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How Shiva Brought Ganga Down to the Earth

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Shiva spent much time in meditation to ensure that all went well with the world, that good deeds were rewarded and evil ones were avenged. One day he was deep in meditation when he became aware that King Bhagirath was calling to him. Shiva knew that King Bhagirath was a saintly man who had given up his kingdom and spent years praying to him. Shiva also knew that he would not ask for anything selfish so the god stirred from the tiger-skin on which he was sitting and descended to Earth to the place where the king sat praying.

"I am pleased with you Bhagirath," said the Lord of Creation in a melodious voice. "Do not be afraid to tell me what you want." Bhagirath fell down at Shiva's feet, crying tears of gratitude. "Lord Mahadev," he said humbly, "I cannot believe my good fortune in being honored by your presence." Then he began to tell Shiva his story.

More than a hundred thousand years ago, his ancestor King Sagar had decided to perform an important sacrifice which required a special horse to be consecrated at a ritual feast and then set free to wander wherever it wished for a year. Sagar commanded his 60,000 sons to follow the horse and, in accordance with the custom, ordered them to conquer the kings of every country the horse entered. But the princes lost sight of the horse and their angry father told them not to return home until they had found it. The princes searched all over the world and finally dug a massive gorge to the underworld: the gorge was so large that eventually it covered more than half the world and when the princes climbed down into it and entered the underworld, they found the horse grazing peacefully in a meadow. Nearby the great sage Kapila sat deep in meditation and the 60,000 princes at once accused him of stealing the sacrificial horse.

Kapila was enraged both by the accusation and by the interruption to his prayers. According to some, Kapila was the son of Agni the fire-god, and now he angrily glared at the princes and a sacred flame leaped from his eyes which instantly burned them to ashes. Many years later, a nephew of the dead princes named Anshuman discovered their remains lying beside Kapila who was still deep in meditation. Anshuman fell at Kapila's feet and begged that the remains of the princes be washed in holy water so that their souls could enter Heaven.

Kapila agreed on condition that the goddess Ganga came down to Earth to cleanse them. He prophesied that a descendant of Anshuman would be the one to make this come about and now Bhagirath had finally succeeded in invoking Shiva to ask his help.

Ganga had been born from Vishnu's toe and was an unstable creature as is the nature of water. Once, long ago, the gods had begged Shiva to sing his celestial song. Vishnu knew its stupendous force, and had decided to sit directly in front of Shiva and absorb part of the might of his song which could otherwise have caused great destruction in the universe. As Shiva's song became louder, Ganga was hypnotized by its beauty and began to rise and become fuller. She would have flooded the Heavens in her ecstasy but fortunately Vishnu was prepared and imprisoned her in a large pot before she could do any damage. Ever since then she had been annoyed with Shiva for having such an effect on her.

"I will grant your wish," Shiva told Bhagirath. "But the might of Ganga gushing down to Earth would be too immense for the land to bear. There would be earthquakes, floods and fire, and the crops would be ruined for years to come. So I will sit in the spot where she is to fall and bear the impact of her power on my head. Then, when she has landed, you can take her to the remains of your ancestors and your years of prayer to me will have been repaid."

Shiva seated himself beside Bhagirath among the Himalayan glaciers and willed Ganga to make her appearance. Ganga could not resist the power of his will but was furious at being ordered to descend from Heaven. Since she had an old score to settle with Shiva she decided that she would wash him away in her swirling currents. She cascaded down from the sky as a mighty waterfall, but Shiva was prepared for her tricks - he grew into a giant and imprisoned her in the matted locks of his hair. She flowed in and out of his hair for many years and by the time she reached Earth she was harmlessly split into seven streams.

Acting on Shiva's advice, King Bhagirath blew a loud, clear note on a horn and led the way to the great gorge where the ashes of the princes lay. The main stream followed the sound, winding in and out of many countries and villages until she finally came to the entrance to the underworld. There she flooded into the last gap which covered more than half the world and filled it to the brim, washing the remains of Bhagirath's ancestors in her holy waters. The great river is today known as the sacred River Ganga or Mother Ganga, and the great gorge was named Sagar after the king whose sons had dug it. And that is what it is still called to this day, for from that day onward, sagar came to mean "ocean".

Kannappa's Devotion

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A young hunter lived in the hills of south-eastern India. One day, as he returned after catching a great boar, he noticed a shrine adorned by the image of Shiva. As he looked at the face of the image, he felt a deep conviction that he had returned to a much loved parent after many years apart. As he gazed adoringly at the statue's face, he saw that it had been decorated with fresh flowers and sprinkled with clean water from a nearby stream. A traditional offering of fresh fruit and milk lay at its feet. "Let me also make an offering to my lord," thought the hunter.

He returned to his camp with the boar and ordered it to be roasted immediately. As soon as it was cooked, he chose the tenderest parts of its flesh, tasting them to ensure they were soft. Then, taking as much as his hands would hold, he ran down to the stream to fetch some water. When he arrived, he realized he would not be able to carry any water since his hands were full. Stooping low, he filled his mouth with water and made his way to a place which he knew was filled with flowering trees. As he passed, he entangled his hair in the branches of the trees, hoping to trap some wild flowers to complete the offering.

Finally he arrived at the shrine. He laid the meat at Shiva's feet, sprinkled the water from his mouth over him and pulled the bruised flowers from his hair to lay before him. Then he drew his bow and arrow and settled there for the night to protect the shrine from danger.

At sunrise he went in search of more offerings. Soon after he had left an old Brahmin priest arrived to tend the shrine as usual. He was horrified to see the dirty water, the bitten meat and the withered flowers. He fell to his knees before the image.

"My lord Shiva," he cried, "why have you allowed your shrine to be defiled in this manner." The statue of Shiva smiled. "Do not misunderstand the coarse offerings of this ignorant man. He knows nothing of your sacred rites but what he does is above reproach for he does it with sincerity and love." Then Shiva asked the Brahmin to return that night and hide behind him to witness the strength of the young man's devotion.

When night came, the young man returned and repeated all the actions he had performed before. When he had finished, he began again to gaze at the face of the statue and this time saw to his horror that one of its eyes was bleeding. He tried to staunch the blood with herbs that were growing nearby, but the blood continued to pour out of the statue's eye. The hunter thought hard. Somewhere he had heard that like cured like. Searching for his sharpest arrow, he cut his own eye out and placed it in the bleeding hollow of the statue's eye.

Immediately the bleeding stopped, but no sooner had one eye stopped bleeding than the other started. The hunter pulled out another arrow and was about to cut out his other eye when the statue of Shiva reached out a hand. "You have proved your love," he said, "and won a seat by my side in Kailash."

The Brahmin realized for the first time in his life that real love could be greater than sacred ritual and the hunter became known all over South India as Kannappa -"the Eye-Saint." He is counted among the 63 nayanmars, among the greatest saints of South India.

The Birth of Karthikeya

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Taraka, a might asura, began to torment the devas and soon conquered the three worlds. Empowered by a boon from Brahma that he would only die at the hands of a seven-day-old child, he was invincible. The devas begged Brahma for a solution. Brahma taking pity on them asked them to ensure that Shiva and Parvati bear a child, who would lead them to victory over Taraka.

Soon, Shiva and Parvati began their intercourse, which continued for many hundreds of years. The devas desperately requested Shiva to stop the act, but he was oblivious to all their entreaties. Then, using deceitful means they disturbed him and as a result, he obliged them and asked which of them would bear his semen when discharged. Agni the fire god volunteered to consume his semen. Parvati of course did not appreciate these interruptions and she cursed the devas that they would hereafter remain childless.

Meanwhile, Agni rode the winds to carry the semen to Brahma. However, Shiva's seed was powerful that Agni's glow began to diminish. On his way, he saw Ganga flowing beneath him, and desperate to relieve himself of this incredible seed, he released it into Ganga's waters.

Time passed by and the semen became a burden to even Ganga. As her waters travelled to the Udaya mountain, she noticed a particular variety of grass (Saccharam munja Roxb) grows. She deposited the semen, which had by now developed into a foetus, there.

