To day's Subhashit.

केशवं पतितं दृष्टवा  पाण्ड्वा : हर्षनिर्भरा:

रुदन्ति कौरवाः सर्वे हा हा केशव केशव.

Keshavam patitam drushtwaa Pandwaah harshnirbharaah

Rudanti Kauravaah sarve ha ha Keshav Keshav.

This is a special type of subhashit known as 'Koot Shloka', which implies that one can interpret  the shloka in two different ways having just the opposite meaning. This is due to either a word having two meaning or by 'sandhi viccheda' (breaking a combination of two words into its components).  In the above shloka the word 'Keshav' by use of sandhi viccheda becomes Ke + Shava (ke= water and shava = cadaver (dead body). 

The word 'Keshav' taken as a whole means  Lord Krishna,.The word Pandav has two meanings  i.e. (i) five sons of Kunti as a group called 'Pandava' and (ii) fish in water    Similarly Kaurava has also two meanings , namely (i) 100 sons of Dhritrashtra,the King and (ii) Crows.  (Kunti and Dhritrashtra are different characters in the famous epic known as 'Mahabharata".)

By interpreting the above shloka in the above manner we get the following two translations of the Shloka, which are just opposite of each other. Without knowing the background of the incident of Mahabharata we can not appreciate this shloka. A war was being waged between Kauravas and Pandavas. Lord Krishna was on the side of Pandavas, giving his services to Arjuna (one of the Pandavas) as his Charioteer(Saarathi). That is why Krishna is also known as "Parth Saarathi". So there was no reason for Pandwas being becoming elated on seeing Keshav's downfall.

1st meaning of the shloka.

By seeing Keshava falling down (dead) during the course of the battle, Pandavas became very happy , whereas the kauravas started weeping by saying 'Ha Keshav Ha Keshav'

2nd meaning of the shloka.

By seeing a cadavor (dead Body) lying in water, the school of fish became overjoyed and at the same time a bunch of crows started crowing loudly.

Patitam = fallen.    Drushtwaa = seeing       Harshnirbharaa =  became happy.

Rudanti = are weeping .     Sarve = all. 

To day's Subhashit.

लोभ मूलानि पापानि संकटानि तथैव च .
लोभात्प्रवर्तते वैरं अतिलोभात्विनश्यति.

Lobha moolaani paapani sankataani tathaiva cha.
lobhaatpravartate vairam atlobhaatvinashyati.

i.e.       Greed is the root cause of sins as also of dangers.  Greed also originates enmity and excessive greed ruins a person.

Lobha = greed , too much desire or appetite for money or food.          Moolaani = root cause, main reason.
Paapani =  sins.         Tatahiva = as also, similarly.          Cha = also.     Lobhat = due to greed
Pravartate = originates, produces.     Vairam =  enmity.         Ati = excessive, too much.
Vinashyati =  ruins, annihilates, destroys.
     

To day's Subhashit.

कुसुमं वर्णसंपन्नं गन्धहीनं न शोभते .
न शोभते क्रिया हीनं मधुरं वचनं तथा .

Kusumam varnasampannam gandhheenam na shobhate.
Na shobhate kriyaa heenam madhuram vachanam tathaa.

i.e.     A flower having bright colours but without any sweet smell is not adored. Similarly only pleasing talk (mere  promises) without being backed by any action is not liked by anybody.

Kusum = a flower.          Varnasampannam = having bright colour(s).        Varna = colour.
Sampanna = having, doing.           Gandh = odour, sweet smell.       Shobhate = adored, liked.
Kriyaa = action,  performance.       Heenam = without.         Madhuram = pleasing.
Vachanam = talk,  speaking.    

To day's Subhashit.

यथा एकेन हस्तेन तालिका न संप्रपद्यते
तथोद्द्यम परित्यक्तं कर्मं नोत्पाद्यते फलं

Yathaa ekena hastena taalika na samprapadyate.
Tathoddyama parityaktam karmam notpaadyate phalam.

i.e.     Just as with the palm of only one hand  no body can do clapping, similarly any task done without making strenuous and sincere effort can not produce the desired result.

Yathaa = for instance, just as.         Ekena =  by one.     Hastena =  palm of a hand.
Taalika = a clap made by striking  palms of both hands to applaud.     Na = not.
Samprapdyate = achieved, produced.    Tathoddyama = Tatha + uddyam.
Tathaa - similarly.   Uddyam = sincere and strenuous efforts made to achieve an objective. Boldness and willingness to try new line of action.
Parityaktam =  leaving, abandoning.       Karma = doing a job.     Notpaadayate = na + utpaadyate.
Utpaadayate  = produces.      Phalam = final result,  also a fruit.

(The Subhashit emphasises that any work done without proper enterprise , i.e.boldness and willingness to try a new line of action, does not produce the desired result. There is another saying in Sanskrit - उद्यमे नास्ति दारिद्रम्  -(udyame naasti daridram) i.e. an enterprising person can never be  poor, which also emphasises the spirit of enterprise.)

To day's Subhashit.

(The following Subhashit is an example of playing with words by the author in the praise of Lord Shiva. In Devnaagri alphabet, which is used to as a Script to write Sanskrit language, the alphabet is divided into many sub-groups called 'varga'.   Each 'varga' is named after the first word of the 'varga'. Pa(प ) varga contains words प(Pa) , फ(pha), ब(ba), भ(bha) , and म(ma). The author has mentioned different words associated with Lord Shiva, starting  with the words of  'Pa varga' in that order i.e.pa, pha,ba, bha and ma
e.g.Parvati his consort,  Phani (a snake),Baalendu (crescent moon), Bhasma (ash), Mandaakini ( river Ganges) in the descending order of 'Pa varga')

(पार्वती फणि बालेन्दु भस्म मन्दाकिनी युता  I
अपवर्ग प्रदा मूर्तिः कथं स्यात् तव शंकरः  I I

Parvati Phani Baalendu Bhasma Mandaakini yutaa.
Apavarg pradaa moortih katham syaat tava Shankarah.

i.e.    O Lord Shiva ! , tell me as to why your idol (moorti) which also has Parvati besides you, a snake on your neck like a garland,  a crescent moon on your forehead, ash smeared over your entire body, and river Ganges falling over your head, (if worshipped with devotion) will not bestow 'Swarga'  to the worshipper ?

