Vivekamahima (Greatness of wisdom.)

These  are from Kiratarjuniya of Bharavi, which is one of the five Maha kavyas. this work in 18 cantos, narrates the story of the duel between Siva disguised as a Kirata (hunter) and Arjuna. Bharavi's work is acclaimed as one pregnant with meaning, but his style is recondite and hard to break, just like a coconut which has to be broken open before reaching the kernel which in its turn has to be crushed hard for tasting its juice.
A man should not do an act suddenly. Indiscretion is the highest source of calamities. Riches, in their fondness of merits do of their own accord seek a person who does things after deliberation. 
(A good deal of deliberation is necessary before launching upon an action.)

One who patiently showers the waters of discrimination over the seeds of duties, does always command a fruitful engagement as people would a fruitful harvest season.
(Deliberation and patience pay.)

Chaste learning adorns the body. Tranquility is its adornment. Valour is the adornment of tranquility. and it is one that is adorned by success achieved through diplomacy.
(Deliberation leads to sure success.)

In the tough procedure of duties, obscured by the darkness of the conflict of ideas, the science, well practised and definitely pursued, causes to men of discrimination an illumination of the things to be done as a well equipped bright lamp would cause an illumination of the objects near by.
(The pursuit of policy should be shaped according to the science of politics.)

To those who give their mind to the path trodden by great men of covetable qualities, even a downfall caused by fate is not the root of their fault, and is equal to prosperity.
(If even after scientific deliberation a man fails due to the frown of fate, it is no fault of his and people will not condemn him.)

Person's desirous of conquest, conquer the force of anger, calculate the great outcome of benefits of a blemishless future, bear safe principles on their valour.
(Victorious persons follow principles.)

The darkness of rage should first be dispelled by his intellect by one desirous to rise to prosperity. Even the Sun does not rise without dispelling the darkness of night with his lustre.
(Control of anger is the sign of prosperity.)

Ambrosial Music (Amaruta Gitam)

Krishna Karnamrta of Lilasuka, a popular lyric in South India. The Author was an ardent votary of Sri Krishna. He very often went into trances singing his praise and glory. He is said to have flourished in Malbar. This lyric is noted for its music, harmony, melody, rhythm of dance. The chimes rhymes and alliterations make the reader rejoice with ecstacy. This lyric even from the purely literary point of view, or the spiritual point of view, belongs to a very high order. In this collection the following 8 form the cream of the impressive work.

Tarunaruna karunamaya vipulayata nayanam.
kamalakuca kalasibhara vipulikrta hrdayam (pulakam)
muralirava taralikrta munimanasa nalinam
mama khelati madacetasi madhuradhara mamrtam.

(that Nectar incarnate with eyes wide, reddish and full of compassion, horripilating at the sight of the bosom of Lakshmi, with delicious lips generating the notes of flute that causes the lotus hearts of yogis to wave with delight, sports in my maddened heart)

Kara kamaladala dalitalalita taravamsi
kalaninadagaladamrta ghanasarasi deve
sahajarasa bharabharita darahasita vithi-
sata tavaha dadharamani madhurimani liye.

(I am lost in contemplation of the God who is the very fountain, from whom flows the nectar like current of sweet sounds of the graceful flute which gently tilts to the pressure of his lotus hands; and in whose beautiful underlip adorned with the most natural and graceful of smiles, lies the very essence of sweetness.)

Cikuram bahulam viralam bhramaram
mrdulam vacanam vipulam nayanam
adharam madhuram vadanam lalitam
capalam caritantu kada nubhave.

(The dense knotted hair, the curls that hang on the forehead, the soft speech, the eye glowing wide, the juicy sweet underlip, the most lovely face and the fickle action; all these when shall i experience?)

Premadam ca me kamadam ca me
vedanam ca me vaibhavam ca me
jivanam ca me jivitam ca me
daivatam ca me deva na param.

(You are the one who grants me knowledge insight lordship grace and all that I desire. You are my life, my life's support; Oh Lord! You are my God none else.)

Mandam mandam madhuranina dairvenuma purayantam
brndam brndavanabhuvi gavam carayantam carantam
chandobhage satamakha mukhadhvamsinam danavanam
hantaram tam kathaya rasane gopakanya bhujangam.

(Oh my tongue, sing on Him the lord of Gopikas, who gently, with sweet sounds fills the flute, who in Brindavana walks on grazing before Him the herd of cows, who in the Vedas is glorified as the slayer of  demons intent on spoiling the sacrificial rites of Indra.)

