¸À¨ÉÃPÉAzÀÄ gÁªÀĤUÉ ºÉýzÀgÀÄ. DzÀgÉ gÁªÀÄ£ÀÄ zsÀªÀÄð¸ÀÆPÀëöäUÀ½UÉ ºÉzÀjzÀ£ÀÄ.¹Ûçà ºÀvÉå
ªÀiÁqÀ¨ÁgÀzÀÄ JA§ÄzÀÄ CªÀ£À «ZÁgÀªÁVvÀÄÛ.D PÁgÀtPÁÌV vÁlPÉAiÀÄ£ÀÄß PÉÆ®è®Äè C£ÀĪÀiÁ£À
ªÀåPÀÛ¥Àr¹zÀ£ÀÄ.

«±Áé«ÄvÀÄæ gÁªÀĤUÉ PÉ®ªÀÅ ¸ÀAzÀ¨sÀðUÀ¼À°è ¹Ûçà ºÀvÉå ªÀiÁqÀ§ºÀÄzÀÄ JA§ÄzÀ£ÀÄß

ºÉýzÀgÀÄ. «gÉÆÃZÀ£À£À ªÀÄUÀ¼ÁzÀ ªÀÄAxÀgÉAiÀÄÄ ªÀiÁrzÀ C¥ÀgÁzsÀPÁÌV EAzÀæ£ÀÄ CªÀ¼À£ÀÄß
¸ÀAºÀj¹zÀ£ÀÄ. dªÀÄzÀVßAiÀÄ ¥ÀwßAiÀiÁzÀ gÉÃtÄPÁzÉëAiÀÄ£ÀÄß CªÀ¼À ªÀÄUÀ£ÁzÀ ¥ÀgÀ±ÀÄgÁªÀÄ£ÀÄ
vÀ£Àß vÀAzÉAiÀÄ DeÉÕAiÀÄ ªÉÄÃgÉUÉ PÉÆAzÀ£ÀÄ. ¨sÀÈUÀÄ ªÀĺÀ¶ðUÀ¼À ¥Àwß ºÁUÀÆ ±ÀÄPÁæZÁAiÀÄðgÀ
vÁ¬ÄAiÀiÁzÀ SÁåwAiÀÄ£ÀÄß «µÀÄÚªÀÅ vÀ£Àß ¸ÀÄzÀ±Àð£À ZÀPÀæ¢AzÀ PÉÆ®è¨ÉÃPÁ¬ÄvÀÄ.F J¯Áè
GzÁºÀgÀuÉUÀ¼À£ÀÄß gÁªÀĤUÉ «ªÀj¹ «±Áé«ÄvÀægÀÄ gÁªÀÄ£À°èzÀÝ ¹Ûçà ºÀvÁå ±ÀAPÉAiÀÄ£ÀÄß
§UɺÀj¹zÀgÀÄ. gÁªÀÄ£ÀÄ vÁlPÉAiÀÄ£ÀÄß PÉÆ®è®Ä M¦àPÉÆAqÀ£ÀÄ.

Rama was always righteous and never would go against a Dharma.

Sage Vishvamitra described to Rama the misdeeds of Thataka. He also
described to him how she was a man- eater and how she disturbed the
sacrifies. He suggested that the demoness Thataka should be killed by Rama.
However, Rama who was very pious hesitated to kill Thataka, a woman. Surely,
Shastras prohibit killing of a women. Hence Rama hesitated to agree to kill
Thataka. However Vishvamitra, who was well known of smrithis, tried to
overcome the doubt of Rama. In order to convince him, he gave some
examples as to how women were killed formerly. The first example is of
Manthara, who committed many offences and deserved death.

Muralidhara Avadhani 48
 Hence Lord Indra killed her. The second example is that of Renukadevi
the wife of Jamadagni was killed by her son Parashurama. Even Lord Vishnu
himself had killed Khyathi, who was wife of Brigu and mother of Shukracharya
with his Sudarshana wheel. These examples were enough for Rama to get
convinced and kill Thataka. He agreed to kill her.

3. iÉÉOûMüÉ uÉרÉÉliÉÈ |

vÁlPÁ ªÀÈvÁÛAvÀªÀÅ qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç ¥ÁoÀzÀ°è §A¢zÉ. vÁlQAiÀÄÄ

¸ÀÄPÉÃvÀÄ JA§ AiÀÄPÀë£À ªÀÄUÀ¼ÀÄ. ¥ÀÄvÀæ ¸ÀAvÁ£ÀPÁÌV §æºÀä£À PÀÄjvÁV ¸ÀÄPÉÃvÀĪÀÅ vÀ¥À¸ÀÄì
ªÀiÁrzÁUÀ §æºÀä DvÀ¤UÉ ¸Á«gÀ D£ÉUÀ¼À §® G¼Àî ªÀÄUÀ¼À£ÀÄß ªÀgÀªÁV PÀgÀÄt¹zÀÝ.CªÀ¼ÉÃ
vÁlPÉ, ªÀÄÄAzÉ CªÀ¼ÀÄ ¥Áæ¥ÀÛ ªÀAiÀĹìUÉ §AzÁUÀ ¸ÀÄAzÀ£ÉA§ ¸ÀÄAzÀgÀ£À£ÀÄß ªÀÄzÀĪÉAiÀiÁzÀ¼ÀÄ.
CªÀj§âjUÉ ªÀiÁjÃZÀ JA§ ¤ÃZÀ£ÀÄ ªÀÄUÀ£ÁV d¤¹zÀ. MªÉÄä ¸ÀÄAzÀ¤AzÀ CªÀªÀiÁ¤vÀgÁVzÀÝPÉÌ
CUÀ¸ÀÛöå ªÀÄĤUÀ¼ÀÄ ¸ÀÄAzÀ£À£ÀÄß PÉÆAzÀgÀÄ. EzÀPÉÌ ¥ÀæwPÁgÀ wÃj¹PÉƼÀî®Ä vÁlPÉ vÀ£Àß ªÀÄUÀ£ÁzÀ
ªÀiÁjÃZÀ£À£ÀÄß PÀ¼ÀÄ»¹zÀ¼ÀÄ. EzÀjAzÀ PÉÆÃ¥ÀUÉÆAqÀ PÀÄA¨sÀ¸ÀA¨sÀªÀgɤ¹zÀ CUÀ¸ÀÛöågÀÄ ±Á¥À
PÉÆlÖgÀÄ. ±Á¥ÀzÀ ¥ÀjuÁªÀĪÁV ªÀiÁjÃZÀ£ÀÄ gÁPÀë¸À£ÁzÀ£ÀÄ.CªÀ£À vÁ¬ÄAiÀiÁzÀ vÁlQAiÀÄ
ªÀÄ£ÀĵÀågÀ£ÀÄß w£ÀÄߪÀ ¸Àé¨sÁªÀzÀªÀ¼ÁzÀ¼ÀÄ. CA¢¤AzÀ CªÀ¼ÀÄ vÀ£Àß ªÀÄUÀ£ÉÆnÖUÉ ¸ÉÃj ªÀÄ®AiÀÄ
ªÀÄvÀÄÛ zÀPÀgÀıÀ JA§ ºÀ½îUÀ¼À d£ÀjUÉ ¦ÃqÉ ¤ÃqÀÄwÛzÝÀ ¼ÀÄ.IĶ-ªÀÄĤUÀ¼À AiÀÄdëAiÀiÁUÁ¢UÀ¼À£ÀÄß
«zsÀéA¸À ªÀiÁqÀÄwÛzÀݼÀÄ.

PÁrUÉ PÀgÉzÀÄPÉÆAqÀÄ ºÉÆÃzÀ «±Áé«ÄvÀægÀÄ vÁlQAiÀÄ ªÀÈvÁÛAvÀªÀ£ÀÄß ºÉý, CªÀ¼À£ÀÄß

PÉÆ®è¨ÉÃPÉAzÀÄ gÁªÀĤUÉ ºÉýzÀgÀÄ.zsÀªÀÄð¸ÀÆPÀëöäUÀ½UÉ ºÉzÀjzÀªÀ£ÁV gÁªÀÄ£ÀÄ ¹Ûç ºÀvÉå
ªÀiÁqÀĪÀÅzÀgÀ §UÉÎ C£ÀĪÀiÁ£À ªÀåPÀÛ¥Àr¹zÀ.DzÀgÉ «±Áé«ÄvÀægÀÄ CzÀ£ÀÄß ¥ÀjºÀj¹zÁUÀ gÁªÀÄ£À
zsÀ£À¹ì¤AzÀ ¨ÁtªÀÅ ¸ÀzÀÄÝ ªÀiÁqÀÄvÁÛ vÁlQAiÀÄ ¥ÁætªÀ£ÀÄß vÉUÉzÀÄ©nÖvÀÄ.

Story of Thataka is described in the lessonqÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç which is

taken from Champu Ramayanam written by Bhojaraja.

A certain Yaksha by name Sukethu performed penance and through

the favour of Brahma begot a daughter called Thataka. When she came of age,

Muralidhara Avadhani 49
a certain person called Sunda married her. After sometime, got a son, whom
they named Maricha. Once Sunda insulted sage Agasthya and he was killed by
the sage. Thataka, wife of Sunda sends her son Maricha to kill Agsthya to take
revenge upon him. But Agastyha who got angry cursed Maricha to become
demon and even Thataka also became ugly and man-eater due to the curse.

One account of the boon of Brahma, Thataka had the strength of a

thousand elephants. The demoness began to harass the innocent people and
became a menace to the people of the region. Hence, Vishwamitra asked
Rama to kill her.

But Rama who was timid for Dharma, hesitated to kill a woman. Sage
Vishwamitra convinced him by giving the example of Manthara, Renukadevi
and Khyathi who were killed by gods.

Having been convinced, Rama drew his bow and discharged a deadly
arrow, which pierced through the body of Thataka And she fell dead.

3. mÉÉPûlÉÉqÉ EÎssÉZrÉ MüÈ MüÇ mÉëÌiÉ AuÉSiÉç CÌiÉ xÉÇxM×iÉpÉÉwÉrÉÉÍsÉZÉiÉ |

1. M×üiÉÉuÉpÉ×iÉÉæ pÉÌuÉiÉÑqÉÍpÉsÉwÉÉÍqÉ |

CSÇ uÉÉYrÉÇ qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | ÌuɵÉÉÍqɧÉqÉWûÌwÉïÈ SvÉUjÉÇ mÉëÌiÉ AuÉSiÉç |

2. ÌlÉrÉÉïiÉÑ UÉqÉÈ xÉWûsɤqÉhÉålÉ |

CSÇ uÉÉYrÉÇ qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | uÉÍxɸqÉÑÌlÉÈ SvÉUjÉÇ mÉëÌiÉ AuÉSiÉç |

Muralidhara Avadhani 50
3. oÉsÉålÉ iÉmÉxÉÉ sÉokÉå oÉsÉåirÉÌiÉoÉsÉåÌiÉ cÉ |

CSÇ uÉÉYrÉÇ qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | ÌuɵÉÉÍqɧÉqÉWûÌwÉïÈ UÉqÉsɤqÉhÉÉæ mÉëÌiÉ

AuÉSiÉç |

4. qÉÉUÏcÉlÉÏcÉÇ eÉlÉrÉÉqoÉpÉÔuÉ |

CSÇ uÉÉYrÉÇ qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | ÌuɵÉÉÍqɧÉqÉWûÌwÉïÈ UÉqÉÇ mÉëÌiÉ AuÉSiÉç |

5. urÉÉmÉÉSlÉÏrÉÉ iuÉrÉåÌiÉ |

CSÇ uÉÉYrÉÇ qÉWûÌwÉïuÉcÉlÉmÉÉsÉlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | ÌuɵÉÉÍqɧÉqÉWûÌwÉïÈ UÉqÉÇ mÉëÌiÉ AuÉSiÉç |

4. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. iÉ§É xɧÉÇ mÉËU§ÉÉiÉÑÇ ÌuɵÉÉÍqɧÉÉå qÉWûÉqÉÑÌlÉÈ |

2. SvÉUjÉÈ xÉÑiÉmÉëSÉlÉålÉMÑüÍvÉMüxÉÑiÉqÉlÉÉåUjÉqÉåuÉ mÉÔUrÉÉqÉÉxÉû |

3. AÉ´ÉÑiÉÈ ´ÉÑiÉuÉרÉålÉ iÉåÉ xÉÑlSÌmÉërÉÉuÉkÉÈ|

5. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. qÉÑÌlÉÈ Ax§ÉÉÍhÉ iÉÉOûMüÉqÉÉÍjÉlÉå SSÉæ |

qÉÑÌlÉÈ Ax§ÉÉÍhÉ MüxqÉæ SSÉæ ?

2. xÉÑMåüiÉÑÈ SìÓÌWûhÉmÉëxÉÉSÉiÉç xÉÑiÉÉÇ sÉåpÉå |

xÉÑMåüiÉÑÈ SìÓÌWûhÉmÉëxÉÉSÉiÉç MüÉÇÇ sÉåpÉå

3. UÉqÉÈ x§ÉÏuÉkÉvÉXçMüqÉç AMüUÉåiÉç |

MüÈ x§ÉÏuÉkÉvÉXçMüqÉç AMüUÉåiÉç

Muralidhara Avadhani 51
6. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

AÌiÉoÉsÉÉ ÌuɱÉ

´ÉÏUÉqÉÈ MüÉMÑüixjÉÈ

ÌuɵÉÉÍqɧÉÈ aÉÉÍkÉlÉlSlÉÈ

AaÉxirÉÈ MÑüqpÉxÉqpÉuÉÈ

* * *

Muralidhara Avadhani 52
 MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. mÉuÉïiÉUÉeÉxrÉ mÉѧÉÏ MüÉ ?

mÉuÉïiÉUÉeÉxrÉ mÉѧÉÏ mÉÉuÉïiÉÏ |

2. qÉålÉÉ MüxrÉ mɦÉÏ ?

qÉålÉÉ mÉuÉïiÉUÉeÉxrÉ mɦÉÏ |

3. ESÉWûUhÉuÉxiÉÑwÉÑ AaÉëhrÉÈ MüÈ ?

ESÉWûUhÉuÉxiÉÑwÉÑ AaÉëhrÉÈ AÎXçaÉUxÉÈ |

4. AkÉÉåqÉÑZÉÏ mÉÉuÉïiÉÏ ÌMüÇ aÉhÉrÉÉqÉÉxÉÉ ?

AkÉÉåqÉÑZÉÏ mÉÉuÉïiÉÏ sÉÏsÉÉMüqÉsÉmɧÉÉÍhÉ aÉhÉrÉÉqÉÉxÉÉ |

5. eÉaÉiÉÈ ÌmÉiÉÉ MüÈ ?

eÉaÉiÉÈ ÌmÉiÉÉ ÍvÉuÉÈ |

2. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. qÉÑlÉrÉÈ ÌMüqÉjÉïÇ ÌWûqÉuÉiÉÈ xÉqÉÏmÉÇ AÉaÉiÉÉÈ ?

²ªÀ£ÀÄ ¥ÁªÀðwAiÀÄ£ÀÄß ªÀÄzÀÄªÉ ªÀiÁrPÉƼÀî®Ä §AiÀĹzÀÝ. CzÀPÁÌV

»ªÀĪÀAvÀ£ÀªÀÄ£ÀÄß PÉýPÉƼÀî®Ä ²ªÀ£ÀÄ ¸À¥ÀÛ¶ðUÀ¼À£ÄÀ ß PÀ¼ÀÄ»¹PÉÆnÖzÀÝ. D PÁgÀtPÁÌV
¸À¥ÀÛ¶ðUÀ¼ÀÄ »ªÀĪÀAvÀ£À D¸ÁÜ£ÀPÉÌ §AzÀgÀÄ.

Shiva wanted to marry Parvathi. Hence, he requested seven sages to

go to Himavan and ask to give Parvathi to shiva in marriage, seven sages came
to Himavan’s place in favour of Lord Shiva.

Muralidhara Avadhani 53
2. ÌWûqÉuÉÉlÉç GwÉÏhÉÉqÉç AÉaÉqÉlÉå ÌMüqÉç E£üuÉÉlÉç ?

¸À¥ÀÛ¶ðUÀ¼ÀÄ »ªÀĪÀAvÀ£À ªÀÄ£ÉUÉ §AzÁUÀ CªÀgÀ£ÀÄß AiÀÄxÉÆÃavÀªÁV ¸ÀvÀÌj¹ §gÀ

ªÀiÁrPÉÆAqÀ.IĶªÀÄĤUÀ¼ÀÄ vÀ£ÀߣÀÄß ¥ÁªÀ£ÀUÉƽ¸À°PÁÌVAiÉÄà §A¢zÁÝgÉAzÀÄ w½zÀ.vÁ£ÀÄ
MAzÀÄ vÀ¯ÉAiÀÄ ªÉÄÃ¯É UÀAUÁ ¥Àæ¥ÁvÀªÁzÁUÀ, E£ÉÆßAzÀÄ ¤ªÀÄäUÀ¼À ¥ÁzÀ vÉƼÉzÀ ¤Ãj¤AzÀ
¥ÀĤÃvÀ£ÁUÀÄwÛä JAzÀÄ ºÉýzÀ.

On the arrival of seven sages to his place King Himavan thinks that he
has become purified by their arrival to his house. He points out that falling
Ganga on his head and the water which washed the feet of sages only these
two reasons could purify him.

2. mÉѧrÉÉÈ ÌuÉuÉÉWûÌuÉwÉrÉå mÉuÉïiÉUÉeÉxrÉ ÌlÉhÉïrÉÈ MüÈ ?

CAVgÀ¸À ªÀÄĤUÀ¼À ªÀiÁw£À PÉÆ£ÉAiÀÄ°è ¥ÀªÀðvÀgÁd£ÀÄ CªÀgÀ ªÀiÁvÀÄUÀ¼À£ÀÄß vÀ£Àß

§Ä¢Þ¬ÄAzÀ «ªÀIJð¹, vÀ£Àß ¥Àwß ªÉÄãÉAiÀÄ C©ü¥ÁæAiÀĪÀ£ÀÄß vÉUÉzÀÄPÉÆAqÀ PÉÆ£ÉUÉ vÁ£ÀÄ vÀ£Àß
ªÀÄUÀ¼À£ÀÄß ²ªÀ¤UÉ PÉÆqÀĪÀÅzÀÄ £ÁåAiÀĪÉA§ ¤tðAiÀĪÀ£ÀÄß vÉUÉzÀÄPÉÆAqÀ.

When the sage Angirasa convinced Himavan that how Shiva would be
perfect groom for Parvathi, Himavan took opinion of his wife mana and
thinking in his mind that it would be proper, he agreed to give Parvathi to Shiva
in marriage.

3. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç CÌiÉ mɱpÉÉaÉxrÉxÉÉUÉÇvÉÇ ÍsÉZÉiÉ |

MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç F ¥ÀzÀå¨sÁUÀªÀ£ÀÄß PÁ½zÁ¸À£ÀÄ §gÉzÀ PÀĪÀiÁgÀ¸ÀA¨sÀªÀA

UÀæAxÀ¢AzÀ Dj¸À¯ÁVzÉ, EzÀÄ PÀĪÀiÁgÀ¸ÀA¨sÀªÀªÀiï UÀæAxÀzÀ DgÀ£Éà ¸ÀUÀðªÁVzÉ.E°è ²ªÀ-
¥ÁªÀðwAiÀÄgÀ «ªÁºÀzÀ ¥Àæ¸ÁÛ¥ÀªÀÅ §A¢zÉ.²ªÀ£ÀÄ ¥ÁªÀðwvÀ£ÀÄß ªÀÄÄzÀÄªÉ ªÀiÁrPÉƼÀî®Ä

Muralidhara Avadhani 54
§AiÀĹzÀÝ.CzÀPÁÌV »ªÀĪÀAvÀ£À£ÀÄß PÉýPÉƼÀî®Ä ²ªÀ£À ¸À¥ÀÛ¶ðUÀ¼À£ÀÄß PÀ¼ÀÄ»¹PÉÆnÖzÀÝ.D
PÁgÀtPÁÌV ¸À¥ÀÛ¶ðUÀ¼ÀÄ »ªÀĪÀAvÀ£À D¸ÁÜ£ÀPÉÌ §AzÀgÀÄ.

¸À¥ÀÛ¶ðUÀ¼ÀÄ »ªÀĪÀAvÀ£À ªÀÄ£ÉUÉ §AzÁUÀ CªÀgÀ£ÀÄß AiÀÄxÉÆÃavÀªÁV ¸ÀvÀÌj¹ §gÀ

ªÀiÁrPÉÆAqÀ IĶªÀÄĤUÀ¼ÀÄ vÀ£ÀߣÀÄß ¥ÁªÀ£ÀUÉƽ¸À°PÁÌVAiÉÄà §A¢zÁÝgÉAzÀÄ w½zÀ vÁ£ÀÄ
vÀ¯ÉAiÀÄ ªÉÄÃ¯É UÀAUÁ ¥Àæ¥ÁvÀªÁzÁUÀ, E£ÉÆßAzÀÄ ¤ªÀÄäUÀ¼À ¥ÁzÀ vÉƼÉzÀ ¤Ãj¤AzÀ
¥ÀĤÃvÀ£ÁUÀÄwÛä JAzÀÄ ºÉýzÀ.

vÁ£ÀÄ, vÀ£Àß ºÉAqÀw ºÁUÀÆ vÀªÀÄä PÀÄ®PÉÌ fëvÀ¼ÁUÀÄgÀĪÀ ªÀÄUÀ¼ÀÄ ¥ÁªÀðw

vÀªÀÄäUÀ¼À ¸ÉêÉAiÀÄ°è ¸ÀzÁ EzÉÝÃªÉ JA§ÄzÀ£ÀÄß w½¹zÀ »ªÀĪÀAvÀ£ÀÄ, IĶªÀÄĤUÀ¼À DUÀªÀÄ£ÀzÀ
PÁAiÀÄðªÉãÉA§ÄzÀ£ÀÄß AiÀÄxÉÆÃavÀªÁV PÉýzÀ.

DUÀ GzÁºÀgÀuÉÃUÀ¼À£ÀÄß ¤Ãr «ªÀj¸ÀĪÀÅzÀgÀ°è ¤¥ÀÄtgɤ¹zÀ, ¸À¥ÀÛ¶ðUÀ¼À°è

M§âgÁzÀ CAVgÀ¸À ªÀÄĤUÀ¼À£ÀÄß EvÀgÀ IĶ ªÀÄĤUÀ¼ÀÄ ªÀiÁvÀ£ÁqÀĪÀAvÉ ¥ÉæÃgÉæ¹zÀgÀÄ.

CAVgÀ¸À ªÀÄĤUÀ¼ÀÄ vÁªÀÅ §A¢gÀĪÀ PÁAiÀÄð vÀªÀÄäzÀ®è ¤ªÀÄäUÀ¼ÀzÉà JAzÀgÀÄ.‘«±ÀézÀ

¸ÀPÀ® PÀªÀÄðUÀ½UÉ ¸ÁQëèsÀÆvÀªÁzÀ ±ÀA¨sÀĪÀÅ »ªÀĪÀAvÀ£À ªÀÄUÀ¼ÁzÀ ¥ÁªÀðwAiÀÄ£ÀÄß ªÀÄzÀĪÉ
ªÀiÁrPÉƼÀÄîªÀÅzÁV vÀªÀÄä ªÀiÁvÀÄUÀ¼À ªÀÄÆ®PÀ PÉüÀÄwÛÃzÁݣɒ JAzÀgÀÄ.

‘ªÀiÁw£À°è CxÀð ¸ÉÃj¸ÀĪÀAvÉ ±ÀªÀ£À°è ¤£Àß ªÀÄUÀ¼À£Àß ¸ÉÃj¸À®Ä CºÀð£ÁV¢ÝÃAiÀiÁ,

M¼ÉîAiÀÄ ªÀgÀ¤UÉ ªÀÄUÀ¼À£ÀÄß PÉÆqÀĪÀzÀjAzÀ PÀ£ÉåAiÀÄ vÀAzÉAiÀÄÄ aAw¸À¨ÉÃPÁUÀĪÀÅ¢®è.

‘J°èAiÀĪÀgÉUÉ ¸ÁܪÀgÀ ºÁUÀÆ dAUÀªÀÄ fëUÀ¼ÀÄ EgÀÄvÀÛªÉAiÉÆà C°èAiÀĪÀgÉUÉ

CªÀgÉ®è ¤£Àß ªÀÄUÀ¼ÁzÀ ¥ÁªÀðwAiÀÄ£ÀÄß vÁ¬ÄAiÉÄAzÀÄ w½AiÀÄ°.AiÀiÁPÉAzÀgÉ ²ªÀ£ÀÄ dUÀwÛUÉ
vÀAzÉ J¤¹PÉÆAqÀªÀ£ÀÄ’.