Parvati = name of the consort of lord Shiva.        Phani = a snake.        Balendu = crescent moon.
Bhasma = ash .     Mandaakini = River Ganges, which brought from Heaven first landed over the                             head of Lord Shiva.         Yuta =  possessed by.          Apavarg = Swarg (heaven). It is believed that a righteous person, who worships God with devotion, achieves heavenly happiness (Swarga) after his death.          Apavarg pradaa = bestower of 'Swarga'- the heavenly happiness. 
Pradaa = giver.         Moorti = idol.        Katham = tell.        Syaat = perhaps, may be, why not.
Tava = yours.      Shankarh = Lord Shiva

To day's Subhashit

यस्तु संचरते देशान् सेवते यस्तु पण्डितान
तस्य विस्तारिता बुद्धिस्तैलबिन्दुरिवाम्भसि.

 Yastu sancharate deshaan sevate yastu Panditaan.
Tasya vistaaritaa budhistailabindurivaambhasi.

i.e.     A person who frequently travels to different countries and remains in the service of learned persons, his scope of intelligence is very wide,  just like a drop of oil which spreads over a wide area of water.

Yastu =  reference to a person, one who.       Sancharate = travels, roams.
Deshaan = different countries.        Sevate = remains in the service of.
Panditaan = learned persons.          Tasya = his.        Vistaaritaa = expanded,  wide.
Budhistailabindurivaambhasi = Buddhi + taila +bindu +iva+ambhasi
Buddhi = intelligence.         Taila = oil.         Bindu = a drop.     Iva = like.        Ambha = water.

( The subhashit emphasises that a widely travelled person who keeps the company of learned persons becomes very intelligent due to his association with them , citing the example of a drop of oil which spreads evenly over water making a thin layer of oil.) 

To day's Subhashit.

काव्यं करोति सुकविः सहृदय एव व्यनक्ति तत्त्वम्
रत्नं खनिः प्रसूते रचयति शिल्पि तो तत्सुषमाम् .

Kaavyam karoti sukavih sahrudaya evaa vyanakti tatwam.
ratnam khanih prasute rachayati shilpi to tatsushamaam.

i.e.   An expert poet composes an anthology of poems and another kind-hearted person gives it wide publicity by publishing it in a nice book form, just like rough precious stones extracted from a mine after being  cut and polishes by an expert artisan become more beautiful, attractive and valuable..

Kaavya = a story told in verse.        Karoti = writes, produces.       Sukavi = a renowned poet.
Sahrudaya = kind-hearted.               Vyanakti = decorates, beautifies, circulates.
Tatwam = importance, prominence.         Ratnam = precious stones.         Khani = a mine
Prasute = produces, gives birth to.        Rachayati = crafted by cutting and polishing.
Shilpi = an expert artisan.   tat = to.       Sushamaam = beauty, attractiveness.

To day's Subhashit.

विद्वानेन विजानाति विद्द्वज्ज्न्परिश्रमम् .
न हि बन्ध्या विजानाति गुर्वी प्रसववेदनाम्.

Vidwaanen vijaanaati viddwajjnaparishramm .
Na hi bandhyaa vijaanaati gurvi prasavavednaa.
i.e.     Only a learned persons knows how much effort a person has to make to become a learned person. So also a barren woman does not know how much pain a pregnant woman has to bear during child-birth.

Vidwaan = a learned person.        Vijaanaati = knows.         Viddwajjan = learned persons.
Parishramam = efforts made.         Na hi =  does not,            Bandhyaa = a barren woman, a woman who is medically incapable of getting pregnant and bear a child.
Gurvi = a pregnant woman.             Prasav = the process of child birth.       Vednaa = pain.

(In this subhashit a foolish person is compared to a barren woman and the process of acquiring knowledge to pregnancy and the process of child-birth entailing hardships and unforeseen problems. Just as a barren woman can not visualise the pain a woman has to bear during child birth,similarly a foolish person is also oblivious of the effort and sacrifice one has to make to become a learned person, which only a learned person knows.)

To day's Subhashit.

प्रत्यक्ष कवि काव्यं च रूपं च कुलयोषितः
गृहवैद्यस्य विद्या न कस्मैचित्यति  रोचते .

Pratyaksh kavi kaavyam cha roopam cha kulayoshitah .
Gruhavaidyasya vidyaa na kasmaichityati rochate.

i.e.       The poetry of a contemporary and easily available poet, the beauty of one's own wife, and the family doctor's expertise in treating diseases, is hardly ever appreciated and liked by people.

Pratyaksh = any thing directly in front, contemporary.       Kavi = poet.        Kaavya = poetry.
Roopam = beauty.        Kulayoshitah =  one's own wife,   Kula= family.   Yoshita = wife.
Gruh = house.       Vaidya = a person practicing Indian system of Medicine
Gruhavaidya = a family doctor or vaidya.       Kasmai = ever.    Chityati = minds,appreciates.
 Chitta = mind.      Rochate = liked , appreciated.

(The underlying idea is that any thing that is easily available does  not get the recognition and appreciation that it deserves.  There is a Hindi proverb as -  निज गांव  का जोगी अन्य गांव का  सिद्ध - Nij gaon ka jogi anya gaon kaa siddha- i.e. a Jogi  (a person who has renounced family life) of one's own village is considered as an ordinary Jogi, whereas a similar person from any other place is treated like a Siddha (a jogi of highest order). Same is the case with local poets and one's own wife.)