Anganamangana mantare madhavo
madhavam madhavam cantare nangana
ithamakalpite mandale madhyagah
Sanjagau venuna devaki nandanah.

(Between damsel and damsel was a Madhava and between Madhava and Madhava was a damsel: in a circle thus arrayed, standing in the centre son of Devaki played upon His flute.)

{this is a verse of Rasakrida or rasalila. The central theme ofthis "great sport of Blissfulness" is most beautifully presented in this stanza. It concretises the central sports of universal dance. the picture is of a huge array of couples - of angana and Madhava, of Madhava and Angana - each couple dancing for pleasure, madly engrossed in sports and dancing in response to the music played by the person in the centre. he is the offspring of the Divine mother Devaki, however, has no Angana close to him. Here is an allegory. The one Madhava, the lord of 'Ma' Lakshmi or of Maya becomes many in each universe. each Madhava i.e. each individual (Purusha) gets into bondage with Angana (matter) each individual thus is a combination of spirit and matter. Until this matter bound Purusha (spirit) perceives the pure self, he clings to matter and keeps on dancing. The moment the Jiva turns his eyes to the centre, looks within his heart, sees the Lord there and hears his music - that moment his blind dance ceases, he realises his kinship with the central Krishna.the Rasalila thus symbolizes the eternal activity in the manifested universe of matter and spirit.}

Kasturitilakam lalataphalake vaksahsthale kaustubham
nasagre navamauktikam karatale venum kare kankanam
sarvange hari candanam ca kalayan kanthe ca muktavalim
gopastri parivestito vijayate gopala cudamanih.

(Wearing the Kasturi tilakam upon His forehead, the Kaustubha gem upon His chest and the lustrous fresh pearl ornament at the tip of His nose, holding the flute in His hand adorned with wristlets, with sandal paste all over His body, with a string of pearls on His neck and surrounded by cowherd damsels, He the ornament of the cowherd race, triumphs for ever.)

Angulya kah kavatam praharatikutile madhavah kim vasanto
nacakri kim kulalona hidharanidharah Kim dvijihvah phanindrah
naham dharahimardi kimasi khagapatimo harih kim kapindrah
ityevam gopakanya prativacana jitahpatu vascakra panih.

("Who taps the door with his finger?" "You crooked naughty girl! It is Madhava". "Who? Spring season?" "No the wielder of the disc wheel!" "Who? the potter?" "No! the hearer of the earth!" "Who? the double tongued King of serpants?" "NO! I am the vanquisher of the terrible serpent Kaliya!" "Oh! Are you the King of birds?" "No I am Hari!" "What? the chief of monkeys?" -May He that bears the disc in His hand, and who was in conversation thus outwitted by the cowherd damsel, protect us!"

Dravida Subhashitani.