After 10,000 years passed, the child awoke and cried in a thunderous voice. Six Krittikas or divine maidens passing that way heard him, and taking pity on it vied with one another to breast-feed the baby. Since the child looked at the six Krittikas one after the other, it developed six faces, and since it was breast-fed by the Krittikas it came to be named Karthikeya.

Brahma informed Agni about the event and he hurried to the forest. Along the way, Ganga came to know of the event too, and she followed Agni. When they reached the forest, Agni, Ganga and the Krittikas began to argue about who the child belonged to. At this point, Shiva and Parvati appeared, and Shiva spoke, "Let the child be the son of the Krittikas under the name Karthikeya. He will be Ganga's son under the name Kumara. He will be Parvati's son under the name Skanda ; as my son he will be Guha; as Agni's son he will be named Mahasena and under the name Saravana, he will be Saravana's (the forest of his birth) son. He is a phenomenal yogi and as he possesses six faces, he will be famous as Shanmukha, the six-faced one.

Thus the child who was a mighty warrior was endowed with many weapons by the devas. Garuda presented his own son, the swift peacock. Aruna gave his son, the cock. Agni gave him the spear or vel. Brihaspati gave him the danda or stick. Skanda was installed as the Commander of the deva army, and thus he destroyed the armies of Taraka and killed him.

In later days, Skanda and Ganesha once had a competition as to who was the fastest. The bet each other that they would fly around the universe to see who would be the winner. Shiva and Parvati declared that the winner would receive a special mango. Skanda mounted his peacock and flew off at great speed. Ganesha, however, calmly circled his parents - Shiva and Parvati - since they were all the universe as far as he was concerned. Seeing this wisdom, the Mahadeva offered Ganesha the mango.

Yogi and mystic, Sadhguru, says that Skanda, when he came to know of this, was thoroughly angered by what he saw as an injustice on the part of his parents. He left Kailasha and went on a rampage in the South of India, killing all those who opposed him. His anger was very great, until he met the great yogi Agastya, who tutored him in the ways of yoga. Skanda laid his weapons down and climbed the mountain known as Ghati Subramanya in Karnataka. Their, he is said to have attained Mahasamadhi.

Shivashtakam - Video and Lyrics With Meaning

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Shivashtakam Lyrics

Sanskrit
प्रभुं प्राणनाथं विभुं विश्वनाथं जगन्नाथ नाथं सदानन्द भाजाम् ।
भवद्भव्य भूतॆश्वरं भूतनाथं, शिवं शङ्करं शम्भु मीशानमीडॆ

गलॆ रुण्डमालं तनौ सर्पजालं महाकाल कालं गणॆशादि पालम् ।
जटाजूट गङ्गॊत्तरङ्गै र्विशालं, शिवं शङ्करं शम्भु मीशानमीडॆ

मुदामाकरं मण्डनं मण्डयन्तं महा मण्डलं भस्म भूषाधरं तम् ।
अनादिं ह्यपारं महा मॊहमारं, शिवं शङ्करं शम्भु मीशानमीडॆ

वटाधॊ निवासं महाट्टाट्टहासं महापाप नाशं सदा सुप्रकाशम् ।
गिरीशं गणॆशं सुरॆशं महॆशं, शिवं शङ्करं शम्भु मीशानमीडॆ ॥ 4 ॥

गिरीन्द्रात्मजा सङ्गृहीतार्धदॆहं गिरौ संस्थितं सर्वदापन्न गॆहम् ।
परब्रह्म ब्रह्मादिभिर्-वन्द्यमानं, शिवं शङ्करं शम्भु मीशानमीडॆ

कपालं त्रिशूलं कराभ्यां दधानं पदाम्भॊज नम्राय कामं ददानम् ।
बलीवर्धमानं सुराणां प्रधानं, शिवं शङ्करं शम्भु मीशानमीडॆ

शरच्चन्द्र गात्रं गणानन्दपात्रं त्रिनॆत्रं पवित्रं धनॆशस्य मित्रम् ।
अपर्णा कलत्रं सदा सच्चरित्रं, शिवं शङ्करं शम्भु मीशानमीडॆ

हरं सर्पहारं चिता भूविहारं भवं वॆदसारं सदा निर्विकारं।
श्मशानॆ वसन्तं मनॊजं दहन्तं, शिवं शङ्करं शम्भु मीशानमीडॆ

स्वयं यः प्रभातॆ नरश्शूल पाणॆ पठॆत् स्तॊत्ररत्नं त्विहप्राप्यरत्नम् ।
सुपुत्रं सुधान्यं सुमित्रं कलत्रं विचित्रैस्समाराध्य मॊक्षं प्रयाति ॥

English
prabhuṃ prāṇanāthaṃ vibhuṃ viśvanāthaṃ jagannātha nāthaṃ sadānanda bhājām |
bhavadbhavya bhūteśvaraṃ bhūtanāthaṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

gaḷe ruṇḍamālaṃ tanau sarpajālaṃ mahākāla kālaṃ gaṇeśādi pālam |
jaṭājūṭa gaṅgottaraṅgai rviśālaṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

mudāmākaraṃ maṇḍanaṃ maṇḍayantaṃ mahā maṇḍalaṃ bhasma bhūṣādharaṃ tam |
anādiṃ hyapāraṃ mahā mohamāraṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

vaṭādho nivāsaṃ mahāṭṭāṭṭahāsaṃ mahāpāpa nāśaṃ sadā suprakāśam |
girīśaṃ gaṇeśaṃ sureśaṃ maheśaṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

girīndrātmajā saṅgṛhītārdhadehaṃ girau saṃsthitaṃ sarvadāpanna geham |
parabrahma brahmādibhir-vandyamānaṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

kapālaṃ triśūlaṃ karābhyāṃ dadhānaṃ padāmbhoja namrāya kāmaṃ dadānam |
balīvardhamānaṃ surāṇāṃ pradhānaṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

śaraccandra gātraṃ gaṇānandapātraṃ trinetraṃ pavitraṃ dhaneśasya mitram |
aparṇā kaḷatraṃ sadā saccaritraṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

haraṃ sarpahāraṃ citā bhūvihāraṃ bhavaṃ vedasāraṃ sadā nirvikāraṃ|
śmaśāne vasantaṃ manojaṃ dahantaṃ, śivaṃ śaṅkaraṃ śambhu mīśānamīḍe

Meaning

I pray You, Siva, Sankara, Sambhu, Who is the Lord, Who is the Lord of our lives, Who is Vibhu, Who is the Lord of the world, Who is the Lord of Vishnu (Jagannatha), Who is always dwelling in happiness, Who imparts light or shine to everything, Who is the Lord of living beings, Who is the Lord of ghosts, and Who is the Lord of everyone.

I pray You, Siva, Sankara, Sambhu, Who has a garland of skull around the neck, Who has a net of snakes around His body, Who is the destroyer of the immense-destroyer Kala, Who is the lord of Ganesa, Whose matted-hair are spread-out by the presence of the waves of Ganga falling on His head, and Who is the Lord of everyone.

I pray You, Siva, Sankara, Sambhu, Who scatters happiness [in the world], Who is ornating the universe, Who is the immense universe Himself, Who is possessing the adornment of ashes, Who is without a beginning, Who is without a measure, Who removes the greatest attachments, and Who is the Lord of everyone.

I pray You, Siva, Sankara, Sambhu, Who resides below a Vata (Banyan) tree, Who possesses an immense laughter, Who destroys the greatest sins, Who is always resplendent, Who is the Lord of Himalaya, various Gana and the demi-gods, Who is the great Lord, and Who is the Lord of everyone.

I pray You, Siva, Sankara, Sambhu, Who shares half of His body with the daughter of Himalaya, Who is situated in a mountain (Kailasa), Who is always a resort for the depressed, Who is the Atman, Who is reverred by (or Who is worthy of reverence by) Brahma and others, and Who is the Lord of everyone.

I pray You, Siva, Sankara, Sambhu, Who holds a skull and a trident in the hands, Who endows the desires of those who are humble to His lotus-feet, Who uses an Ox as a vehicle², Who is supreme and above various demi-gods, and Who is the Lord of everyone.