‘GªÉÄAiÀÄ ªÀzsÀÆ, ²ªÀ£ÀÄ ªÀgÀ£ÀÆ, »ªÀĪÀAvÀ£ÀÄ PÉÆqÀĪÀªÀ£ÀÄ, F £ÁªÉ®ègÀÆ

CyðUÀ¼ÀÄ, MAzÀÄ PÀÄ® GzÁÝgÀªÁUÀ®Ä F E«µÀÄÖ ¸ÁPÀÄ. DªÀ£ÁzÀgÉÆà J®èjAzÀ®Ä
¸ÀÄÛw¸À®àqÀĪÀªÀ£ÀÄ vÁ£ÀÄ ªÀiÁvÀæ AiÀiÁgÀ£ÀÄß ¸ÀÄÛw¸ÀĪÀªÀ£À®è, J®èjAzÀ®Æ ªÀAzÀå£ÁzÀªÀ£ÀÄ,
AiÀiÁjUÀÆ ªÀA¢¸ÀĪÀªÀ£À®è. CAxÀºÀ «±ÀéUÀÄgÀÄ«UÉ ºÉtÄÚ PÉÆqÀĪÀ ªÀÄÆ®PÀ ¤Ã£ÀÄ «±ÀéUÀÄgÀÄ«UÉ
UÀÄgÀĪÁUÀ§ºÀÄzÀÄ’.F jÃw CAVgÀ¸ÀgÀÄ »ªÀĪÀAvÀ¤UÉ ±À«£À £Á£Á UÀÄtUÀ¼ÀÄ ºÁUÀÆ
¥ÁªÀðwAiÀÄ£ÀÄß CªÀ£ÉÆA¢UÉ ªÀÄzÀÄªÉ ªÀiÁrzÀgÉ DUÀĪÀ PÀ¯ÁåtªÀ£ÀÄß «ªÀj¹zÀgÀÄ.

Muralidhara Avadhani 55
 IĶUÀ¼ÀÄ F «ZÁgÀ ªÀiÁvÀ£ÁqÀÄwÛgÀĪÁUÀ ¥ÁªÀðwAiÀiÁzÀgÉÆà vÀ£Àß vÀAzÉAiÀÄ
¥Á±ÀéðzÀ°è ¤AvÀÄ £ÁaPɬÄAzÀ vÀ¯É §Vι DnPÉAiÀÄ PÀªÀÄ®zÀ zÀ®UÀ¼À£ÀÄß Jt¹zÀ¼ÀÄ.

»ªÀĪÀAvÀ£ÀÄ IĶUÀ¼À ªÀiÁw£À PÉÆ£ÉAiÀÄ°è ªÉÄãÉAiÀÄ C©ü¥ÁæAiÀĪÀ£ÀÄß ¥ÀqÉzÀÄ, vÀ£Àß

§Ä¢Þ¬ÄAzÀ MªÉÄä «ªÀĶð¹, ªÀÄAUÀ¯Á®APÀÈvÀ¼ÁzÀ ¥ÁªÀðwAiÀÄ£ÀÄß ²ªÀ¤UÉ ¤ÃqÀĪÀÅzÁV
IĶ ªÀÄĤUÀ¼ÀÄ C©ü¥ÁæAiÀĪÀ£ÀÄß w½¹zÀ£ÀÄ.vÁ£ÀÄ ¥ÀÄwæAiÀÄ «ªÁºÀ £ÉgÀªÉÃj¸ÀĪÀ ªÀÄÆ®PÀ
UÀȺÀªÉÄâü¥sÀ®ªÀ£ÀÄß ¥ÀqÉzÉ JAzÀÄ ¸ÀAvÀ¸ÀUÉÆAqÀ£ÀÄ.

MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉçThe poetry part is extracted from the work

Kumarasambhavam which is written by Kalidasa. This poetry part is sixth Sarga

of Kumarasambhavam.

Lord Shiva wanted to marry Parvathi. Hence he sends seven sages on

his behalf to go to Himavan and request him to give his daughter Parvathi in
marriage to him. The sages go to Himavan and they are received by himavan
duly. Himavan feels that he would be purified by their arrival. He tells the sages
that he along with his wife and daughter would be happy to serve them.

All the six sages ask Angeerasa, who is good orator, to address
Himavan on their arrival. Angiras on behalf of all the sages says that Shambhu,
who is witness for all the deeds of the world, wants to marry Parvathi. In
several terms Angirasa praises before himavan, the excellence of Shiva. He
exhorts to become the master of universal master by giving his daughter
Parvathi to Shiva in marriage. Parvahti, out of bashfulness, stood counting the
petals of her toy lotus as though disinterested, by the side of her father.
Himavan takes into account the pros and cons of giving Parvathi to shiva in
marriage. And finally taking approval of his wife Mena, promises to give
Parvathi to Shiva in marriage. He feels that by performing his daughter’s
marriage, has attained the fruit of household.

Muralidhara Avadhani 56
2. AÎXçaÉUxÉÈ ÌWûqÉuÉliÉÇ ÌMüqÉç AuÉÉåcÉiÉç ?

CAVgÀ¸ÀªÀÄĤUÀ¼ÀÄ ¸À¥ÀÛ¶ðUÀ¼À°è M§âgÀÄ. ²ªÀ£ÀÄ ¥ÁªÀðwAiÀÄ£ÀÄß

ªÀÄzÀĪÉAiÀiÁUÀĪÀÅzÀPÁÌV »ªÀĪÀAvÀ£À°è PÉýPÉƼÀî®Ä CªÀgÀÄ ²ªÀ£À ¥ÀgÀªÁV ¥ÁvÀ£ÁqÀ®Ä
»ªÀĪÀAvÀ£À C¸ÁÜ£ÀPÉÌ §A¢zÀÝgÀÄ.

GzÁºÀgÀuÉUÀ¼À£ÀÄß ¤Ãr «ªÀj¸ÀĪÀÅzÀgÀ°è ¤¥ÀÄtgɤ¹zÀ, ¸À¥ÀÛ¶ðUÀ¼À°è M§âgÁzÀ

CAVgÀ¸À ªÀÄĤUÀ¼À£ÀÄß EvÀgÀ IĶ ªÀÄĤUÀ¼ÀÄ ªÀiÁvÀ£ÁqÀĪÀAvÉ ¥ÉæÃgÉæ¹zÀgÀÄ.

CAVgÀ¸À ªÀÄĤUÀ¼ÀÄ vÁªÀÅ §A¢gÀĪÀ PÁAiÀÄð vÀªÀÄäzÀ®è ¤ªÀÄäUÀ¼ÀzÉà JAzÀgÀÄ.‘«±ÀézÀ

¸ÀPÀ® PÀªÀÄðUÀ½UÉ ¸ÁQëèsÀÆvÀªÁzÀ ±ÀA¨sÀĪÀÅ »ªÀĪÀAvÀ£À ªÀÄUÀ¯ÁzÀ ¥ÁªÀðwAiÀÄ£ÀÄß ªÀÄzÀĪÉ
ªÀiÁrPÉƼÀÄîªÀÅzÁV vÀªÀÄä ªÀiÁvÀÄUÀ¼À ªÀÄÆ®PÀ PÉüÀÄwÛzÁݣɒ JAzÀgÀÄ.

‘ªÀiÁw£À°è CxÀð ¸ÉÃj¸ÀĪÀAvÉ ²ªÀ£À°è ¤£Àß ªÀÄUÀ¼À£ÀÄß ¸ÉÃj¸À®Ä ¤Ã£ÀÄ

CºÀð£ÁV¢ÝÃAiÀiÁ, M¼ÉîAiÀÄ ªÀgÀ¤UÉ ªÀÄUÀ¼À£ÀÄß PÉÆqÀĪÀzÀjAzÀ PÀ£ÉåAiÀÄ vÀAzÉAiÀÄÄ
aAw¸À¨ÉÃPÁUÀĪÀÅ¢®è.

‘J°èAiÀĪÀgÉUÉ ¸ÁܪÀgÀ ºÁUÀÆ dAUÀªÀÄ fëUÀ¼ÀÄ EgÀÄvÀÛªÉAiÉÆà C°èAiÀĪÀgÉUÉ

CªÀgÉ®è ¤£Àß ªÀÄUÀ¼ÁzÀ ¥ÁªÀðwAiÀÄ£ÀÄß vÁ¬ÄAiÉÄAzÀÄ w½AiÀÄ°, AiÀiÁPÉAzÀgÉ ²ªÀ£ÀÄ dUÀwÛUÉ
vÀAzÉ J¤¹PÉÆAqÀªÀ£ÀÄ’

‘GªÉÄAiÀÄ ªÀzsÀÆ, ²ªÀ£ÀÄ ªÀgÀ£ÀÄ, »ªÀĪÀAvÀ£ÀÄ PÉÆqÀĪÀªÀ£ÀÄ, F £ÁªÉ®ègÀÆ

CyðUÀ¼ÀÄ, MAzÀÄ PÀÄ® GzÁÝgÀªÁUÀ®Ä F E«µÀÄÖ ¸ÀAUÀwUÀ¼ÀÄ ¸ÁPÀÄ. ²ªÀ£ÁzÀgÉÆÃ
J®èjAzÀ®Ä ¸ÀÄÛw¸À®àqÀĪÀªÀ£ÀÄ vÁ£ÀÄ ªÀiÁvÀæ AiÀiÁgÀ£ÀÆß ¸ÀÄÛw¸ÀĪÀªÀ£À®è, J®èjAzÀ®Æ
ªÀAzÀå£ÁzÀªÀ£ÀÄ, AiÀiÁjUÀÆ ªÀA¢¸ÀĪÀªÀ£À®è CAxÀºÀ «±ÀéUÀÄgÀÄ«UÉ ºÉtÄÚ PÉÆqÀĪÀ ªÀÄÆ®PÀ
¤Ã£ÀÄ «±ÀéUÀÄgÀÄ«UÉ UÀÄgÀĪÁUÀ§ºÀÄzÀÄ.’

F jÃw CAVgÀ¸ÀgÀÄ »ªÀĪÀAvÀ¤UÉ ±ÀªÀ£À £Á£Á UÀÄtUÀ¼ÀÄ ºÁUÀÆ ¥ÁªÀðwAiÀÄ£ÀÄß

CªÀ£ÉÆA¢UÉ ªÀÄzÀÄªÉ ªÀiÁrzÀgÉ DUÀĪÀ PÀ¯ÁåtªÀ£ÀÄß «ªÀj¹zÀgÀÄ.

Muralidhara Avadhani 57
 Angirasa convince Himavan to give Parvathi to Shiva in marriage. This
mater is discussed in the lesson MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Angirasa is the one among seven sages, who are popularly known as
Saptharshayaha. In the sixth Sarga of Kumarasambhavam of kalidasa, sage

Angirasa comes to Himavan’s place to ask Parvathi for lord Shiva.

King Himavan honours all the sages in great manner and thinks that
they have come here to purify him. Later when all the sages were asked to tell
the reason of their arrival, Angirasa, who was good orator among all the sages
tells on favourable of Lord Shiva.

Angiras says to Himavan that the purpose of the arrival is absolutely

of Himavan.

Shambhu, who is witness for all the deeds, done in the universe, asks
to give Parvathi in marriage through the sage’s words. Himavan can give
Parvathi to Shiva in marriage so that it would be like joining meaning into
words and there will not be worry for father of a daughter as Shiva is good
groom.

Let the entire movable and immovable creature consider Parvathi as

their Mother as Shiva is father of universe. The sage points out that Shiva is
prised by one and all, Even by those who dint praise him earlier or by those
who did not glorify him earlier. By making him his son-in-law, Himavan will
become the Master of universal master.

Thus sage Angirasa speaks to Himavan in the lesson. MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Muralidhara Avadhani 58
4. mÉÉPûlÉÉqÉ EÎssÉZrÉ vsÉÉåMüÉlÉÉqÉç AlÉÑuÉÉSÇ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ MÑÂiÉ |

1. iÉ§É uÉå§ÉÉxÉlÉÉxÉÏlÉÉlÉç M×üiÉÉxÉlÉmÉËUaÉëWûÈ |

CûirÉÑuÉÉcÉåµÉUÉluÉÉcÉÇ mÉëÉgeÉÍsÉpÉÔïkÉUåµÉUÈ ||

F ±ÉÆèÃPÀªÀ£ÀÄß MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

C°è ªÉÃvÁæ¸À£ÀzÀ°è PÀļÀîj¸À®àlÖªÀgÁzÀ IĶUÀ¼À PÀÄjvÁV PÉÊ eÉÆÃr¹,

¥ÀªÀðvÀgÁd£ÀÄ F jÃwAiÀiÁV ºÉýzÀ£ÀÄ.

This Shloka is extracted from the poetry part MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Translation:

There (at the abode of Himavan) the lordof the mountains taking his
seat, and with hands folded, addressed the masters (Sages), who were seated
on the cane seats, thus:

2. LiÉå uÉrÉqÉqÉÏ SÉUÉÈ MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç |

oÉëÔiÉ LlÉÉ§É uÉÈ MüÉrÉïqÉlÉÉxjÉÉ oÉɽuÉxiÉÑwÉÑ ||

F ±ÉÆèÃPÀªÀ£ÀÄß MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

EUÉÆà £Á£ÀÄ, £À£Àß ºÉAqÀw ºÁUÀÆ £ÀªÀÄä PÀÄ®zÀ fëvÀ¼ÁVgÀĪÀ EªÀ¼ÀÄ £ÀªÀÄä
ªÀÄUÀ¼ÀÄ.¨ÁºÀå ªÀ¸ÀÄÛUÀ¼À°è D¸ÀPÀÛgÀ®èzÀ ¤ªÀÄUÉ £À«ÄäAzÀ K£ÁUÀ¨ÉÃPÀÄ ºÉý.

This Shloka is extracted from the poetry part MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Translation:

Muralidhara Avadhani 59
 Here I am, there is my wife, and here is my daughter, who is verily the
life of our family. Please speak out. What is to be done by us? You sages are
not interested in external things.

2. rÉÉuÉlirÉåiÉÉÌlÉ pÉÔiÉÉÌlÉ xjÉÉuÉUÉÍhÉ cÉUÉÍhÉ cÉ |

qÉÉiÉUÇ MüsmÉrÉliuÉålÉÉqÉÏvÉÉå ÌWû eÉaÉiÉÈ ÌmÉiÉÉ ||

F ±ÉÆèÃPÀªÀ£ÀÄß MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

J°èAiÀĪÀgÉUÉ ¸ÁܪÀgÀ ºÁUÀÆ dAUÀªÀÄ fëUÀ¼ÀÄ EgÀÄvÀÛªÉAiÉÆà C°èAiÀĪÀgÉUÉ

CªÀgÉ®è EªÀ¼À£ÀÄß (¥ÁªÀðvÉAiÀÄ£ÀÄß) vÁ¬ÄAiÉÄAzÀÄ w½AiÀÄ°.AiÀiÁPÉAzÀgÉ ²ªÀ£ÀÄ dUÀwÛUÉ vÀAzÉ
J¤¹PÉÆArzÁÝ£É.

This Shloka is extracted from the poetry part MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Translation:

As long as the immovable and movable creatures are present, let

them consider her (Parvathi) as their mother, because Shiva is the father of
universe.

4. LuÉÇ uÉÉÌSÌlÉ SåuÉwÉÏïÇmÉɵÉåï ÌmÉiÉÑUkÉÉåqÉÑZÉÏ |

sÉÏsÉÉMüqÉsÉmɧÉÉÍhÉ aÉhÉrÉÉqÉÉxÉ mÉÉuÉïiÉÏ ||

F ±ÉÆèÃPÀªÀ£ÀÄß MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

F jÃw IĶ«Ä¤UÀ¼ÀÄ ºÉüÀÄwÛgÀ¯ÁV vÀ£Àß vÀAzÉAiÀÄ ¥ÀPÌÀ zÀ°è CzsÉÆêÀÄÄTAiÀiÁV

¤AvÀÄPÉÆAqÀÄ °Ã¯Á PÀªÀÄ®¥ÀvÀæUÀ¼À£ÀÄß Jt¹zÀ¼ÀÄ.

Muralidhara Avadhani 60
This Shloka is extracted from the poetry part MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Translation:

While the sage was speaking thus, Parvathi who was standing beside
of her father, counted the pastels of her toy lotus bending her head.

5. CSqɧÉÉå¨ÉUÇ lrÉÉrrÉÍqÉÌiÉ oÉÑSèkrÉÉ ÌuÉqÉ×vrÉ xÉÈ |

AÉSSå uÉcÉxÉÉqÉliÉå qÉXçaÉsÉÉsÉXçM×üiÉÉÇ xÉÑiÉÉqÉç ||

F ±ÉÆèÃPÀªÀ£ÀÄß MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ.

C£ÀĪÁzÀ:

F GvÀÛgÀªÀÅ E°è £ÁåAiÀĪÁVzÉ JAzÀÄ vÀ£Àß §Ä¢Þ¬ÄAzÀ «ªÀĶð¹ CªÀ£ÀÄ

IĶUÀ¼À ªÀiÁw£À PÉÆ£ÉAiÀÄ°è ªÀÄAUÀ¼ÀªÀ¸ÁÛç¢UÀ½AzÀ C®APÀÈvÀªÁVgÀĪÀ ªÀÄUÀ¼À£ÀÄß ²ªÀ¤UÉ
PÉÆqÀ®Ä ªÀiÁvÀÄ EvÀÛ£ÀÄ.

This Shloka is extracted from the poetry part MülrÉårÉÇ MÑüsÉeÉÏÌuÉiÉqÉç

Translation:
Giving a positive reply is only proper in the matter. Thus thinking in
mind and examining at the end of the speech he (Himavan) gave his daughter
decked with auspicious ornaments and promised the sages to give his daughter
to Shiva in marriage.

5. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. CirÉÑuÉÉcÉåµÉUÉluÉÉcÉ mÉëÉgeÉÍsÉÈ pÉÔkÉUåµÉÈ |

2. AvÉÉåcrÉÉ ÌWû ÌmÉiÉÑÈ MülrÉÉ xÉ°iÉÑïÈ mÉëÌiÉmÉÉÌSiÉÉû |

3. sÉÏsÉÉ MüqÉsÉmɧÉÉÍhÉ aÉhÉrÉÉqÉÉxÉ |

4. mÉëÉrÉåhÉ aÉ×ÌWûhÉÏlÉå§ÉÉÈ MülrÉÉjÉåïwÉÑ MÑüOÒûÎqoÉlÉÈ |

Muralidhara Avadhani 61
5. AÍjÉïlÉÉå qÉÑlÉrÉÈ mÉëÉmiÉÇ aÉ×WûqÉåÍkÉ TüsÉÇ qÉrÉÉ |

6. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

vÉqpÉÑÈ EqÉÉ

MüÌuÉMÑüsÉaÉÑÂÈ MüÉÍsÉSÉxÉÈ

MÑüqÉÉUxÉqpÉuÉqÉç qÉWûÉMüÉurÉqÉç

AÎXçaÉUxÉÈ qÉWûÌwÉïÈ

qÉålÉÉ mÉuÉïiÉUÉeÉÈ

* * *

Muralidhara Avadhani 62
 eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. eÉÉæÌiÉÌwÉMüÈ MÑü§É EmÉÌuÉwrÉ aÉëÉWûMüÉlÉç mÉëiÉϤÉiÉå ?

eÉÉæÌiÉÌwÉMüÈ uÉOûuÉפÉxrÉ NûÉrÉÉrÉÉqÉç EmÉÌuÉwrÉ aÉëÉWûMüÉlÉç mÉëiÉϤÉiÉå |

2. cÉhÉMüÉlÉç ¢åüiÉÑÇ MüÈ eÉlÉÉlÉç mÉëoÉÉååkÉrÉÌiÉ ?

cÉhÉMüÉlÉç ¢åüiÉÑÇ cÉhÉMüuÉÍhÉMç eÉlÉÉlÉç mÉëoÉÉååkÉrÉÌiÉ |

3. eÉlÉÉÈ MüxrÉ uÉcÉlÉæÈ iÉÑwrÉÎliÉ ?

eÉlÉÉÈ eÉÉæÌiÉÌwÉMüxrÉ uÉcÉlÉæÈ iÉÑwrÉÎliÉ |

4. eÉÉæÌiÉÌwÉMüÈ aÉëÉqÉÇ mÉËUirÉerÉ MÑü§É AÉaÉiÉuÉÉlÉç ?

eÉÉæÌiÉÌwÉMüÈ aÉëÉqÉÇ mÉËUirÉerÉ sÉbÉÑmɨlÉqÉç AÉaÉiÉuÉÉlÉç |

5. mÉÍjÉMüxrÉ lÉÉqÉkÉårÉÇ ÌMüqÉç ?

mÉÍjÉMüxrÉ lÉÉqÉkÉårÉÇ aÉÑÂlÉÉrÉMüÈ CÌiÉ |

6. eÉÉæÌiÉÌwÉMüÈ MÑü§É vÉrÉlÉqÉç AMüUÉåiÉç ?

eÉÉæÌiÉÌwÉMüÈ MüOåû vÉrÉlÉqÉç AMüUÉåiÉç |

2. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. eÉÉæÌiÉÌwÉMüxrÉ mÉÔuÉïeÉÏuÉlÉ uÉרÉÉliÉqÉç |

eÉÆåÃw¶PÀ£À ¥ÀƪÀð fêÀ£À ªÀÈvÁÛAvÀªÀÅ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç ¥ÁoÀzÀ°è ºÉüÀ¯ÁVzÉ.

Muralidhara Avadhani 63
 eËw¶PÀ£ÀÄ ¥ÀlÖtzÀ d£À¤©qÀ ©Ã¢AiÉÆAzÀgÀ°è ªÀl ªÀÈPÀëzÀ PɼÀUÉ PÀĽvÀÄ
eÉÆåÃwµÀåªÀ£ÀÄß ºÉüÀÄwÛzÀÝ£ÀÄ.vÀ£ÀUÉ eÉÆåÃwµÀå ±Á¸ÀÛçzÀ QAavÀÄÛ eÁÕ£À«®èzÉà PÉêÀ® ¸ÀºÀd eÁÕ£À
ºÁUÀÆ HºÁ¥ÉÆúÀUÀ¼ÉÆA¢UÉ d£ÀgÀ£ÀÄß vÀȦۥÀr¸ÀÄwÛzÀÝ£ÀÄ.

CªÀ£ÀÄ ¥ÀlÖtPÉÌ §gÀĪÀ ªÀÄÄAZÉ ºÀ½îAiÀÄ°è ªÁ¸ÀªÁVzÀÝ£ÀÄ.CªÀ£ÉAzÀÆ vÁ£ÀÄ

ªÀÄÄAzÉÆAzÀÄ ¢£À eËw¶PÀ£ÁUÀÄvÉÛãÉAzÀÄ CAzÀÄPÉÆAqÀªÀ£À®è. §ºÀıÀB CªÀ£ÀÄ vÀ£Àß
ºÀ½îAiÀÄ°èAiÉÄà E¢ÝzÀÝgÉ vÀ£Àß ¥ÀƪÀðdgÀAvÉPÀȶPÀ£ÁVgÀÄwÛzÀÝ.DzÀgÉ CªÀ£À fêÀ£ÀzÀ°è «¢ü
¨ÉÃgÉAiÀÄzÀ£Éßà §gÉ¢vÀÄÛ.

AiÀi˪À£ÁªÀ¸ÉÜAiÀÄ°èzÁÝUÀ CªÀ£ÀÄ MªÉÄä ªÀÄzÉÆãÀävÛÀ£ÁV vÀ£ÀßzÉà Hj£À UÀÄgÀÄ£ÁAiÀÄPÀ

JA§ AiÀÄĪÀPÀ£ÉÆA¢UÉ dUÀ¼ÀªÁrzÀ.D dUÀ¼ÀzÀ°è FvÀ UÀÄgÀÄ£ÁAiÀÄPÀ£À JzÉAiÀÄ ¨sÁUÀPÉÌ
ZÀÆj¬ÄAzÀ EjzÀÄ, CªÀ£À£ÀÄß ¨Á«UÉ vÀ½îzÀÝ.DvÀ ¸ÀwÛgÀ¨ÉÃPÀÄ JAzÀÄPÉÆAqÀÄ C°èAzÀ PÁ°ÌwÛzÀÝ.

F ¥sÀl£ÉAiÀiÁzÀ ªÉÄÃ¯É CªÀ£ÀÄ AiÀiÁgÉƧâjUÀÆ ºÉüÀzÉ gÁvÉÆæÃgÁwæ vÀ£Àß HgÀ£ÀÄß

©lÄÖ MAzÀÄ ¸ÀtÚ ¥ÀlÖtPÉÌ §AzÀÄ £É¯É¹zÀ.fêÀ£À £ÀqɸÀ®Ä ¨ÉÃgÉ ªÀiÁUÉÆðÃ¥ÁAiÀÄUÀ½®èzÉ DvÀ
eÉÆåÃw¶AiÀiÁUÀ¨ÉÃPÁ¬ÄvÀÄ.

The earlier life of the astrologer is told in the lesson eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç

Earlier the astrologer was living in a village he had never thought that
he would become an astrologer one day. If he had stayed in the same village,
he would have become a farmer like his ancestors. But the destiny had decided
otherwise about him. An incident, which happened in his life, brought him to a
small town from his village. He had left his village without informing anybody.
As there was no way, he took up the job of an astrologer.

Earlier in the village, the Astrologer had a friend called Gurunayaka,

Once, intoxicated astrologer quarrelled with him. The quarrel reached such a
height, that the astrologer stabbed him in a knife and pushedhim into a well.
Thinking that he was dead, went home. Since then he was suffering from the
sin of killing a person.