To day's Subhashit.

सर्वत्र देशे गुणवान् शोभते प्रथितः नरः
मणिः शीर्षे गले बाहौ यत्र कुत्र मपि शोभते..

Sarvatra deshe gunawaan shobhate prathitah narah.
manih sheershe gale baahou yatra kutra mapi shobhate.

i.e.    A knowledgeable and virtuous person becomes a celebrity and is adored  in all Countries, just as a precious stone worn over head, neck,arms and even anywhere on the body looks beautiful and  is adored.

Sarvatra = everywhere.        Deshe =  Country.        Gunawaan = knowledgeable and  virtuous person.
Shobhate = liked, adored.        Prathitah = a celebrity,  famous.       Narah = person.
Mani = a precious stone like a ruby,gem etc.        Sheersh = head.        Gale = neck.
Bahou= arms.        Yatra = here.   Kutra = where.       Yatra Kutra = any where.      Mapi = even
Shobhate = looks beautiful, adored.

To day's Subhashit.

किंशुके शुकमातिष्ठ चिरकाल फलेच्छया
वाह्यरङ्गप्रसङ्गेन के के नाSनेन वञ्चिता

Kimshule shukammaatishtha chirkaal phalechchyaa.
Vaahyarangprasangena ke ke naanen vanchitaa.

i.e.    A parrot living on a 'Kinshuka' tree for a very long period with the hope of  getting fruits, ultimately gets dejected (because the tree bears no fruits and is attractive only outwardly). Simply relying on the outwardly attractive appearance of any thing who is not duped and deprived of his expectations from such a thing ?

Kinshuka = A tree also called 'Palash' , which bears only very red coloured flowers but not any fruits.
Shuka = a parrot.     Aatishtha = staying, living        Chirkaal = for a very long period.
Phalechchyaa = Phal + Ichchyaa.       Phal = fruits.        Ichchyaa =  desire, in the hope of getting.
Vaayha = outwardly.       Rang = colour.      Prasangena =appearance.       Ke ke =  how many,  who.
Naanen =Na + Anena.       Na = not.           Anena =  by this.       Vanchitaa = deprived of, duped.

( The underlying idea in this Subhashit is that many a times people get fooled and cheated  due to their reliance on a person or a thing only by the outward appearance of such a thing or person without verifying other important aspects.)

To day's Subhashit.

दुर्जनदूषितमनसां पुंसां सुजनेप्य विश्वासः
बालः पायसदग्धो दध्यापि फूत्कृत्य भक्षति .

Durjandooshitmanasaam punsaam sujanepya vishwashh.
Baalh paayasdagdho dadhyapi phootkrutya bhakshati.

i.e.    A person cheated by a wicked person does not have faith even in noble persons, just as a child having burnt his mouth while eating piping hot milk pudding, next time while eating curd (yoghourt) takes extra precaution of cooling it by blowing over it through his mouth.

Durjan = wicked person.      Dooshit = polluted.      Mansaam = mind.       Pumsaam = person(s).
Sujanepya =  (sujan + api).     Sujan = noble person/.      Api =  not even,  doubts about.
Vishwaas = faith.           Baalah = a child.          Payas = milk pudding.      Dagdho = burnt by.
Dadhyaapi =  even the curd.         Phootkrutya =  the process of cooling a thing by blowing wind over it by using one's mouth.        Bhakshati = eats.

(There is a proverb in Hindi as  'दूध का जला छाछ भी फूक फूक कर पीता है ' (doodh ka jala chhachh bhi phoonk phoonk kar peeta hai ) which has a similar meaning.  Buttermilk is called 'chhaachh' in Hindi.

To day's Subhashit.

साधोः प्रकोपितस्यापि मनो नाSSयाति विक्रियाम्
नहि तापयितुं शक्यं सागराम्भ्स्तृणोल्क्या .

Saadhoh prakopitasyaapi mano naayaati vikriyaam
nahi taapayitum shakyam saagaraambhastrunolkayaa.

i.e.   Noble persons even on being instigated and angered do not lose their presence of mind and remain cool, just as a bundle of burning grass is unable to boil the water of a sea.

Saadhoh = noble persons.       Prakopita = angered ,      Prakopitasyaapi = even on being angered.
Mano =  mind.        Naayaati = na + aayaati.  =   do not .       Vokriyaam =  change, distortion.
Nahi = not.     Taapyitum = heating, boiling.     shakyam = able to do.        Saagar = sea.
Ambha = water.      Saagaraambha = sea water.       Trunolkayaa = Truna + Ulkayaa.
Truna= a blade of grass.    Ulkayaa =  a burning object producing bright light.
Trunolkayaa = a bundle of bruning grass.   (In Sanskrit a metero is also called Ulkaa.)

To day's Subhashit.

हृदयानि सतामेव कठिनानीति  मे मतिः
खलवाग्विषिखैस्तीक्ष्नैर्भिद्द्यते न मनाग्यतः

Hrudayaani sataameva kathinaaneeti me matih.
khalavaagvishikhaisteekshnairbhidyante na manaagyatah.

i.e.   Noble persons with their hearts pierced by sharp arrow like words by wicked people, even under such difficult situation, do not allow their mind to deviate even a bit towards injustice.

Hrudayaani = heart.      Sataameva = noble persons.        Kathinaaneeti = kathin + aneeti.
Kathin = difficult.          Aneeti = injustice , wrong doings.        Mati = mind.
Khala = a wicked person.      Vaag = speech, words         Vishikh = arrow.       Teekshna = sharp, pointed.
Bhidyate = pierced by.   na = not.       Manaagyatah = even a bit , hardly.