I pray You, Siva, Sankara, Sambhu, Who has a face like the Winter-moon, Who is the subject of happiness of Gana, Who has three eyes, Who is pure, Who is the friend of Kubera (controller of wealth), Who is the consort of Aparna (Parvati), Who has eternal characteristics, and Who is the Lord of everyone.


I pray You, Siva, Sankara, Sambhu, Who is known as Hara, Who has a garland of snakes, Who roams around the cremation grounds, Who is the universe, Who is the summary of the Veda (or the One discussed by Veda), Who is always dispassionate, Who is living in the cremation grounds, Who is burning desires born in the mind, and Who is the Lord of everyone.

Shiva Shabdam

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Shiva Stuti - Video and Lyrics With Meaning

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Lyrics

Sanskrit
महादेवाय नमः
महादेवाय नमः
योगेश्वराय महादेवाय त्रैय्मबकाय त्रिपुरान्तकाय
योगेश्वराय महादेवाय त्रैय्मबकाय त्रिपुरान्तकाय
त्रिकाग्नि कालाय l कालाग्नि रुद्राय नीलकण्ठाय मृत्युंजयाय
त्रिकाग्नि कालाय l कालाग्नि रुद्राय नीलकण्ठाय मृत्युंजयाय

सर्वेश्वराय सदाशिवाय
सर्वेश्वराय सदाशिवाय
सर्वेश्वराय सदाशिवाय
सर्वेश्वराय सदाशिवाय

महादेवाय नमः
महादेवाय नमः
महादेवाय नमः
महादेवाय नमः

English
Mahadevaya Namah,
Mahadevaya Namah,

Yogeshweshvaraya, Mahadevaya, Trayambakaya, Tripurantakaya,
Yogeshweshvaraya, Mahadevaya, Trayambakaya, Tripurantakaya,

Trikagni, Kalaya, Kalagnirudraya, Neelkanthaya, Mrityunjaya,
Trikagni, Kalaya, Kalagnirudraya, Neelkanthaya, Mrityunjaya,

Sarveshwaraya, Sadashivaya,
Sarveshwaraya, Sadashivaya,
Sarveshwaraya, Sadashivaya,
Sarveshwaraya, Sadashivaya,

Yogeshweshvaraya, Mahadevaya, Trayambakaya, Tripurantakaya,
Yogeshweshvaraya, Mahadevaya, Trayambakaya, Tripurantakaya,

Trikagni, Kalaya, Kalagnirudraya, Neelkanthaya, Mrityunjaya,
Trikagni, Kalaya, Kalagnirudraya, Neelkanthaya, Mrityunjaya,

Sarveshwaraya, Sadashivaya,
Sarveshwaraya, Sadashivaya,
Sarveshwaraya, Sadashivaya,
Sarveshwaraya, Sadashivaya,

Mahadevaya Namah,
Mahadevaya Namah,
Mahadevaya Namah,
Mahadevaya Namah,

Meaning
I bow down to the lord who is the lord of yoga, who is the greatest among gods, who has three eyes, who is the annihilator of all the three worlds, one whose throat is blue, who is the conqueror of death, who is the Lord of all, who is propitious who is possessed of all marks of greatness and who is the greatest among Gods.

Shiva Rudrashtakam - Video With Lyrics and Meaning

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The Rudrashtakam is an ashtakam or octet (a prayer with eight rhyming verses) dedicated to the manifestation of Shiva. It was composed by Swami Tulsidas in the fifteenth century. Rudra is the fearsome manifestation of Shiva and is known as the Roarer.

Rudrashtakam Lyrics

Sanskrit
नमामीशमीशान निर्वाणरूपं
विभुं व्यापकं ब्रह्मवेदस्वरूपम्
निजं निर्गुणं निर्विकल्पं निरीहं
चिदाकाशमाकाशवासं भजेहम्

निराकारमोङ्करमूलं तुरीयं
गिराज्ञानगोतीतमीशं गिरीशम् ।
करालं महाकालकालं कृपालं
गुणागारसंसारपारं नतोहम्

तुषाराद्रिसंकाशगौरं गभिरं
मनोभूतकोटिप्रभाश्री शरीरम् ।
स्फुरन्मौलिकल्लोलिनी चारुगङ्गा
लसद्भालबालेन्दु कण्ठे भुजङ्गा

चलत्कुण्डलं भ्रूसुनेत्रं विशालं
प्रसन्नाननं नीलकण्ठं दयालम् ।
मृगाधीशचर्माम्बरं मुण्डमालं
प्रियं शङ्करं सर्वनाथं भजामि

प्रचण्डं प्रकृष्टं प्रगल्भं परेशं
अखण्डं अजं भानुकोटिप्रकाशं ।
त्र्यःशूलनिर्मूलनं शूलपाणिं
भजेहं भवानीपतिं भावगम्यम्

कलातीतकल्याण कल्पान्तकारी
सदा सज्जनानन्ददाता पुरारी ।
चिदानन्दसंदोह मोहापहारी
प्रसीद प्रसीद प्रभो मन्मथारी

न यावद् उमानाथपादारविन्दं
भजन्तीह लोके परे वा नराणाम् ।
न तावत्सुखं शान्ति सन्तापनाशं
प्रसीद प्रभो सर्वभूताधिवासं

न जानामि योगं जपं नैव पूजां
नतोहं सदा सर्वदा शम्भुतुभ्यम् ।
जराजन्मदुःखौघ तातप्यमानं
प्रभो पाहि आपन्नमामीश शंभो

English
Namaa miisha mishaana-nirvaana rupam
vibhum vyaapakam brahma-veda-svaroopam
nijam nirgunam nirvikalpam niriham
chidaakaasha maakaasha-vaasam bhaje ham

niraakaara monkaara-moolam turiiyam
giraa gnaana gotiita miisham giriisham
karaalam mahaa-kaala-kaalam krpaalam
gunaagaara samsara paaram nato ham

tushaa raadri-sankaasha-gauram gabhiram
manobhuta-koti prabha sri sariram
sphuran mauli-kallolini-charu-ganga
lasad-bhaala-balendu kanthe bhujangaa

chalatkundalam bhru sunetram visalam
prasannaa-nanam nila-kantham dayaalam
mrgadhisa charmaambaram mundamaalam
priyam sankaram sarvanaatham bhajaami

pracandam prakrstam pragalbham paresham
akhandam ajam bhaanukoti-prakaasam
trayah-shula-nirmulanam shula-paanim
bhaje ham bhavaani-patim bhaava-gamyam

kalaatitata-kalyaana-kalpanta-kaari
sadaa sajjanaa-nanda-daataa purarih
chidaananda-sandoha-mohaapahaari
prasida praslda prabho manmathaarih

na yaavad umaanaatha-paadaaravindam
bhajantiha loke parevaa naraanam
na taavat-sukham shaanti-santaapa-naasham
praslda prabho sarva bhutaa-dhivaasam

na janaami yogam japam naiva pujam
nato ham sadaa sarvadaa sambhu tubhyam
jaraa janma-duhkhaugha taatapya maanam
prabho paahi apan-namaamisha shambho

Meaning
Vibhu moksha personified, Veda incarnate, lord, all pervading,
Lord, master of all, I pay my obeisances to you, ever worshiping,
Situated in self, away from maya, modes of nature, desires prevailing,
I chant to you Lord - Digambara who the sky as garment is wearing.

Who is formless, Aumkar's origin, beyond the three gunas being,
Beyond speech, knowledge, senses, grace giver, virtues dwelling,
Perfect- causes fear, reverence in heart, Lord of death itself killing,
Lord of Kailash, beyond this world my obeisances to you I am paying.

Who is fair skinned like Himanchal and is a serene, calm being,
Who has beauty and grace of millions of kamdevas ever glowing,
Upon whose head resides the sacred Goddess Ganga flowing,
Upon his head is crescent moon, his neck by a snake2 adorning.