Subhashitas are the sacred sayings which guide us by preaching values of life. Su - bhashita means well said. There are many books and literature from various poets and laureates. The following are from Tirukkural of Tamil Literature.
Righteousness (Dharma) Indeed that is termed as Dharma whichever is done according to conscience. Verbal, physical and other external actions are only after that.
Mercy (daya) The prosperity of those bereft of mercy will be of use in achieving only selfish ends. Ah! Even the body of those with compassion is meant for the service of others.
Guest (Atithi) The householder, who having offered the hospitality to the guest already visited, waits for the incoming guest, indeed, such a person is awaited by the Gods.
Soft Words (Santvavachanam) When a great fruit is inherent in soft words, speaking harsh words is comparable to chewing the unripe fruit while ripened fruit is at hand.
Helping others (Paropkara) Forgetting the help rendered by others even a little is not proper, but it is better to forget at once the harm caused by others.
Control (Sama) A man like a tortoise, keeping under control all his five senses, enjoys greater fruit arising out of his past seven births.
Good conduct (Susilam) If one does not practice the good conduct idealized by great people, he is called a fool despite his expertise in all the Sastras sciences.
Fame (Kirti) How could he, who is not accomplished with fame, without criticizing himself, criticize others who find fault with him?
Compassion (krpa) An intelligent person should at once consider himself as oppressed by a mightier person than him, before proceeding to oppress a weak person.
Some of the following are from Bhartrhari's Nitisatakam.
In praise of the preceptor (Guru Prasamsa) Salutations to that great preceptor, by whom the eye of one blinded by ignorance is opened by applying the collyrium-brush of wisdom.
In praise of Truth (Satya prasamsa) One should always speak the truth and speak also pleasing words. (But) one should not speak the truth if it is unpleasant. Similarly one should not speak pleasing untruth. This is the eternal virtue.
Fate (Vidhi) What must stay would stay, like the water in the coconut (one cannot perceive through eyes the source of the water in tender coconut) what must go off would go off like the content of the wood apple swallowed by an elephant. (there is a reliable convention that the elephant swallows the wood apple in full form and excretes as it is, without any break in it. But when it is broken, what is surprising  is nothing remains inside.)
Success of an action (Karya Siddhi) One should not divulge by words an action contemplated in the mind. One should keep it a secret like protecting a secret mantra and declare to others only the success in action.
Effort (Udyama) The goddess of wealth goes near a lion among men (who is clever and diligent in action) The weak minded people speak of fate as all important. Disregarding fate make human effort to the best of your ability. When an effort is made and if it does not succeed what is the fault here?
Ornament of speech (Vakbhushanam) Neither the bracelets nor the necklaces that are lustrous like moon nor the bath nor the cosmetics nor the flowers nor the braid well decorated, adorn a person. Speech alone which is grammatically perfect adorns well a person. Indeed all ornaments do perish. But the ornament of speech alone is a constant ornament.
Greediness (lobha) those who are the servants of Desire are really the servants of the entire world. But those to whom the Desire is a maid servant, the whole world serves as a servant.
Contentment (Trpti) Serpents drink air and they are not weak. Wild elephants sustain on dried grass and are indeed strong. great sages pass their time with fruits and roots. therefore contentment alone is the superior wealth of man.
Firmness (Dhairyam) Weak minded people do not begin an action being afraid of obstacles. Mediocre people, having begun an action, when confronted with difficulties stop the work. But people of noble character, having undertaken a task, though confronted by obstacles again and again do not leave it. (They get success)
The Heroic (Tejasvi) A lion though a cub, pounces on elephants temples dirty with rut. this is the nature indeed of the people of high calibre. Age is not the reckoning factor for the heroic.

Sahasranama.

Sahasranama means a thousand names usually refers to Vishnu Sahasranama which is universally popular. The chanting of Vishnu sahasranama is prescribed as a means for the realisation of all kinds of desires - be they desires of worldly pleasures or heavenly bliss. The experience from people from early times proves that it is true.Phala sruti or the section towards the end which declares the benefits of chanting of Vishnu Sahasranama as a sure means for the attainment of all ends. 
the scheme of Vishnu Sahasranama at its opening proves that it belongs to the Sattvika class of works. The great Mahabharata war was over. Bhisma  the great warrior, was lying on a bed of arrows waiting for an auspicious time for shedding his body. He was an inexhaustible mine of all knowledge and wisdom. sri Krishna, who knew that with the death of Bhisma there would be an eclipse of all knowledge, did not want that it should happen. so he commanded Yudhisthira to go to the bed side of Bhisma so that he could receive instruction from him. Yudhisthira accordingly went to the place where Bhisma was lying and after saluting him requested him to enlighten him on the different dharmas. Bhisma was pleased and began to expound Raja Dharma, Stri Dharma, Moksha Dharma and so on. Yudhisthira continued to listen to the flow of the knowledge of the pure and purifying dharma from Bhisma and it increased his desire to learn more.
Yudhisthira said to Bhisma, "Revered Sir, you spoke to me about various dharmas. but I wish to know from you : Which is the Supreme Deity in this world? Which is the highest goal of attainment? By the praise of worship of which again will a man achieve all auspicious things? Above all which in your opinion is the highest of all dharmas? which is the means by which a man can attain the release from the bondage of this earth?"
to this question of the wise Yudhistira the reply of the all knowing Bhisma was as follows:
"Vishnu is the supreme Deity. He is the creator of all this universe and at the time of deluge it disappears into Him. Vishnu is the highest goal of Attainment since He is the purest of the pure, most auspicious of the auspicious, and most shining of shining. Bhaktiyoga is the means by which those who are competent can attain Him. But in regard to the destitute, the chanting of the thousand Names of Visnu is sufficient and it will grant all their desires. And in my considered opinion this is the greatest of all Dharmas."
Then Bhisma proceeded to describe the thousand names of Vishnu which go to make the Vishnu Sahasranama. 