Muralidhara Avadhani 64
 He left the village and reached a small town. He lived there with his
family. For profession, he took up the job of an astrologer.

2. eÉÉæÌiÉMüxrÉ xÉqÉrÉmÉë¥ÉÉ |

eËw¶PÀ£À ¸ÀªÀÄAiÀÄ¥ÀæeÉÕAiÀÄ£ÀÄß £ÁªÀÅ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç ¥ÁoÀzÀ°è PÁtÄvÉÛêÉ.

eËw¶PÀ£ÀÄ ¥ÀlÖtzÀ d£À©qÀ ©Ã¢AiÉÆAzÀgÀ°è ªÀl ªÀÈPÀëzÀ PɼÀUÉ PÀĽvÀÄ

eÉÆåÃwµÀåªÀ£ÀÄß ºÉüÀÄwÛzÀÝ£ÀÄ.

vÀ£ÀUÉ eÉÆåÃwµÀå ±Á¸ÀÛçzÀ QAfvÀÄÛ eÁÕ£À«®èzÉà PÉêÀ® ¸ÀºÀd eÁÕ£À ºÁUÀÆ

HºÁ¥ÉÆúÀUÀ¼ÉÆAzÉUÉ d£ÀgÀ£ÀÄß vÀȦۥÀr¸ÀÄwÛzÀÝ£ÀÄ.

MAzÀÄ ¢£À eËw¶PÀ£ÀÄ PÁAiÀÄðPÉëÃvÀæzÀ°è CAzsÀPÁgÀ DªÀj¹zÁUÀ E£ÉßãÀÄ ªÀÄ£ÉUÉ

ºÉÆÃUÀ¨ÉÃPÉ£ÀÄߪÀµÀÖgÀ°è AiÀiÁgÉÆà M§â ¥ÀyPÀ CªÀ£ÀÄ PÀĽwzÀÝ §ÄqÀPÉ «±ÁæAw vÉUÉzÀÄPÉƼÀî®Ä
§AzÀ.UÁæºÀPÀ£À£ÀÄß ©l¨ÁgÀzÉAzÀÄ DvÀ£À£ÀÄß ªÀiÁwUɼÉzÀ.

D ¥ÀyPÀ£ÁzÀgÉÆà QAavï ªÀåUÀæªÁVzÀÝ.vÀ£ÀUÉ K£ÁzÀgÀÆ «±ÉõÀªÀ£ÀÄß ºÉüÀÄ CzÀPÉÌ

M¦àzÀ eËw¶PÀ£ÀÄ E¥ÀàvÀÄÛ gÀÄ¥Á¬ÄUÀ¼À£ÀÄß PÉÆqÀ¨ÉÃPÉAzÀ. PÉÆ£ÉUÉ M¦àzÀ CyPÀ vÀ£Àß PÉÊAiÀÄ°èzÀÝ
ºÉÆUÉ §wÛUÉ ¨ÉAQ ºÉÆwÛ¹zÀ.D ¨ÉAQAiÀÄ ¨É¼ÀPÀ°è eËw¶PÀ¤UÉ DvÀ£À ªÀÄÄR
¥ÀjZÀAiÀĪÁ¬ÄvÀÄ.DvÀ ¨ÉÃgÁgÀÄ DVgÀzÉÃ, AiÀiÁgÀ£ÀÄß vÁ£ÀÄ PÉÆA¢zÉÝ£É JAzÀÄ PÉÆArzÀÝ£ÉÆÃ
CªÀ£Éà DVzÀÝ.vÁ¤£ÀÄß ªÀÄ£ÉUÉ ºÉÆgÀqÀĪÀÅzÁV eËw¶PÀ vÀ¦à¹PÉƼÀî®Ä AiÀÄwß¹zÁUÀ ¥ÀyPÀ vÀ£Àß
MAzÀÄ ¥Àæ±ÉßUÉ GvÀÛj¸ÀÄ JA§ DUÀæºÀªÀ£ÀÄß ªÀiÁrzÀ.

CzÀPÉÌ M¦àzÀ eËw¶PÀ£ÀÄ »AzÉ ¤£ÀUÉ MAzÀÄ UÀAqÁvÀgÀ ª§A¢vÀÛ®èªÉÃ?JAzÀÄ

¥Àæ²ß¹zÀ.CzÀPÉÌ DvÀ ºËzÀÄ JAzÀÄ D±ÀÑAiÀÄð ªÀåPÀÛ¥Àr¹zÀ. ¤£ÀUÉ AiÀiÁgÉÆà ZÀÆj¬ÄAzÀ EjzÀÄ
¨Á«AiÀÄ°è vÀ½î ºÉÆÃVzÀÝgÀ®èªÉà ?eËw¶PÀ ªÀÄgÀÄ ¥Àæ²ß¹zÀ.vÁ£ÀÄ ¨ÁAiÀiÁjPÉUÁV §AzÀ
gÀQë¸À®éqÀ¢zÀÝgÉ CAzÉ ¸ÁAiÀÄÄwÛzÉÝ JAzÀÄ ºÉýzÀ.

D ¥ÀyPÀ£ÀÄ vÁ£ÀÄ EµÀÄÖ ªÀµÀðUÀ½AzÀ ºÀÄqÀÄPÀÄwÛgÀĪÀ £À£Àß PÉÆ¯É ªÀiÁqÀ¯Éwß¹zÀ

ªÀåQÛAiÀÄ£ÀÄß JAzÀÄ PÁtÄvÉÛÃ£É JAzÀÄ eËw¶PÀ£À°è ¥Àæ²ß¹zÀ.

Muralidhara Avadhani 65
 eËw¶PÀ vÀ£ÀUÉ M§VzÀ ¸ÀªÀÄAiÀĪÀ£ÀÄß ¸ÀjAiÀiÁVAiÉÄà §¼À¹PÉÆAqÀ. CªÀ£ÀÄ
K¤zÀÝgÀÆ ¹UÀĪÀÅzÀÄ ¥ÀgÀ¯ÉÆÃPÀzÀ°èAiÉÄÃ. AiÀiÁPÉAzÀgÉ PÉ® vÉÆAUÀ¼À »AzÉ zÀÆgÀzÀ Hj£À°è
CªÀ£ÀÄ ªÀÄÈvÀ¥ÀnÖzÁÝ£É JAzÀ eËw¶PÀ.

¤Ã£ÀÄ EAzÀÄ gÁwæAiÉÄà vÀqÀ ªÀiÁqÀzÉà F Hj¤AzÀ gÉÊ®£ÉßÃj, vÀqÀªÀiÁrzÀgÉ

E£ÉÆßAzÀÄ UÀAqÁAvÀgÀ eËw¶PÀ£ÀÄ vÀ£ÀUÉ ¹PÀÌ ¸ÀªÀÄAiÀÄ ¸ÀAzÀ¨sÀðUÀ¼À£ÀÄß ¸ÀjAiÀiÁV
G¥ÀAiÉÆÃV¹ vÀ£ÀUÁUÀĪÀ D¥ÀvÀÄÛ, ªÀiÁ£À¹PÀ »A¸ÉUÀ½AzÀ vÀ¦à¹PÉÆAqÀ£ÀÄ.

The astrologer used to situnder a banyan tree that gave shade. He

had taken up the profession of an astrologer. He used to attract the passer by,
by telling their fortune. Many time he used to work even after the sunset using
the light of fire which used to be there with Bengal gram wander. One day
evening, when he was about to pack up his astrological materials, a traveller
came to the same place to take rest. The astrologer thought that he would
become one more client and began to converse with him. The traveller told
him to tell something new. Then the astrologer asked him to pay twenty
rupees for telling his future. The traveller agreed to pay but he put condition
that, if he were not satisfied than astrologer should pay him twenty rupees.
The astrologer agreed and continued. Meanwhile the passer by lit the fire to
his tobacco. In that light astrologer recognised that person is none other than
Gurunayaka, whom he had tried to kill once. He came to know that the
Gurunayaka was searching for him from many days to take revenge. Later the
astrologer managed the situation with carefully so that he himself rescued
from being targeted by the person.

Muralidhara Avadhani 66
3. eÉÉæÌiÉÌwÉMü – aÉÑÂlÉÉrÉMürÉÉåÈ xÉqpÉÉwÉhÉqÉç |

eËw¶PÀ ºÁUÀÆ UÀÄgÀÄ£ÁAiÀÄPÀ ¸ÀAªÁzÀªÀÅ ¥ÁoÀzÀ°è eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç §A¢zÉ.

MAzÀÄ ¢£À eËw¶PÀ£ÀÄ vÀ£Àß PÁAiÀÄðPÉëÃvÀæzÀ°è CAzsÀPÁgÀ DªÀj¹zÁUÀ E£ÉßãÀÄ

ªÀÄ£ÉUÉ ºÉÆÃUÀ¨ÉÃPÉ£ÀÄߪÀµÀÖgÀ°è AiÀiÁgÉÆà M§â ¥ÀyPÀ CªÀ£ÀÄ PÀĽwzÀÝ ªÀÄgÀzÀ §ÄqÀPÉ «±ÁæAw
vÉUÉzÀÄPÉƼÀî®Ä §AzÀ.UÁæºÀPÀ£À£ÀÄß ©qÀ¨ÁgÀzÉAzÀÄ DvÀ£À£ÀÄß ªÀiÁwUɼÉzÀ.

D ¥ÀyPÀ£ÁzÀgÉÆà QAavï ªÀåUÀæªÁVzÀÝ.vÀ£ÀUÉ K£ÁzÀgÀÆ «±ÉõÀªÀ£ÀÄß ºÉüÀÄ JAzÀ.

CzÀPÉÌ M¦àzÀ eËw¶PÀ£ÀÄ E¥ÀàvÀÄÛ gÀÆ¥Á¬ÄUÀ¼À£ÀÄß PÉÆqÀ¨ÉÃPÉAzÀ.PÉÆ£ÉUÉ M¦àzÀ ¥ÀyPÀ vÀ£Àß
PÉÊAiÀÄ°èzÀÝ ºÉÆUÉ §wÛUÉ ¨ÉAQ ºÉÆwÛ¹zÀ.D ¨ÉAQAiÀÄ ¨É¼ÀPÀ°è eËw¶PÀ¤UÉ DvÀ£À ªÀÄÄR
¥ÀjZÀAiÀĪÁ¬ÄvÀÄ.DvÀ ¨ÉÃgÁgÀÄ DVgÀzÉà AiÀiÁgÀ£ÀÄß vÁ£ÀÄ PÉÆA¢zÉÝÃ£É JAzÀÄ PÉÆArzÉÝ£ÉÆÃ
CªÀ£Éà DVzÀÝ.vÁ¤£ÀÄß ªÀÄ£ÉUÉ ºÉÆgÀqÀĪÀÅzÁV eËw¶PÀ vÀ¦à¹PÉƼÀî®Ä AiÀÄwß¹zÁUÀ ¥ÀyPÀ vÀ£Àß
MAzÀÄ ¥Àæ±ÉßUÉ GvÀÛj¸ÀÄ JA§ DUÀæºÀªÀ£ÀÄß ªÀiÁrzÀ.

CzÀPÉÌ M¦àzÀ eËw¶PÀ£ÀÄ »AzÉ ¤£ÀUÉ MAzÀÄ UÀAqÁAvÀgÀ §A¢vÀÛ®èªÉÃ?JAzÀÄ

¥Àæ²ß¹zÀ.CzÀPÉÌ DvÀ ºËzÀÄ JAzÀÄ D±ÀÑAiÀÄð ªÀåPÀÛ¥Àr¹zÀ.¤£ÀUÉ AiÀiÁgÉÆà ZÀÆj¬ÄAzÀ EjzÀÄ
¨Á«AiÀÄ°è vÀ½î ºÉÆÃVzÀÝgÀ®èªÉà eËw¶PÀ ªÀÄgÀÄ ¥Àæ²ß¹zÀ.¥ÀyPÀ¤UÉ ªÀÄvÉÛ D±ÀÑAiÀÄðªÁ¬ÄvÀÄ.
ºËzÉAzÀÄ vÀ£Àß JzÉ ¨sÁUÀzÀ°è EzÀÝ PÀvÀÛj¹zÀ aºÉßAiÀÄ£ÀÄß vÉÆÃj¹zÀ. vÁ£ÀÄ ¨ÁAiÀiÁjPÉUÁV
§AzÀ ªÀåQÛ¬ÄAzÀ gÀQë¸À®àqÀ¢zÀÝgÉ CAzÉ ¸ÁAiÀÄÄwÛzÉ JAzÀÄ ºÉýzÀ.

D ¥ÀyPÀ£ÀÄ vÁ£ÀÄ EµÀÄÖ ªÀµÀðUÀ½AzÀ ºÀÄqÀÄPÀÄwÛgÀĪÀ £À£Àß PÉÆ¯É ªÀiÁqÀ¯Éwß¹zÀ

ªÀåQÛAiÀÄ£ÀÄß JAzÀÄ PÁtÄvÉÛÃ£É JAzÀÄ eËw¶PÀ£À°è ¥Àæ²ß¹zÀ.

eËw¶PÀ vÀ£ÀUÉ MzÀVzÀ ¸ÀªÀÄAiÀĪÀ£ÀÄß ¸ÀjgÀhiÁVAiÉÄà §¼À¹PÉÆAqÀ. CªÀ£ÀÄ

K¤zÀÝgÀÆ ¤£ÀUÉ ¹UÀĪÀÅzÀÄ ¥ÀgÀ¯ÉÆÃPÀzÀ°èAiÉÄÃ.AiÀiÁPÉAzÀgÉ PÉ® vÉÆAUÀ¼À »AzÉ zÀÆgÀzÀ
Hj£À°è CªÀ£ÀÄ ªÀÄÈvÀ¥ÀnÖzÁÝ£É JAzÀ eËw¶PÀ.

eËw¶PÀ£ÀÄ ¥ÀÆtð «±Áé¹PÀ£ÀAvÉ ªÀiÁvÀÄ ªÀÄÄAzÀĪÀgɹ ¤£Àß ºÉ¸ÀgÀÄ UÀÄgÀÄ£ÁAiÀÄPÀ

JAzÀ®èªÉ. CzÀPÉÌ ªÀÄvÉÛ D±ÀÑAiÀÄð¢AzÀ D ¥ÀyPÀ £À£Àß ºÉÃUÉ ¤Ã£ÀÄ ºÉÃUÉ §¯Éè JAzÀ, DUÀ
eËw¶PÀ £Á£ÀÄ J®èªÀ£ÀÄß §¯Éè JAzÀÄ ªÀÄÄUÀļÀßUÉ £ÀPÌÀ .

Muralidhara Avadhani 67
 ¤Ã£ÀÄ EAzÀÄ gÁwæAiÉÄà vÀqÀ ªÀiÁqÀzÉà F Hj¤AzÀ gÉÊ®£ÉßÃj ºÉÆgÀqÀÄ,
vÀqÀªÀiÁrzÀgÉ E£ÉÆßAzÀÄ UÀAqÁAvÀgÀ JzÀÄgÁUÀ§ºÀÄzÀÄ JAzÀÄ eËw¶PÀ£ÀÄ UÀÄgÀÄ£ÁAiÀÄPÀ£ÀÄß D
Hj¤AzÀ PÀ¼ÀÄ»¹ PÉÆlÖ£ÀÄ.

While sitting under the banyan tree in the dus and getting ready to go
home, the astrologer comes across a traveller who wants to take rest under
the same tree. In order to overcome the fatigue of the journey, the traveller
began to converse with the astrologer. The traveller asks the astrologer to tell
his fortune. He asks him to tell some special. Then the astrologer asked him to
pay twenty rupees for telling his future. The traveller agreed to pay but he puts
condition that if he were not satisfied than astrologer should pay him twenty
rupees. Meanwhile, the traveller lights the cigarette and in the light, he
recognised him to be Gurunayaka, whom he had tried to kill formerly; when
the astrologer tries to go away, Gurunayaka forcibly stops him and accuses him
as one running away. Gurunayaka asks the astrologer to answer one question
of his. The astrologer evades and says that he will tell the next day. But one
insistence by the traveller, the astrologer asks him if he did not suffer formerly
the fear for his life. When Gurunayaka admitted, the astrologer said that he
must have sufferd wounds by knife. The traveller admits this too. He shows the
scar on his chest. Then the astrologer asks him if he was pushed into a well and
the killer went away thinking he was dead. Gurunayaka admitted this too and
said that someone thirsty for water saved his life. Then he asks the astrologer
to tell him when he could see his killer and take revenge upon him. The
astrologer said that he would not to see his pray as he is died some four month
ago. Gurunayaka said that he was in search of that person, who tried to kill him
and hence he wandered from one place to another but he was sorry that his
pray was dead. Finally the astrologer said him that that night itself he must

Muralidhara Avadhani 68
take a train and leave the place otherwise one more risk may come in his life
Then the Gurunayaka paid him some rupees and went away.

3. mÉÉPûlÉÉqÉ EÎssÉZrÉ MüÈ MüÇ mÉëÌiÉ AuÉSiÉç CÌiÉ xÉÇxM×iÉpÉÉwÉrÉÉ ÍsÉZÉiÉ |

1. pÉuÉiÉÈ pÉÉarÉUåZÉÉ …. |

CSÇ uÉÉYrÉÇ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | eÉÉæÌiÉÌwÉMüÈ aÉÑÂlÉÉrÉMüÇ mÉëÌiÉ AuÉSiÉç |

2. qÉÉÇ xÉÉaÉëWûqÉç AÉWÕûiÉuÉÉlÉç iuÉqÉç |

CSÇ uÉÉYrÉÇ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | aÉÑÂlÉÉrÉMüÈ eÉÉæÌiÉÌwÉMÇü mÉëÌiÉ AuÉSiÉç |

3. mÉÔuÉïÇ pÉuÉiÉÈ mÉëÉhÉxÉXçMüOûqÉÉmÉÌiÉiÉqÉç AÉxÉÏiÉç |

CSÇ uÉÉYrÉÇ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | eÉÉæÌiÉÌwÉMüÈ aÉÑÂlÉÉrÉMüÇ mÉëÌiÉ AuÉSiÉç |

4. qÉqÉ lÉÉqÉ MüjÉÇ eÉÉlÉÉÍxÉ |

CSÇ uÉÉYrÉÇ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | aÉÑÂlÉÉrÉMüÈ eÉÉæÌiÉÌwÉMÇü mÉëÌiÉ AuÉSiÉç |

5. CSÉlÉÏÇ iÉÑ ÌlÉSìÉ xÉqÉrÉÈ |

CSÇ uÉÉYrÉÇ eÉÉæÌiÉÌwÉMüxrÉ ÌSlÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | eÉÉæÌiÉÌwÉMüÈ iÉxrÉ mɦÉÏÇ mÉëÌiÉ AuÉSiÉç |

4. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. qÉÉaÉåï ÌuÉÌuÉkÉÉÈ AÉmÉhÉÉÈ AÉxÉlÉç |

MÑü§É ÌuÉÌuÉkÉÉÈ AÉmÉhÉÉÈ AÉxÉlÉç ?

2. eÉÉæÌiÉÌwÉMüxrÉ MüÉrÉï¤Éå§Éå AlkÉMüÉUÈ AÉuÉ×iÉÈ |

MüxrÉ MüÉrÉï¤Éå§Éå AlkÉMüÉUÈ AÉuÉ×iÉÈ

Muralidhara Avadhani 69
 xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. aÉÉåmÉMülrÉMüÉÈ SÉqÉÉåSUÇ uÉÉUÌrÉiÉÑÇ MüqÉç AÉMüÉUrÉÎliÉ ?

aÉÉåmÉMülrÉMüÉÈ SÉqÉÉåSUÇ uÉÉUÌrÉiÉÑÇ xÉÇXçMüwÉïhÉqÉç AÉMüÉUrÉÎliÉ |

2. MüÈ rÉqÉÑlÉÉWØûSÇ mÉëÌuÉ¸È ?

MüÉsÉÏrÉÈ / SÉqÉÉåSUÈ rÉqÉÑlÉÉWØûSÇ mÉëÌuÉ¸È |

3. uÉ×®aÉÉåmÉÉsÉMüÈ ÌMüqÉç Aɽ rÉqÉÑlÉÉWØûSÇ mÉëÌuÉvÉÌiÉ ?

uÉ×®aÉÉåmÉÉsÉMüÈ MüqpÉmÉsÉÉvÉuÉפÉqÉç Aɽ rÉqÉÑlÉÉWØûSÇ mÉëÌuÉvÉÌiÉ |

4. MüxrÉ pÉrÉålÉ MüÉsÉÏrÉÈ rÉqÉÑlÉÉWØûSÇ mÉëÌuÉvÉÌiÉ ?

aÉÂQûxrÉ pÉrÉålÉ MüÉsÉÏrÉÈ rÉqÉÑlÉÉWØûSÇ mÉëÌuÉvÉÌiÉ |

5. xÉÑmÉhÉïÈ MüÈ ?

xÉÑmÉhÉïÈ aÉÂQûÈ |

6. xÉuÉïmÉëeÉÉÍpÉÈ ÌMüÇ MüiÉïurÉÈ CÌiÉ SÉqÉÉåSUÈ MüÉsÉÏrÉÇ uÉSÌiÉ ?

xÉuÉïmÉëeÉÉÍpÉÈ AmÉëqÉÉSÈ MüiÉïurÉÈ CÌiÉ SÉqÉÉåSUÈ MüÉsÉÏrÉÇ uÉSÌiÉ |

Muralidhara Avadhani 70
2. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. SÉqÉÉåSUÈ |

zÁªÉÆÃzÀgÀ ²æÃPÀȵÀÚ£À E£ÉÆßAzÀÄ ºÉ¸ÀgÀÄ. DvÀ ¨sÀUÀªÁ£ï £ÁgÁAiÀÄt CªÀvÁgÀUÀ¼À°è

MAzÀÄ.¥Àæ¸ÀÄÛvÀ ¥ÁoÀzÀ°è zÁªÉÆÃzÀgÀ£À zsÉÊAiÀÄð, PÀvÀðªÀå vÀvÀàgÀvÉ, eÁuÉä J®è UÀÄtUÀ¼À£ÀÄß
PÁt§ºÀÄzÀÄ.

AiÀĪÀÄÄ£Á £À¢AiÀÄ D¼ÀzÀ°è PÁ°AiÀÄ ¸À¥ÀðªÀÅ ¸ÉÃjPÉÆAqÀÄ £À¢¤ÃgÀÄ

«µÀ¥ÉÆjvÀªÁVvÀÄÛ.EzÀÝjAzÀ £ÀAzÀUÉÆÃPÀÄ®zÀ d£ÀjUÉ ºÁUÀÆ C°è£À ¥ÁætÂUÀ½UÉ
vÉÆAzÀgÉAiÀiÁUÀÄwÛvÀÄÛ.EzÀ£ÀÄß CjvÀÄ zÁªÉÆÃzÀgÀ£ÀÄ PÁ°AiÀÄ£À£ÀÄß £À¢ ¤Ãj¤AzÀ ºÉÆgÀºÁPÀ®Ä
£À¢AiÀÄ D¼ÀPÉÌ fVzÀ.

ªÀÄgÀÄPÀëtzÀ°èAiÉÄà £À¢AiÀÄ ¤ÃgÀ£ÀÄß PÉzÀQ PÁ°AiÀÄ£À ºÉqɪÀÄÄj PÀnÖ J¼ÉzÀÄ

vÀAzÀ.vÁ¤£ÀÄß aPÀ̪À£ÁVzÀÝgÀÆ, PÁ°AiÀÄ ¸À¥ÀðzÀ gÉÆõÁªÉñÀ AiÀiÁªÀÅzÀ£ÀÄß ¯ÉQ̸ÀzÉ CzÀgÀ ºÉqÉ
vÀĽzÀÄ ºÀ°èøÀPÀªÉA§ £ÀÈvÀå ªÀiÁrzÀ, UÀÀfð¹ «µÀ GUÀļÀÄwÛzÀÝ PÁ°AiÀÄ ¸À¥ÀðzÀ zÀ¥ÀðªÀ£ÀÄß
ºÀÄlÄÖqÀV¹zÀ. PÉÆ£ÉUÉ ±ÁAvÀªÁzÀ PÁ°AiÀĤUÉ UÀgÀÄqÀ¨ÀsAiÀÄ«gÀĪÀÅzÀ£ÀÄß w½zÀÄ CzÀgÀ vÀ¯ÉAiÀÄ
ªÉÄÃ¯É vÀ£Àß PÁ°£À aºÉßAiÀÄ£ÀÄß ªÀiÁr CzÀgÀ ¸ÀAPÀÄ®PÉÌ UÀgÀÄqÀ¢AzÀ DUÀÄwÛzÀÝ ¨sÀAiÀÄ
vÀ¦à¹zÀ.E£ÀÄß ªÀÄÄAzÉ AiÀiÁªÀÅzÉà ¥ÀæªÀiÁzÀ ªÀiÁqÀ¨ÁgÀzÉAzÀÄ PÁ°AiÀĤAzÀ ªÁUÁÝ£À
¥ÀqÉzÀÄPÉÆAqÀ.EzÀjAzÀ PÁ°AiÀÄ£ÀÄ vÀ£Àß ¥ÀjªÁgÀ ¸ÀªÄÉ ÃvÀ £À¢¬ÄAzÀ ºÉÆgÀ ºÉÆìÄvÀÄ,
AiÀĪÀÄÄ£Á £À¢AiÀÄ ¤ÃgÀÄ ±ÀÄzÀÞªÁ¬ÄvÀÄ. zÁªÉÆÃzÀgÀ¤AzÀ £ÀAzÀUÉÆÃPÀÄ®zÀ D ¸ÀªÀĸÉå
§UɺÀj¢vÀÄÛ.