In his ears striking kundalas, beautiful eyebrows and eyes having,
Cheerful, blue necked , very kind, compassionate, understanding,
Wrapped by lions skin, a garland prepared of skulls he is wearing,
He dearest to all and Lord of all - his name Shankara I am chanting.

Rudrarup, best, perfect, eternal, unborn, the one opulence having,
Who with effulgence of a million suns with a trident in hand having,
Who uproots the three kinds of griefs, who by love be gaining,
I chant Bhavani's husband's name - Shankarji - to you I am praying.

Beyond time, timeless, welfare incarnate, the creation's ending,
Enemy of Tripur- whose pleasure and happines to good is giving,
Owner, giver of eternal bliss, who worldly attachment be removing,
Kaamdev's enemy, bless me, you bring good by heart churning.

Husband of Parvati unless humans your lotus feet be worshiping,
Peace and joy in either this world or in heaven can not be achieving,
Till then are not mitigated or lessened in any way their sufferings,
Lord who resides in heart of all be pleased with me and my offering.

0 Shambhu I know not Yoga, nor penance nor worship nor praying,
But I always pay my respect unto you 0 my Lord do ever be saving,
In the suffering of the cycle of death, birth and old age I am burning,
Lord protect this pained from grief my respects unto you I am paying.

Bilvashtakam - Video With Lyrics and Meaning

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Bilvashtakam is a short but powerful chant that speaks of the power and glory of offering bilva leaves to Lord Shiva. They are to be offered in a group of three leaves and are said to have features that identify them with Lord Shiva himself.

Lyrics
Sanskrit
त्रिदलं त्रिगुणाकारं त्रिनॆत्रं च त्रियायुधं
त्रिजन्म पापसंहारम् ऎकबिल्वं शिवार्पणं

त्रिशाखैः बिल्वपत्रैश्च अच्चिद्रैः कॊमलैः शुभैः
तवपूजां करिष्यामि ऎकबिल्वं शिवार्पणं

कॊटि कन्या महादानं तिलपर्वत कॊटयः
काञ्चनं क्षीलदानॆन ऎकबिल्वं शिवार्पणं

काशीक्षॆत्र निवासं च कालभैरव दर्शनं
प्रयागॆ माधवं दृष्ट्वा ऎकबिल्वं शिवार्पणं

इन्दुवारॆ व्रतं स्थित्वा निराहारॊ महॆश्वराः
नक्तं हौष्यामि दॆवॆश ऎकबिल्वं शिवार्पणं

रामलिङ्ग प्रतिष्ठा च वैवाहिक कृतं तधा
तटाकानिच सन्धानम् ऎकबिल्वं शिवार्पणं

अखण्ड बिल्वपत्रं च आयुतं शिवपूजनं
कृतं नाम सहस्रॆण ऎकबिल्वं शिवार्पणं

उमया सहदॆवॆश नन्दि वाहनमॆव च
भस्मलॆपन सर्वाङ्गम् ऎकबिल्वं शिवार्पणं

सालग्रामॆषु विप्राणां तटाकं दशकूपयॊः
यज्नकॊटि सहस्रस्च ऎकबिल्वं शिवार्पणं

दन्ति कॊटि सहस्रॆषु अश्वमॆध शतक्रतौ
कॊटिकन्या महादानम् ऎकबिल्वं शिवार्पणं

बिल्वाणां दर्शनं पुण्यं स्पर्शनं पापनाशनं
अघॊर पापसंहारम् ऎकबिल्वं शिवार्पणं

सहस्रवॆद पाटॆषु ब्रह्मस्तापन मुच्यतॆ
अनॆकव्रत कॊटीनाम् ऎकबिल्वं शिवार्पणं

अन्नदान सहस्रॆषु सहस्रॊप नयनं तधा
अनॆक जन्मपापानि ऎकबिल्वं शिवार्पणं

English
Tridalam trigunakaram trinetram cha triyayudham
Trijanmapapasamharam ekabilvam shivarpanam

Trishakhaih bilvapatraishcha hyachchidraih komalaih shubhaih .
Tavavapujam karishhyami ekabilvam shivarpanam

Koti kanya maha danam tila parvata kotayah
Kanchanam sheela danena ekabilvam shivarpanam

Kashikshetranivasam cha kalabhairavadarshanam
Prayagamadhavam druishtva ekabilvam shivarpanam

Induvare vratam sthitwa niraharo maheshwara
Naktam haoushyami devecha eka bilvam shivarpanam

Ramalinga pratistha cha vaivahika krutam tatha
tatakadi cha santanam eka bilvam shivarpanam

Akhanda bilva patram cha ayutam shiva poojanam
Krutam nama sahasrena eka bilvam shivarpanam

Umaya sahadevesha nandi vahana meva cha
Bhasma lepana sarvangam eka bilvam shivarpanam

Salagrameshu vipranam tatakam dasha koopayo
Yagyakoti saharacha eka bilvam shivarpanam

Dantikoti sahasreshu ashwamedha shatakratau
Kotikanya mahadanam ekabilvam shivarpanam

Bilvanam darshanam punyam sparshanam papa nashanam
Aghora papa samharam eka bilvam shivarpanam

Sahasra veda patheshu brahma sthapana muchyate
Aneka vrata kotinam eka bilvam shivarpanam

Annadana sahasreshu sahasropanayanam tatha
Aneka janma papani eka bilvam shivarpanam

Meaning
I offer a sprig of Bilva to Lord Shiva,
Which has three leaves,
Which causes three qualities,
Which are like the three eyes of Shiva,
Which is like the triad of weapons,
And which destroys sins of three births.

I offer a sprig of Bilva to Lord Shiva,
Which has three shoots,
Which do not have holes,
Which are good and pretty,
And worship Lord Shiva.

I offer a sprig of Bilva to Lord Shiva,
For if an uncut leaf is offered,
To his steed the god Nandi,
We get cleaned of all our sins.

I offer a sprig of Bilva to Lord Shiva,
For it is equal to, offering a saligrama to a Brahmin,
Or the great blessing got out of performing Soma Yaga,

I offer a sprig of Bilva to Lord Shiva,
For it is equal to gifting thousand elephants,
Or the performing of hundred fire sacrifices,
Or giving away billions of virgins.

I offer a sprig of Bilva to Lord Shiva,
For it is equal to giving a tree of Bilva,
Which was born from the breast of Lakshmi,
And which is very dear to the Lord Shiva.

I offer a sprig of Bilva to Lord Shiva,
As seeing and touching of a tree of Bilva,
Washes away ones sins and also very great sins.

I offer a sprig of Bilva to Lord Shiva,
After living in the city of Kasi,
Seeing the Kala Bhairawa,
And also visiting the temple
Of Madhawa in Allahabad.

I offer a sprig of Bilva to Lord Shiva,
As Brahma resides at its bottom,
Lord Vishnu lives in its middle,

And Lord Shiva lives in its tip.

Chidambareshwara Stotram - Video

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Shiva Shadakshara Stotram

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Kalabhairava Ashtakam - Video With Lyrics and Meaning

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Lyrics

Sanskrit
देवराजसेव्यमानपावनांघ्रिपङ्कजं
व्यालयज्ञसूत्रमिन्दुशेखरं कृपाकरम् ।
नारदादियोगिवृन्दवन्दितं दिगंबरं
काशिकापुराधिनाथकालभैरवं भजे ॥१॥

भानुकोटिभास्वरं भवाब्धितारकं परं
नीलकण्ठमीप्सितार्थदायकं त्रिलोचनम् ।
कालकालमंबुजाक्षमक्षशूलमक्षरं
काशिकापुराधिनाथकालभैरवं भजे ॥२॥

शूलटङ्कपाशदण्डपाणिमादिकारणं
श्यामकायमादिदेवमक्षरं निरामयम् ।
भीमविक्रमं प्रभुं विचित्रताण्डवप्रियं
काशिकापुराधिनाथकालभैरवं भजे ॥३॥

भुक्तिमुक्तिदायकं प्रशस्तचारुविग्रहं
भक्तवत्सलं स्थितं समस्तलोकविग्रहम् ।
विनिक्वणन्मनोज्ञहेमकिङ्किणीलसत्कटिं
काशिकापुराधिनाथकालभैरवं भजे ॥४॥

