Karthama Prajapathi story.

This story is related by Siva to Narada found in the 5th adyaya of Garuda Purana. Karthama Prajapathi is the 5th son of Brahma
Once Karthama Prajapathi asked Brahma as to how he could resolve his life's problems and how to attain Moksha. Brahma then told him that due to a curse he K P had to be born in all the four varnas and he would be able to attain moksha only after that. he requested K P to go to Halathini pushkarini in the Bilvaranya kshetram and to build a pranasalai in the south west corner of the pushkarini and to undertake severe penance and pray to Lord Narayana to resolve his problems.
In Vaikuntam Goddess Mahalakshmi was a bit disappointed as her Lord was unconcerned and was keeping his eyes closed although she was repeating the names of the Lord. she therfore left his side and came to the Halathini pushkarini. there were a number of Lotus flowers in the tank she seated herself  in one of the flowers and undertook deep meditation. The Lord who knew everything also followed the goddess to the puskarini. he then closed his right eye. the flowers thinking the sun had set closed their petals except for the flower in which Mahalakshmi was meditating. as the lord and the goddess were reunited in this place the place came to be known as Alinganapuram or lakshmi puri. The goddess requested the Perumal to give Karthama darshan and to fulfil his desire as he too has been meditating on the Lord there. he is said to have blessed him saying he is destined to be born in all the four varnas. In Kiruta yuga he was Karthamar, in Treta yuga he would be born as a kshatriya named Vasu, in Dwapara he would be Vyasa Vairameyan and in Kaliyuga he would be born in an agricultural Kallar family near Bilvaranyam as Parakalan. he would worship the lord in many places and engage himself in holy acts and clense himself all all past karmas and would attain Moksha and that the god and goddess would be with him always. His story as Parakalan or Thirumangai mannan is too well known for repetition.

Anaitha velum (hugging the spear)
Thozhutha kayyium (folded hands)
Azhundia thirunamamum (Wearing the vaishnavite caste mark)
Om yenra vayum (the mouth is open as if it is repeating the Ashtakshra mantra beginning with OM)
Uyarndha tholum (with straightened shoulders)
Akandamarbum (with broad chest)
Kundanai itta konai kalum (a posture with bent knee indicating that the person is listening to the Astakshara being initiated by the Lord himself)
Ashtaksharathai ketta sevi (the ear that heard the Astakshara)
This description is given by Manavala Maamuni of his guru Thirumangai alwar at Sirkazhi.
As Vasu a kshatrya in Treta yuga The Lord Rudra tells through Narada that Vasu lived in a place called Indra puri, a demon named Indrasatru was troubling the men and also the devas. Indra and other gods aproached Lord Narayana for help they were asked to go to boolooka and meet Vasu who would help them. accordingly they went and Vasu helped them. Lord Indra was so pleased he hugged Vasu and presented him with a sword called darsanam and also a chariot. vasu then called himself Parisaran. In course of time he was afflicted with a dreaded disease called Paandu noi. nothing could cure him. one day as he was flying in his chariot presented by Indra his chariot stopped over a kshet
more to come.

Subhashita-kaustubha of Venkatadhvari

Subhashita-kaustubha of Venkatadhvari

श्रीवेङ्कटाध्वरिविरचितः

सुभाषितकौस्तुभः

Venkatadhvari, also known as Venkatesakavi and Atreya Venaktacharya is well known by his  work, “Viswagunadarsacampu”[विश्वगुणादर्शचम्पू] where he has employed a novel way of describing the weak points and strong points of places, persons and systems in the guise of a conversation between divine beings traversing India from Himalaya to Kanyakumari in a celestial gondola. He lived in the 17^th century in a hamlet near Kanchipuram, Tamilnadu. Another work of his which gained recognition is “Lakshmisahasram”[लक्ष्मीसहस्रम्],a hymn to Goddess Lakshmi which is modeled on “Padukasahasram”[पादुकासहस्रम्], the well-known work of Vedanta Desika. “Subhashitakaustubha”  is a  minor work of the author, wherein the poet has composed 101 verses of good sayings.

The genre of “good sayings” has a long history and the foremost and one of the earliest in this genre is Bhatrhari’s “Satakatrayam”[शतकत्रयम्]. “Subhashitaneevee” [सुभाषितनीवी] by Vedantadesika is another  work, which seems to have influenced Venkatadhvari in composing this.  