The character Dhamodara can be seen in the lessonxÉÉliÉmÉÑUÈ

vÉUhÉÉaÉiÉÉåÅÎxqÉ

Form the play Balacharitham written by Bhasa.

Damodara is Krishna. He is incarnation of Lord Vishnu. He is full of

courage and prowess. He jumps into the river Yamuna, where Kaliya, a serpent
was living with its family. The river was poisonous because of Kaliya. Damodara

Muralidhara Avadhani 71
assures all who are worried not to grieve. He is particular about the good of
the subjects; he is going to take into his custody the serpent. He holds the
serpent and stands on his hood. He dances the dance called Hallisaka standing

on his hood.

He is equally kind. When Kaliya realizes that Damodara is lord

Narayanan and begs his pardon, he pardons him and orders him to leave the
river and go. When Kaliya expresses his fear that Garuda may harm, he assures
him that Garuda on seeing the mark of Krishna’s feet on the hood will not
harm him.

This we see Damodara as adventurous, full of prowess and kind at the

time, to those who take refuge in him.

2. rÉqÉÑlÉÉWØûSÈ

AiÀĪÀÄÄ£Á £À¢AiÀÄ D¼ÀzÀ°è PÁ°AiÀÄ£ÉA§ «µÀ ¸À¥Àð vÀ£Àß PÀÄlÄA§zÉÆA¢UÉ

ªÁ¸ÀªÁVzÀÝ. CzÀPÉÌ ¨sÀUÀªÁ£ï £ÁgÁAiÀÄt£À ªÁºÀ£ÀªÁzÀ UÀgÀÄqÀ£À ¨sÀAiÀÄ«zÀÄÝzÀjAzÀ CzÀÄ
AiÀĪÀÄÄ£Á£À¢AiÀÄ C±ÀæAiÀÄ ¥ÀqÉ¢vÀÄÛ.¥ÀjuÁªÀÄ ErAiÀÄ £À¢AiÀÄ ¤ÃgÀÄ
«µÀ¥ÀÆjvÀªÁVvÀÄÛ.EzÀjAzÀ £ÀAzÀUÉÆÃPÀÄ®zÀ d£ÀjUÉ vÉÆAzÀgÉ GAmÁVvÀÛ®èzÉ D ¤ÃgÀ£ÀÄß
PÀÄrzÀ ºÀÄ°, ºÀA¢, D£ÉUÀ¼ÀÄ C®è°èAiÉÄà ¸ÁAiÀÄÄwÛzÀݪÀÅ.

AiÀĪÀÄÄ£Á £À¢AiÀÄ F D¥ÀvÀÛ£ÀÄ vÀ¦à¹ CzÀgÀ ±ÀĨsÀæUÆ

É ½¸À®Ä zÁªÉÆÃzÀgÀ ¥Àt
vÉÆlÖ.UÉÆæPÁ¹ÛçÃAiÀÄgÀÄ vÀqÉzÀgÀÆ ¯ÉQ̸ÀzÉ £À¢AiÀÄ D¼ÀPÉÌ E½zÀ.¤ÃgÀ£ÀÄß PÀ®Q PÀëuÁzsÀðzÀ°è
PÁ°AiÀÄ£À£ÀÄß ºÉÆgÀ vÀAzÀ.CzÀgÀ UÀªÀðªÀ£ÀÄß ªÀÄÄjzÀ.PÁ°AiÀÄ£ÀÄ zÁªÉÆÃzÀgÀ£ÀÄ ¨sÀUÀªÁ£ï
£ÁgÁAiÀÄt£À CªÀvÁgÀªÉAzÀÄ w½zÀÄ £À¢AiÀÄ ¤ÃjUÉ ¸ÉÃjzÀÝ «µÀªÀ£Éß®è vÉUÉzÀÄPÉÆAqÀÄ C°èAzÀ
¥ÀjªÁgÀ ¸ÀªÉÄÃvÀ ºÉÆgÀºÉÆÃzÀ£ÀÄ, EzÀjAzÀ ªÀÄvÉÛ AiÀĪÀÄÄ£Á £À¢AiÀÄ ºÀÈzÀªÀÅ gÉñÉäAiÀÄ
§mÉÖAiÀÄAvÉ «ÄgÀ ªÉÆgÀ£É ºÉƼÉAiÀÄĪÀAvÁ¬ÄvÀÄ.

The depth of river Yamuna is called rÉqÉÑlÉÉWØûSÈ

Muralidhara Avadhani 72
 According to the lesson xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ river Yamuna was

poisonous because of the serpent Kaliya. River was habited by kaliya. He had
entered into the depth of river Yamuna because; he had fear of Garuda, the
vehicle of Lord Narayana. On account of habitation of Kaliya and his family, the
river became polluted with poison. Due to this several animals like tigers, pigs,
elephant, etc. used to die drinking the water.

Kaliya used to belch smoke like poison that harmed the people of
Nadagokula too. It was for driving away Kaaliya from the depth of river
Yamuna Damodara got into the river and shook it completely. Damodara
assures to people that he would make the water of Yamuna shin full as silk
shines.

Damodara caught the serpent and danced, standing on its hood.

Finally the Kaliya went away from the depth of river Yamuna along with
its family. Even he withdrew the poison from the river.

3. MüÉsÉÏrÉÈ

PÁ°AiÀĪÀÅ MAzÀÄ «µÀ¸À¥Àð CzÀÄ vÀ£Àß ¥ÀjªÁgÀzÉÆA¢UÉ AiÀĪÀÄÄ£Á£À¢AiÀÄ

D¼ÀzÀ°è ªÁ¸ÀªÁVvÀÄÛ.CzÀÄ ©qÀÄwÛzÀÝ «µÀzÀ ºÉÆUɬÄAzÀ AiÀĪÀÄÄ£Á £À¢AiÀÄ ¤ÃgÀÄ ¥ÀÆwð
ªÀÄ°£ÀªÁV ©nÖvÀÄÛ.EzÀjAzÁV £ÀAzÀUÉÆÃPÀÄ®zÀ d£ÀgÀÄ vÉÆAzÀgÉ C£ÀĨsÀ«¸ÀÄwÛzÀÝgÀ®èzÉ.D
¤ÃgÀ£ÀÄß PÀÄrzÀ ºÀÄ°, ºÀA¢ ºÁUÀÆ D£ÉUÀ¼ÀÄ C®è°èAiÉÄà ¸ÁAiÀÄÄwÛzÀݪÀÅ.

£ÀAzÀUÉÆÃPÀÄ®zÀ ¸ÀªÀĸÉåUÉ PÁgÀtªÁzÀ PÁ°AiÀÄ ¸À¥ÀðªÀ£ÀÄß ¤Ãj¤AzÀ

ºÉÆgÀvÉUÉAiÀÄ®Ä zÁªÉÆÃzÀgÀ£ÀÄ AiÀĪÀÄÄ£Á £À¢AiÀÄ ¤ÃjV½zÀ£ÀÄ.PÀëuÁzsÀðzÀ°è CzÀ£ÀÄß »rzÀÄ
ºÉÆgÀ §AzÀÄ CzÀgÀ ºÉqÉAiÀÄ£ÀÄß vÀĽzÀÄ ºÀ°è¸ÀPÀ £ÀÈvÀå ªÀiÁrzÀ£ÀÄ.

PÁ°AiÀÄ ¸À¥ÀðPÉÌ ºÉqÉUÀ½zÀݪÀÅ CªÀÅUÀ½AzÀ CzÀÄ «µÀªÀ£ÀÄß GUÀĽ zÁªÉÆÃzÀgÀ£À

ªÀÄÄAzÉ vÀ£Àß zÀ¥ÀðªÀ£ÀÄß ¥ÀæzÀ²ð¹vÀÄ.zÁªÉÆÃzÀgÀ£ÀÄ AiÀiÁgÉA§ÄzÀÄ w½AiÀÄzÉÃ, vÁ£ÀÄ vÀ£Àß

Muralidhara Avadhani 73
«µÁV߬ÄAzÀ Erà ¥ÀÈyéAiÀÄ£ÀÄß ¸ÀÄqÀ§¯Éè JAzÀÄ UÀzÀj¹vÀÄ zÁªÉÆÃzÀgÀ£ÀÄ PÉÆ£É ¥ÀPÀë vÀ£Àß
MAzÀÄ ¨sÀÄdªÀ£ÀÄß ¸ÀÄqÀÄ JAzÀÄ PÁ°AiÀÄPÉÌ ¸ÀªÁ¯É¸ÉzÁUÀ PÁ°AiÀĪÀÅ vÀ£Àß zÉúÀzÀ°ègÀĪÀ
«µÁVßAiÀÄ£É®è ©nÖvÀÄ.EzÀjAzÀ CzÀgÀ UÀªÀðªÉ®è PÀëuÁzsÀðzÀ°è ªÀiÁAiÀĪÁ¬ÄvÀÄ.

zÁªÉÆÃzÀgÀ£ÀÄ ¸ÁªÀiÁ£Àå£À®è, £ÁgÁAiÀÄt£À CªÀvÁgÀªÉAzÀÄ w½zÁUÀ DvÀ£À

gÀPÀëuÉAiÀÄ£ÀÄß PÉÆÃjvÀÄ.vÁ£ÀÄ ¨sÀUÀªÁ£ï £ÁgÁLtzÀ ªÁºÀ£ÀªÁzÀ UÀgÀÄqÀzÀ ¨sÀAiÀÄ¢AzÀ ¥ÀjªÁgÀ
¸ÀªÉÄÃvÀgÁV AiÀĪÀÄÄ£Á £À¢AiÀÄ°è EzÉÝ JAzÀÄ w½¹vÀÄ. zÁªÉÆÃzÀgÀ£ÀÄ CzÀgÀ ºÉqÉAiÀÄ
ªÉÄðgÀĪÀ vÀ£Àß PÁ°£À aºÉßAiÉÄà PÁ°AiÀÄ ªÀÄvÀÄÛ CzÀPÉÌ C¨sÀAiÀĪÁUÀĪÀÅzÀÄ JAzÀÄ
ªÀgÀ«vÀÛ£ÀÄ.EzÀjAzÀ ¸ÀAvÀĵÀÖªÁzÀ PÁ°AiÀĪÀÅ vÁ£ÀÄ E£ÀÄß ªÀÄÄAzÉ HgÀªÀjUÉ ¥À±ÀÄ-¥ÀQëUÀ½UÉ
vÉÆAzÀgÉ J¸ÀUÀĪÀÅ¢®è JAzÀÄ ªÀiÁvÀ£ÀÄß ¤Ãr, £À¢AiÀÄ «µÀAiÀĪÀ£ÀÄß »A¥ÀqÉzÀÄ C°èAzÀ
¥ÀjªÁgÀ ¸ÀªÉÄÃvÀ ºÉÆgÀ ºÉÆìÄvÀÄ.

Kaliiya is the name of the serpent. He came to the river Yamuna to live
with his family to avoid the onslaught of Garuda on him and his family. On
account of habitation of Kaliya and his family, the river became polluted with
poison.

He was very arrogant. He considered Damodara, who entered in to the

depth of river Yamuna to take away the serpent is very common man and
threatened him in a variety of ways. He went to the extent of burning the
whole world along with Damodara. He says that with flames of fire caused by
the poison he could burn down all the worlds let alone the earth be. When
Damodara challenges him to burn down his shoulder if Kaliya can, Kaliya he
can burn down the seven mountains and when that is the case, burning the
shoulder of Damoder was just a play for him.

When Kaliya realizes that Damodara is none other than Lord Narayana,
his arrogance suddenly came down. He gegged the pardon of lord and took
refuge in him.

Muralidhara Avadhani 74
 When he expressed his fear of Garuda, vehicle of Lord Narayana, he was
assured by the lord that the mark of Damodars’s feet on his hood would
prevent Garuda from harming him and his family. Ultimately, he withdrew the
poison from the river and went away along with its family.

3. mÉÉPûlÉÉqÉ EÎssÉZrÉ MüÈ MüÇ mÉëÌiÉ AuÉSiÉç CÌiÉ xÉÇxM×iÉpÉÉwÉrÉÉ ÍsÉZÉiÉ |

1. lÉÉaÉÇ qÉå uÉvÉÇ MüUÉåÍqÉ |

CSÇ uÉÉYrÉÇ xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | SÉqÉÉåSUÈ xÉuÉÉïlÉç mÉëÌiÉ AuÉSiÉç |

2. SÍvÉïiÉÉåÅlÉÑaÉaÉÈ |

CSÇ uÉÉYrÉÇ xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |xÉXçMüwÉïhÉÈ aÉÉåmÉx§ÉÏÇ mÉëÌiÉ AuÉSiÉç|

3. AWûÉå ÌoÉpÉåÍqÉ pÉiÉïÈ ÌoÉpÉåÍqÉ |

CSÇ uÉÉYrÉÇ xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |uÉ×®aÉÉåmÉÉsÉMüÈ SÉqÉÉåSUÇ mÉëÌiÉ

AuÉSiÉç |

4. qÉÉ ZÉsÉÑ xÉÉWûxÉÇ M×üiuÉÉ mÉëuÉå¹ÒqÉç |

CSÇ uÉÉYrÉÇ xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |uÉ×®aÉÉåmÉÉsÉMüÈ SÉqÉÉåSUÇ mÉëÌiÉ

AuÉSiÉç |

5. ÍcÉÌ»ûûiÉÇ iÉuÉ qÉÔkÉïÌlÉ |

CSÇ uÉÉYrÉÇ xÉÉliÉmÉÑUÈ vÉUhÉÉaÉiÉÉåÅÎxqÉ CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç |SÉqÉÉåSUÈ MüÉsÉÏrÉÇ mÉëÌiÉ AuÉSiÉç |

4. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. WûssÉÏxÉMüÇ xÉsÉÍsÉiÉÇ ÂÍcÉUÇ uÉWûÌiÉ|

Muralidhara Avadhani 75
2. qÉåbÉå ÎxjÉiÉÈ vÉ¢ü CuÉÉuÉpÉÉÌiÉ |

3. LwÉ mÉëxɽ xÉWûxÉÉ pÉÑÌuÉ ÌuÉͤÉmÉÉÍqÉ |

4. ApÉrÉÇ iÉå mÉëSÉxrÉÌiÉ |

5. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

MüÉÍsÉrÉÈ lÉÏsÉpÉÑeÉXçaÉqÉÈ

SÉqÉÉåSUÈ M×üwhÉÈ

xÉXçMüwÉïhÉÈ oÉsÉUÉqÉÈ

AÉZÉhQûsÉÈ SåuÉålSìÈ

* * *

Muralidhara Avadhani 76
 xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. AsÉokÉÇ MüjÉqÉç DWåûiÉç ?

AsÉokÉÇ kÉqÉåïhÉ DWåûiÉç |

2. MåüwÉÉÇ qÉlÉÈ ÌlɶÉsÉqÉç ?

kÉÏUÉhÉÉÇ qÉlÉÈ ÌlɶÉsÉqÉç|

3. lÉpÉxÉÉåÅÌmÉ ÌMüÇ qÉWûiÉç ?

lÉpÉxÉÉåÅÌmÉ oÉë¼É qÉWûiÉç |

4. MülSæÈ TüsÉæÈ MåüMüÉsÉÇ ¤ÉmÉrÉÎliÉ ?

MülSæÈ TüsÉæÈ qÉÑÌlÉuÉUÉÈ MüÉsÉÇ ¤ÉmÉrÉÎliÉ |

5. iÉ×hÉæÈ Måü oÉÍsÉlÉÈ pÉuÉÎliÉ ?

iÉ×hÉæÈ uÉlÉaÉeÉÉÈ oÉÍsÉlÉÈ pÉuÉÎliÉ |

2. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. xÉÑpÉÉÌwÉiÉÉåÅ£üUÏirÉÉ sÉÉåMüÎxjÉÌiÉÈ MüÐSØwÉÏ ?

zÁQëtåªÀÅ ¸Àéd£ÀgÀ°è, zÀAiÉÄAiÀÄÄ ¥Àjd£ÀgÀ°è, ªÉÆøÀªÀÅ zÀÄdð£ÀgÀ°è, ¦æÃwAiÀÄÄ

¸ÁzsÀÄd£ÀgÀ°è, £ÀAiÀĪÀÅ gÁdgÀÄUÀ¼À°è ¸ÀgÀ¼ÀvÉAiÀÄ «zÀédÓ£ÀgÀ°è ±ËAiÀÄðªÀÅ ±ÀvÀÄæd£ÀgÀ°è,
PÀëªÀiÁUÀÄtªÀÅ »jAiÀÄgÀ°è UËgÀªÀªÀÅ ¹ÛçÃAiÀÄgÀ°è EgÀ¨ÉÃPÁzÀÄzÀÄ ¯ÉÆÃPÀ¹ÜwAiÉÄAzÀÄ
¸ÀĨsÁ¶vÀPÁgÀ£ÀÄ ºÉýzÁÝ£É.

According to Subhshitakara, the well-being of the world depends upon the

Muralidhara Avadhani 77
people who are well versed in the following;

Courtesy to one’s people, showing kindness towards our surrounding

people, fraud always against the wicked, affection for the virtuous, prudence
towards the king people, simplicity with scholars with scholars, bravery
towards the foes, forbearance towards yielder people and veneration towards
the women.

2. xÉÑpÉÉÌwÉiÉå ÌuÉ±É MüjÉÇ mÉëvÉÇÍxÉiÉÉ ?

¸ÀĨsÁ¶vÀPÁgÀ ºÉüÀĪÀÅzÉãÉAzÀgÉ, «zÉå JA§ÄzÀÄ ªÀÄ£ÀĵÀå£À gÀÆ¥ÀªÀ£ÀÄß ºÉaѸÀĪÀ

ªÀ¸ÀÄÛªÁVzÀÄÝ, CzÀÄ ¨sÀzÀæªÁV CqÀV¹nÖgÀĪÀ ¸ÀA¥ÀvÁÛVzÉ. «zÉåAiÀÄÄ ¨sÉÆÃV¸À§ºÀÄzÁzÀ,
AiÀıÀ¸ÀÄì ¸ÀÄRªÀ£ÀÄß vÀgÀ§ºÀÄzÁzÀ zÀæöªÀåªÁVzÉ. «zÉåAiÀÄÄ UÀÄgÀÄ«£À UÀÄgÀĪÁVzÀÄÝ,
«zÉñÀzÀ°èzÁÝUÀ §AzsÀÄ«£ÀAvÉ «zÉåAiÀÄÄ ±ÉæõÀתÁzÀ zÉêÀvÉAiÀiÁVzÉ. «zÉåAiÀÄÄ gÁd¤AzÀ
¥ÀÆf¸À®àqÀÄvÀÛzÉAiÉÄà ºÉÆgÀvÀÄ zsÀ£ÀªÀ®è «zÉå E®èªÀzÀªÀ£ÀÄ ¥À±ÀÄ«UÉ ¸ÀªÀiÁ£À£ÀÄ.

According to Subhashithakara, knowledge is the thing which increases a

man’s handsomeness. It is the hidden and well- guarded wealth. Knowledge
brings happiness, success and it is consumable. Knowledge is master of all the
masters. The real kinsman is knowledge while abroad. Knowledge is noble
deity knowledge is venerated even by kings and not so with the money.
Therefore one without knowledge is as good as an animal.

3. xÉÑpÉÉÌwÉiÉMüÉUÈ qÉÔZÉïÇ MüjÉÇ uÉhÉïrÉÌiÉ ?

¨ÉAQAiÀÄ£ÀÄß ¤Ãj¤AzÀ £ÀA¢¸À§ºÀÄzÀÄ. ©¹®£ÀÄß PÉÆqɬÄAzÀ ¤ªÁj¸À§ºÀÄzÀÄ.

ªÀÄzÁÝ£ÉAiÀÄ£ÀÄß ZÀÆ¥ÁzÀ CAPÀıÀ¢AzÀ ¤AiÀÄAwæ¸À§ºÀÄzÀÄ. PÉÆð¤AzÀ zÀ£À ºÁUÀÆ PÀvÉÛUÀ¼À£ÀÄß
¤AiÀÄAwæ¸À§ºÀÄzÀÄ. ««zsÀ OµÀzsÀUÀ½AzÀ SÁ¬Ä¯ÉAiÀÄ£ÀÄß UÀÄt¥Àr¸À§ºÀÄzÀÄ. £Á£Á

Muralidhara Avadhani 78
ªÀÄAvÀæUÀ½AzÀ «µÀªÀ£ÀÄß vÉUÉAiÀħºÀÄzÀÄ. J®èzÀPÀÆÌ ±Á¸ÀÛç«»vÀªÁV OµÀzsÀ«zÉ. DzÀgÉ
ªÀÄÆRðjUÉ OµÀzsÀ«®è.

According to Subhashithakara, it is possible to put out fire with water.

The hot sun shine can be avoided with an umbrella. Intoxicated elephant can
be controlled by a sharp goad; the cattle and the donkey with a club. An
ailment can be cured by means of medicament and the poison with the spell of
Manthra. Thus for everything there is some remedy but there is no medicine
for fool.

3. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. cÉsÉÎliÉ ÌaÉUrÉÈ MüÉqÉqÉç |

2. xÉmÉÉïÈ mÉuÉlÉÇ ÌmÉoÉÎliÉ |

3. kÉÏUÉhÉÉÇ ÌlɶÉsÉÇ qÉlÉÈ lÉ cÉsÉÌiÉ |

4. sÉokÉÇ rɦÉålÉ mÉÉsÉrÉåiÉç |

5. ÌuÉ±É UÉeÉxÉÑ mÉÔerÉiÉå |

4. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

ÌuÉ±É mÉUÉSåuÉiÉÉ

eÉsÉÌlÉÍkÉÈ xÉÉaÉUÈ

xÉliÉÉåwÉÈ AÉlÉlSÈ

AÉvÉÉ aÉUÏrÉlÉÏ

Muralidhara Avadhani 79
5. mÉÉPûlÉÉqÉ EÎssÉZrÉ vsÉÉåMüÉlÉÉqÉç AlÉÑuÉÉSÇ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ MÑÂiÉ |

1. AsÉokÉÇ kÉqÉåïhÉ DWåûSè kÉqÉåïhÉ sÉokÉÇ rɦÉålÉ mÉÉsÉrÉåiÉç |

mÉÉÍsÉiÉÇ uÉkÉïrÉå̳ÉirÉÇ uÉ×®Ç mÉɧÉåwÉÑ ÌlÉͤÉmÉåiÉç ||

F ±ÉÆèÃPÀªÀ£ÀÄß xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ

C£ÀĪÁzÀ:

¥ÀqÉAiÀÄzÉà EgÀĪÀÅzÀ£ÀÄß zsÀªÀÄðzÀ ªÀÄÆ®PÀ ¥ÀqÉAiÀÄ®Ä §AiÀĸÀ¨ÉÃPÀÄ.¥ÀqÉzÀzÀÝ£ÀÄß

¥ÀæAiÀÄvÀߢAzÀ G½¹PÉƼÀî¨ÉÃPÀÄ. G½¹PÉÆArzÀÝ£ÀÄß ¨É¼ÉAiÀÄĪÀAvÉ £ÉÆÃrPÉƼÀî¨ÉÃPÀÄ. ¨É¼ÉzÀ
ªÉÄÃ¯É ¸ÀvÁàvÀægÀ°è ¤ÃqÀ¨ÉÃPÀÄ.

This Shloka is extracted from the poetry part xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ

Translation:

What cannot be obtained should be desired for through righteousness,

What has been obtained should be protected with efforts. What is protected
should be made to increase. What is increased should be deposited with
worthy persons.

2. iÉ×hÉÉÌlÉ pÉÔÍqÉÂSMüÇ uÉÉMç cÉiÉÑjÉÏï cÉ xÉÔlÉ×iÉÉ |

LiÉÉÌlÉ iÉÑ xÉiÉÉÇ aÉåWåû lÉÉåÎccNû±liÉå MüSÉcÉlÉ ||

F ±ÉÆèÃPÀªÀ£ÀÄß xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ

C£ÀĪÁzÀ:

ºÀÄ®Äè, ¨sÀÆ«Ä, ¤ÃgÀÄ ºÁUÀÆ £Á®Ì£ÉAiÀÄzÁV ¸ÀvÀåªÀZÀ£À EªÀÅ AiÀiÁªÁUÀ®Æ ¸ÀdÓ£ÀgÀ

ªÀÄ£ÉAiÀÄ°è E®èzÁUÀĪÀÅ¢®è.

This Shloka is extracted from the poetry part xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ

Muralidhara Avadhani 80
Translation:

The grass, the earth, the water and the fourth viz. truthful talk these
cannot be concealed in the houses of the virtuous at any time.