धर्मसेतुपालकं त्वधर्ममार्गनाशकं
कर्मपाशमोचकं सुशर्मदायकं विभुम् ।
स्वर्णवर्णशेषपाशशोभिताङ्गमण्डलं
काशिकापुराधिनाथकालभैरवं भजे ॥५॥

रत्नपादुकाप्रभाभिरामपादयुग्मकं
नित्यमद्वितीयमिष्टदैवतं निरंजनम् ।
मृत्युदर्पनाशनं करालदंष्ट्रमोक्षणं
काशिकापुराधिनाथकालभैरवं भजे ॥६॥

अट्टहासभिन्नपद्मजाण्डकोशसंततिं
दृष्टिपातनष्टपापजालमुग्रशासनम् ।
अष्टसिद्धिदायकं कपालमालिकाधरं
काशिकापुराधिनाथकालभैरवं भजे ॥७॥

भूतसंघनायकं विशालकीर्तिदायकं
काशिवासलोकपुण्यपापशोधकं विभुम् ।
नीतिमार्गकोविदं पुरातनं जगत्पतिं
काशिकापुराधिनाथकालभैरवं भजे

English
Deva raja sevya mana pavangri pankajam,
Vyala yagna suthra mindu shekaram krupakaram,
Naradadhi yogi vrundha vandhitham digambaram,
Kasika puradhi nadha Kalabhairavam bhaje.

Bhanu koti bhaswaram, bhavabdhi tharakam param,
Neelakanda meepsidartha dayakam trilochanam,
Kalakala mambujaksha maksha soola maksharam,
Kasika puradhi nadha Kalabhairavam bhaje.

Soola tanga pasa danda pani madhi karanam,
Syama kaya madhi devamaksharam niramayam,
Bheema vikramam prabhum vichithra thandava priyam,
Kasika puradhi nadha Kalabhairavam bhaje.

Bhukthi mukthi dayakam prasashtha charu vigraham,
Bhaktha vatsalam shivam* , samastha loka vigraham,
Vinikwanan manogna hema kinkini lasath kateem,
Kasika puradhi nadha Kalabhairavam bhaje.

Dharma sethu palakam, thwa dharma marga nasakam,
Karma pasa mochakam , susharma dayakam vibhum,
Swarna varna sesha pasa shobithanga mandalam,
Kasika puradhi nadha Kalabhairavam bhaje.

Rathna padukha prabhabhirama padayugmakam,
Nithyamadwidheeyamishta daivatham niranjanam,
Mrutyu darpa nasanam karaladamshtra mokshanam,
Kasika puradhi nadha Kalabhairavam bhaje.

Attahasa binna padma janda kosa santhatheem,
Drushti pada nashta papa jala mugra sasanam,
Ashtasidhi dayakam kapala malikadaram,
Kasika puradhi nadha Kalabhairavam bhaje.

Bhootha sanga nayakam, vishala keerthi dayakam,
Kasi vasa loka punya papa shodhakam vibum,
Neethi marga kovidham purathanam jagatpathim,
Kasika puradhi nadha Kalabhairavam bhaje.

Meaning
I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who is adorned by lotus-feet which is reverred and served by Indra (Devaraj), Who has a Yagya-thread made up of snake, Who has the moon on His forehead, Who is the abode of mercy, Who has been sung by Narad and other celestial singers, and Whose clothes are the directions.

I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who is resplendent like millions of sun, Who absolves the ocean of cycle of rebirth, Who is supreme, Who has a blue neck, Who bestows us with our desires, Who has three-eyes, Who is the end of Kaal, Who has lotus-like eyes, Who has immortal monodent weapon, and Who is immortal.

I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who has monodent, spade, a cord and punishment in His hands, Who is the cause behind the beginning, Who has a grey (smeared) body, Who is the first Deva, Who is imperishable, Who is free from illness and health, Who is immensely mighty, Who is the Lord, and Who loves the special Tandava dance.


I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who is the bestower of desires and salvation, Who has an enticing appearance form, Who is endears His devotees, Who is static, Who takes various manifestations and forms the world, and Who has a beautiful golden waist-thread with small melodious bells.

I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who is the maintainer of righteousness, Who is the destroyer of unrighteous paths, Who liberates us from the ties of Karma or deeds, Who bestows us with shyness, Who is splendid, and Whose organ-groups are decorated with a beautiful cord of golden color.

I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who has feet adorned by two sandals made of gold which is possessing a resplendent shine, Who is eternal, Who is induplicable, Who bestows our desires to us, Who is without desires, Who destroys the pride of death (as in is supreme to death), and Who liberates soul by His teeth.

I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Whose loud roar is enough to destroy all the manifestations created by the lotus-born Brahma, Whose (merciful) glance is enough to destroy all the sins, Who is the powerful ruler, Who gives the eight-powers, and Who wears a garland of skull-caps.

I sing praise of Kalabhairava, Who is the ruler of the city Kashi, Who is the leader of the ghosts and spirits, Who showers immense glory, Who absolves people dwelling in Kashi from their sins and righteous deeds, Who is splendor, Who has explained the path of righteousness, Who is eternally old, and Who is the controller of the universe.

Shiva Panchakshara Stotram - Video and Lyrics With Meaning

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Lyrics

Sanskrit
नागेन्द्रहाराय त्रिलोचनाय
भस्माङ्गरागाय महेश्वराय ।
नित्याय शुद्धाय दिगम्बराय
तस्मै नकाराय नमः शिवाय

मन्दाकिनीसलिलचन्दनचर्चिताय
नन्दीश्वरप्रमथनाथमहेश्वराय ।
मन्दारपुष्पबहुपुष्पसुपूजिताय
तस्मै मकाराय नमः शिवाय

शिवाय गौरीवदनाब्जबालसूर्याय
दक्षाध्वरनाशकाय ।
श्रीनीलकण्ठाय वृषध्वजाय
तस्मै शिकाराय नमः शिवाय

वशिष्ठकुम्भोद्भवगौतमार्यमूनीन्द्रदेवार्च­ितशेखराय ।
चन्द्रार्कवैश्वानरलोचनाय
तस्मै वकाराय नमः शिवाय

यज्ञस्वरूपाय जटाधराय
पिनाकहस्ताय सनातनाय ।
दिव्याय देवाय दिगम्बराय
तस्मै यकाराय नमः शिवाय

पञ्चाक्षरमिदं पुण्यं यः पठेच्छिवसंनिधौ ।
शिवलोकमावाप्नोति शिवेन सह मोदते

English
Aum namah shivaya shivaya namah aum
Aum namah shivaya shivaya namah aum

nagendraharaya trilochanaya
bhasmangaragaya mahesvaraya
nityaya suddhaya digambaraya
tasmai na karaya namah shivaya

mandakini salila chandana charchitaya
nandisvara pramathanatha mahesvaraya
mandara mukhya bahupushpa supujitaya
tasmai " ma" karaya namah shivaya

shivaya gauri vadanabja brnda
suryaya dakshadhvara nashakaya
sri nilakanthaya Vrshabhadhvajaya
tasmai "shi" karaya namah shivaya

vashistha kumbhodbhava gautamarya
munindra devarchita shekharaya
chandrarka vaishvanara lochanaya
tasmai "va" karaya namah shivaya

yagna svarupaya jatadharaya
pinaka hastaya sanatanaya
divyaya devaya digambaraya
tasmai "ya" karaya namah shivaya

panchaksharamidam punyam yah pathechchiva
sannidhau shivalokamavapnoti sivena saha modate

Meaning
He who has the king of snakes as his garland and who has three eyes,
He whose body is smeared with sacred ashes and who is the great lord,
He who is eternal, who is ever pure with the four directions as his clothes,
Salutations to that Shiva, who is represented by syllable "na".

He who is worshipped with water from the river mandakini and smeared with sandal paste,
He who is the lord of nandi and of the ghosts and goblins, the great lord,
He who is worshipped with mandara and many other flowers,
Salutations to that Shiva, who is represented by syllable "ma".