(The underlying idea behind this Subhashit is that noble persons do not deviate from the path of righteousness even on being provoked by wicked persons.)

To day's Subhashit.

काचः काञ्चनसंसर्गाद्धत्ते मारकतीर्द्युतिः
तथा सत्सन्निधानेन मूर्खौ याति प्रवीणताम्

Kaachh kaanchansamsargaaddhatte maarkateerdyutih.
Tathaa satsannidhaanen moorkhou yaati praveenataam.

i.e.  a piece of glass in association with Gold acquires brilliance like a precious stone ( on being studded on an ornament made of gold).  Similarly, in the company of righteous persons, foolish persons also become skillful.

Kaach = glass.       Kaanchan = gold.       Sansarga = in association with.      Dhatte = acquires.
Maarkat = a precious stone used for being studded in ornaments.       Dyuti = brilliance.
Sat = righteous (persons).  Sannidha = near.     Sannidhaanen = in the company of..
Moorkh = a foolish person.     Yaati = becomes, acquires.      Praveenatam = skill, expertise.

To day's Subhashit.

गानाब्धेस्तु परं पारं नोपेयाय सरस्वती
अतो निमज्जनभयात्तुंबी वहति वक्षसि .

Gaanaabhdhestu param paaram nopeyay Saraswati
Ato nimajjanbhayaattumbi vahati vakhshi.

i.e.   Being unable to cross the ocean of Music and afraid of getting drowned while doing so, Goddess Saraswati bears two hollow gourds on her bosom.

(In this Subhashit the author has used 'Atishayokti alankaar' (hyperbole) comparing Indian Classical Music to an Ocean, which, even Saraswati , the Goddess of Learning, Music and Arts is afraid of crossing, and to save herself from drowning wears  hollow gourds around her bosom. Here the reference is to two gourd shells attached to a Veena,the musical instrument associated with Saraswati, giving her another name as "Veena Vadini" i.e.player of a veena.This implies that without the assistance of Veena, even Saraswati is unable to fathom the ocean of Music (singing). Hollow gourds called 'tumbi' are commonly used by people to cross flooded rivers by tying them to their bosom to keep them afloat and save them from drowning).

Gaanabhdhestu = Gaan +Abhdhi +Astu.    Gaan = Singing (music) .  Abhdhi = ocean.
Param Paaram = to cross.       Nopeyay = not able to.         Ato = therefore.
Nimajjan = bathing (crossing) Bhaya = afraid of, fear.    Vahati = carries.    Vakhshi = bosom,
.

To day's Subhashit.

अजायुद्धंमृषिश्राद्धं  प्रभाते मेघडम्बरं
दम्पत्यो कलहश्चैव परिणामे न किंचनः

Ajaayuddham-mrushi-shraadham prabhate meghadambaram
dampatyo kalahaschaiva parinaame na kinchanh

i.e.    Fight between two goats,'shraadha' of a sage, overcast sky in the morning ,and a quarrel between  husband and wife, are generally without any result (and are like a mock drill ).

Ajaa = a goat.       Yuddham = fight.          Rishi =  a sage who has renounced worldly life.
Shraaddha = a religious ritual in Hindu Religion to perpetuate the memory of ones' ancestors.
Dampati = husband and wife together, couple.         Kalah = quarrel
Chaiva = (cha + iva)   Cha =an alphabet used to complete a word.   Iva = comparison between two or more objects.          Parinaam = result    .      Na kinchanh = nothing, very little.

To day's Subhashit.

उत्तमो नातिवक्ता स्यात् मध्यमो बहु भाषते

न काञ्चन ध्वनिस्तादृक् यादृक् कांस्य प्रजायते.

Uttamo naativaktaa syaat madhyamo bahu bhashate,

Na kaanchan dhwanistaadruk yaadruk kaansya prajaayate.

Honourable persons never indulge in loose talks whereas ordinary persons talk too much unnecessarily, just as Gold (considered as best and costliest metal) does not produce a loud sound like bronze ( a base metal) on being struck.

(There is also a proverb in Hindi on this theme as -'थोथा चना बाजे घना '- Thotha chana baaje ghana  i.e.  hollow seeds of Gram produce more sound - thereby implying that knowledgeable persons do not indulge in unnecessary and loose talk, whereas those who are less knowledgeable are always talkative.)

Uttam = Best. (here reference is to honourable persons)     Naati vaktaa= (na + ati+vaktaa)
Na = not.   Ati = too much.    Vaktaa = 0ne who is speaking.       Syaat = are.         Madhyam = middle .     Bahu = too much.           Bhaashate = speak, talk.       Kaanchan = gold.         Dhwani = sound .       Taadruk = like that of.      Yaadruk = like this.       Kansya = bronze , an alloy of tin and copper used for making bells, as it produces loud sound. compared to Gold, which produces only a thud, bronze (a base metal) produces a loud sound.         Prajayate = produces.

To day's Subhashit.

महाजनस्य संसर्गः कस्य नोन्नतिकारकः
पद्मपत्रास्थितं वारि  धत्ते मुक्ताफलश्रियम .

Mahajanasya sansargh kasya nonnastikaarakh,
Padmapatrasthitam vaari dhatte muktaaphalashriyam.

i.e.   Why not the  association with noble and righteous persons can result in all round progress of  a person ?
Even a drop of water over a leaf of a lotus plant appears like a shining pearl.

        (By citing the example of a drop of water over a lotus leaf appearing like a pearl, the writer extolls the benefits of keeping the company of noble and righteous persons, whereby ordinary persons also get respect and adulation.)

Mahajan =  a noble and righteous person.        Sansarg = keeping company of , remaining in contact with   .Kasya = whose.       Nonnatikarakahh= na + unnati + kaarakh.      Kasya na =  why not.
Unnati = progress.      Karakh = cause, results in.    Padma = lotus flower.      Patra = leaf
Sthitam = situated        Vari = water.         Dhatte = appears as        Muktaaphal =  pearl.
Shriyam = shining, beautiful.        