Vyuhantra

The 12 forms or Vyuhantra emanate from the four Vyuha forms,  three from each. Kesava, Narayana and Madhava take their origin from Vyuha- Vasudeva. Govinda, Vishnu and Madhusudana come from Samkarshana. trivikrama, Vamana and Sridhara are born of Pradyumna. hrsikesa, Padmanabha and Damodara emanate from Aniruddha. Every one of the 12 deities has some special features and weapons and is to be meditated upon having a fixed place on the human body where the twelve caste marks Urdhva pundra are to be worn. 
Description of the 12 vyuhantras.
Kesava is of golden hue and has four chakras (discus) as weapons in his four hands. 
Narayana has the blue colour of the cloud and four conches.
Madhava is represented as being gem coloured and wielding four maces.
Govinda is moon coloured and bears four bows.
Vishnu has the colour of the lotus filament and holds four ploughshares in his hands.
Madhusudana is lotus coloured and is characterised by the possession of four pestles.
Trivikrama sparkles like fire and wears four swords.
Vamana has the hue of the rising sun and is bedecked by four vajras (thunderbolts).
Sridhara, lotus coloured bears four shields.
Hrsikesa is like lightning and has four hammers.
Padmanabha has the lustre of the sun and wields five weapons.
Damodara with the colour of insect Indragopa (Silk worm) is represented as having four nooses in four hands.
Sri Vedanta Desika in a poem named Pannirunamam describes the forms colour and the weapons of the twelve deities and the parts of the human body over which they preside on the painted caste marks. Figures answering to the above description are found carved at the top of the wall near the western entrance of Chandra puskarini  in the temple of Sri Ranganatha at Srirangam.
The four vyuhas are meditated upon in four divine planes with attributes and qualities suited to each. The four planes which are like the four states in the life of the human beings are;
1. Jagrat or the waking state when the senses are functioning.
2. Svapna or dream state, when the mind alone is active.
3. Suspati or the state of dreamless sleep, when even the mind does not function.
4. Turiya or the fourth where even the breathing is suspended as in the state of unconsciousness.
The differences arising from planes like the waking state have been summarized by Parasara Bhattar in the Sri Rangaraja Stava:
Jagrat-svapna-atyalasa-turiya
praya-dhyatr-kramavad upasyah
swamin1 tattad-guna-paribarhah
caturvyuham vahasi caturdha.
O Lord! Of those that meditate on Thee, some are like those in the waking state, some like those that dream in sleep, others like those that sleep without dreams, and others still are like those that have fallen into a swoon. In the same way. O Lord, thou art in four forms and dividest thyself into four forms and are meditated upon with attributes and weapons suited to each.
Jagrat, Svapna, Susupti and turiya are states in man in the ordinary world, according to the greater or lesser activity found in each. The Turiya state is like that in a swoon when even the breath is suspended, wheras in the Susupti state the man just breathes. In the Svapna his external senses cease to act, only the mind is active. In the Jagrat state both the mind and the external senses act.
These four parts with four Vyuhas in each correspond to the four stages of development that may be found in the worshipper who meditates on them. On the lowest stage of meditation, there is no full control of the external senses and the mind. In the second stage of development, control of the external senses has been obtained, but not of the mind. In the next stage the mind too has been controlled and the man who meditates is seen just breathing in and breathing out with no other activity or sign of life. In the last or perfect development of meditation, he is like one in a swoon, not even breathing in or out.
In the temple of Lord Ranganatha at Srirangam, the pillars of Arjun Mandapa (in front of the Sanctum Sanctorium) and of Revati Mandapa to the east have been so carved as to represent the four stages mentioned above and are therefore suggestive of the Vishaka stamba described in the Lakshmi Tantra.
The Vishaka stamba consists of four parts called respectively Jagrat waking state, Svapna the dream state, Susupti the dreamless sleep and Turiya the fourth stage. continuing from the bottom upwards, in the parts called Jagrat sthana, which is somewhere above the base of the column, there are four divine forms on the four sides called respectively Vasudeva, Samkarshana, Pradyumna and Aniruddha facing the east, the south, the west and north and shining like branches around that part of the column. This collection of four forms is called Jagrat Vyuha. The activity of this Vyuha is creation, maintenance and destruction of the world. The four forms are bright in colours white, red and the like. They have also arms or weapons.
Above this part of the column is the part called Svapna sthana. Here too there are four divine forms Vasudeva, Samkarsana, Pradyumna and Aniruddha shining like branches and facing as before the east, the south, the west and the north. this collection of four Vyuhas in the second part of the column from below is called Svapna Vyuha. These four forms have no activities like creation etc but have only the will to do so. their colours too are not so bright as those of the lower vyuhas, they have weapons, but no banners and other accessories.
Above the swapna sthana which is the second part from below is the third part of Susupti sthana. here too they are four divine forms with the same names and the same order, this collection of four is called Susupti vyuha. These forms have neither activities nor even the will or the desire to act. They have just the experience of their own bliss and nothing else. In the form of Vasudeva which is like a branch of the column shooting on the eastern side there is no such thing as a body with limbs and the like, and it shines with all the six qualities. the other three forms Sankarshana and the like on the other three sides have a body with hands feet and the like. But they have no weapons. these forms have no colours.
The upper most or fourth part of the column known as Turiya sthana has also similar four forms with the same names as in the former parts. this collection of four is the Turiya vyuha. They have no bodies with limbs and the like but resemble the Vasudeva form of the Susupti Vyuha. They have no activities no will, no weapons, and no lines on the palm resembling weapons. all the six qualities shine in the form called Vasudeva and the other three have only two of the three qualities. 