He who is auspicious and who is like the newly risen sun causing the lotus-face of gauri (devi parvati) to blossom,
He who is the destroyer of the sacrifice (yajna) of daksha,
He who has a blue throat and has a bull as  his emblem,
Salutations to that Shiva, who is represented by syllable "shi".

He who is worshipped by the best and most respected sages like vashistha, agastya and gautama and also by the gods and who is the crown of the universe,
He who has the chandra (moon), surya (sun) and agni (fire) as his three eyes,
Salutations to that Shiva, who is represented by syllable "va".

He who is the embodiment of yajna (sacrifice) and who has matted hairs,
He who has the trident in his hand and who is eternal,
He who is divine, who is the shining one and who has the four directions as his clothes,
Salutations to that Shiva, who is represented by syllable "ya".

He who recites this panchakshara (hymn in praise of the five syllables of na-ma-shi-va-ya) near Shiva,
Will attain the abode of Shiva and enjoy his bliss.

Shambho

Om Namah Shivaya - MP3 Download and Proper Pronunciation

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According to yogi and mystic Sadhguru, this powerful mantra consists of the Panchaksharas (na-ma-shi-va-ya) and the utterance Om. However, Om in Om Namah Shivaya is to be uttered as AUM and not Om. The mouth must form the three sounds Ah-Uh-Ma and thus form AUM. This is the correct pronunciation.

He says "Repeating a mantra with the right kind of awareness has always been the basic type of sadhana in most of the spiritual paths in the world.  Most people are incapable of rising to the right levels of energy within themselves without the use of a mantra. I find more than ninety percent of the people always need a mantra to activate themselves. Without it, they are not able to sustain."

AUM is among the most important mantra in the Hindu way of life. The Chandogya Upanishad discusses the significance of AUM, and gives it the most significance among all mantras, placing above even the Vedas, and equating it to the Rig Veda and the Sama Veda combined. The Chandogya says that AUM is speech and breath combined, and is also the embodiment of the chants of the Sama Veda. In the Taittireya Upanishad, AUM is described in various places, sometimes as Brahman and sometimes as all of creation. The Mandukya Upansihad explores the spiritual benefits of chanting AUM. It is said that chanting AUM makes one a trikalagnani - one who can see the past, present and future - and helps one transcend time. AUM is also said to be Atman, the Self. Esoterically, it is said to encapsulate waking, dreaming, deep-sleep, and transcendent states - all four states of consciousness.

In this regard, the three syllables of AUM, Ah, Uh and Ma, are categorised as: Ah is the waking state, Uh is the dreaming state, Ma is the deep-sleep state. The fourth state has no external marker and is the non-dual reality. Later texts understand AUM to encompass all visible and invisible worlds, and these are enumerated. AUM is also said to be the embodiment of Brahma, Vishnu and Shiva, and is seen to be this world, the sky world, and the world of heaven. Its letters are seen to be the manifest and unmanifest world. It is said "Aum tat sat", which mean, "Aum is the reality; all that exists."

Om is thought of as the primordial sound from which the entire universe carne forth. It is held by Hindus to be Brahman itself in the form of sound: All Vedanta, nay, all the philosophy of the Hindus is simply an exposition of this syllable AUM. AUM covers the whole universe.

There is not a law, not a force in the whole world, not an object in all the world which is not comprised by the syllable AUM. One by one you will see that all the planes of being, all the worlds, all phases of existence are covered by this syllable.

When written in the script of India the sound AUM has four parts. The three curves which are joined together stand for the three levels of reality within which the individualized consciousness of man moves. The lowest curve is the world of waking experience, corresponding to the physical body and to the material universe. The middle curve is the dreaming state of man and corresponds to the mental life; the inner world of dreams, imagination, and subjective experience. The curve above this is said to represent the state of dreamless sleep, during which in Shankara's opinion consciousness persists (for when we awake we are aware that we have slept soundly). It corresponds to what is called the karana sharira or 'causal body': the ground, said to be 'subtler than the subtlest' , from which the other two states arise. This is the root of manifestation, and the seed of the very existence of the jiva.

Above these three curves is a dot, which has an arc below it to emphasize its separation from the rest. This dot stands for that other order of reality which lies altogether outside manifestation , and can never be grasped by the mind. It is simply called Turiya, 'the Fourth'. In Shankara's words, 'It is the pure Self, beyond word and meaning, beyond speech and mind. It represents the final dissolution of the universe, the blissful non-dual principle.'

Thus, to meditate on the symbol AUM is to meditate upon the different levels of being as these occur in our existence, and again as they are reflected in the universe at large. Shankara explains that by means of concentration the individual self is to be gathered together and then precipitated into the Turiya, the transcendent Reality, united with it as an arrow is shot in to a target:
Take up the great bow found in the Upanishads. Fix in it an arrow sharpened by constant meditation, which means 'trained'. Then draw the bow. That is, withdraw the mind and senses from their natural objects and concentrate them on the one target or goal . . . AUM is the bow. AUM is the instrument that enables the arrow of the empirical self to pierce the Imperishable Principle, as the bow is the instrument that enables an arrow to pierce its target.

The Story and Symbolism of the Birth of Lord Ganesha

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One day, when Shiva had been away a long time, Parvati grew restless and longed for a child. She was staying on the banks of the Lake Mansarovar near Mount Kailash. Parvati was an accomplished yogini and tantric. So she rubbed some of her dry skin off and mixing the waters of the lake with it, created a mixture and molded it into the form of  a child. Then,using her tantric powers she breathed life into it and the child came alive and a beautiful baby boy lay before her.

Parvati hugged the child delightedly. One day, Parvati went to have a bath and asked him to guard her bath-chamber. "Allow no-one in," she commanded and the boy settled himself outside the door to do as he was told. Suddenly, Shiva arrived and was about to enter. The boy leaped to his feet and told Shiva that Parvati did not wish to be disturbed.

Shiva had no idea who this child was, and enraged that he was being kept out of his own home, he drew his sword and cut off the child's head. Parvati heard the disturbance outside and came out to find her much loved and loyal son lying headless on the ground . Her grief and fury knew no bounds and Shiva began to regret his rash act.

To placate her, Shiva called to his chief gana, and taking his head off, replaced it on the child's severed neck. Thus the child became the chief of the ganas or Ganapati.

There is some confusion as to the origin of the depiction of Ganesha with an elephant head. In the earliest sculptures of this deity as Vinayaka, dating to almost 2000 years ago, he is not elephant-headed. The description of Ganesha as having an elephant head is perhaps coming from the confusion surrounding the descriptions of the ganas. The ganas are described in the puranas as disfigured, hideous beings, some with arms and limbs coming out of their head. It is possible that the deity was initially depicted with the head of such a class of ganas, and eventually, the limb came to be misinterpreted as a trunk, and Ganesha began to be looked upon as elephant-headed.

Shiva and Parvati

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Himavat the King of Mountains married Menaka the heavenly nymph, and they had a beautiful daughter named Parvati. Parvati was in fact Sati reborn, an incarnation of Shakti, the divine feminine. During this time, Shiva came to Himavat's mountains, seeking a place to meditate in seclusion. Himavat, glad to have the presence of the Mahadeva in his mountains, readily acquiesced.

As a child, the young Parvati would see the mighty ascetic in deep penance, and came to love him. Over the course of time, Parvati grew into a beautiful maiden and many devas sought her hand in marriage. However, her mind was fixed on Shiva, and she was interested in no one else.

Himavat, seeking to aid his daughter in her desire, took her to Shiva's ashram and begged that she be allowed to serve him in his penance. Seeing nothing wrong in this, as he was an ascetic with no interest in wordly affairs, Shiva agreed, and Parvati began to serve him with great devotion.

In the meantime, the devas were still being tormented by Taraka the asura, and were awaiting the fulfillment of Brahma's prophecy that Shiva and Parvati's child would slay him. But Shiva seemed completely oblivious to Parvati's beauty and charms. Seeking to speed up the process, the devas commissioned Kama, the god of love, to work his magic on the unassailable ascetic.