3. ÌaÉËUqÉïWûÉlÉç ÌaÉUåUÎokÉÈ qÉWûÉlÉokÉÉålÉïpÉÉå qÉWûiÉç |

lÉpÉxÉÉåÅÌmÉ qÉWûiÉç oÉë¼É iÉiÉÉåmrÉÉvÉÉ aÉUÏrÉÍxÉ ||

F ±ÉÆèÃPÀªÀ£ÀÄß xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ

C£ÀĪÁzÀ:

¥ÀªÀðvÀªÀÅ zÉÆqÀØzÀÄ, ¥ÀªÀðvÀQÌAvÀ®Æ ¸ÀªÀÄÄzÀæªÀÅ zÉÆqÀØzÀÄ.¸ÀªÀÄÄzÀæQÌAvÀ®Æ DPÁ±ÀªÀÅ

zÉÆqÀØzÀÄ.DPÁ±ÀQÌAvÀ®Æ §æºÀä£ÀÄ zÉÆqÀتÀ£ÀÄ.DzÀgÉ D¸ÉAiÀÄÄ J®èQÌAvÀ®Æ zÉÆqÀØzÀÄ.

This Shloka is extracted from the poetry part xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ

Translation:

The mountain is big. Much more than a mountain, the ocean is big.
More than the ocean, the sky is big. More than the sky, Brahma is big. But
desire is the biggest one.

4. cÉsÉÎliÉ ÌaÉUrÉÈ MüÉqÉÇ rÉÑaÉÉliÉmÉuÉlÉÉWûiÉÉÈ |

M×ücNûÉåÅÌmÉ lÉ cÉsÉirÉåuÉ kÉÏUÉhÉÉÇ ÌlɶÉsÉÇ qÉlÉÈ ||

F ±ÉÆèÃPÀªÀ£ÀÄß xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ

C£ÀĪÁzÀ:

¥Àæ¼ÀAiÀÄ PÁ®zÀ°è ©Ã¸ÀĪÀ UÁ½UÉ vÀÄvÁÛzÀ ¥ÀªÀðvÀªÀÅ C®ÄUÁqÀ§ºÀÄzÀÄ.DzÀgÉ PÀµÀÖzÀ

¸ÀªÀÄAiÀÄzÀ°èAiÀÄÆ PÀÆqÀ ¤±ÀÑ®ªÁzÀ ¢üÃgÀgÀ ªÀÄ£À¸ÀÄ §zÀ¯ÁUÀĪÀÅzÉà E®è.

This Shloka is extracted from the poetry part xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ

Muralidhara Avadhani 81
Translation:

The mountain that is affected by the strong wind, which blow during the
ending of the world (viz. Pralaya) will move surely. But the firm mind of the
brave even under difficult times will not at all get depressed.

mÉÉmÉÉ̳ÉuÉÉUrÉÌiÉ rÉÉåeÉrÉiÉå ÌWûiÉÉrÉ

aÉÑ½Ç ÌlÉaÉÔWûÌiÉ aÉÑhÉÉlÉç mÉëMüOûÏMüUÉåÌiÉ |

AÉmɪiÉÇ cÉ lÉ eÉWûÉÌiÉ SSÉÌiÉ MüÉsÉå

xÉÎlqɧÉsɤÉhÉÍqÉSÇ mÉëuÉSÎliÉ xÉliÉÈ ||

F ±ÉÆèÃPÀªÀ£ÀÄß xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ ¥ÀzÀå¨sÁUÀ¢AzÀ Dj¸À¯ÁVzÉ

C£ÀĪÁzÀ:

¥Á¥À¢AzÀ £ÀªÀÄä£ÀÄß vÀqÉAiÀÄÄvÁÛ£É. £ÀªÀÄä »vÀªÀ£ÀÄß §AiÀĸÀÄvÁÛ£É. UÀÄlÖ£ÀÄß ºÉüÀĪÀAvÉ

ªÀiÁqÀÄvÁÛ£É. vÀ£Àß UÀÄtUÀ¼À£ÀÄß ¥ÀæPÀl¥Àr¸ÀÄvÁÛ£É. D¥ÀwÛ£À°è £ÀªÀÄä PÉÊ ©qÀĪÀÅ¢®è. ¸ÀªÀÄAiÀÄPÉÌ
¸ÀjAiÀiÁV ¸ÀºÁAiÀÄ ªÀiÁqÀÄvÁÛ£É EªÉ®èªÀÇ ¸À¤ävÀæ£À ®PÀëtªÉAzÀÄ ¸ÀAvÀgÀÄ ºÉüÀÄvÁÛgÉ.

This Shloka is extracted from the poetry part xÉÔÌ£üMÑüxÉÑqÉÉÌlÉ

Translation:

A person who avoids sin from us, who will be there for our welfare,
makes us to reveal secrete in front of him, will be there in our bad time and
helps in time Virtuous people call these are the characteristics of a good friend.

* * *

Muralidhara Avadhani 82
 xÉÎlqɧÉqÉç

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. xÉålÉÎeÉSìÉeÉxrÉ xÉÍcÉuÉxrÉ lÉÉqÉ ÌMüqÉç ?

xÉålÉÎeÉSìÉeÉxrÉ xÉÍcÉuÉxrÉ lÉÉqÉ SåuÉuÉëiÉÈ |

2. UÉeÉÉ MåülÉ rÉvÉÈ mÉëÉmlÉÉåiÉç ?

UÉeÉÉ qÉÎl§ÉhÉÈ oÉÑÌ®cÉÉiÉÑrÉåïhÉ rÉvÉÈ mÉëÉmlÉÉåiÉç |

3. vÉÉx§ÉÉsÉÉmÉÈ MÑü§É mÉëÉuÉiÉïiÉ ?

vÉÉx§ÉÉsÉÉmÉÈ UÉeÉxÉpÉÉrÉÉÇ mÉëÉuÉiÉïiÉ |

4. qÉWûÏmÉÉsÉxrÉ mÉÔeÉÉ MÑü§É xÉqpÉuÉÌiÉ ?

qÉWûÏmÉÉsÉxrÉ mÉÔeÉÉ xuÉSåvÉå xÉqpÉuÉÌiÉ |

5. SåuÉuÉëiÉxrÉ MüÌiÉ ÍqɧÉÉÍhÉ AÉxÉlÉç ?

SåuÉuÉëiÉxrÉ §ÉÏÍhÉ ÍqɧÉÉÍhÉ AÉxÉlÉç |

6. xÉÎlqɧÉxrÉ lÉÉqÉ ÌMüqÉç ?

xÉÎlqɧÉxrÉ lÉÉqÉ cÉlSìkÉUÈ |

2. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1.xÉålÉÎeÉiÉç iÉjÉÉ SåuÉuÉëiÉxrÉ xÉqpÉÉwÉhÉqÉç |

ªÉʱÁ° JA§ £ÀgÀzÀ°è ¸ÉãÀfvï JA§ gÁd¤zÀÝ£ÀÄ.DªÀ¤UÉ §ÄzÀÞªÀAvÀ£ÀÄ ¸ÀvÀåªÀAvÀ£ÀÆ

DzÀ zÉêÀªÀævÀ£ÉA§ ªÀÄAwæAiÀÄÄ EzÀÝ£ÀÄ.ªÀÄAwæAiÀÄ §ÄzÀÞ±ÀQÛ¬ÄAzÁV gÁd£ÀÄß AiÀıÀ¸Àì£ÀÄß
¥ÀqÉAiÀÄÄwÛzÀÝ£ÀÄ.CªÀj§âgÀ £ÀqÀÄªÉ M¼ÉîAiÀÄ ªÉÄÊwæ EvÀÄÛ.

Muralidhara Avadhani 83
 MªÉÄä gÁd£À D¸ÁÜ£ÀzÀ°è «zÀédÓ£ÀgÀ, UÀtågÀ ¸À¨sÉ £ÀqÉAiÀÄÄwÛvÀÄÛ.D ¸À¨sÉAiÀÄ°è ªÀÄAwæAiÀiÁzÀ
zÉêÀªÀævÀ£ÀÄ gÁdgÀÄ ºÁUÀÆ «zÁéA¸ÀgÀÄ JA¢UÀÆ ¸ÀªÀiÁ£ÀgÀ®è. «zÁéA¸ÀgÀÄ zÉñÀ-«zÉñÀ J®è
PÀqÉUÀ¼À°èAiÀÄÆ ªÀÄ£ÀßuÉ UÀ½¸ÀÄvÁÛgÉ.DzÀgÉ gÁdjUÉ vÀªÀÄä zÉñÀzÀ°è ªÀiÁvÀæ ªÀÄ£ÀßuÉ ¹UÀÄvÀÛzÉ
JAzÀ.F ªÀiÁvÀ£ÀÄß ¸ÉãÀfvï M¥Àà°®è. DvÀ ‘gÁdgÀ PÀȥɬĮèzÉ «zÁéA¸ÀgÀÄ ºÉÃUÉ ªÀÄ£ÀßuÉ
¥ÀqÉAiÀÄÄvÁÛgÉ?MAzÀÄ ªÉÃ¼É ¤£Àß ªÀiÁw£À°è ¤£ÀUÉ £ÀA©PÉ EzÀÝgÉ CzÀ£ÀÄß ¥ÀæªÀiÁtUÀ¼À ªÀÄÆ®PÀ
¹zÀÞ¥Àr¸ÀÄ’ JAzÀÄ ªÀÄAwæAiÀÄ ªÀiÁwUÉ DPÉëÃ¥À ªÀåPÀÛ¥Àr¹zÀ.zÉêÀªÀævÀ£ÀÄ ªÀÄgÀÄ ªÀiÁvÁqÀzÉÃ
¸ÀĪÀÄä£ÁzÀ. DUÀ PÉÆÃ¥ÀUÉÆAqÀ gÁd£ÀÄ zÉñÀ©lÄÖ ºÉÆÃUÀĪÀAvÉ DeÉÕ ªÀiÁrzÀ.

Senajith was the king of Vaishali. His minister was Devavratha. One day
an assembly took place in his palace. Many scholars from many places had
assembled themselves in the court hall. In the presence of all, Devavratha
declared that a scholar and king can never be equated with each other.
Because, a scholar will be honoured both in his country and abroad. But the
king will be honoured only in his country. However the King Senajith did not
agree with the statement of the minister. He said thus; without a king, a
scholar cannot get recognised. If you are correct than show some proof’ the
argument reached a great height. The king getting angry expelled the minister
from the country. The minister agreed to it and maintained silence.

2. SåuÉuÉëiÉålÉ AlÉÑpÉÔiÉÉÇ Mü¹mÉUqmÉUÉÇ uÉhÉïrÉiÉ |

zÉêÀªÀævÀ£ÀÄ ¸ÀvÀ夵À×£ÀÆ, §Ä¢ÞªÀAvÀ£ÀÆ DzÀ ªÀÄAwæAiÀiÁVzÀÝ£ÀÄ.DzÀgÉ MªÉÄä

gÁd¸À¨sÉAiÀÄ°è «zÀédÓ£ÀgÀ ¥ÀgÀªÁV ªÀiÁvÀ£Ár DvÀ gÁd£À «gÉÆÃzsÀ
PÀnÖPÉƼÀî¨ÉÃPÁ¬ÄvÀÄ.gÁd£ÀÄ DvÀ¤UÉ gÁdå ©lÄÖ vÉÆ®UÉAzÀÄ DeÉÕ ªÀiÁrzÀ.EzÀjAzÁV
zÉêÀªÀævÀ£ÀÄ PÀµÀÖ¥ÀqÀ¨ÉÃPÁ¬ÄvÀÄ.

gÁeÁeÉÕAiÀÄAvÉ ºÉÆgÀ §AzÀ zÉêÀªÀævÀ£ÀÄ vÀ£Àß ¦æAiÀÄ«ÄvÀæ£ÁzÀ ªÁaPÀ«ÄvÀæ£À ªÀÄ£ÉUÉ

ºÉÆÃzÀ£ÀÄ. CªÀ£ÀÄ ªÁaPÀ«ÄvÀæ£À eÉÆvÉ M¼ÉîAiÀÄ UɼÉvÀ£À ºÉÆA¢zÀÝ.ªÁaPÀ«ÄvÀæ£À ªÀÄ£ÉAiÀÄÆ
zÉÆqÀØzÁVzÀÄÝzÀjAzÀ §ºÀ¼ÀµÀÄÖ ¢ªÀ¸À CªÀ£ÀÄ ªÁaPÀ«ÄvÀæ£À ªÀÄ£ÉAiÀÄ°èAiÉÄÃ
G½zÀÄPÉƼÀÀÄzÁVvÀÄÛ.DzÀgÉ PÉ®ªÉà ¢ªÀ¸ÀUÀ¼À°è zÉêÀªÀævÀ¤UÉ vÀ£Àß UɼÉAiÀÄ gÁeÁeÉÕAiÀÄ

Muralidhara Avadhani 84
G®èAWÀ£ÉAiÀÄ ¨sÀAiÀĪÀ£ÀÄß C£ÀĨsÀ«¸ÀÄwÛzÁÝ£É JA§ÄzÀÄ w½¬ÄvÀÄ.DzÀPÁÌV zÉêÀªÀævÀ£ÀÄ CªÀ£À
ªÀÄ£ÉAiÀÄ£ÀÄß ©lÄÖ ªÀÄÄAzÉ E£ÉÆßêÀð UɼÉAiÀÄ ¸ÉÆêÀÄzÉêÀ£À ªÀÄ£ÉUÉ vÉgÀ½zÀ.¸ÉÆêÀÄzÉêÀ¤UÉ
zÉêÀªÀævÀ£ÀÄ ºÀ®ªÁgÀÄ ¨Áj ¸ÀºÁAiÀÄ ªÀiÁrzÀÝ.D PÁgÀtPÁÌVAiÉÄà K£ÉÆà DvÀ zÉêÀªÀævÀ£À£ÀÄß
RĶ¬ÄAzÀ¯Éà §gÀªÀiÁrPÉÆAqÀ.DzÀgÉ ¸Àé®àªÉà ¢ªÀ¸ÀUÀ¼À°è zÉêÀªÀævÀ¤UÉ ºÉýzÀ- ‘¤Ã£ÀÄ
ªÀiÁrzÀ G¥ÀPÁgÀªÀ£ÀÄß £Á£ÀÄ ªÀÄgÉAiÀÄĪÀÅ¢®è. DzÀgÉ MAzÀÄ ªÉÃ¼É ¤Ã£ÀÄ £À£Àß ªÀÄ£ÉAiÀÄ°è
D±ÀæAiÀÄ¥ÀqÉ¢gÀĪÀÅzÀÄ gÁd¤UÉ UÉÆvÁÛzÀgÉ DvÀ vÀ£ÀߣÀÄß RArvÀ ±ÀÆ®PÉÌ Kj¸ÀÄvÁÛ£É.
gÁeÁeÉÕAiÀÄ£ÀÄß «ÄÃgÀĪÀÅzÀÄ C¥ÀgÁzsÀ’ JAzÀ. ¸ÉßûvÀ£À ªÀÄ£ÀzÀ PÉÆgÀUÀÄ zÉêÀªÀævÀ¤UÉ
UÉÆvÁÛ¬ÄvÀÄ.CªÀ£ÀÄ vÀqÀªÀiÁqÀzÉà C°èAzÀ ºÉÆgÀ §AzÀ.D ¸ÀªÀÄAiÀÄzÀ°è vÀ£Àß «ÄvÀæj§âgÀÄ
ªÀiÁrzÀ zÉÆæúÀ ºÁUÀÆ vÀ£ÀUÉ MzÀVzÀ ¸ÀAPÀµÀÖ JgÀqÀÆ MªÉÄä¯É £É£À¥ÁV zÉêÀªÀævÀ¤UÉ zÀÄBR
ºÁUÀÆ PÉÆÃ¥À MªÉÄä¯É §AvÀÄ.vÁ¤£ÀÄß ¸Áéyðd£ÀgÀ £ÀqÀÄªÉ ¨Á¼À¨ÁgÀzÉAzÀÄ ¤zsÀðj¹zÀ.

PÉÆ£ÉUÉ ¸ÀAPÀµÀÖzÀ°èzÀÝ zÉêÀªÀævÀ¤UÉ DvÀ£À ¨Á®åzÀ UɼÉAiÀÄ ZÀAzÀæzsÀgÀ£ÀÄ D±ÀæAiÀÄ

¤ÃrzÀ.

Devavratha, the minister was sharp minded and truthful. However he

incurred the wrath of the king as he underestimated the king and eulogised the
scholars.

The result was that he was expelled from the kingdom.

Consequently he had to undergo hardships in life. First he went to

hisone of dear friends Vachikamitra and stayed in his house for some time.
After realizing that he was afraid of the king’s order he moved away from there
and went to another friend Somadeva’s house. The minister had helped him
earlier in many ways. Though somadeva welcomed him at first, later he frankly
told him that if he entertained him in his house, the king coming to know of it,
would impale him to the stake. Thus, the minister had to leave his house. He
remembered many incidents that had taken place in his life and lamented a lot
for his present plight. It was only when Chandradhara, his childhood friend
picked him up and gave him shelter that he was able to find some refuge. Thus,

Muralidhara Avadhani 85
series of hardships harassed Devavratha in his life.

3. SåuÉuÉëiÉ cÉlSìkÉUrÉÉåÈ qÉæ§ÉÏÇ uÉhÉïrÉiÉ |

ZÀAzÀæzsÀgÀ£ÀÄ zÉêÀªÀævÀ£À ¨Á®åzÀ UɼÉAiÀÄ£ÁVzÀÝ. gÁeÁeÉÕ¬ÄAzÀ UÀr¥ÁgÁVzÀÝ

zÉêÀªÀævÀ£ÀÄ D±ÀæAiÀÄPÁÌV vÀ£Àß E§âgÀÄ «ÄvÀægÁzÀ ªÁaPÀ«ÄvÀæ ºÁUÀÆ ¸ÉÆêÀÄzÉêÀ£À ªÀÄ£ÉUÀ½UÉ
ºÉÆÃzÁUÀ C°è CªÀ¤UÉ «ÄvÀæzÉÆæúÀªÁVvÀÄÛ. CzÀPÁÌV DvÀ vÁ¤£ÀÄß AiÀiÁªÀÅzÉà «ÄvÀægÀ §½
ºÉÆÃUÀ¨ÁgÀzÀÄ JA§ÄzÀ£ÀÄß ¤zsÀðj¹zÀ.ªÀÄgÀÄPÀëtªÉà zÁjAiÀÄ°è ZÀAzÀæzsÀgÀ£ÀÄ ¹QÌzÀ.zÉêÀªÀævÀ£À£ÀÄß
PÀAqÀ ZÀAzÀæzsÀgÀ¤UÉ CwêÀ RĶAiÀiÁVvÀÄÛ.DvÀ£À ªÉÄÊwæAiÉÄà zÉêÀªÀævÀ£À£ÀÄß DvÀ£À ªÀÄ£ÉAiÀĪÀgÉUÀÆ
PÀgÉzÀÄPÉÆAqÀÄ ºÉÆÃVvÀÄÛ. ZÀAzÀæzsÀgÀ£ÀÄ zÉêÀªÀævÀ£À£ÀÄß CWÀåð¥ÁzÀåUÀ½AzÀ ¸ÁéUÀw¹zÀ.gÁeÁeÉÕAiÀÄ
«ZÁgÀªÀ£ÀÄß ºÁUÀÆ E§âgÀÄ «ÄvÀægÀÄ ªÀiÁrzÀ zÉÆæúÀªÀ£ÄÀ ß zÉêÀªÀævÀ¤AzÀ w½zÀÄ ZÀAzÀæzÀsgÀ£ÀÄ
zÀÄBT¹zÀ.vÁ£ÀÄ gÁeÁeÉÕAiÀÄ£ÀÄß ¯ÉQ̸ÀzÉ D±ÀæAiÀÄ ¤ÃqÀÄªÉ JA§ ¨sÀgÀªÀ¸ÉAiÀÄ£ÀÄß ¤ÃrzÀ.
¥ÁætªÀ£ÁßzÀgÀÆ PÉÆlÄÖ UɼÉvÀ£ÀªÀ£ÀÄß G½¹PÉƼÀÄîvÉÛÃ£É JAzÀ.ªÁ¸ÀÛ«PÀªÁV dUÀwÛ£À°è
«ÄvÀægÉƧâgÉà ¥ÀæzsÁ£ÀgÁVgÀÄvÁÛgÉ JAzÀÄ.EzÀjAzÀ zÉêÀªÀævÀ¤UÉ ¸ÀAvÀ¸ÀªÁ¬ÄvÀÄ.zÉêÀªÀævÀ£ÀÄ
DvÀ£À ªÀÄ£ÉAiÀÄ°è AiÀiÁªÀÅzÉà vÉÆAzÀgÉAiÀiÁUÀzÀAvÉ G½zÀÄPÉÆAqÀ.ªÀÄÄAzÉ CªÀj§âgÀ ªÉÄÊwæAiÀÄ
«ZÁgÀ, ZÀAzÀæzsÀgÀ£À ¥ÁæuÁ¥ÀðuÁvÀäPÀ ªÉÄÊwæAiÀÄ «ZÁgÀ gÁd£À Q«UÀÆ ©vÀÄÛ.gÁd£Éà ¸ÀévÀB
ZÀAzÀæzsÀgÀ£À ªÀÄ£ÉUÉ §AzÀÄ ªÀÄAwæAiÀÄ PÀëªÉÄ PÉý ¥ÀÄ£ÀB gÁd¸ÁÜ£ÀPÉÌ PÀgÉzÀÄPÉÆAqÀÄ ºÉÆÃzÀ.
zÉêÀªÀævÀ£ÁzÀgÉÆà vÀ£Àß ¸À¤ävÀæ£ÁzÀ ZÀAzÀæzsÀgÀ£À G¥ÀPÁgÀªÀ£ÀÄß ¸Àäj¸ÀÄvÁÛ C°èAzÀ ºÉÆÃzÀ.

After being rejected bu his two other friends Vachikamitra and

Somadeva Devavratha was walking on the road. He accidently met his
childhood friend Chandradhara on his way. He was very happy. Chandradhara
was on honest and sincere friend. On learning about the plight of his friend
Devavratha, he assured him of his help and gave him shelter. He received the
minister with great manner and offered him drinks and food. He fed him
sumptuously and pacified him. He was prepared to dishonour the king’s order
in preference to his friend. Devavratha. In fact, he was prepared to give up
even his life for the sake of friendship. He declared that the friend alone is the
most important person in the world. Devavratha was very much impressed by

Muralidhara Avadhani 86
the self-sacrifice of Chandradhana. The result was that king personally met
Devavratha and begged his perdon. He took him back to the palace.

3. mÉÉPûlÉÉqÉ EÎssÉZrÉ MüÈ MüÇ mÉëÌiÉ AuÉSiÉç CÌiÉ xÉÇxM×iÉpÉÉwÉrÉÉ ÍsÉZÉiÉ |

1. qÉWûÏmÉÉsÉxrÉ mÉÔeÉÉ xuÉSåvÉå xÉqpÉuÉÌiÉ |

CSÇ uÉÉYrÉÇ xÉÎlqɧÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | SåuÉuÉëiÉÈ xÉålÉÎeÉiÉç UÉeÉÉlÉÇ mÉëÌiÉ AuÉSiÉç |

2. mÉëSvrÉïiÉÉÇ iÉÉuÉiÉç xuÉÌuÉwÉrÉMüÇ mÉëÉqÉÉhrÉqÉç |

CSÇ uÉÉYrÉÇ xÉÎlqɧÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | UÉeÉÉSåuÉuÉëiÉÇ mÉëÌiÉ AuÉSiÉç |

3. lÉÉWûÇ ÌuÉxqÉUÉÍqÉ iÉuÉÉåmÉMüÉUqÉç |

CSÇ uÉÉYrÉÇ xÉÎlqɧÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | xÉÉåqÉSåuÉÈ SåuÉuÉëiÉÇ mÉëÌiÉ AuÉSiÉç |

4. ÍqɧÉqÉåMüqÉåuÉ pÉuÉÌiÉ mÉëkÉÉlÉÇ eÉaÉiÉÏiÉsÉå |

CSÇ uÉÉYrÉÇ xÉÎlqɧÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | cÉlSìkÉUÈ SåuÉuÉëiÉÇ mÉëÌiÉ AuÉSiÉç |

5. AWûÉå ÍkÉXè qÉÉqÉç CqÉÉæ xuÉÉÍjÉïlÉÉæ xÉZÉÉrÉÉæ |

CSÇ uÉÉYrÉÇ xÉÎlqɧÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | SåuÉuÉëiÉÈ xuÉqÉlÉÍxÉ LuÉqÉç AÍcÉliÉrÉiÉç |

6. AÉÈ qÉqÉåSØvÉÏ mÉë¥ÉÉ |

CSÇ uÉÉYrÉÇ xÉÎlqɧÉqÉç CÌiÉ mÉÉPûÉiÉç xuÉÏM×üiÉqÉç | UÉeÉÉ xuÉqÉlÉÍxÉ LuÉqÉç AÍcÉliÉrÉiÉç |

4. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. UÉeÉÉ xÉxÉÑZÉÇ xÉÉlÉlSÇ MüÉsÉÇ rÉÉmÉrÉÌiÉ xqÉ |

2. lÉÉÍpÉsÉwÉÌiÉ CiÉUåwÉÉqÉÌmÉ MüsrÉÉhÉqÉç |

3. lÉÔlÉqÉWûÇ ÌuÉUÉåkÉåÅÌmÉ UÉ¥ÉÈ pÉuÉixÉWûÉrrÉqÉç AÉcÉËUwrÉÉÍqÉ |

Muralidhara Avadhani 87
 वचनामृतम्

1. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. AliÉUXçaÉvÉÑ̮Ȗ oÉÌWûUXçaÉvÉÑSèkrÉÉåÈ ÌuÉwÉrÉå oÉxÉuÉhhÉxrÉ AÍpÉmÉëÉrÉÈ ?