It is learnt that “Subhashitakaustubhah” was first published as a book in Kanchipuram more than a century ago. It was republished around 1976 in Mysore by Vidvan H.V.Nagarajarao, who is the honorary editor of “Sudharma”, the Sanskrit daily. Sri. Nagarajarao has provided a lucid commentary in Sanskrit. I have taken guidance from his commentary while translating the text into English. 

The poet starts with a customary verse of invocation.

वन्दे वाञ्छितदायि वेङ्कटगिरेर्वेदस्य चोत्तंसकम्

पुंसः कंसजितस्तदङ्घ्रिकमलं पूरेण यज्जन्मना ।

शम्भुश्शाश्वतशेखरो जलनिधिर्जाग्रद्-द्वितीयाश्रमः

संजातः सगरान्वयोऽप्यमृतवान् नाको नदीमातृकः ॥ १ ॥

I bow to the lotus feet of Lord Krishna, the slayer of Kamsa. Those feet are the crest of Venkatagiri(Tirumalai) and of the Vedas. From those feet emanated the river (Ganga) which forms the permanent crown of Siva, which caused the Ocean God to enter the marital state, which enabled Sagara’s progeny to attain salvation and which made the divine world an irrigated land. (The verse alludes to the following Puranic episodes: Ganga emanated from the feet of Vishnu and fell on the matted locks of Siva. Later as it joined the ocean, Ganga became the wife of Ocean and thus caused him to enter marital state [second  asram]. King Sagara’s progeny who had been burnt and denied salvation while searching for the sacrificial horse got salvation after Bhagiratha managed to take Ganga to flood the ashes. As Ganga became the Divine river of the divine world (svarga), svarga became a land irrigated by a river.

Land is “devamatrka” if it is dependant solely on rains for cultivation. It is “nadimatrika” if the land is served by a river for cultivation.

As the Vedas extol the Almighty, they are considered to emanate from the feet of the Lord.)

श्रीवेङ्कटार्यमखिना रघुनाथसूरेः

संप्राप्तजन्मयुगलेन यथामनीषम् ।

आतन्यते सुमनसामनसूयकानाम्

हर्षाय संप्रति सुभाषितकौस्तुभोऽयम् ॥ २ ॥

For the joy of the learned who are not jealous, this “Subhashitakaustubha” is being provided as per his intellectual abilities by Venkatamakhi, who got both his births from Raghunaathasoori ( Father gave him the second birth through the rite of upanayanam. Kaustubha is the gem obtained while churning the ocean and which is worne by Vishnu on his chest. Just as Kaustubha is the best of gems, these goodsayings are the best of the genre. Although the name of the poet is given here as Venkatamakhi, he is usually called Venkatadhvari.)

तत्तादृक्पुरुषोत्तमहृदयङ्गममिममभङ्गगुणबद्धम् ।

सुधियः साधु सुभाषितकौस्तुभमनघं परीक्ष्य नन्दन्तु ॥ ३ ॥

May the learned rejoice by carefully examining this “subhashita-kaustubha”  which touches the hearts of such great persons and which is composed of unbroken qualities.

(Through a clever use of appropriate double-meaning words the poet compares this work with that of Kaustubha gem, which is at the heart of “Purushottama” and which is strung with an unbroken[अभङ्ग] thread [गुण].)  

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Lakshmisahasram

Composed by poet Venkatdhvari of Arasanipalai near Kanchipuram consists of 1018 verses divided into 25 sections called stabakas of varying length highlighting the greatness of Goddess Lakshmi.
Sri Venkatadhvari was a staunch follower of Sri Vedanta Desika and lived in the 17th century. His  works disclose his mastery over poetry rhetorics and dramaturgy. he was the chief pandit at the court of Pralayakaveri. fourteen literary works are attributed to his authorship. the foremost them is the famous Visvagunadarsa Champu, a proso poetic composition, intended to expose the faults of the manners and customs of his time. The narration is made by two Gandharvas Visvasu and Krisanu who take a birds eye view of the countries in their ariel car. The former is generous in his appreciation of merits while the later is always critical. As a consequence of such a censure of the world around, it is said that the author lost his sight and the same was restored when he praised in thousand verses Goddesses Lakshmi. which is the present work Lakshmisahasram. another famous work by the author is Raghava Yadaveeyam. already discribed in another blog entry earlier. its a master piece too.
The salutations at the begining of the work, the work itself speaks volumes of the mental capacity of the author. a must read for the lovers of Sanskrit. a brief description of the stabakas.