Kama turned up at Shiva's grove, and seeing Shiva in deep penance, quailed at the thought of shifting his attention. But when he saw Parvati's beauty, he gained heart, and taking aim with his bow, let loose his arrow of desire to Shiva. But Shiva felt the arrow's twinge and knew something was trying to disturb his austerities. He looked around seeing Kama hiding behind a tree trunk, opened his third eye in a sudden fit of rage and burnt the helpless god to smoldering ashes. Then not deigning to remain in the grove any longer, he left Himavat's mountains and Parvati, and walked away.

Parvati was distraught. But she resolved that the way to her lord's heart was not through beauty but through penance. She gave her comforts at her parents' home, and wearing nothing but bark for clothes, walked into the freezing snows of the mountains to perform great austerities. She went without food or water for many days. In summer, she would sit in the midst of Panchagni (the five fires). In the rains, she would sit in water and do penance. The penance lasted for a thousand years.

One day, a wandering brahmachari came walking by Parvati's ashram and saw her in penance. Taking pity on her, he asked, "Why do you, such a delicate beauty, perform such austerities in these harsh mountains?"

Parvati was abashed, and she replied, "The one upon whom I have set my heart is moved only by inner resolve, not by physical beauty."

The brahmachari was shocked. "You, whom the very devas would worship, have set your heart upon some heartless wretch. Who is this fiend who would have you perform such thankless tasks?"

"Do not speak in such a way. He who is the object of my devotion is no less than the Mahadeva, the Lord of Lords, the Great One, Shiva."

"Shiva!" spat the brahmachari. "That foul fellow! Why, I know him. He cavorts with ghouls and corpses in cemeteries. He covers himself in the ashes of burnt corpses. He is such a horrid chap that none from polite society would have anything to do with him. Don't waste your time with that disgusting wretch. Go my dear lady. I will give you my blessings. Even Indra the king of gods would be lucky to have you as a consort. Go back home to your parents' palace."

Parvati's eyes blazed. She had not expected such words from a yogi. Enraged, she burst forth, "Get out, get out! There is no place in my ashram for one such as you, who does not recognize the greatness of the lord Shiva."

But as she attempted to grab hold of him and throw him out, suddenly, the brahmachari was no longer there. In his place stood Shiva. "I was merely testing you my dear. Forgive me. I beg your hand in marriage." Parvati blushed and bade Shiva seek her father's permission before agreeing to the marriage. In a short while. the Saptarishis made a formal proposition to Himavat, and Shiva and Parvati were married.

Tirukalukundram - Vedagiri

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Tirukalukundram or the hill of the sacred kites, is a place in the Kanchi district of Tamil Nadu. The place is known for its famous Shiva temple, and the hill on which every day, two holy kites are fed at noon. There is a belief that the two birds are actually saints who were cursed by Shiva, and are now fed cooked rice and ghee from the hands of the temple priest on a daily basis, during their flight from Rameshwaram to Kashi and back. This is known as Pakshipindam. The birds arrive and depart at the same hour every day (an hour before noon) and this they are believed to have been doing for several hundred years now. A crowd always assembles to see these kites, and to visit the temple. The birds are today recognized as the species Neophron percnopterus, commonly known as Egyptian vultures.

The place is also known as Pakshitirtham or sacred place of the bird, or Vedagiri, the hill of the Vedas. It is said that the Vedas worshiped Lord Shiva at this place. The 500-foot-high hill is considered very sacred, and doing a pradakshina or circumambulation of the place is said to cure physical ailments.

The main shrine of the Vedagiriswarar temple on the hill's summit is constructed of three massive stones which form its inner walls. On the western wall are a carving of Shiva and Parvati and Subramanya. Brahma adorns the south side and Vishnu the north side of this family group. At Shiva's feet is Markandeya. On the north wall is an image of Shiva as Yoga Dakshinamurti, the first Guru. Near him are the two Rishis who are supposed to now be the two kites. On the south wall, one sees Nandikeswara and Chandikeswara with a weapon in hand.

The Vedagiriswarar temple is very ancient and is probably identical to the main Mulasthana of the Bhaktavatsaleswara temple found in ancient Tamil texts. Inscriptions of the seventh century AD king Narasimhavarman I have been found, who is the king who constructed the Mahabalipuram rathas. The sculpted figures of Brahma and Vishnu in this place are also very similar to the sculptures found at the Dharmarajaratha at Mahabalipuram. 

Near the temple, there is a monolythic cave called Orukal mandapa on the Vedagiriswarar hill. The cave is situated about 50 steps along the descending side of the pradakshina to the right. From the northern and southern sides, are two narrow flights of steps cut into the boulder about nine feet from the cave's foot. They meet the cave in the middle at its front. 

There are two verandas in the cave, with graceful statues found in the lower veranda. In the upper veranda is a central shrine, flanked by images of dwarapalakas and standing images of Brahma and Vishnu. Within the garba griha is a large linga. There is also a small Vinayaka temple on the hill.

The Source of the Name Vedagiri

The source of the name Vedagiri can be found in the Puranas. The Vedas are often compared to a mountain: The Rig Veda to the root, the Yajur to the middle, the Sama to the top, and the Atharvana to the peak. Once upon time, these Vedas were one and together, but many divisions were made in them over the ages as sages extracted parts of the Vedas to create divine incantations. 

The Vedas resented this and desiring to remain intact, approached Lord Shiva in Mount Kailash. Shiva directed the mountains to go to the earth and transform themselves into six hills at a place. He promised them that he too would dwell on their tops as a great linga. so that they could worship him ever after. This place is today known as Vedagiri.

Kanchipuram

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Kanchipuram, the Golden City of a thousand temples, and one of the seven sacred cities of lndia (The Saptapuris are Kanchipuram, Ayodhya or Oudh, Mathura, Maya or Hardwar, Kasi or Varanasi, Avantika and Dwaraka), is situated 80 kilometers south-west of Chennai. It was the capital of the Pallavas, the Cholas and the Rayas of Vijayanagar. The seat of the early Cholas, the city was sacked and burnt by Pulakesin, the Chalukya, in about 489 AD. But soon after it passed into the hands of the Pallavas and became the capital of
their far-flung empire.

During the sixth and seventh centuries, some of the best temples in the city were built by the Pallavas. There was a time when there were 108 temples to Shiva in the city. Mahendra Varman Pallava and Mamalla Narasimhavarman (the founder of Mahabalipuram in the seventh century AD), were great builders and patrons of art and learning. From the fourth to the seventh centuries, successive dynasties built temples and monuments at Kanchipuram and there are no less than 124 shrines in this city. Kanchipuram is said to have inspired the builders of the rock temples at Ellora and Badami.

The city was not only a center of art but also a seat of learning. Shankaracharya, Appar, Siruthonder and the great Buddhist Bhikku, Bodhidharma, to mention a few philosophers and scholars lived and worked here.


The Kailasanatha temple at Kanchipuram dedicated to Shiva is more than a thousand years old and is typical of Pallava architecture. Despite the ravages of time, some of the finely sculptured figures remain to this day. In the narrow cells lining the courtyards are some remarkable specimens of paintings of the seventh and eighth centuries. Within the temple, is a unique figure of Ardhanariswara, where Shiva is represent in both Shiva and Shakti form. The feminie half of the deity holds a veena in her hand, while the masculine half is seated on Nandi the bull. Such an idol is unique to this temple.

The south gopuram of the Ekambaranath temple is one of the highest in South India. This massive tower has ten storeys and is 188 feet high. This temple is one of the Pancha Bhuta Sthalas and was built for the element of Earth or Prithvi. The shrine has a mango tree of great sanctity, which is said to bear five different varieties of mangoes, and is the tree under which Parvati worshiped Shiva near the river Vegavati. There is a sculptural motif of Parvati embracing Shiva in the temple of Shaktimuttam at Pattisvaram, near Kumbakonam. Tirukuripputhonda Nayanar is also said to have visited this temple and attained a vision of Shiva here.