Error Free Meaningful chanting.

Every veda mantra is written in two forms namely samhita patha and pada patha. In the pada patha, all the individual words are seperated. In the samhita form neighbouring words could be combined by following the sandhi rules.
The correct chanting involves three steps:
1. Identifying each syllable in a mantra
2. Chanting each syllable correctly.
3. Following the accent marks on the syllables
4. Using extended mantra chant (vikrti) which helps to detect or correct errors.
Identifying each syllable in a Mantra.
We have to separate the text into several distinct syllables or akshara. Veda mantra are characterised by the no of syllables. (already mentioned in another post.) this can be done by dividing into two categories the simple syllable and compound syllable.
A simple syllable can be a pure vowel (a).
A single consonant ending with an vowel (ta)
A single conconant ending with an anusvara (m) as Yam.
An isolated consonant such as t; (this category is ignored during counting the no of aksaras for defining meter)
A syllable of type B followed by the visarga as nah rih hari.
also special notation for certain well known compound syllables like ksha; jna; shra;
Chanting the syllable.
Each syllable has to be recited following its natural sound.
reciting a vowel or a simple consonant is not difficult.
While chanting of compound syllable example.
{dhinamavitryavatu} as (dhinam avitri avatu)
here the samhita patha has seven syllables dhi, na, ma, vi, va, tu.
there is one compound syllable 'trya' involving three consonants t, r, y, and vowel a.
to pronounce this syllable trya first break it into two simpler syllables tri + a.
The spliting information is available in pada patha the word avitrayavatu is split up as avitri + avatu (tra +a) practice pronouncing tra +a a no of times, to get it right.
the vovels are either short or long a.e.u,r or aa ee uu oo.
thing to remember is when dealing with two or more consonents the order of pronunciation is from left to right eg. brahma and not bramha. 
again for compound syllables which appear one below the other the order of pronunciation is top to bottom. eg. shta.
when a syllable with visarga appears then it is prounced as harih that is hari hi the last hi with exhalation. 
Timing is of great importance too.
Category                                                       timing.
short vowels or simple syllable                    one unit.
long vowels or +simple syllable                   one and half unit.
pure consonants with no vowel                     half unit
Compound syllables                                     depends on vowel type                                                                          and no of consonants.

to be continued.

Chandrapida and Vishampayana.

Sanskrit story's like Chandrapidacharitam, Panchatantra, Kathasaritsagara, Bhojaprabhandha are complicated as there are stories within stories and one cannot get the full grasp until one completes the full book.
The story of Chandrapida and Vishampayana is actully from Bana Bhatta's famous work Kadambari.
Bana Bhatta is very famous for two of his works Kadambari and Harshacharitam. Many of the characters in these plays take two or even three births and the story is either related by them or some one close to them. it is therefore sometimes confusing as they are repeated by other characters etc. 
The best way to understand these works is to study the character of the important persons in the story and to read the story in the correct sequence as it occurs.
The Moon and Pundarika (mahasveta story) were born as Chandrapida and vaismpayana, the sons of King Tarapida of Ujjaini and his minister Sukanasa. The story runs like Tenkol and must be read.
to becontinued.