To day's Subhashit.

विलिखति सद्सद्वा जन्मपत्रं जनानां
फलति यदि तदानीं दर्शयत्यात्मदाक्ष्यम्
न फलति यदि लग्नद्रुष्टुरेवाSSह् मोहं
हरति धनमिवैहं हन्त दैवज्ञ पाशः

Vilikhati sadsadwaa janmapatram janaanaam
Phalati yadi tadaanim darshayatyaatmadaakshyam
na phalati yadi lagnadrushtarewaah moham
Harati dhanmiweaihm hanta daivagya pashh.

i.e.   An astrologer, when he writes both favourable and unfavourable predictions in a person's horoscope and if these predictions turn out to be true, then he attributes this to his expertise. However if these predictions do not materialise, then he attributes this failure to not getting the correct 'Lagna'.    Alas ! in both cases the person in the astrologer's clutches  loses his money.

Vilikhati = writes.          Sadsadwa =  both favourable and unfavourable.       Sad = that what is good .
Asad = that what is not good.    Janmapatra = a horoscope predicting the future of a person.
Phalati =  materialises, fructifies.       Tadaanim = then.      Darshayati =  attributes, shows.Aatma = one's own.           Daakshyam = expertise..       Lagna Drushturewaah = correct time of  birth of a person, which is considered extremely essential for drawing a horoscope, as all further calculations are based on it. A slight difference in it materially affects the predictions.      Daivagya =   an astrologer    .Harati = loses.      Hant = an exclamatory word used  in the beginning of a sentence to express surprise,regret etc.  
Paash =  A device made of a rope or wire to bind a person. Here it signifies having a hold over another person i.e.in the clutches (figuratively).

To dy's Subhashit.

सर्प दुर्जनयोर्मध्ये वरं सर्पो न दुर्जनः 

सर्पं दंशति कालेन दुर्जनस्तु पदे पदे.

Sarpa durjanayormadhye varam sarpo na durjanh

Sarpam damshati kaalen durjanastu pade pade.

i.e.      If one has to choose between a snake and a mischievous person, better choose a snake, because a snake bites occasionally (only on being provoked) whereas a mischievous person harms every now and then (even without provocation).

Sarpa = a snake.          Durjan = a mischievous and mean person.        Madhye = between.

Varam = better choose.            Danshati = bites, strikes.         kaalena = occasionally.

Pade pade =  every now and then.

To day's Subhashit.

दुर्बलस्य बलं राजा बालानां रोदनं बलम्
बलं मूर्खस्य मौनित्वम् चौराणाम् अनृतम् बलम्

Durbalasya balam raja baalanam rodanam balam
balam moorkhasya maunitwam chouraanam anrutam balam.

i.e.     The strength of weak persons lies in the king, that of small children in their weeping. The strength of foolish persons lies in their keeping mum,and that of thieves in telling lies.

{Those persons who are weak in all respects have to depend on the King (State administration in modern times)for their protection, children resort to weeping to get their wishes fulfilled, and a foolish person can pose as a learned person so long he keeps mum ( तावच्च शोभते मूर्खः याव्तकिञ्चिन्न भाषते - Taawachch shobhate moorkhh yaawatkinchinn bhaashate i.e. a fool can be passed on as a learned person so long he does not open his mouth to speak)  and a thief  on being caught saves himself by giving an alibi.}

Durbal = a weak person.      Balam = strength.        Raja = king, Government.    
Baalanaanm = of children.          Rodanam =  weeping            Moorkhsya = of a foolish person.    
 Maunitwam = not speaking, silent.      Chouranam = of thieves.         Anrutam =  lies,  alibi.

To day's Subhashit.

असज्जनः सज्जनसंगिसङ्गात्करोति दु:साध्यमपीह साध्यम्

पुष्पाश्रयाच्छंभुशिरोSधिरूढा पिपीलिका चुम्बति चन्द्रबिम्बम् .

Asajjnah sajjan sangisangaatkaroti duhsaadhyamapeeh saadhyam,

Pushpaashryaacchambhu shirordhiroodhaa pipeelika chumbati chandra bimbam.

i.e.   An ordinary person in the company of a honourable and kind person is able to accomplish tasks which were hitherto unachievable  by him e.g. an ant under protection of (inside) a flower is able to climb over the head of God Shiva (Shambhu) and is able to kiss the crescent moon on his forehead..

Sajjan = a person who is honourable and kind., a gentleman.           Asajjjan =  an ordinary person, who is not a gentleman.       Sangaat = in the company of .              Karoti =  does, is able to accomplish.
Dussadhya = a task not achievable.             Saadhya = achievable.              Pushpa = a flower.
Aashrya = under protection.             Shambhu = Lord  Shiva.          Shira =  forehead.
Adhirudha =  climbing over               Pipeelika =  ant.             Chimbati = kisses.
Chandra bimbam =  shadow of  Moon.   (Lord Shiva is said to have a crescent  Moon on his foread and is also named as Chandramauli i.e. having Moon on the forehead as an embellishment.).  

To day's Subhashita.

खलं करोति दुर्वृत्तं नूनं फलति साधुषु,
दशाननोSहरत्सीतां बन्धनं च महोदधैः

Khalam karoti durvrittam noonam phalati saadhushu,
Dashaanano-harat-Seetaam bandhanam cha mahodadhaih.

i.e.   A mean and crooked person indulges in wrong doings  but the brunt of it is always borne by righteous  and noble persons e,g,Dashaanan abducted Sita , resulting in a bridge being built accross the Ocean.