Kinchithsanchitayogopi kila kinchita vanchitam.
Anchitam jothi ramarai ranjanadra vrandan chitam.

1.Aarambastabaka.ivity discloses his versatilitary act
The first stabaka starts off in 29 verses a prayer to Goddess Lakshmi and Lord Venkateswara, paying obeisance to the line of preceptors poet Valmiki, sage Parasara. expressing his mental anguish and prays for an easy flow of a thousand verses by her side glances which confer great positions.
2.Atha Pradurbhava stabaka.
In23  verses the poet describes the magnificent appearance of goddess Lakshmi from the milky ocean that was churned. Two gems arose one the Kaustubha a hard one and another Lakshmi the soft one. Lord Shiva who adorned the crescent moon that came up first, beheld the goddess Lakshmi rising up afterwards and thought it was another moon without blemish and in order to dislodge the first is said to have gently shaken his head.
3. Atha Vakshastala vastana stabaka.
In 23 verses the poet states that the reason for the goddess adorning the chest of the Lord was compassion. its an excellent fortune that cannot be gained by anyone. She is equal to the life breath of the Lord. she is the destroyer of all the sins the author accumulated by treading the unrighteous paths. He  says the Lord God desires not to cause any fatigue to the gentle goddess on account of his association, but he could not control the horripilation on his body on account of her contact.
4.Atha Karunaya stabaka.
This stabaka in 23 verses fancies whether the goddess had manifested in the form of compassion, as she has shown compassion to Kakasura and so would definitely be compassionate to the poet, just as it had been to the tail of Hanuman by her grace. the poet hopes that she be gracious to him who tormented by the heat of mundane existence. Lord Vishnu gains his power from the grace of the goddess. the munificent good fortune that the yogins gain after many penances. so too he gains by the grace of the goddess on account of his penury.
5.atha Kataksha stabaka.
In 64 verses the poet describes the greatness of the side glances of the goddess. he states that her glance even for a moment would confer the benifit of the glances of Lords siva, vishnu and Indra. Her glances would yield birth in a good family, good knowledge, steady fortune,undim inishing ability to compose verses, devotion towards Lord Vishnu, good progeny and fame.
6. Atha Prayatna stabaka.
In 39 verses the poet describes the efforts by Lord Vishnu for gaining goddess Lakshmi, describing the events of the Ramayana, the poet says in order to amuse the bow of god of love, namely the eyebrows of the goddess, Rama has broken the bow of Lord Siva and in order to substantiate the injunction that one has to yearn for fortune from the fire god, Rama obtains the goddess  from the fire.
7. Atha Mangala stabaka.
In 13 verses the poet describes the auspicious nature of the goddess. her compassionate glances are capable of redeeming one from the mundane existence.When Indra lost his fortune he regained the same by glorifying the goddess.
8. Atha Soundarya stabaka.
In this stabaka consisting of 235 verses the poet describes the beauty of the goddess and her form.
9. Atha Sringara stabaka.
In 50 verses the gentle nature of the goddess and her amorous sports are described.
10. Ata Aishwarya stabaka.
In 19 verses is described the glory of her greatness and how she too has been with the lord in all his manifestations, as sita in Rama avatara as Rukmini in Krishna avatara as dear skin in dwarf manifestation etc.
11. Atha shanti stabaka.
In 30 verses the poet prays to the goddess to forgive his offences. he says that there is no other prop for him except the goddess for protecting him from the wraths of Lord Vishnu for his offences. What is the use of speaking much about other matters? he requests the goddess not to count his faults and free him from mundane existence. A big piece of Iron swallowed cannot be digested by the decoction of dry ginger. similarly the explanations laid down in the vedas are not capable of removing the mighty sins committed by him. Only the gracious pardon by the goddess can accomplish it.
12. Atha Utsava stabaka.
In 50 verses the poet Venkatadhvari sings the glory of the goddess. The celestials and men do not get satisfied in beholding the goddess having the grace of the inside of the lotus united with the God. IN the festivities of the goddess the Lord Brahma extols her with his four faces. the poet describes the efforts of the gods in extolling her. he says one who does not hasten to behold the festival of the goddess, the eyesight of such a person is fruitless.
13. Atho Dharya stabaka.
In 20 verses he describes the greatness of the lofty heart of the goddess. he says it is possible to sing the glory of the goddess only by Agastya who drank the ocean, Hanuman who crossed the ocean, and Lord Vishnu who reposes on the sea. There is no doubt that the goddess has a noble disposition of conferring the desired favour. The testimony for that is the Lord Venkateswara in whom rests the goddess. the moon can offer only its digits, Sibi a piece of flesh, the clouds water but the goddess alone offers more than the desired.