PÀ¼ÀîvÀ£À ªÀiÁqÀ¨ÁgÀzÀÄ, AiÀiÁgÀ£ÀÆß PÉÆ®è¨ÁgÀzÀÄ, ¸ÀļÀî£ÀÄß DqÀ¨ÁgÀzÀÄ, ¨ÉÃgÉAiÀĪÀgÀ

§UÉÎ fUÀÄ¥ÉìAiÀÄ£ÀÄß ¥ÀqÀ¨ÁgÀzÀÄ, EvÀgÀgÀ£ÀÄß ¤A¢¸À¨ÁgÀzÀÄ, EvÀgÀgÀ°è C¸ÀÆAiÉÄAiÀÄ£ÀÄß
¥ÀqÀ¨ÁgÀzÀÄ.EzÉà CAvÀgÀAUÀ ±ÀÄ¢Þ, EzÉà §»gÀAUÀ ±ÀÄ¢Þ JAzÀÄ §¸ÀªÀtÚ£ÀªÀgÀÄ ºÉýzÁÝgÉ.

Basavanna points out that one should not steal or kill. Similarly one
should not get angry and should not be disgusted with others. One should not
reproach others.

This is the internal purification and this is the external purification.

2. MÔüQûsÉxXçaÉqÉxrÉ mÉëxÉÉSlÉxrÉ mÉ®iÉÏÈ MüÉ ?

zÀAiÉÄAiÀÄ£ÀÄß £ÁªÀÅ J®èqÉ vÉÆÃj¸À¨ÉÃPÁzÀÄzÀÄ ¤dªÁzÀ zsÀªÀÄðªÁUÀÄvÀÛzÉ. J®è

¥ÁætÂUÀ¼À°è £ÁªÀÅ zÀAiÉÄAiÀÄ£ÀÄß vÉÆÃgÀ¨ÉÃPÀÄ. ºÁUÉ £ÀqÉzÀÄPÉÆAqÀgÉ PÀÆqÀ®¸ÀAUÀªÀÄ
¥Àæ¸À£ÀߣÁUÀÄvÁÛ£É JAzÀÄ §¸ÀªÀtÚ£ÀªÀgÀÄ ºÉüÀÄvÁÛgÉ.

There should be Kindness everywhere. One should show kindness to

all animals.When this will be fulfilled, lord Kudala Sangama will be pleaded.

3. AYMüqÉWûÉSåuÉÏ ¥ÉÉlÉ – pÉYirÉÉåÈ AÌuÉlÉÉpÉÉuÉxÉÇoÉlkÉÇ MüjÉÇ uÉhÉïrÉÌiÉ ?

CPÀ̪ÀĺÁzÉëAiÀÄÄ eÁÕ£À ºÁUÀÆ ¨sÀQÛAiÀÄ C«£Á¨sÁªÀ ¸ÀA§AzsÀªÀ£ÀÄß

«ªÀj¸ÀÄvÁÛ¼É.eÁÕ£ÀªÀÅ ¸ÀÆAiÀÄð¤zÀÝAvÉ, ¨sÀQÛAiÀÄÄ ¸ÀÆAiÀÄð£À QgÀtUÀ½zÀÝAvÉ.¸ÀÆAiÀÄð¤®èzÉ ºÉÃUÉ
QgÀtUÀ¼ÀÄ, QgÀtUÀ½®èzÉ ºÉÃUÉ ¸ÀÆAiÀÄð£ÀÄ E®èªÉÇà ºÁUÉAiÉÄà eÁÕ£À«®èzÉà ¨sÀQÛAiÀÄÄ
¨sÀQ۬ĮèzÉà eÁÕ£ÀªÀÇ E®è JAzÀÄ ºÉýzÁÝgÉ.

Muralidhara Avadhani 88
Akkamahadevi says that knowledge and devotion are two faces of a coin.

Knowledge is like the sun and devotion is like rays of the sun. How
without the sun there is no rays and without rays there is no sun, in the same
manner, there is no knowledge without devotion and there is no devotion
without knowledge.

2. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. qÉÉ cÉÉåUrÉ qÉÉ qÉÉUrÉ qÉÉ MüjÉrÉÉxÉirÉqÉç |

2. SrÉæuÉ AmÉå¤ÉiÉå xÉMüsÉåwuÉÌmÉ mÉëÉÍhÉwÉÑ |

3. A³ÉSÉlÉå mÉÑhrÉqÉç AÎxiÉ |

3. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. xÉMüsÉåwuÉÌmÉ mÉëÉÍhÉwÉÑ SrÉÉ AmÉå¤ÉiÉå |

xÉMüsÉåwuÉÌmÉ mÉëÉÍhÉwÉÑ MüÉ AmÉå¤ÉiÉå ?

2. kÉlÉmÉSÉlÉå iÉÑ´ÉÏÈ pÉuÉÌiÉ |

MüÎxqÉlÉç iÉÑ ´ÉÏÈ pÉuÉÌiÉ ?

3. ÌMüUhÉÉlÉç ÌuÉlÉÉ pÉÉlÉÑÈ lÉÉÎxiÉ |

MüÉlÉç ÌuÉlÉÉ pÉÉlÉÑÈ lÉÉÎxiÉ ?

Muralidhara Avadhani 89
4. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

oÉxÉuÉhhÉÈ MÔüQûsÉxÉXçaÉqÉSåuÉÈ

AssÉqÉmÉëpÉÑÈ aÉÑWåûµÉUÍsÉXçaÉÈ

AYMüqÉWûÉSåuÉÏ cÉã³ÉqÉÎssÉMüÉeÉÑïlÉÈ

AÉcÉÉUÈ xuÉaÉïÈ

SrÉÉ kÉqÉïxrÉ qÉÔsÉqÉç

* * *

Muralidhara Avadhani 90
 क डक वः

1. LMüuÉÉYrÉålÉ xÉÇxM×üiÉpÉÉwÉrÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. ´ÉÏ qÉWûÉåSrÉÈ MüSÉ eÉlqÉ sÉåpÉå ?

´ÉÏ qÉWûÉåSrÉÈ Ì¢üxiÉÉokÉxrÉ 1884 iÉqÉuÉwÉïxrÉ eÉlÉuÉUÏ qÉÉxÉxrÉ iÉ×iÉÏrÉå ÌSlÉå eÉlqÉ sÉåpÉå |

2. ´ÉÏ qÉWûÉåSrÉxrÉ qÉÉiÉÉ MüÉ ?

´ÉÏ qÉWûÉåSrÉxrÉ qÉÉiÉÉ pÉÉaÉÏUjÉqqÉÉ |

3. ´ÉÏ qÉWûÉåSrÉxrÉ ÍvÉwrÉåwÉÑ LMüxrÉ lÉÉqÉ xÉÔcÉrÉiÉ |

´ÉÏ qÉWûÉåSrÉxrÉ ÍvÉwrÉåwÉÑ LMüxrÉ lÉÉqÉ MÑüuÉåqmÉÑ |

4. qÉæxÉÔÂ qÉWûÉUÉeÉÈ ´ÉÏ qÉWûÉåSrÉÇ MåülÉ EmÉÉÍkÉlÉÉ xÉqÉqÉÉlÉrÉiÉç ?

qÉæxÉÔ qÉWûÉUÉeÉÈ ´ÉÏ qÉWûÉåSrÉÇ UÉeÉxÉåuÉÉxÉ£üÈ CÌiÉ EmÉÉÍkÉlÉÉ xÉqÉqÉÉlÉrÉiÉç |

5. ´ÉÏ qÉWûÉåSrÉÇ Mü³ÉQûMühuÉ CÌiÉ lÉÉqÉ MåülÉ xÉÔÍcÉiÉqÉç ?

´ÉÏ qÉWûÉåSrÉÇ Mü³ÉQûMühuÉ CÌiÉ lÉÉqÉ qÉÉÎxiÉuÉåXçMüOåûvÉÉrrÉXçaÉÉUç qÉWûÉåSrÉålÉ xÉÔÍcÉiÉqÉç |

2. ̲§ÉæÈ uÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1. ´ÉÏ qÉWûÉåSrÉxrÉ oÉÉsrÉqÉç |

²æà ªÀĺÉÆÃzÀAiÀÄgÀÄ 1884 £Éà E¸À«AiÀÄ d£ÀªÀj wAUÀ½£À ªÀÄÆgÀ£Éà vÁjÃT£ÀAzÀÄ

ªÉÄʯÁgÀAiÀÄå ºÁUÀÆ ¨sÁVÃgÀxÀªÀÄä£À ªÀÄUÀ£ÁV d¤¹zÀgÄÀ .CªÀgÀ ¥ÀƪÀðd£ÀgÀÄ ªÀÄAqÀå f¯ÉèAiÀÄ
£ÁUÀªÀÄAUÀ® vÁ®ÆQ£À ¨É¼ÀÆîj£ÀªÀgÀÄ ²æÃAiÀĪÀgÀ ¨Á®å ²æÃgÀAUÀ¥ÀlÖtzÀ°è PÀ¼É¬ÄvÀÄ.C°èAiÉÄÃ
¥ÁæxÀ«ÄPÀ ²PÀët ¥ÀqÉzÀÄ ªÀÄÄAzÉ ªÉÄʸÀÆjM£À ªÀĺÁgÁd PÁ¯ÉÃf£À°è J¥sï.J.N¢zÀgÀÄ.

Muralidhara Avadhani 91
 Shri was born on January 03 1884. His parents were Mailarayya and
Bhagirathamma. His ancestors lived in belluru of Nagamangala thaluku and
mandya district. He spent his childhood in Shrirangapattana, where he
completed his primary education. Later He studied F A at Maharaja College in
Mysore.

2. ´ÉÏ qÉWûÉåSrÉxrÉ ÍvÉwrÉuÉÉixÉsrÉqÉç |

©.JA.²æÃAiÀĪÀgÀÄ vÀªÀÄä ²µÀågÀ£ÀÄß §ºÀĪÁV ¦æÃw¸ÀÄwÛzÀÝgÀÄ.«zÁåyðUÀ¼À ¥Àæw¨sÉAiÀÄ£ÀÄß

¥ÁæxÀ«ÄPÀ ºÀAvÀzÀ°èAiÉÄà UÀÄgÀÄw¹ CªÀgÀ£ÀÄß ¥ÉÆæÃvÁ컸ÀÄwÛzÀÝgÀÄ.J.J£ï.ªÀÄÆwðgÁªï, PÀĪÉA¥ÀÄ
EvÁå¢ ¸Á»wUÀ¼ÀÄ CªÀgÀ ²µÀågÁVzÀÝgÀÄ.

Shri loved his students very much. He used to support and encourage his
students by recognising their talent in very incisal stage. His students like
Jnanapeetha awardee Kuvempu, A N Murthy rao etc. were recognised by him
and they achieved lot in their life by the wonderful guidance of Shri.

3. ´ÉÏ qÉWûÉåSrÉxrÉ M×üiÉrÉÈ |

EAVèõï VÃvÉUÀ¼ÀÄ EzÀÄ ²æÃPÀAoÀAiÀÄå£ÀªÀgÀÄ EAVèÃµï ¨sÁµÉAiÀÄ PÉ® ¥Àæ¹zÀÞ PÀ«UÀ¼À

VÃvÉUÀ¼À PÀ£ÀßqÁ£ÀĪÁzÀzÀ ¸ÀAUÀæºÀzÀ UÀæAxÀ. ºÉÆAUÀ£À¸ÀÄ CªÀgÀ ¸ÀévÀAvÀæ PÀ«vÁ ¸ÀAPÀ®£À.
UÀzsÁAiÀÄÄzÀÞ£ÁlPÀªÀÅ PÀ£ÀßqÀzÀ ¥ÀæªÀÄÄR gÀÄzÀæ £ÁlPÀªÁVzÉ. C®èzÉ, C±ÀévÁܪÀÄ£ï, ¥ÁgÀ¹PÀ
EvÁå¢ £ÁlPÀ UÀæAxÀUÀ¼À£ÀÄß CªÀgÀÄ §gÉ¢zÁÝgÉ.

Shri wrote many books. English Geethegalu is a collection of verses

translated into kannada from English. Honganasu was his independent poetry
collection. His Gadhayuddha is very famous among Kannada Rudra Nataka
type. Ashwathaman and Parasika are also his popular works.

Muralidhara Avadhani 92
3. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1.´ÉÏ qÉWûÉåSrÉxrÉ Mü³ÉQûxÉåuÉÉ |

©.JA.²æÃPÀAoÀAiÀÄå£ÀªÀgÀÄ vÀªÀÄä PÁ¯ÉÃdÄ ¢£ÀUÀ¼À°èAiÉÄà PÀ£ÀßqÀ ¨sÁµÉAiÀÄ PÀÄjvÁV

C¼ÀªÁzÀ aAvÀ£ÉAiÀÄ£ÀÄß ªÀiÁqÀÄwÛzÀÝgÀÄ.DAUÀè¨sÁµÉAiÀÄ CPÀæªÀÄtzÀ£À £ÀqÀÄªÉ PÀ£ÀßqÀªÀ£ÀÄß ºÉÃUÉ
G½¹ ¨É¼É¸À¨ÉÃPÀÄ?PÀ£ÀßqÀzÀ PÀȶAiÀÄ£ÀÄß ºÉÃUÉ ªÀiÁqÀ¨ÉÃPÀÄ?DAUÀè¨sÁµÉAiÀÄ ¹ÜvÁxÀð ¸ÀA¥ÀvÀÄÛ
PÀ£ÀßqÀPÉÌ ºÉÃUÉ §gÀÄvÀÛzÉ EvÁå¢AiÀiÁV «ZÁgÀ ªÀiÁqÀÄwÛzÀÝgÀÄ.

©.JA.²æÃPÀAoÀAiÀÄå£ÀªÀgÀÄ PÀ£ÀßqÀ ¸ÉêÉAiÀÄ ¸À®ÄªÁV AiÀÄĪÀPÀgÀÄ

QæAiÀiÁ²Ã®gÁUÀ¨ÉÃPÉAzÀÄ §AiÀĹzÀÝgÀÄ.CzÀPÁÌVAiÉÄà CªÀgÀÄ CzsÀåAiÀÄ£À UÉÆö×UÀ¼À£ÀÄß
DAiÉÆÃf¹zÀgÀÄ.PÀ£ÀßqÀ ¸Á»vÀåzÀ ««zsÀ ¥ÀæPÁgÀUÀ¼ÁzÀ PÀxÉ, PÀªÀ£À, «ªÀıÁðUÀæAxÀUÀ¼ÀÄ d£À
¸ÁªÀiÁ£ÀåjUÉ ¹UÀĪÀAvÁUÀ®Ä ªÉÄʸÀÆgÀÄ «±Àé«zÁ央AiÀÄ UÀæAxÀªÀiÁ¯Á JA§ ¥ÀæPÁ±À£ÀªÀ£ÀÄß
¥ÁægÀA©ü¹zÀgÀÄ.CzÀgÀ ªÀÄÆ®PÀ ºÀ®ªÁgÀÄ UÀæAxÀUÀ¼À£ÀÄß ¥ÀæPÀn¹zÀgÀÄ.eÉÆvÉUÉ vÁªÉà MA¢µÀÄÖ
eÁÕ£À «eÁÕ£ÀUÀ¼À PÀÄjvÁV ¥ÀĸÀÛPÀUÀ¼À£ÀÄß gÀa¹ ¥ÀæPÀn¹zÀgÀÄ.

EAVõï£À ¥Àæ¹zÀÞ PÀ«vÉUÀ¼À£ÀÄß PÀ£ÀßqÀPÉ C£ÀĪÁ¢¹zÀgÀÄ.CªÀgÀ UÀzÁAiÀÄÄzÀÞ £ÁlPÀªÀÅ

PÀ£ÀßqÀzÀ ¥Àæ¹zÀÞ gÀÄzÀæ £ÁlPÀªÁVzÉ.©ænµÀgÀ D½éPÉAiÀÄ°è »Ã£ÀzɸÉAiÀÄ°èzÀÝ PÀ£ÀßqÀ ¨sÁµÉAiÀÄ£ÀÄß
G½¹ ¨É¼ÀUÀĪÀAvÉ ªÀiÁr CªÀgÀÄ PÀ£ÀßqÀ PÀté J¤¹PÉÆArzÁÝgÉ.

1915 gÀ°è ¸Àgï JA «±ÉéñÀégÀAiÀÄå £ÀªÀgÀ zÀÆgÀ zÀȶÖAiÀÄ ¥sÀ®ªÁV ¸Áܦ¹zÀ PÀ£ÀßqÀ
¸Á»vÀå ¥ÀjµÀwÛ£À CzsÀåPÀëgÁzÀgÀÄ.PÀ£ÀßqÀ ¨sÁµÉ ºÁUÀÆ ¸Á»vÀåUÀ¼À ¨É¼ÀªÀtÂUÉUÉ PÀnà §zÀÞgÁV ²æÃ
CªÀgÀÄ PÉÆ£ÉAiÀÄĹgÀĪÀ EgÀĪÀªÀgÉUÀÆ ±Àæ«Ä¹zÀgÀÄ.

Born as the son of Bhageerathamma and Mailarayya, on 03 January

1884 Shri pursued his education and got FA, BA, LLB and LLM degrees.His mind
always thinking as to how to uplift Kannada language. During those days when
Britishers predominated, English had an upper hand in the life of people.
Karnataka was ignored. It is for this reason that Shri tried to help Kannada.
Even though his education medium was English, he used to think about
Kannada language.

Muralidhara Avadhani 93
 Wherever he found brilliant students he encouraged them, So that he
produced students like A N Murthy rao, Kuvempu, A R Krishnashastry, who are
prominent authors in the field of Kannada literature.

In 1928 he was president of Kannada Sahitya Sammelana, which was

held in Kalaburgi. He established study circles for Kannada students so that
many people could get motivation to study the kannada literature. He also
established Publication called. ‘Mysuru Granthamaala in Mysore university for
the benefit of one and all and got published many types of Kannada literature
like stories, Short stories, dramas works of criticism etc.

Shri wrote many books. English Geethegalu is a collection of verses

translated into kannada from English, Honganasu was his independent poetry
collection. His Gadhayuddha is very famous among Kannada Rudra Nataka
type. Ashwathaman and Parasika are also his popular works.

He also composed science literature related to modern knowledge

and science. He accompanied Sir M Vishvesharayya, while establish Kannada
Sahithya Parishad and he became its first president. Thus Shri bent upon
serving Kannada and he did so till his end.

2. ´ÉÏ qÉWûÉåSrÉxrÉ AÉSvÉïqÉrÉÇ eÉÏuÉlÉqÉç |

©.JA.²æÃPÀAoÀAiÀÄå £ÀªÀgÀzÀÄ DzÀ±ÀðªÀÄAiÀÄ fêÀ£ÀªÁVvÀÄÛ.vÁªÀÅ vÀªÀÄä UÀÄgÀÄUÀ½AzÀ

PÀ°vÀ ²¸ÀÄÛ§zÀÞ fêÀ£ÀªÀ£ÀÄß C¼ÀªÀr¹PÉÆAqÀÄ EvÀgÀjUÀÆ CªÀgÀÄ ªÀiÁzÀjAiÀiÁVzÁÝgÉ. CªÀgÀÄ
M¢zÀÄÝ PÁ£ÀÆ£ÀÄ ºÁUÀÆ ¨sËvÀ±Á¸ÀÛçzÀ «µÀAiÀĪÁVzÀÝgÀÆ PÀ£ÀßqÀ ¨sÁµÉAiÀÄ §UÉÎ D¸ÉÜAiÀÄ£ÀÄß
ªÀ»¹ CªÀgÀ K¼ÉÎUÁV ±Àæ«Ä¹zÀ CªÀgÀÄ J®èjUÀÆ ¸ÀÆáwðzÁAiÀÄPÀgÀÄ.

²æà CªÀgÀÄ vÀªÀÄä ²µÀågÉÆA¢UÉ GvÀÛªÀÄ ¨ÁAzsÀªÀå ¨É¼É¹PÉƪÀÄrzÀÝgÀÄ.PÀ£ÀßqÀ SÁåvÀ£ÁªÀÄUÀ¼ÁzÀ

J.J£ï. ªÀÄÆwðgÁªï, PÀĪÉA¥ÀÄ EªÀgÀÄUÀ¼É®è ²æà CªÀgÀ ²µÀågÁV CªÀjAzÀ ¸ÀÆáwð ºÁUÀÆ
¥ÉÆæÃvÁìºÀUÀ¼À£ÀÄß ¥ÀqÉzÀÄ ¸ÁzsÀ£É UÉÊzÀgÀÄ.

Muralidhara Avadhani 94
 MªÉÄä ªÀÄÆwð gÁªï CªÀgÀÄ §gÉ¢zÀÝ DAUÀè¨sÁµÉAiÀÄ ¥Àæ§AzsÀªÀ£ÀÄß ªÀÄ£À¸ÁgÉ ªÉÄaÑ
CzÀ£ÀÄß vÀgÀUÀwAiÀÄ°è J®è ªÀÄPÀ̼ÉzÀgÀÄ N¢, EµÀÄÖ GvÀÛªÀÄ ¥Àæ§AzsÀ gÀZÀ£É vÀ¤ßAzÀ®Æ ¸ÁzsÀå«®è
JAzÀÄ ºÉÆUÀ½zÀÝgÀÄ.EzÀÄ CªÀgÀ°èzÀÝ GzÁgÀvÉAiÀÄ£ÀÄß vÉÆÃj¹PÉÆqÀÄvÀÛzÉ.

PÀ®§ÄgÀVAiÀÄ°è ¸Á»vÀå ¸ÀªÉÄäüÀ£ÀzÀ CzsÀåPÀëgÁVzÁÝUÀ vÀªÀÄä£ÀÄß ¸À£Á䤸À¨ÉÃQzÀÝ

ºÁgÀªÀ£ÀÄß vÉUÉzÀÄPÉÆAqÀÄ PÀĪÉA¥ÀÄ CªÀgÀ£ÀÄß ¸À£Á䤹zÀÝgÀÄ.

²æà CªÀgÀÄ PÀ£ÀßqÀ ¨sÁµÉAiÀÄ G½«UÉ PÀn§zÀÞgÁV vÀªÀÄä G¹jgÀĪÀªÀgÉUÀÆ CzÀ£ÀÄß

G½¹ ¨É¼É¹zÀgÀÄ.ªÉÄʸÀÆj£À ªÀĺÁgÁdgÀÄ EªÀjUÉ gÁd¸ÉêÁ¸ÀPÀÛ JA§ ©gÀÄzÀÄ ¤Ãr
¸À£Á䤹zÀÝgÀÄ. ²æà CªÀgÀÄ ©ænµï DqÀ½vÀzÀ CªÀ¢üAiÀÄ°è »Ã£ÁAiÀÄ zɱÉAiÀÄ°èzÀÝ PÀ£ÀßqÀ
¨sÁµÉAiÀÄ£ÀÄß ªÀÄUÀĪÀAvÉ ¸ÁQ ¥ÉÆö¹zÀgÀÄ. CzÀPÁÌVAiÉÄà ªÀiÁ¹Û ªÉAPÀmÉñÀ LAiÀÄåAUÁgï
CªÀgÀÄ CªÀgÀ£ÀÄß PÀ£ÀßqÀzÀ PÀté JAzÀÄ PÀgÉzÀgÀÄ.²æà CªÀgÀ DzÀ±ÀðªÀÄAiÀÄ fêÀ£À JA¢UÀÆ
C£ÀÄPÀgÀtAiÉÆÃUÀå.

With his degrees like BA, FA, LLB LLM Shri Mahodaya could have gone
to some better profession, where he could get plenty of money. But ignoring
the aspects he stood to serve Kannada language and motivated many people
to work for Kannada language.

Among his many bright students, A N Murthy rao, AR Krishnashastry,

Kuvempu can be mentioned. His desire for the uplifting kannada was so great
that he encouraged his his students an all possible ways. In fact he honoured
his student A N Murthy Rao by reading his brilliant essay in the classroom
before all the students. He garlanded his student Kuvempu by calling him to
stage and honoured him for enacting his play Solu, during the Kannada
Sahithya Sammelana at Kalburgi in 1928.

He also established Publication called ‘Mysuru Granthamaala’ in

Mysore university for the benefit of one and all and got published many types

Muralidhara Avadhani 95
of Kannada literature like stories, Short stories, dramas, works of criticism etc.
and it was so help full to reach Kannada literature even for common people.

Shri led very simple life. Maharaja of Mysore honoured him with the title
Rajasevasaktha Masthi Venkatesh Iyengar called him Kanva by considering his
immense service for the betterment of Kannada language.

Thus Shri led ideal life and it is worthy of emulation by one and all.

4. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. ´ÉÏ qÉWûÉåSrÉxrÉ oÉÉsrÉÇ ´ÉÏUXçaÉmɨÉlÉå urÉiÉÏiÉqÉç |

´ÉÏ qÉWûÉåSrÉxrÉ oÉÉsrÉÇ MÑü§É urÉiÉÏiÉqÉç ?

2. ÌuɱÉÍjÉïlÉÉÇ M×üiÉå AkrÉrÉlÉaÉÉå¸ÏÈ AÉrÉÉåÎeÉiÉÉ AlÉålÉã |

MåüwÉÉÇ M×üiÉå AkrÉrÉlÉaÉÉå¸ÏÈ AÉrÉÉåÎeÉiÉÉ AlÉålÉã?

3. MülÉÉïOûMüUÉerÉå ÍxÉËUaɳÉQûÇaÉãsaÉã CÌiÉ iÉåwÉÉqÉç EÌ£üÇ xÉÉkÉrÉåqÉ |

MülÉÉïOûMüUÉerÉå ÌMüÇã CÌiÉ iÉåwÉÉqÉç EÌ£üÇ xÉÉkÉrÉåqÉ?

* * *

Muralidhara Avadhani 96
 िव ानपथः

1. SvÉuÉÉYrÉæÈ xÉÇxM×üiÉpÉÉwÉrÉÉ Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ E¨ÉUÇ ÍsÉZÉiÉ |

1.pÉÉUiÉSåvÉå ÌuÉ¥ÉÉlÉxrÉ mÉëaÉÌiÉqÉç AÍkÉM×üirÉ sÉbÉÑ mÉëoÉlkÉÇ ÍsÉZÉiÉ |

eÁÕ£ÀªÀÅ «eÁÕ£À ¸À»vÀªÁzÀÄzÀÄ JA§ ªÀiÁvÀÄ £ÀªÀÄä ¥ÁæaãÀ ¨sÁgÀvÀzÀ°è

«eÁÕ£ÀQÌzÀÝ ªÀĺÀvÀéªÀ£ÀÄß ºÉüÀÄvÀÛzÉ. ªÉÊeÁÕ¤PÀ AiÀÄÄUÀzÀ°ègÀĪÀ £ÁªÀÅ «eÁÕ£À PÉëÃvÀæzÀ°è
¥Á²ÑªÀiÁvÀågÀµÀÄÖ £ÁªÀÅ C©üªÀÈzÀÞgÁV®è JAzÀÄ £ÀªÀĵÀÖPÉÌ £ÁªÀÅ CAzÀÄPÉÆAqÀÄ ©nÖzÉÝêÉ. DzÀgÉ
MªÉÄä £ÀªÀÄä ¥ÁæaãÀPÁ®zÀ ªÉÃzÁ¢ UÀæAxÀUÀ¼À£ÀÄß ¥Àj²Ã°¹zÁUÀ dUÀwÛ£À ¨ÉÃgÉ®è PÀqÉUÀ¼Àè°
«eÁÕ£ÀzÀ ¥ÀzÀzÀ CxÀðªÉà UÉÆwÛ®èzÀ ¸ÀªÀÄAiÀÄzÀ°è ¨sÁgÀvÀzÀ°è «eÁÕ£ÀªÀÅ ¸ÁPÀµÀÄÖ ¥ÀæUÀw
¸Á¢ü¹vÀÄÛ JA§ÄzÀÄ UÉÆvÁÛUÀÄvÀÛzÉ.

ªÉÃzÀUÀ¼À PÁ®¢AzÀ »rzÀÄPÉÆAqÀÄ ¸ÀĪÀiÁgÀÄ Qæ.±À. ºÀ£ÉßgÀqÀ£Éà ±ÀvÀªÀiÁ£ÀzÀªÀgÉUÀÆ

¨sÁgÀvÀzÀ°è «eÁÕ£ÀzÀ ¥ÀæUÀw ¤gÀAvÀgÀªÁV CqÉvÀqÉUÀ½®èzÉ ¸ÁVvÀÄÛ. «eÁÕ£ÀzÀ ¨ÉÃgÉ ¨ÉÃgÉ
PÉëÃvÀæUÀ¼À°è CAzÀgÉ RUÉÆüÀ ±Á¸ÀÛç, UÀtÂvÀ ±Á¸ÀÛç, fêÀ«eÁÕ£À, gÀ¸ÁAiÀÄ£À ±Á¸ÀÛç, ¨sËvÀ±Á¸ÀÛç »ÃUÉ
MAzÉà JgÀqÉÃ? J¯Áè PÉëÃvÀæUÀ¼À®Æè £ÀªÀÄä ¥ÁæaãÀgÀÄ CzsÀåAiÀÄ£À ºÁUÀÆ ¸ÀA±ÉÆÃzsÀ£ÉUÀ¼À£ÀÄß
£ÀqɹzÀÝgÀÄ.

UÀæºÀUÀ¼À ZÀ®£É, ¸ËgÀªÀÄAqÀ®zÀ UÀæºÀUÀ¼À «ZÁgÀ ¨sÀÆ«ÄAiÀÄ UÀÄgÀÄvÁéPÀµÀðt ±ÀQÛ F

J¯Áè «ZÁgÀUÀ¼À£ÀÄß CªÀgÀÄ w½¢zÀÝgÀÄ.UÀtÂvÀ PÉëÃvÀæPÌÉ ¸ÀA§A¢ü¹zÀAvÉ ©ÃdUÀtÂvÀ, gÉÃSÁUÀtÂvÀ,
zÀ±ÀªÀiÁ£À ¥ÀzÀÞw EvÁå¢ «ZÁgÀUÀ¼ÀÄ ¨sÁgÀwÃAiÀÄjUÉ w½¢vÀÄÛ.

fêÀ±Á¸ÀÛç ºÁUÀÆ ¥Àj¸ÀgÀ «eÁÕ£À PÉëÃvÀæUÀ¼À°è £ÀªÀÄäªÀgÀ eÁÕ£À ¤dPÀÆÌ

¥Àæ±ÀA¸ÁºÀðªÁVzÉ.¥ÁæaãÀ ¨sÁgÀwÃAiÀÄgÀÄ ¸À¸Àå ºÁUÀÆ ¥ÁætÂUÀ¼À ªÀVÃðPÀgÀtªÀ£ÀÄß CªÀÅUÀ¼À
UÀÄtUÀ¼À£ÀÄß CªÀ®A©¹ ªÀiÁqÀÄwÛzÀÝgÀÄ.PÀÄzÀÄgÉAiÀÄ CzsÀåAiÀÄ£ÀPÉÌ ¸ÀA§A¢ü¹zÀAvÉ C±Àé±Á¸ÀÛç D£ÉUÀ¼À
CzsÀåAiÀÄ£ÀPÉÌ ¸ÀA§A¢ü¹zÀAvÉ UÀd±Á¸ÀÛç PÀÄæwUÀ¼ÀÄ £ÀªÀÄUÉ ¹UÀÄvÀÛªÉ. zsÀ®é£À£ÉA§ ¥ÀArvÀ£ÀÄ
¸À¥ÀðUÀ¼À CzsÀåAiÀÄ£ÀzÀ°è «±ÉõÀdÕ£ÁVzÀÝ DvÀ ºÀ¢ªÀÄÆgÀÄ §UÉAiÀÄ ¸À¥ÀðUÀ¼À §UÉÎ w½¢zÀÝ
JA§ÄzÀÄ UÉÆvÁÛUÀÄvÀÛzÉ.

Muralidhara Avadhani 97
 ¥Àj¸ÀgÀ gÀPÀëuÉAiÀÄÄ CzÀå PÁ¼Àf JAzÀÄ £ÀªÀÄä ¥ÁæaãÀgÀÄ ¨sÁ«¹zÀÝgÀÄ. CzÀPÁÌV
¸ÀÆAiÀÄð, ªÀÈPÀë , ¤ÃgÀÄ, ¨sÀÆ«Ä »ÃUÉ ¥Àj¸ÀgÀzÀ J¯Áè CA±ÀUÀ¼À£ÀÄß zÉêÀgÉAzÀÄ £ÉÆÃqÀÄwÛzÀÝgÀÄ.
ªÀÄvÉÛ CªÀÅUÀ¼À ¥ÀæzÀƵÀuÉAiÀÄÄ ¥Á¥ÀªÉAzÀÄ ¨sÁ«¸ÀÄwÛzÀÝgÀÄ. ««zsÀ §UÉAiÀÄ ªÀÄgÀUÀ¼À£ÀÄß
¨É¼É¸ÀĪÀÅzÀjAzÀ £ÀgÀPÀ £ÉÆÃqÀĪÀÅ¢®è JA§ £ÀA©PÉAiÀÄ£ÀÄß ºÀÄnÖ¹zÀÝgÀÄ. ¨Á«, PÉgÉ
EvÁå¢UÀ¼À£ÀÄß ¤«Äð¸ÀĪÀÅzÀgÀ eÉÆvÉUÉ CzÀgÀ gÀPÀëuÉAiÀÄ PÀqÉUÀÆ UÀªÀÄ£ÀºÀj¹zÀÝgÀÄ.EAvÀºÀ
¸ÀܼÀUÀ¼À°è AiÀiÁgÀÄ ªÀiÁ°£Àå ªÀiÁqÀÄvÁÛgÉÆà CªÀjUÉ zÀAqÀ «¢ü¸ÀĪÀ PÁ£ÀƤ£À ªÀåªÀ¸ÉÜAiÀÄ£ÀÄß
ªÀiÁrPÉÆArzÀÝgÀÄ.

Our ancients were thinking a lot and they wrote many works on
science. Let us think of the Indian astronomy. We come across mentioning in
the Vedas, of the ten planets resting in the solar system, It is most surprising
that now days it is possible to see the red spot in Jupiter through a huge
telescope. But it was told by our ancient sages long back only. Rigveda
mentions about two satellites of Mars and moon is natural satellite of earth.
Our ancients knew that earth has gravity power, which our modern scientists
assume it is invention. Our ancients also knew that planets move like spinning
top and they have their own axis. The moon’s waxing and happenings like the
day – night –season, Ayana, years were all known by them.

Our ancient sages had known deferent branches of science like

astronomy, mathematics, zoology, botany, chemistry and many more.
Bhaskaracharya, Brahmaguptha, Aryabhata and many sages contributed for
the field of science.

2. qÉgeÉÔÔwÉÉiÉÈ xÉ mÉSÇ ÍcÉiuÉÉ ËU£üxjÉÉlÉÇ mÉÔUrÉiÉ |

1. uÉåSåµÉåuÉÇ xÉÉæUqÉlQûsÉå ÎxjÉiÉÉlÉÉÇ SvaÉëWûÉhÉÉqÉç EssÉåZÉÈ mÉvrÉÉqÉÈ |

2. A± AÉmÉëmÉgcÉqÉç EmÉrÉÑerÉqÉÉlÉÉÈ xÉXçZrÉÉÈ SvÉqÉÉlÉmÉ®ÌiÉÈ cÉ pÉÉUiÉÏrÉrÉÉåaÉSÉlÉqÉç |

Muralidhara Avadhani 98
3. AµÉvÉÉx§ÉÇ aÉeÉvÉÉx§ÉÇ cÉ E̬vrÉ xuÉiÉl§ÉiÉrÉÉ uÉëljÉÉÈ ÌuÉUÍcÉiÉÉÈ |

3. UåZÉÉÎXçMüiÉÉÌlÉ mÉSÉÌlÉ AÉÍ´ÉirÉ mÉëvlÉÌlÉqÉÉïhÉÇ MÑüÂiÉ |

1. xÉmÉÉïhÉÉqÉkrÉrÉlÉå SsuÉlÉÉå ÌuÉvÉåwÉ¥ÉÈ |

MüÎxqÉlÉç SsuÉlÉÉå ÌuÉvÉåwÉ¥ÉÈ ?

2. xÉxrÉÉlÉÉÇ mÉëÉÍhÉlÉÉÇ cÉ uÉaÉÏïMüUhÉÇ aÉÑhÉqÉuÉsÉqorÉ M×üiÉqÉç |

xÉxrÉÉlÉÉÇ mÉëÉÍhÉlÉÉÇ cÉ ÌMüÇ aÉÑhÉqÉuÉsÉqorÉ M×üiÉqÉç?

4. xÉÇrÉÉåeÉrÉiÉ |

A AÉ

pÉÔÍqÉÈ aÉÑÂiuÉÉMüwÉïhÉqÉç

AÉrÉïpÉOûÈ AÉrÉïpÉOûÏrÉqÉç

cÉUMüxÉÇÌWûiÉÉ AÉrÉÑuÉåïSaÉëljÉÈ

lÉÉaÉÉeÉÑïlÉÈ Mü¤ÉÉmÉÑOûiÉl§ÉqÉç

pÉÉxMüUÉcÉÉrÉïÈ sÉÏsÉÉuÉiÉÏ

* * *

Muralidhara Avadhani 99
Mü³ÉQûpÉÉwÉrÉÉ AÉXçasÉpÉÉwÉrÉÉ uÉÉ AlÉÑuÉSiÉ |

1. लवकुशौ xÉÏiÉÉrÉÉÈ mÉѧÉÉæ|

®ªÀPÀıÀgÀÄ ¹ÃvÀAiÀÄ ªÀÄPÀ̼ÀÄ.

Lava and Kusha are sons of Sitha.

2. आकाशात ् प ततं तॊयं सागरं ग छ त ।

DPÁ±À¢AzÀ ©zÀÝ ¤ÃgÀÄ ¸ÀªÀÄÄzÀæªÀ£ÀÄß ¸ÉÃgÀÄvÀÛzÉ.

The water falling from the sky reaches ocean.

2. परॊपकारायवहि!तन यः।

¥ÀgÉÆÃ¥ÀPÁgÀPÁÌV £À¢UÀ¼ÀÄ ºÀjAiÀÄÄvÀÛªÉ.

Rivers flow for the sake of others.

3. बािलकागु ं कथांपृ छित।

¨Á®QAiÀÄÄ PÀxÉ ºÉüÀĪÀAvÉ UÀÄgÀÄUÀ¼À£ÀÄß PÉüÀÄvÁÛ¼É.

A girl asks her teacher to tell a story.

4. वै यःमन$
ु याणांरॊगाि!नवारय त।

ªÉÊzsÀågÀÄ ªÀÄ£ÀĵÀågÀ SÁ¬Ä ÉAiÀÄ£ÀÄß UÀÄt¥Àr¸ÀÄvÁÛgÉ.

Doctor cures the decsise of people.

5. &वःमममाताआग'म$य त।

£Á¼É £À£Àß vÀAzÉAiÀÄÄ £ÀUÀgÀPÉÌ §gÀĪÀgÀÄ.

Muralidhara Avadhani 100

My father will come tomorrow.

6. वयंसव(दास*यंवदामः।

£ÁªÀÅ AiÀiÁªÁUÀ®Æ ¸ÀvÀåªÀ£Éßà ªÀiÁvÀ£ÁqÉÆÃt

Let’s always speak the truth.

7. कवयःसं+कृ तंर-ि!त।

PÀ«UÀ¼ÀÄ ¸ÀA¸ÀÌøwAiÀÄ£ÀÄß gÀQë¸ÀÄvÁÛgÉ.

Poets protect our culture.

8. द!
ु दभ
ु ःॆ श/दःग भीरःभव त।

zÀÄAzÀÄ©üAiÀÄ ±À§ÞªÀÅ UÀA©üÃgÀªÁVgÀÄvÀÛzÉ.

Drums sound will be very loud.

9. यय
ू ं2ामंग छत।

¤ÃªÀÅ ºÀ½îUÉ ºÉÆÃV.

You all go to village

10. पर
ु ाजनकःनामराजाआसीत ्।

»AzÉ d£ÀPÀ£ÉA§ gÁd£ÀÄ EzÀÝ£ÀÄ.

Long ago there was a king named Janaka.

11. आवांपाठम ्अपठाव।

£Á«§âgÀÆ ¥ÁoÀªÀ£ÀÄß N¢zɪÀÅ.

Muralidhara Avadhani 101

We both studied the lesson.

12. अ यममशालायांवा ष(कॊ*सवः6चल त।

EAzÀÄ £ÀªÀÄä ±Á ÉAiÀÄ°è ªÁ¶ðPÉÆÃvÀìªÀªÀÅ £ÀqÉAiÀÄÄvÀÛzÉ.

There will be annual day programme in our school today.

13. कॊ8कलःवस!तकालॆमधर
ु ं कूज त।

ªÀ¸ÀAvÀPÁ®zÀ°è PÉÆÃV ÉUÀ¼ÀÄ ªÀÄzsÀÄgÀªÁV ºÁqÀÄvÀÛªÉ.

Nightingale signs melodiously during the spring.

14. इदानींम ्अर;यॆ6ाणीनांर-णम ्आव&यकम ्।

FUÀ PÁr£À ¥ÁætÂUÀ¼À£ÀÄß gÀQë¸À¨ÉÃPÁzÀÄzÀÄ CªÀ±ÀåPÀªÁVzÉ.

Now a days it is essential to protects wildlife in the forest.

15. जनाःग<गाजलंमा'ल!यंनकुयःु( ।

d£ÀgÀÄ UÀAUÁ£À¢AiÀÄ ¤ÃgÀ£ÀÄß ªÀÄ°£ÀUÉƽ¸À¨ÁgÀzÀÄ.

People should not pollute the water of Ganga.

16. पतरः+वप=
ु ा!6ीणयि!त।

vÀAzÉAiÀÄÄ vÀ£Àß ªÀÄPÀ̼À£ÀÄß ¦æÃw¸ÀÄvÁÛ£É.

Fathers love their children.

17. दे ह?यां6ाचीनःलोह+थ भःअि+त।

zɺÀ°AiÀÄ°è ¥ÁæaãÀªÁzÀ ÉÆúÀ¸ÀÜA¨sÀ«zÉ.

Muralidhara Avadhani 102

An ancient iron poll is there in Delhi.

18. पB-णःशाखासन
ु ीडा नरचयि!त।

¥ÀQëUÀ¼ÀÄ ªÀÄgÀzÀ PÉÆA¨ÉUÀ¼À°è UÀÆqÀÄUÀ¼À£ÀÄß PÀlÄÖvÀÛªÉ.

Birds build their nests on the branches of tree.

19. भारतदे श+यसं+कृ तःसनातनावत(त।ॆ

¨sÁgÀwÃAiÀÄgÀÄ ¸ÀA¸ÀÌøwAiÀÄÄ ¸À£ÁvÀ£ÀªÁzÀÄzÀÄ.

Indian culture is forever.

सं कृ त भाषया अनुवदत

1. PÁ²AiÀÄ°è M§â «zÁéA¸À¤zÀÝ£ÀÄ.

There lived a scholar in Kashi.

काशीनगरॆ ऎकः व वान ् आसीत ् ।

2.ªÀÄgÀ¢AzÀ ºÀtÄÚ PɼÀUÉ ©Ã¼ÀÄvÀÛzÉ.

A fruit falls from the tree.

व-
ृ ात ् फलं पत त ।

3. gÁd£ÀÄ PÀ«UÀ¼À£ÀÄß ¸À£Á䤸ÀÄvÁÛ£É.

The king honours the poets.

राजा कवीन ् स मानय त ।

4. dUÀwÛUÉ vÀAzÉ-vÁ¬ÄUÀ¼ÁVgÀĪÀ ¥ÁªÀðw ¥ÀgÀªÉÄñÀégÀgÀ£ÀÄß ªÀA¢¸ÀÄvÉÛãÉ.

Muralidhara Avadhani 103

I prostrate goddess Parvathi and lord Parameshvara, who are the parents of
the unviverse.

जगतः पतरौ व!दॆ पाव(तीपरमॆ&वरौ ।

5. ªÁ°äÃQ ªÀĺÀ¶ðUÀ¼ÀÄ gÁªÀiÁAiÀÄtªÀ£ÀÄß gÀa¹zÀgÀÄ.

The great sage Valmiki composed Ramayana.

वाि?म8कमह ष(ः रामायणं अरचयत ् ।

6. ±ÀAPÀgÁZÁAiÀÄðgÀÄ ªÉÃzÀzsÀªÀÄðªÀ£ÀÄß ¨sÁgÀvÀzÀ°è ºÀgÀrzÀgÀÄ.

Shankaracharya propagated veda dharma in india.

श< कराचाय(ः भारतॆ वैGदकधमH 6साIरतवान ् ।

7. zÉêÀgÀ C£ÀÄUÀæºÀ¢AzÀ ªÀÄÆPÀ£ÀÆ ªÀiÁvÀ£ÁqÀĪÀ£ÀÄ.

Even a dumb person an speak by the grace of god.

दॆ व+य अनु2हॆ ण मूकः अ प वाचालः भव त ।

8. ¤Ã£ÀÄ K£ÀÄ ªÀiÁqÀÄwÛgÀĪÉ?

What are you doing there?

*वं 8कं कुव(न ् अ'स ?

9. UÀAUÁ£À¢AiÀÄÄ »ªÀiÁ®AiÀÄ ¥ÀªÀðvÀ¢AzÀ ºÀjAiÀÄÄvÀÛzÉ.

The river Ganga flows from Himalaya Mountain.

ग< गानदJ Gहमालयपव(तात ् 6वह त ।

10. PÀ¦AiÀÄÄ ªÀÄgÀªÀ£ÀÄß ºÀvÀÄÛvÀÛzÉ.

Muralidhara Avadhani 104

A monkey climbs a tree.

क पः वK
ृ शम ् आरॊह त

11. F ªÀiÁ«£À ºÀtÄÚUÀ¼ÀÄ §ºÀ¼À ¹»AiÀiÁVªÉ.

These mango fruits are very sweet.

ऎता न आLाMण बहु मधुराMण सि!त ।

12. ¨sÀUÀªÀAvÀ£À°è zÀÈqsÀªÁzÀ ¨sÀQÛ¬ÄgÀ°

We should have firm devotion in the almighty.

भगव त Oढः भिKतः +यात ् ।

13. ªÀÄPÀ̼ÀÄ GzÁå£ÀzÀ°è DlªÁqÀÄwÛzÁÝgÉ.

The children play in the garden.

बालाः उ यानॆ RSड!तः सि!त ।

14. ªÀ£ÀåªÀÄÈUÀUÀ¼ÀÄ PÁr£À°è ªÁ¹¸ÀÄvÀÛzÉ.

The wild animals live in the forest.

व!यमग
ृ ाः वनॆ नवसि!त ।

15. £ÁªÀÅ EvÀgÀgÀ ¸ÉêÉUÁV §zÀÄPÀ¨ÉÃPÀÄ.

We should live to serve others.

वयं पराथH जीवॆम ।

16. «zÁåyðUÀ¼ÀÄ ¥Àæ±ÉÆßÃvÀÛgÀUÀ¼À£ÀÄß §gÉAiÀÄÄwÛzÁÝgÉ.

Muralidhara Avadhani 105
The students are writing the question and answer

व याTथ(नः 6&णॊ*तरं 'लख!तः सि!त ।

17. £Á¼É £À£Àß vÀAzÉAiÀÄÄ £ÀUÀgÀPÉÌ §gÀĪÀgÀÄ.

My father is coming to the city tomorrow.

&वः मम पता नगरम ् आग छ त ।

18. vÁ¬Ä ªÀÄvÀÄÛ vÁAiÀiÁßqÀÄ ¸ÀéUÀðQÌAvÀ®Æ zÉÆqÀØzÀÄ.

Mother and motherland are greater than heaven.

जननी ज!मभ'ू म&च +वगा(द प गरJयसी ।

19. ¨sÁgÀvÀªÀÅ «±Àé±ÁAwUÁV ¥ÀæAiÀÄw߸ÀÄvÀÛzÉ.

India vows global peace.

भारतदॆ शः व&वशा!*यथH 6यततॆ ।

20. ¸ÀA¸ÀÌøvÀ ¨sÁµÉAiÀÄ E£ÉÆßAzÀÄ ºÉ¸ÀgÀÄ VêÁðtªÁtÂAiÉÄAzÀÄ.

The other name of Samskrit language is Girvanavani.