(Here the reference is of the abduction of Sita (the consort of Lord Ram) by Ravana, the king of Lanka.
When Lord Ram mounted an attack over Lanka to rescue Sita, the sea between the mainland and Lanka had to be bridged by Lord Ram with the help of his army.)

Khalam =a  mean and crooked person.         Karoti = does.          Noonam = surely, definitely.
Durbritta = a wrong unethical action.              Phalati = bearing the brunt of,     results in.
Saadhushu = righteous and noble persons.      Dashaanan =  ten headed. ( a reference to Ravana, the King of Lanka,who was said to be having ten heads and twenty arms)
Bandhanam =bondage. (here reference is to the bridging of the Ocean by Lord Ram)
Mahodadham = ocean.           Maha = big.           Udadhi = Sea .

To day's Subhashita.

                           Here is a 'Subhashita' eulogising itself.

द्राक्षा म्लान मुखी जाता शर्करा चाश्नताम् गता 
सुभाषित रसं दृष्टवा  सुधा भीता दिवंगता 

Drakshaa mlaan mukhi jaata sharkara chaashnataam jataa.
Subhashita rasam drushtwaa sudhaa bheetaa divamgataa.

i.e.   By seeing the 'Rasa' of a Subhashit, grapes felt ashamed and sugar crystals turned into stone chips, and Amrita (the nectar that makes its users immortal) became so much afraid that it departed to Heaven.

(This is an illustration of a Hyperbole (अतिशयोक्ति -atishayokti in Sanskrit) to emphasize the 'sweetness' of a Subhashita. Grapes and suger, both are known for their sweetness and so also Sudha(Amrita), the drink of Gods)

Draakshaa = Grapes.        Mlaan Mukhi = saddened face, ashamed.   Mlaan = withered, dirty.
Mukh = face.      Jaataa = became.      Sharkaraa = sugar crystals.    Cha + ashmataa = Chaashmataa.
Cha = alphabet used to complete a word.   Ashma = stone .       Drashtwaa = by seeing.
Rasa = juice,  a feeling of emotions, both good and bad, by seeing listening or tasting of any thing through our sensory organs.          Sudhaa=  Amrita, the necter of Gods which gives immortality
to its users.      Bheeta = afraid.       Divangata = departed to Heaven , died.

Raag Mishran i.e mixing of two or more Raags.

Excerpts from an article by Pt..Narayan Vinayak Patwardhan, illustrious son of Pt. Vinayak Rao Patwardhan,from the book Raag Vigyaan Volume .
                                      <Translation from Hindi >