14. Atha Yamaka stabaka.
in 61 verses the poet Venkatadhvari has employed the technique of repetition of groups of letters conveying different meaning glorifying the goddess. He prays the goddess to destroy quickly his sins. One who sings the thousand names of the goddess with purity would be described by the learned in the vedas as equivalent to Yajnavalkya and others.
15. Ata Nakshatra mala stabaka.
In 28 verses the poet has sung the praise of the goddess each verse containing the name of an asterism. The poet prays to the goddess to redeem him from mundane existence with her side glances glorified as the steps leading to Vaikuntha. He prays to the goddess to tell secretly "You save this person in distress" in the ears of lord Vishnu engaged in the tasks such as creation of the world etc.
16. Atha vichitra stabaka.
in 11 verses the poet describes the wonderful episodes relating to the goddess.The exponents of logic have stated how the inference that fire is cool has been annulled by perception. But the compassion of the goddess in making the fire on the tail of Hanuman to become cool is wonderful.
17.Atha Namavaibhava stabaka.
In 42 verses is explained the glory of the names of goddess Lakshmi. In verse two he states that he is singing the glory of the cool and tender names of the goddesses with a tongue tormented by singing the glory of vassal kings. He requests the goddess to accept his singing of her glory to expiate the misdeeds such as glorifying the wicked.
18. Atha Sadanavaibhava stabaka.
In 40 verses poet Venkatadhvari glorifies the excellence of the abode of the goddess.Since Lord Vishnu stayed in the mud while rescuing the earth during his manifestationas a Boar, the goddess also resides in the lotus born out of mud. Since the word kamalam denotes both water and lotus let the two be treated alike. but he says the Lotus which is the abode of goddess Lakshmi is Specially glorified than the water that is the abode of the first being.
19. Atha bhistabaka.
in 30 verses describes the nature of the goddess Mahalakshmi offering refuge. The lord took the form of the man lion in order to remove the fear of Prahalada. The poet says it was the goddess that softened the fierce nature of the God by graceful words. He also explains the repetition words which give different meaning eg. the answer for the question lies in the question itself.verse 30 the Kaka abhaya prada is the question for which the solution is kakabhayaprada. meaning who gives protection and the one who gave protection.
20. Atha Parisanghaya stabaka.
In 30 verses begins with the statement that other gods get the power of offering protection by the grace of the goddess. he states that he is not interested in glorifying the planets which become exalted by change in their positions only and glorifies the goddess who is always soft in her temperament. He says does a person desirious of crossing the ocean get hold of the lump of grass discarding the boat? so also a person desirous of getting moksha does not glorify other gods other than goddess Lakshmi. another example he gives is a person that had gained a good fortune would not approach a miser for favour.
21. Atha Dashavatara stabaka.
In 36  verses the poet says that the grace of the goddess is the cause of the ten manifestations of Lord Vishnu. Since Lord Vishnu killed Hiranyakasipu assuming the form of man lion panchasya, the later had born with ten heads Ravana. Lord Vishnu killed him with Brahmastra for having offended the goddess. thus he has described the manifestation as Rama. Describing the manifestation as Krishna the poet points to the similarity of the complexion qualities etc between the goddess and lord Krishna. He employs the names of the ities Ayodhya, Maya Haridvara, Kasi, mathura etc. he goes on saying the goddess is of the form of the seven cities offering beatitude.
22. Atha Chitra stabaka.
In different poetic compositions he glorifies the goddess adorning the different ornaments. he has applied the technique of chitra kavya to do so where the first line read in the reverse order in the second line. Chakra bandha, sixteen petaled lotus, verses composed of single letter and two letters etc.
23. Atha sankeerna stabaka.
In 30 verses the poet describes the goddess of having all the qualities.The goddess shines as the Vidarbhi style of composition possessing the ten qualities such as audarya etc. Similarly she is verily the dramatic composition, logic, grammar, liturgy texts etc. She is the herb, potent medicinal globules, the Parijata etc. he doubts if she is the Hamsa, Maina or the jewel box.
24. atha Nirveda stabaka.
In 12 verses the poet describes his mental anguish and prays to the goddess to pluck all his grief.
25. Atha Phala stabaka.
In 18 verses the poet describes the benefit of composing this poem. he compares his hymn to the wish yielding tree Kalpa vriksham. In the concluding verse he explains the specialities of his hymn.
All the slokas are easy reading and beautiful to recite.