The Kamakshi Amman temple is another important temple in the city. This goddess temple shows the deity in the form of a Yantra. The city was built strictly according to the rules laid down in the Shastras regarding the construction of towns. Usually a goddess is associated with a chakra, a yantra and a peetha. The sculptural representations rest on the chakra embedded in the earth, and this accounts for the puja or worship conducted at the deity's feet. In the case of the Kamakshi Amman temple, the chakra is situated in front of the idol.

It is said that during the time of Adi Shankaracharya, the power of the deity began to wane. Shankaracharya placed a peetam with the Ashtalakshmis cut on the cardinal points, and thus brought back the power of the goddess.

Madurai Meenakshi Amman Temple

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Madurai, the "City of Festivals", is situated 150 kilometers from Trichy on the Madras-Thiruvanantapuram line of the Southern Railway system It is the second largest city in Tamil Nadu state, and gives an impression of great vitality and life.

It is a modern city built against the background of ancient temples and monuments. Madurai, being in the heart of Tamil Nadu, has fostered through the centuries an essentially Dravidian and Tamil culture. The characteristic gopurams of Dravidian temples, the green and vast paddy fields and tall coconut palms are in evidence everywhere in this district.

In Madurai, the best and most representative examples of the Dravidian form of worship, art and culture will be found, and also, the Tamil way of life in its purest form. It was in Madurai that the three successive Tamil academies flourished under the patronage of Tamil kings. The purity, beauty and vitality of this culture can be seen in its great temples, in the literary and religious discourses and songs which one may hear inside the temple walls, and in the religious festivals which are celebrated here almost every day with elaborate ritual and festivity justifying the description, "City of Festivals".

Madurai, mentioned in recorded literature even before the begining of the Christian era when it had a flourishing trade with Rome and Greece, was the capital of the Pandyan empire from the 12th to 14th century. Madurai developed into a center of commerce, as well as of religion and literary activity. "Silappadikaram" reputed to have been written in Tamil by a Pandyan king is one of the earliest known literary compositions in the world. Madurai, as we see it today, owes its existence largely to the endeavors of Nayaks who descending from the Vijayanagar rulers, guided its destiny in the 17th century.

Meenakshi Amman Temple 
The famous Meenakshi temple of Madurai is an exquisite example of Dravidian architecture and sculpture. It was also the focal point around which the city developed. There are nine majestic gopurams around the temple and the entrance is, generally, by the east. The outskirts of the temple contain many shops that are bustling with life and sell anything from brass utensils to packets of camphor, flowers and sandal paste. But inside the temple, there are no such distractions and the visitor will find a calm spiritual atmosphere. There are two sanctuaries, one dedicated to Shiva as Sundareshwara and the other to his spouse Meenakshi.


The Meenakshi temple is viewed best from the pillared portico that runs along the four sides of the tank of the Golden Lotus. It is believed that in ancient times, this tank used to be a testing place for the merits of literary compositions. A manuscnpt, if it was without merit, would sink when placed on the water, but if it had worth, would float on the support of a plank rising from its bottom. The hall in front of the shrine is known as Kambattadi mandapam. On each of the pillars of the mandapam, Shiva in his different  manifestations is represented such as Shiva on his bull Nandi, Shiva granting alms to Mahavishnu, etc.

The court of a thousand pillars built about 1560 AD is a remarkable structure with the repeated motif of the yazhi, a stylized looking dragon. There are other sculptures which are also very striking. The figures of a Kurava and his wife (Kuravas are a tribe of gypsies) are found at the entrance of the thousand-pillar hall. Inside the hall are some very finely carved pillars. There is a striking figure of a man carrying a woman on his shoulders. This perhaps represents a warrior or as some one ingeniously put it, represents the modern age when supremacy of the woman is established over man!

The hall itself which is just fifteen columns short of its famed 1000 columns is a remarkable feat of engineering skill. From any point inside the hall the pillars present a kaleidoscopic view. The visitor should not fail to see the "Musical Pillars" in the outer corridor. Each pillar produces a swara or note when tapped. To the east, outside the temple, there is the Vasantha mandapam with life-size statues of the Nayaks of Madurai. Tirumala Nayak's Mahal is an example of Saracenic influence on medieval architecture. The throne of the Nayaks used to stand in the Celestial Pavilion opposite the mam entrance. The curved dome, without the support of girder or rafter is an architectural feat.

In the month of Chaitra (April-May), a festival celebrates the marriage of Sundareshwara with Meenakshi. It is a happy and crowded festival. After the wedding has been celebrated in the temple, a procession of the divine couple is taken out in the streets, and the images returned to the temple, the following day. The festive crowd moves on to the bed of river Vaigai, and welcomes Alagar, whose Image is brought from the temple to the edge of the river and taken back, providing three days of festivity.

The Alagar Koil (Temple) about 18 kilometers from Madurai is located at the base of the Alagar Hills which feature in the poetry of Vaishnavite apostles. The beauty of the temple lies in the exquisite sculptures in the hall that faces the sanctum sanctorum. The place is easily reached by a good road. According to a legend, Alagar was the brother of Goddess Meenakshi and was coming to attend his sister's wedding. But when he reached the outskirts of Madurai he heard that the marnage had already taken place. He was greatly disappointed, and feeling that he had been slighted, he resolved to go back without even crossing the river or stepping into the town.

Ramanathaswamy Temple at Rameshwaram

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On an island in the Palk Straits, at the extreme southeastern limit of the Indian peninsula, amidst wavy palms and glistening sands, washed by the waves of the Indian Ocean, stands Rameshwaram, where the great Sri Rama himself is believed to have offered worship to Lord Shiva to expiate the sin of having killed in battle, Ravana, the ten-headed ruler of Lanka (Sri Lanka).

Kashi or Varanasi in the north of India and Rameshwaram in the south are the two main pilgrimage centers of India that pilgrims deem a sacred mission to pay homage to Rameshwaram is a little over 3 kilometers from Madurai and can be reached by a small branch line off Pamban, on the Dhanushkodi route. It attracts lakhs of devotees from all over India throughout the year. The temple of Sri Ramanathaswamy is said to have been constructed over a period of 350 years. The current structure, probably built over an older one, dates back to the 15th century, and the 100-foot-high gopuram and gateway are situated in a spacious quadrangle, which is 1,000 feet long and 650 feet broad. Within the temple are several different kinds of lingas, including the standard stone one, besides a salt and a sand linga, said to have been made by Sita. There are also a series of 112 pools that were said to have been created by Maharishi Patanjali, which were said to activate the chakras of the human body. Only 21 remain today, and pilgrims often tour each of them, receiving a bucket of water over the head as theertham.

One of the temple's most impressive features is the pillared corridor - the second longest in the world -surrounding it. It covers a total length of 4,000 feet and for sheer magnificence it is without a second in the world. The pillars, hundreds of them on either side of the corridor, are examples of the elaborate art of stone-carving One cannot help feeling awed by the massive power of the whole structure and the superb artistry of the carvings. Here the side corridors are 700 feet long and open into transverse galleries as rich in detail as themselves. These, with the varied devices and modes of lighting, produce an effect that is not equaled certainly anywhere in India.  The temple also has a fine collection of ancient and priceless jewelry. If it were proposed to select one temple which should exhibit all the beauties of the Dravidian style in the greatest perfection, the choice would almost invariably fall upon that at Rameshwaram temple. In no other temple has the same amount of devoted industry been exhibited as here.

No pilgrimage to Rameswaram is complete without a bath in the sea at Dhanushkodi, the meeting point of the Bay of Bengal and the Indian Ocean. Dhanushkodi is situated at the southern extremity of the island on which Rameswaram stands. It is the termmus of the Southern Railway (40 kilometers from Rameshwaram) and was once the landing pomt for passengers to or from Sri Lanka, before it was destroyed in a hurricane in the 1960s. To bathe at Dhanushkodi, at the confluence of the two oceans considered to be Ratnakara and Mahodadhi, is a rich spiritual experience. But, apart from this, the rail journey from Pamban to Rameshwaram between the two seas, the bath in the sea and the air of remote grandeur which envelopes this place are, by themselves, worthwhile and no one who wishes to make his visit to South India complete can afford to miss it.
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