     "In Indian Classical Music Raagas are divided into two broad categories, namely Shuddha Raag and Mishra Raag.  A Mishra Raag is produced by mixing the swara patterns of two or more Raagas.  While
mixing the Raagas it is essential to know the rules to be followed in doing so, because then only by observing these rules we are able to understand the basic principles of mixing different Raagas.
     This phenomenon of Raag Mishran is a pleasurable intellectual excercise and for this purpose one should have (i) full control over the elements of the Raagas involved and (ii) skill to unite these elements skillfully and effectively.
     With the help of these two elements a singer exhibits his prowess and the listeners experience surprise and pleasure repeatedly. The listeners expect the exposition of the Raag by the singer in a particular direction according to their past experience, but the artist produces a totally different swara pattern/composition and displays his skills, which, in turn is pleasurable to the listeners. This pleasure is created by getting what one gets unexpectedly. Thus a certain level of understanding of Music is expected from such listeners, otherwise all the effort made by the artist goes waste.. Therefore, ordinary listeners are not considered proper recipients of a Mishra Raag, whereas for knowledgeable listeners it is a golden opportunity and they get mental satisfaction and listening pleasure..  An ordinary listener is not able to derive listening pleasure from a Mishra Raag.  Now a days singers mostly take up Mishra Raagas.  Therefore, singing of Shuddha Raagas is all the more important, because through these Raagas  the listeners have enjoyed Music.throughout in the past. Artists are also more adept in Shuddha Raagas. So shuddha Raagas will remain popular in future also.
     Mishra Raagas mostly remain 'aparachit' (not well known/unpopular). However, some times they also become popular. But this is more as an exception and not as a rule. Through melodious 'gayaki' , 'Raag vachitrya' (innovation ) and control over the Raag, a Mishra Raag can also gain popularity. But the deciding factor this is the singer's 'Gaantapashcharya'  (extensive honing of the skills) and observance of the rules of
Raag mixing.  The proof of this is the scores of new Raagas which are popular now a days.
     Prachalit Raagas can become Aprachalit Raagas in future and vice versa depending upon prevailing circumstances.
      For deciding about the Thaat of the Mishra Raag , it is to be seen which Raag is dominant.  The Thaat of that Raag should also be the Thaat of the Mishra Raag. Deciding this aspect simply through swara patterns is not proper and should be done both directly and indirectly.
     Rules to be observed for mixing the Raagas;
1.   In a mishra Raag only one Raag will be dominant. So the other Raagas are used as an embellishment to the main Raag just like the filgree work on a dark coloured piece of cloth. So the swara patterns of other Raagas are superimposed over the swara patterns of the dominant Raag in such a way that the beauty of the main Raag is not diminished but enhanced. The artist must always pay attention to this aspect.
2.   The dominant Raag can be mixed in aaroha, avahoha, poorvaang, uttaraang at any place or many places.But other Raagas are used in mishra Raag only by observing specific rules. If the other Raag is started from a specific swara or in aaroha -avaroha ,poorvaang- uttaranga, Raag vistar is to be done only in one compartment and this should be meticulously observed. This is to ensure that the rules of the dominant Raag are not altered and the new Mishra Raag is 'Rasaanukool' (compatible) to the original dominant Raag and is pleasing to the ears.
3.  The above rules are to be observed in all mishra Raagas. But there are mishra Raagas where both the Raagas are dominant in equal measures. In such cases which Raag is prominant is to be decided by minute observation.
4.   In Mishra Ragas one Raag is always prominent . One more aspect that comes into focus because of this that there can be many or at least two 'Raag swaroops' of a Mishra  Raag, because every mishra Raag swaroop is dependent on its dominant Raag. Therefore, which  of the Raag is dominant is the deciding factor for a mishra Raag. For example Basant and Bahar, in these two Raagas any one of them can be made dominant.  But generally by treating Basant as dominating  Raag, Bahar is mixed to it. But if Bahar is treated as the dominating Raag , it will be a different and independent version of the mishra Raag named Basant Bahar. Many more such examples can be given. Here it is certain that only that version which is more 'rasotpattikarak' (able to generate 'rasa'),  'vistaar-sulabha' (easy to elaborate) and 'shravan-madhur' (pleasing to the ears) is likely to get recognition..
5.   Another aspect of the Raag mishran is that while maintaining the swaras of a Raag, the style of singing is that of another Raag e.g. by maintaining the Swaras of Raag Saarang (komal, teevra, varjit etc.) the way of singing (gayaki) is done that of Malhaar, we get Megha Malhaar. In such mishra Raagas it is difficult to search for the two Raagas, because the swaras are of one Raag but the chalan (usage) is as per the other Raag.
6.   When due to lack of separate swara patterns denoting the Raagas, a mishra Raag becomes a shuddha Raag, so also in two variants of a mishra Raag, to search for the elements of the mixed Raagas needs minute observation. So, ordinary listeners find it difficult to recognise such mishra Raagas.  Here it should be kept in mind that the chalan of a Raag being superimposed on another Raag should be compatible to the latter's challan. Thus if we impose swaras producing 'karuna bhava' (pathos) on swaras producing 'veer rasa' (chivalry)or fickleness ('chanchal), this will be sacrilege.  What to say of 'Rasanishpatti' (creation of emotions) it will be 'Rasabhanga' (breaking of emotions), because here the cardinal principle of "Raag Ranjaktwa" is being violated and it will be a travesty of a Raag.
7.    From the above discussion it is clear that the Raagas to be mixed should be compatible to each other and do not create disharmony. This should always be kept in mind. Besides  building up emotions (rasa nirmity), the new Raga should also be easy to elaborate (vistaar sulabha). The swaras of both the Raagas should normally be similar as far as possible.  By way of devising the rules, we can now lay down that both the Raagas to be mixed should belong to the same Thaat as far as possible.  In those Raagas where vadi-samvadi, vishraanti sthaan (places for a pause) are common are easier to mix.  At least there should be one swara common from where Raag vistaar  can be done. This swara should be either vadi or samvadi, although there is no such strict rule.
8.   If in the two Raagas concerned no swaras are common, there should be at least a swara sangati which is common to both the Raagas and used in the same way in both of them.
9.   Although it is said above that there should be some common aspect of both the Raagas, it should be kept in mind that it does not impede in differentiating them. The Raag to be mixed should not be so  much common with the main Raag that the mixed Raag may appear like a 'prakaar' of the main Raag. Otherwise it will be termed as a 'bhrashta' (distorted) form of the main Raag.
10.  There are some variants (prakaars) of mishra Raagas, where the main swaras  of a Raag are used  so cleaverly that the Raag is never visible clearly, but its shades appear on the dominant Raag e.g. in Shuddha Kalyaan teevra mandyam and nishaad are used very cleavery. These swaras which are 'varjit' in  Bhoopali are used in Shuddha Kalyaan in such a way that with the swaras of Bhoopali the feeling of Kalyan is created, but not a single swara pattern of Kalyaan is used openly. Only by using P R S  swara sangati repeatedly the feeling of Kalyaan is produced.
11.  About Mishra Raagas it is necessary to put on record that the name of the Mishra Raag should be such that it should incorporate the names of the Raagas used for creating it. As far as possible the name should be indicative of the dominant Raag.  For example in all prakars of Malhaar, the Raag-vaachak name 'Malhaar' is  used at the end of the name, denotes the prominence of Malhaar.  If a format is adopted where the word denoting the dominant Raag is used in the name of the Mishra Raag in the end, it will make the name of the Mishra Raag more expressive and impressive.. Therefore, such Raag names which do not carry any hint  of the Raag mixed  in the Mishra Raag, should always be avoided e.g. in Gorakh Kalyaan, there is not even a trace of Kalyaan. It is always preferable to have a name for a Mishra Raag which denotes both the Raagas mixed in it.
     Although it has been said  earlier that the pleasure obtained by a mishra Raag is more of intellectual nature having the elements of  surprise and novelty, but still one should not forget the emotions aroused by the Raag, because of the importance of 'ranjaktaa' for any Raag. Theelements of surprise and innovation have a limit and if it is exceeded  then the resultant 'creation' will be  a 'rasa-bhanga' (killjoy) and it is to be avoided assiduously. Such creations are not fit to be called a Raag. The elements of surprise and novelty should be balanced with 'ranjakta; and then only it will be proper from the point of view of creating a Mishra Raag."
,
    (  I have tried  my best to translate the article. But a translation is never like the original article. So I may be excused for the discrepancies ,if any, that might have crept in. I hope that members will like this article so                        beautifully written by Pt.Vinayak Narain Patwardhan. With apologies to Shri Patwardhan for translating the article without his permission, for the benefit of Music lovers.)

To day's Subhashit.

गते शोको न कर्तव्यो भविष्यं नैव चिन्तयेत्
वर्तमानेन कालेन वर्तयन्ति विचक्षणाः

Gatey shoko na kartavyo bhawishyam naiva chintayet,
Vartamaanen kaalean vartayanti vichakshanaah.

i.e.     One should not rue for what has happened in the past and should also not unnecessarily worry about what will happen in future. Learned and wise men remain concerned only for what is happening at present.