He has to come.

The Frenzy the devotion the love the trust the anchor the all is him so the devotee trusts. its such a great leveller the visit to Tirumala, every stone every pebble every leaf and every flower every devotee child man and women seem to be charged with a special something which abounds in plenty on the great hills. it fills ones heart with a special joy. for one who would visit at a drop of a hat this was a much looked forward to visit  especially when the last months was missed. its great to see the people thronging to the temple and activities all round the simple things we do in life has so much meaning when done there even walking to the temple and being among the frenzied devotees. a small girl of around eight or nine immediately behind us started a bhajan of Govinda nama and the crowd followed she went on for almost about ten minutes and in different pitch and tunes and all the people joined in to repeat even children exhibit so much pure love and devotion whats the magic my lord. being a maharashtrian she ended with  saying Ganapathy bapa and the crowd said maurya and then every one laughed and tapped her on her head. every visit is a different experience. there is so much happening there he for sure has to come to be with the devotee to support and kindle the dormant mind. the vibrations are so strong the crowd so huge every one is humbled only his wish reigns. humble is the only tool to work there no matter who you are from where you are. there you are just another number the power of the all mighty can be seen at work there and so i simply enjoy every visit and look forward to the next. 

Abhijnaanashaakuntalam Natakam (Mahakavi Kalidasa)

किमिव हि मधुराणां मण्डनं नाकृतीनाम्

Kimivahi madhuraanaam mandanam naakriteenaam?

Which is not an adornment for a beautiful form? (Anything can add to the beauty if one has a beautiful form)

सतां हि सन्देहपदेषु वस्तुषु

प्रमाणमन्तकरण प्रवृत्तयः

Sataam hi sandehapadeshu vastushu

Pramaanam antahkarana pravruttayah

For people of character, when in a dilemma whether a particular conduct or deed is good or bad, their own inner voice or conscience is the final arbiter.

अर्थो हि कन्या परकीय एव

Artho hi kanyaa parakeeya eva

A girl child is another man’s property and she is held in trust by the parents.

औत्सुक्यमात्रमवसाययति प्रतिष्ठा

Autsukyamaatramavasaayayati pratishthaa

When one gets recognition, the enthusiasm which was there while endeavouring to get that recognition, cools down.

अनुभवति हि मूर्ध्ना पादपस्तीव्रमुष्णं ।

शमयति परितापं छायया संश्रितानाम् ॥

Anubhavati hi moordhnaa paadapasteevramushnam

Shamayati paritaapam chchhaayayaa samshritaanaam

The tree bears the intense heat on its head while it lessens the heat for those who take shelter under it.

भवन्ति नम्रास्तरव फलोद्गमैः

नवांबुभिर्भूमिविलंबिनो घनाः

अनुद्धताः सत्पुरुषा समृद्धिभिः

स्वभाव एवैष परोपकारिणाम्

Bhavanti namraastarava phalodgamaih

Navaambubhirbhoomivilambino ghanaah

Anuddhataah satpurushaah samriddhibhih

Swabhaava evaisha paropakaarinaam

Trees laden with fruits bend down so that people may pluck and enjoy the fruits. Clouds laden with water come down in the form of rain cooling the earth and watering plants and trees. In the same way noble men do not become conceited when fortune embraces them but use their wealth to help others. This is the nature of persons who are always eager to be of help to fellow humans.

स्रजमपि शिरस्यन्धः क्षिप्तं धुनोत्यहिशंकया

Srajamapi shirasyandhah kshiptaam dhunotyahishankayaa

One who is blind throws away even a garland of flower placed on his head, thinking it is a snake. 

Raghuvamsam (Mahakavi Kalidasa)

हेम्नः संलक्ष्यते ह्यग्नौ विशुद्धि: श्यामिकाऽपि वा ।

Hemnah samlakshyate hyagnau vishuddhih shyaamikaapi va.

The purity or otherwise of gold can be tested only when it is put through the fire.

क्रिया हि वस्तूपहिता प्रसीदति ।

Kriyaa hi vastoopahutaa praseedati.

Knowledge imparted only to a fit recipient will yield the desired result.

पदं हि सर्वत्र गुणैर्निधीयते ।

Padam hi sarvatra gunairnidheeyat.

Good qualities put their footprints everywhere.

भिन्नरुचिर्हि लोकः ।

Bhinnaruchirhi lokah.