सं कृ तभाषायाः अपरनाम गीवाणवाणी इित ।

* * *

Muralidhara Avadhani 106

 urÉÉMüUhÉ ÌuÉpÉÉaÉÈ

xÉÎlkÉÈ

1. xÉuÉhÉïSÏbÉïxÉÎlkÉÈ

स भवतीह = स भवित + इह
इवापरः = इव + अपरः

नािविज य = न + अिविज य

मयािप = मया + अिप

अथासौ = अथ + असौ

अनॆनािप = अनॆन + अिप

चासीत् = च + आसीत्

ना या = न + अ या
यॆना = ऎन + अ

भॊजनान तरम्= भॊजन + अन तरम्

इवावभाित = इव + अवभाित

कथयास यम् = कथय + अस यम्

ममानुक पया = मम + अनुक पया

ीडानताननः = ीडानत + आननः

Muralidhara Avadhani 107

2. गुणसि धः

यथॊणनािभः = यथा + ऊणनािभः

परॊपकारः = पर + उपकारः

धम पदॆशकः = दम + उपदॆशकः

स यॆव = स या + इव
दॆव षः = दॆव + ऋिषः

बलॊ म ः = बल + उ म ः

हॊवाच = ह + उवाच
O$Uवॆदम ् = O$Uवा + इदम ्

तवॊपकारम ् = तव + उपकारम ्

ममॆOशी = मम + ईOशी

महॊरगः = महा + उरगः

नॊपप यतॆ = न + उपW यतॆ

न*यॊपयॊगी न = न*य + उपयॊगी न

Muralidhara Avadhani 108

३. व ृ Yसि!धः

मैवम ् = मा + ऎवम ्

अGहंसैव = अGहंसा + ऎव

8कलैतद*ु *कम ् = 8कल + ऎतदK

ु तम ्

Zदयेनावह+यैनम ् = Zदयेनावह+य + एनम ्

वयेनैव = वयेन + एव

म*पावनायैव = म*पावनाय + एव

तवैव = तव + एव

एक+यैव = एक+य + एव

तेनैव = तेन + एव

सव(+यौषधम ् = सव(+य + औषधम ्

ना+*यौषधम ् = नाि+त + औषधम ्

आRोशेनैव = आRोशेन + एव

दश(नमा=ेणैवासौ = दश(नमा=ेण + एवासौ

अ]यापक*वेनैव = अ]यापक*वेन + एव

Muralidhara Avadhani 109

2. rÉhÉçxÉÎlkÉÈ

mÉѧÉåwuÉÎalÉwÉÑ = mÉÑiÉåwÉÑ + AÎalÉwÉÑ

oÉWÕûlrÉWûÌlÉ = oÉWÕûÌlÉ + AWûÌlÉ

lÉÉOûMüÉmrÉpÉÔiÉç = lÉÉOûMüÉÌmÉ + ApÉÔiÉç

mÉëirÉuÉSiÉç = mÉëÌiÉ + AuÉSiÉç

rÉÉuÉlirÉåiÉÉÌlÉ = rÉÉuÉÎliÉ + LiÉÉÌlÉ

MüsmÉrÉlirÉålÉÉqÉç = MüsmÉrÉliÉÑ + LlÉÉqÉç

CirÉÑYiuÉÉ = CÌiÉ + EYiuÉÉ

cÉsÉirÉåuÉ = cÉsÉÌiÉ + LuÉ

ÍqɧÉÉhrÉÉxÉlÉç = ÍqɧÉÉÍhÉ + AÉxÉlÉç

uÉåSåwuÉåuÉ = uÉåSåwÉÑ + LuÉ

3. ¶ÉÑiuÉxÉÎlkÉÈ

M×üwhÉ¶É = M×üwhÉxÉç + cÉ

xrÉÉccÉåiÉç = xrÉÉiÉç + cÉåiÉç

rɲccÉ = rɲiÉç + cÉ

ÌuɲeeÉlÉå = ÌuɲiÉç + eÉlÉå

Muralidhara Avadhani 110

4. eÉxiuÉxÉÎlkÉÈ

rÉSÉ¥ÉÉmÉrÉÌiÉ = rÉiÉç + AÉ¥ÉÉmÉrÉÌiÉ

MÑürÉÉïSÉWûÉUqÉç = MÑürÉÉïiÉç + AÉWûÉUqÉç

LiÉÉuÉSÌmÉ = LiÉÉuÉiÉç + AÌmÉ

iÉxqÉÉSÌuÉ´ÉokÉÉæ = iÉxqÉÉiÉç + AÌuÉ´ÉokÉÉæ

qɪhÉÉÈ = qÉÂiÉç + aÉhÉÉÈ

ÌuÉÍkÉuÉSÒmÉxɳÉÈ = ÌuÉÍkÉuÉiÉç + EmÉxɳÉÈ

xÉqrÉarÉÉå£üÉ = xÉqrÉMç + rÉÉå£üÉ

rÉÉuÉSWûqÉç = rÉÉuÉiÉç + AWûqÉç

iÉ®qÉïqÉç = iÉiÉç + kÉqÉïqÉç

iÉ̬lÉxrÉ = iÉiÉç + ÌSlÉxrÉ

AlrÉSåuÉ = AlrÉiÉç + LuÉ

Muralidhara Avadhani 111

७. अनन
ु ा'सकसि!धः

यावि!नशासमये = यावत ् + नशासमये

त!माम ् = तत ् + माम ्

त!नाहम ् = तत ् + नाहम ्

कि_च!मार यतुम ् = ÌMüÎgcÉiÉç + qÉÉUÌrÉiÉÑqÉç

mÉÉmÉÉ̳ÉuÉÉuÉÉUrÉÌiÉ = mÉmÉÉiÉç + ÌlÉuÉÉUrÉÌiÉ

xÉÎlqɧÉqÉç = xÉiÉç + ÍqɧÉqÉç

xuÉeÉlÉuÉ̳ÉirÉqÉç = xuÉeÉlÉuÉiÉç + ÌlÉirÉqÉç

MüÉÍcÉlqÉÑlÉåÈ = MüÉÍcÉiÉç + qÉÑlÉåÈ

WûlÉÔqÉɳÉÉqÉ = WûlÉÔqÉiÉç + lÉÉqÉ

aÉëÉqÉÉ̳ÉaÉïcNåûÈ = aÉëÉqÉÉiÉç + ÌlÉaÉïcNåûÈ

vÉoSÃmÉÉÍhÉ

1. UÉqÉqÉç UÉqÉÉæ UÉqÉÉlÉç

2. MüÌuÉlÉÉ MüÌuÉprÉÉqÉç MüÌuÉÍpÉÈ

3. aÉÑUuÉå aÉÑÂprÉÉqÉç aÉÑÂprÉÈ

4. lɱÉqÉç lɱÉåÈ lÉSÏwÉÑ

5. uÉlÉÉiÉç uÉlÉÉprÉÉqÉç uÉlÉåprÉÈ

6. qÉÉiÉÑÈ qÉɧÉÉåÈ qÉÉiÉÚhÉÉqÉç

7. UÉ¥ÉÈ UÉ¥ÉÉåÈ UÉ¥ÉÉqÉç

8. qÉlÉÈ qÉlÉÍxÉ qÉlÉÉÇÍxÉ

9. iÉålÉ iÉÉprÉÉÇ iÉæÈ

10. iÉÉqÉç iÉå iÉÉÈ

Muralidhara Avadhani 112

 11. sÉiÉÉrÉÉÈ sÉiÉrÉÉåÈ sÉiÉÉlÉÉqÉç

12. iÉxqÉÉiÉç iÉÉprÉÉqÉç iÉåprÉÈ

13. pÉuÉiÉÈ pÉuÉiÉÉåÈ pÉuÉiÉÉqÉç

14. qÉiÉç AuÉÉprÉÉqÉç AxqÉiÉç

15. ÌaÉËUÈ ÌaÉUÏ ÌaÉUrÉÈ

16. iÉmÉxÉÉ iÉmÉÉåprÉÉqÉç iÉmÉÉãÍpÉÈ

17. xÉpÉÉrÉÉqÉç xÉpÉrÉÉåÈ xÉpÉÉxÉÑ

18. Wåû SåuÉ Wåû SåuÉÉæ Wåû SåuÉÉÈ

Ì¢ürÉÉmÉSÉÌlÉ

1. xÉqpÉuÉÌiÉ xÉqpÉuÉiÉÈ xÉqpÉuÉÎliÉ

2. ÌlÉuÉiÉïiÉå ÌlÉuÉiÉåïiÉå ÌlÉuÉiÉïliÉå

3. xÉÉkÉrÉårÉqÉç xÉÉkÉrÉåuÉ xÉÉkÉrÉåqÉ

4. AuÉxÉqÉç AuÉxÉÉuÉ AuÉxÉÉqÉ

5. EuÉÉcÉ FcÉiÉÑÈ FcÉÑÈ

6. ÌlÉuÉåSrÉ ÌlÉuÉåSrÉiÉqÉç ÌlÉuÉåSrÉiÉ

7. AoÉëÑuÉiÉç AoÉëÑuÉiÉÉqÉç AoÉëÑuÉlÉç

8. aÉhÉrÉÉqÉÉxÉ aÉhÉrÉÉqÉÉxÉiÉÑÈ aÉhÉrÉÉqÉxÉÑÈ

9. sÉåpÉå sÉåpÉÉiÉå sÉåÍpÉUå

10. ´ÉÑhÉÑ-´ÉÑhÉÑiÉÉiÉç ´ÉÑhÉÑiÉqÉç ´ÉÑhÉÑiÉ

11. MüUÉåÍqÉ MÑüuÉïÈ MÑüqÉïÈ

12. mÉëSÉxrÉÌiÉ mÉëSÉxrÉiÉÈ mÉëSÉxrÉÎliÉ

Muralidhara Avadhani 113

13. iÉÑwrÉÌiÉ iÉÑwrÉiÉÈ iÉÑwrÉÎliÉ

14. mÉÉsÉrÉåiÉç mÉÉsÉrÉåiÉÉqÉç mÉÉsÉrÉårÉÑÈ

15. AmÉvrÉiÉç AmÉvrÉiÉÉqÉç AmÉvrÉlÉç

M×üSliÉÉÈ

1. uÉiÉïqÉÉlÉM×üSliÉÉÈ (vÉiÉ×mÉëirÉrÉÈ)

mÉPûlÉç mÉPûliÉÏ mÉPûiÉç

uÉSlÉç uÉSliÉÏ uÉSiÉç

ZÉÉSlÉç ZÉÉSliÉÏ ZÉÉSiÉç

WûxÉlÉç WûxÉliÉÏ WûxÉiÉç

irÉeÉlÉç irÉeÉliÉÏ irÉeÉiÉç

mÉ×cNûlÉç mÉ×cNûliÉÏ mÉ×cNûiÉç

SkÉlÉç SkÉliÉÏ SkÉiÉç

(vÉÉlÉcÉç mÉëirÉrÉÈ)

uÉlSqÉÉlÉÈ uÉlSqÉÉlÉÉ uÉlSqÉÉlÉqÉç

uÉiÉïqÉÉlÉÈ uÉiÉïqÉÉlÉÉ uÉiÉïqÉÉlÉqÉç

ÌuɱqÉÉlÉÈ ÌuɱqÉÉlÉÉ ÌuɱqÉÉlÉqÉç

sÉpÉqÉÉlÉÈ sÉpÉqÉÉlÉÉ sÉpÉqÉÉlÉqÉç

LkÉqÉÉlÉÈ LkÉqÉÉlÉÉ LkÉqÉÉlÉqÉç

´ÉÔrÉqÉÉlÉÈ ´ÉÔrÉqÉÉlÉÉ ´ÉÔrÉqÉÉlÉqÉç

vÉÉåpÉqÉÉlÉÈ vÉÉåpÉqÉÉlÉÉ vÉÉåpÉqÉÉlÉqÉç

Ì¢ürÉqÉÉhÉÈ Ì¢ürÉqÉÉhÉÉ Ì¢ürÉqÉÉhÉqÉç

Muralidhara Avadhani 114

2. pÉÔiÉM×üSliÉÉÈ (£üuÉiÉÑ mÉëirÉrÉÈ)

M×üiÉuÉÉlÉç M×üiÉuÉiÉÏ M×üiÉuÉiÉç

lÉÏiÉuÉÉlÉç lÉÏiÉuÉiÉÏ lÉÏiÉuÉiÉç

SÎlQûiÉuÉÉlÉç SÎlQûiÉuÉiÉÏ SÎhQûiÉuÉiÉç

SعuÉÉlÉç SعuÉiÉÏ SعuÉiÉç

xqÉ×iÉuÉÉlÉç xqÉ×iÉuÉiÉÏ xqÉ×iÉuÉiÉç

E£üuÉÉlÉç E£üuÉiÉÏ E£üuÉiÉç

(£ü mÉëirÉrÉÈ)

¢üÏÌQûiÉÈ ¢üÏÌQûiÉÉ ¢üÏÌQûiÉqÉç

cÉÍsÉiÉÈ cÉÍsÉiÉÉ cÉÍsÉiÉqÉç

mÉÏiÉÈ mÉÏiÉÉ mÉÏiÉqÉç

irÉ£üÈ irÉ£üÉ irÉ£üqÉç

xqÉ×iÉÈ xqÉ×iÉÉ xqÉ×iÉqÉç

3. mÉSmÉËUcÉrÉÇ MÑüÂiÉ |

ÌuÉÎeÉirÉ - srÉoÉliÉÉurÉrÉqÉç

ÍcÉÎliÉiÉuÉÉlÉç - pÉÔiÉM×üSliÉÈ

Sì¹urÉÈ - ÌuɱjÉïMü M×üSliÉÈ

¥ÉÉiuÉÉ - YiuÉÉliÉÉurÉrÉqÉç

MüiÉïurÉqÉç - ÌuɱjÉïMü M×üSliÉÈ

rÉÉå£ÑüqÉç - iÉÑÑqɳÉliÉÉurÉrÉqÉç

ÌuÉqÉ×vrÉ - srÉoÉliÉÉurÉrÉqÉç

Muralidhara Avadhani 115

uÉÉUÌrÉiÉÑqÉç - iÉÑÑqɳÉliÉÉurÉrÉqÉç

uÉhÉïrÉlÉç - uÉiÉïqÉÉlÉM×üSliÉÈ

xÉÉkÉÌrÉiÉÑqÉç - iÉÑÑqɳÉliÉÉurÉrÉqÉç

ÌuÉÌSiÉqÉç - pÉÔiÉM×üSliÉÈ

urÉÉmÉÉSlÉÏrÉÉ - ÌuɱjÉïMü M×üSliÉÈ

xÉqÉÉxÉÉÈ

1. iÉimÉÑÂwÉxÉqÉÉxÉÈ

xÉuÉïsÉÉåMüÌmÉërÉÈ = xÉuÉïsÉÉåMåüwÉÑ ÌmÉërÉÈ

kÉqÉÉåïmÉSåvÉMüÈ = SqÉïxrÉ EmÉSåvÉMüÈ

mÉUÉåmÉMüÉUqÉç = mÉUxqÉæ EmÉMüÉUqÉç

aÉÉÍkÉlÉlSlÉÈ = aÉÉkÉåÈ lÉlSlÉÈ

eÉqoÉvÉÉxÉlÉvÉÉxÉlÉÉiÉç = eÉqoÉvÉÉxÉlÉxrÉ vÉÉxÉlÉÉiÉç

ASìåvrÉqÉç = lÉ SìåvrÉqÉç

A¤ÉUqÉç = lÉ ¤ÉUqÉç

aÉ×WûqÉåÍkÉTüsÉqÉç = aÉ×WûqÉåÍkÉlÉÈ TüsÉqÉç

rÉÉSÉåÌlÉÍkÉÈ = rÉÉSxÉÉÇ ÌlÉÍkÉÈ

qÉ̲wÉrÉqÉç = qÉqÉ ÌuÉwÉrÉqÉç

xÉÔrÉÉïiÉmÉÈ = xÉÔrÉïxrÉ AÉiÉmÉÈ

Muralidhara Avadhani 116

oÉÑÌ®ûcÉÉiÉÑrÉåïhÉ = oÉÑ®åÈ cÉÉiÉÑrÉåïhÉ

AsÉokÉqÉç = lÉ sÉokÉqÉç

AÌlɶÉrÉqÉç = lÉ ÌlɶÉrÉqÉç

2. ²l²xÉqÉÉxÉÈ

SåuÉÉxÉÑUqÉlÉÑwrÉÉhÉÉqÉç = SåuÉÉlÉÉÇ cÉ AxÉÑUÉhÉÉÇ cÉ qÉlÉÑwrÉÉhÉÉÇ cÉ

vÉÉærÉïuÉÏrÉïmÉUÉ¢üqÉæÈ = vÉÉærÉæïÈ cÉ uÉÏrÉæïÈ cÉ mÉUÉ¢üqÉæÈ cÉ

SåuÉÌwÉïoÉë¼ÌwÉïUÉeÉwÉïrÉÈ = SåuÉÌwÉïÈ cÉ oÉë¼ÌwÉïÈ cÉ UÉeÉÌwÉÈ cÉ

rÉÔMüqÉiMÑühÉSÇvÉÉÌSÈ = rÉÔMüÈ cÉ qÉiMÑühÉÈ cÉ SÇvÉÉÌSÈ cÉ

eÉrÉmÉÉUeÉrÉÌlÉhÉïrÉqÉç = eÉrÉÈ cÉ mÉÉUeÉrÉÈ cÉ iÉrÉÉåÈ ÌlÉhÉïrÉqÉç

oÉÑÌ®xÉiuÉoÉsÉÉÎluÉiÉÈ = oÉÑÌ®È cÉ xÉiuÉÇ cÉ oÉsÉÉÇ cÉ iÉæÈ AÎluÉiÉÈ

aÉÉåoÉëɼhÉmÉÑUÉåaÉÉxÉÑ = aÉÉåÈ cÉ oÉëɼhÉ mÉÑUÉåaÉÉÈ iÉåwÉÑÑ

aÉÉæaÉSïpÉÈ = aÉÉæÈ cÉ aÉSïpÉÈ cÉ

3. MüqÉïkÉÉUrÉ xÉqÉÉxÉÈ

eÉå¸mÉѧÉÈ = erÉå¸È cÉ AxÉÉæ mÉѧÉÈ cÉ

SÇ·íÉ¢üMücÉålÉ = SÇ·íÈ LuÉ ¢üMücÉÈ iÉålÉ

WûxiÉÌlÉaÉQåûlÉ = WûxiÉÈ LuÉ ÌlÉaÉQûÈ iÉålÉ

qÉWûÉåUaÉÈ = qÉWûÉlÉç cÉÉxÉÉæ EUaÉÈ cÉ

lÉÏsÉpÉÑeÉXçaÉqÉÈ = lÉÏsÉÈ cÉÉxÉÉæ pÉÑeÉXçaÉqÉÈ cÉ

ÌuɲixÉZÉÈ = ÌuɲÉlÉç cÉÉxÉÉæ xÉZÉÉ cÉ

Muralidhara Avadhani 117

4. oÉWÒûuÉëÏÌWû xÉqÉÉxÉÈ

ÌlÉrÉiÉÉiqÉÉ = ÌlÉrÉiÉÈ AÉiqÉÉ rÉxrÉ xÉÈ

ÌuÉmÉÑsÉÉÇxÉÈ = ÌuÉmÉÑsÉÉæ AxÉÉæ rÉxrÉ xÉÈ

MüqoÉÑaÉëÏuÉÈ = MüqoÉÑÈ CuÉ aÉëÏuÉÈ rÉxÉ xÉÈ

qÉWûÉWûlÉÑÈ = qÉWûÉlÉç WûlÉÑ rÉxrÉ xÉÈ

qÉWûÉoÉsÉÈ = qÉWûÉlÉç oÉsÉÈ rÉxrÉ xÉÈ

ÎZɳÉaÉɧÉÈ = ÎZɳÉÈ aÉɧÉÈ rÉxrÉ xÉÈ

uÉëÏQûlÉiÉÉlÉlÉÈ = ÌuÉëQûrÉÉ lÉiÉÈ AÉlÉlÉÈ rÉxrÉ xÉÈ

xÉÇxÉÉUÉmÉåiÉcÉåiÉxÉÉÈ = xÉÇxÉÉUÉiÉç AmÉåiÉÉÌlÉ cÉåiÉÉÎqxÉ LwÉÉÇ iÉå

M×üiÉÉxÉlÉmÉËUaÉëWûÈ = M×üiÉÈ AÉxÉlÉÉlÉÉÇ mÉËUaÉëWûÈ LlÉ xÉÈ

cÉsÉoÉÉWÕûMåüiÉÑÈ = cÉsÉliÉÉæ oÉÉWÕû LuÉ MåüiÉÔ rÉxrÉ xÉÈ

ÌuɲxiÉqÉÏlÉqÉMüUÉiÉç = ÌuɲxiÉÉÈ qÉÏlÉÉÈ qÉMüUÉÈ cÉ rÉxqÉÉiÉç iÉiÉç

AmÉÉÍhÉmÉÉSqÉç = lÉ ÌuɱliÉå mÉÉhÉÏ cÉ mÉÉSÉæ cÉ rÉxrÉ iÉiÉç

AaÉÉå§ÉqÉç = lÉ ÌuɱiÉå aÉÉå§ÉÇ rÉxrÉ iÉiÉç

5. ÌuÉaÉëWûuÉÉYrÉÇ ÍsÉZÉiÉ |

ÎxjÉUÍcɨÉÈ = ÎxjÉUÈ ÍcɨÉÈ rÉxrÉ xÉÈ

qÉWûÉoÉÉWÒûÈ = qÉWûÉliÉÉæ oÉÉWÕû rÉxrÉ xÉÈ

ÌmÉërÉuÉÉSÏ = ÌmÉërÉÇ uÉSÌiÉ rÉÈ xÉÈ

Muralidhara Avadhani 118

ÌmÉërÉxÉqÉÉaÉqÉÈ = ÌmÉërÉÉlÉÉqÉç xÉqÉaÉqÉÈ

AÌlÉirÉÉÌlÉ = lÉ ÌlÉirÉÉÌlÉ

mÉÏuÉUiÉlÉÑÈ = mÉÏuÉUÈ iÉlÉÑÈ rÉxrÉ xÉÈ

uÉÉlÉUmÉÑXçaÉuÉÈ = uÉÉlÉUåwÉÑ mÉÑXçaÉuÉÈ

qÉMüUÉsÉrÉqÉç = qÉMüUÉhÉÉqÉç AÉsÉrÉqÉç

AmÉëÌiÉqÉqÉç = lÉ mÉëÌiÉqÉqÉç

xÉÉæÍqȨ́ÉÈ = xÉÑÍqɧÉÉrÉÉÈ AmÉirÉÈ rÉÈ xÉÈ

rÉjÉÉÌuÉÍkÉÈ = ÌuÉÍkÉqÉç AlÉÌiÉ¢üqrÉ

uÉÏUmÉÉhÉqÉç = uÉÏUÉhÉÉqÉç mÉÉhÉqÉç

MÑüsÉeÉÏÌuÉiÉqÉç = MÑüsÉxrÉ eÉÏÌuÉiÉqÉç

aÉ×ÌWûhÉÏlÉå§ÉÉÈ = aÉ×ÌWûhÉÏ LuÉ lÉå§Éå rÉxrÉ xÉÈ

ÌuɵÉÉiqÉlÉå = ÌuɵÉxrÉ AÉiqÉlÉå

6. xÉqÉxiÉmÉSÇ ÍsÉZÉiÉ |
aÉ×WûqÉåÍkÉlÉÈ TüsÉqÉç = aÉ×WûqÉåÍkÉTüsÉqÉç
¢üÉåkÉålÉ AÉÌuÉ¸È = MüÉåkÉÉÌuɸÈ
xuÉpÉÉarÉxrÉ sÉåZÉqÉç = xuÉpÉÉarÉsÉåZÉqÉç
qÉSålÉ ElqɨÉÈ = qÉSÉålqɨÉÈ
ÌuÉwÉåhÉ SÕÌwÉiÉqÉç = ÌuÉwÉSÕÌwÉiÉqÉç
euÉÉsÉÉlÉÉqÉç AÉuÉÍsÉÍpÉÈ= euÉÉsÉÉuÉÍsÉÍpÉÈ
qÉlÉÑeÉåwÉÑ ClSìÈ = qÉlÉÑeÉålSìÈ
xuÉxrÉ SåvÉå = xuÉSåvÉå
FkÉÉæï oÉÉWÕû rÉxrÉ xÉÈ = FkuÉïxoÉÉWÒûÈ
AuÉ¥ÉrÉÉ xÉWû = xÉÉuÉ¥ÉqÉç
ÌuÉlÉrÉålÉ AÍpÉUÉqÉÈ iÉålÉ = ÌuÉlÉrÉÉÍpÉUÉqÉÈ

Muralidhara Avadhani 119

mÉrÉÉïrÉmÉSÉÌlÉ

uÉפÉÈ = mÉÉSmÉÈ, iÉÂÈ

SØWûqÉç = aÉåWûqÉç, qÉÑSuÉÍxÉiÉqÉç

vÉ×aÉÉsÉÈ = TåüÂÈ, eÉqoÉÔMüÈ

ÌWûqÉÉÇvÉÑÈ = cÉlSìqÉÈ, cÉlSìÈ

ESMüqÉç = iÉÉårÉqÉç, eÉsÉqÉç

mÉÑUlSUÈ = ClSìÈ, eÉqpÉvÉÉxÉlÉÈ

lÉrÉlÉqÉç = lÉå§ÉqÉç

ÌuɲÉlÉç = ÌuÉmÉͶÉiÉç, mÉÎhQûiÉÈ

uÉlÉqÉç = MüÉlÉlÉqÉç, AUhrÉqÉç

vÉXçMüUÈ = vÉqpÉÑÈ, DvÉÈ

ÌuÉ®ÉjÉïMümÉSÉÌlÉ

xÉÑZÉqÉç - SÒZÉqÉç

EixÉÉWûÈ - ÌlÉÂixÉÉWûÈ

xÉeeÉlÉÈ - SÒeÉïlÉÈ

ÍxÉiÉqÉç - M×üwhÉÈ

xÉqqÉÉaÉïÈ - SÒqÉÉïaÉïÈ

vsÉÉbÉÉ - ÌlÉlSÉ

kÉqÉïÈ - AkÉqÉïÈ

xÉirÉqÉç - AxÉirÉqÉç

qÉ×iÉÈ - eÉÉiÉÈ

vÉɵÉiÉqÉç - lɵÉUqÉç

-* * * -

Muralidhara Avadhani 120