Gatey = happenings in the past.        Shoka = rue, to be sorry for, regret.         Kartavya = duty,  do.
Bhawishya =  future.         Naiva =  no.         Chintayet = worry for,        Vartamaan = present.
Kaal = time.        Vartmaan Kaalean =  during the present time.          Vartayanti = remain concerned.
Vichakshanaah = learned and wise persons.

To day's Subhashit.

न भूतपूर्वं न कदापि वार्ता हेम्नः कुरंगः कदापि न दृष्टः
तथापि तृष्णा रघुनन्दनस्य विनाशकाले विपरीत बुद्धिः

Na bhootpoorvah na kadaapi vaartaa hemnh kurangh kadaapi na drushtah
Tathaapi trushna Raghunandanasya vinaashkaale vipreet buddhih

It had never happened  before, nor had anyone heard about or seen a golden deer. But still  Lord Rama craved for hunting it (with disastrous consequence of his consort Sita's abduction by Ravana). That is why it is said that when the Time is not in favour of a person, his intellect becomes haywire  and he takes wrong decisions.

Na = not.       Bhootpoorva =  that happened in the past.         Kadaapi =   ever.
Vaarta =  talk, heard about.         Hemnah = Gold, golden in color.         Kurangh = a deer.
Drushtah =  seen.          Tathapi = but still.    
 Raghunandanasya = Lord Rama's. (Lord Rama was born in the dynasty of King Raghu. So, Raghunandan means a person who adored the dynasty of King Raghu. It is one of the names of Shri Rama.)
Vinaash = getting extinct, disappearance.        Kaal =  time.  
Vinaash kaal =  a period of Time not in favour  of a person and there is danger of extinction
 Vipreet = not right.            Buddhi = intellect, mental ability to differentiate what is right and what is wrong.
Vipreet buddhi = taking wrong decisions
(The last three words of this Subhashit "विनाशकाले विपरीत बुद्धिः" is a very popular quotation from Sanskrit language,)   

To day's Subhashit.

गुरु शुश्रूषया विद्या पुष्कलेन धनेन वा
अथ वो विद्यया विद्या चतुर्थो न उपलभ्यते.

Guru sushrooshayaa vidya pushkalen dhanen wa.
Ath wo vidyayaa vidya chaturtho na uplabhyate.

i.e.    Knowledge can be  acquired by serving a teacher with respect and care, or by spending lots of money,  or by exchange of knowledge with others. There is no other fourth means available for this purpose.

Guru = a teacher.         Sushrooshayaa = serving with respect and care.
Pushkalen = best use of,  lots of.         Dhanen =  by (spending) money.
Atha wo = or.          Vidyayaa = through exchange or use of vidya.
Chaturtho = fourth.        Na =  not.        Upalabhyate =  is available. 

To day's Subhashit.

एकेनापि सुबृक्षेण पुष्पितेन सुगन्धिना
वासितं तद्  वनम्  सर्वं सुपुत्रेण  कुलं यथा .

Ekenaapi subrukshena pushpiten sugandhina
Vaasitam tad vane sarvam suputrena kulam yathaa.

i.e.   Even a single flowering tree of good quality fills the entire forest by the fragrance of its flowers, just like a single illustrious and noble son glorifying the family to which he belongs.

Ekenaapi = even a single.         Su= good.          Bruksha = tree.         Pushpiten =  flowering.
Sugandhina =  by the fragrance.             Vaasitam = exists, lives.         Tad = that.        Vanam = forest.
Su-putrena =  by an illustrious and noble son.         Kulam =  family, clan.        Yatha = just like.

To day's Subhashit.

मधु सिक्तो निम्बखण्डं दुग्ध पुष्टो भुजङ्गमः ]
गंगास्नातोपि दुर्जनः स्वभावं नैव मुंचति  ]]

Madhu sikto nimbakhandam dugdhapushto bhunjagamh'
Gangasnaatopi durjanh swabhaawam naiwa munchati.

i.e.    Even if a lemon tree is watered with honey,  a snake is fed with milk, and a mean and crooked person is bathed in the sacred river Ganges, all these three do not shed their inherent nature. (The lemon tree will not bear sweet fruits, the snake will continue to remain poisonous and the crook will not become a noble person.)

Madhu = honey         Nimbakhandam = a Lemon tree.         Dudha= milk.       Pushtam = fed with
Ganga = the river Ganges, considered very auspicious and capable of washing away sins of a person.
Snatopi = on being bathed.         Durjan = a mean and crooked person.
Swabhava = inherent nature.       Naiwa =  not .           Munchate =  sheds, discards.

To day's Subhashit.

अपि स्वर्णमयी  लंका न मे लक्ष्मण रोचते
जननी जन्मभूमिश्च स्वर्गादपि गरीयसी .

Api swarnamayi lanka na me Lakshman rochate
janani janmabhoomishch swargaadapi gasriyasi.

i.e.      O Lakshma, although Lanka is golden in hue (very rich country) , I do not like it, because the place of our birth is like our mother and is uncomparable even with with Swarga, the abode of Gods.

    ( In this subhashit Lord Ram, expressing his love for his mother land, says to his brother Lakshman that although Lanka (which we have won in the battle with Ravana) is a Golden country (very rich) is not liked by me. The country where we were born (reference to Ayodhya) is like our mother and is even better than Swarga, the abode of Gods.  The second stangza of this Subhashit is oft quoted to express the love for ones' motherland,)

Api = although.      Swarnmayi = golden (rich in every respect).      Rochate = liked.
Janani = mother.          Janmabhoomi = the place we are born.       Gariyasi = better than, uncomparable
Swarga = the abode of Gods,  Heaven, the ultimate in comforts of all kinds.