People have varied tastes, likes and dislikes.

मरणं प्रकृतिः शरीरिणां विकृतिर्जीवितमुच्यते बुधैः ।

क्षणमप्यवतिष्ठते श्वसन् यदि जन्तुर्ननु लाभवानसौ ॥

Maranam prakritih shareerinaam vikritirjeevitamuchyate budhaih.

Kshanamapyavatishthate shwasanyadi janturnanu laabhavaanasau..

Wise men say that death is a natural thing for the embodied soul whereas life is accidental. Even if one is able to breathe and be alive for a second, it should be considered as a gain.

स्वशरीरशरीरिणावपि श्रुत संयोग विपर्ययौ यदा ।

विरह्ः किमिवानुतापयेत् वद बाह्यैर्विषयैर्विपश्चिताम् ॥

Swashareerashareerinaavapi shruta samyoga viparyayau yadaa.

Virahah kimivaanutaapayedvada baahyairvishayaih vipashchitaam..

When the union and separation of the body (shareera ) and the indweller of the body (shareeree, Jiva) is common knowledge, how could the separation (viraha) from external entities cause grief to a wise person?

kalidas

Kumarasambhavam (Mahakavi Kalidasa)

विकारहेतौ सति विक्रियन्ते येषां न चेतांसि त एव धीराः ।

Vikaarahetau sati vikriyante Yeshaam na chetaamsi ta eva dheeraah.

Only he can be considered a dheera ( a person of courage) whose mind is not disturbed or overcome by emotions even in the presence of objects of temptation.

प्रायेण सामग्र्यविधौ गुणानां

पराङ्‌मुखी विश्वसृजः प्रवृत्तिः॥

Praayena saamagryavidhau gunaanaam

Paraangmukhee vishwasrijah pravrittih

In most of the cases, the Creator Brahma is reluctant to assemble all the good qualities in one place (person). (The idea is even the best of men will have a few failings).

क ईप्सितार्थस्थिरनिश्चयं मनः

पयश्च निम्नाभिमुखं प्रतीपयेत्॥

Ka eepsitaartha sthiranishchayam manah

Payashcha nimnaabhimukham prateepayet

Who can reverse the course of two things, namely, the mind which is steadfastly clinging to the desired object and water which always flows from higher level to lower level?

शरीरमाद्यं खलु धर्मसाधनम्

Shareeramaadyam khalu dharmasaadhanam

The human body is the first instrument for treading the path of dharma

न रत्नमन्विष्यति मृग्यते हि तत्

Na ratnamanwishyati mrigyate hi tat

A valuable diamond does not seek, it is only sought after.

अलोकसामान्यमचिन्त्यहेतुकं

द्विषन्ति मन्दाश्चरितं महात्मनाम्

Alokasaamaanyam achintyahetukam

Dwishanti mandaashcharitam mahaatmanaam

Fools deride the character of great souls whose conduct and behaviour are different from those of ordinary mortals who cannot think of possible reasons for such difference.

प्रायः प्रत्ययमादत्ते स्वगुणेषूत्तमादरः

Praayah pratyayamaadatte swaguneshoottamaadaarh

Respect or recognition by men of noble character instills into one a belief in one’s own good qualities.

याच्ञा मोघा वरमधिगुणे नाधमे लब्धकामा

Yaachjnaa moghaa varamadhigune naadhame labdhakaamaa

Begging of a noble person and not getting what one wants is much better than begging of a mean person and getting what one wants.

रिक्तः सर्वे भवति हि लघुः पूर्णता गौरवाय

Riktah sarve bhavati hi laghuh poornata gauravaaya

Empty ( of wealth, knowledge, good qualities etc) one loses dignity and respect in society. Fullness ( of wealth, knowledge, good qualities etc.) , on the other hand, gives one dignity and respect in society.

आपन्नार्तिप्रशमनफलाः सम्पदो ह्युत्तमानाम्

Aapannaartiprashamanaphalaah sampado hyuttamaanaam

Noble souls use their wealth for the purpose of wiping out the misery and suffering of those overcome by misfortune.
  

कस्यात्यन्तं सुखमुपनतं दु:खमेकान्ततो वा

नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण

Kasyaatyantam sukhamupanatam dukhamekaantato vaa

Neechairgachchhatyupari cha dashaa chakranemikramena

There is none who is always happy and comfortable and none who is always unhappy and miserable. Happiness and sorrow alternate like the rim of a wheel which goes up and down.

Sanskrit quotes.