Introduction to

VEDIC CHANTING

Pandit Ub.Ve Sri Rama Ramanuja Achari

srimatham.com

16:01:2016
 IN T R O D U C T IO N
PARIS, FRANCE, November 12, 2003: The oral tradition of Vedic chanting has been declared an
intangible heritage of humanity by UNESCO. In a meeting of jury members on November 7, 2003, at
Paris, Mr. Koichiro Matsuura, Director-General of UNESCO, declared the chanting of Vedas in India
an outstanding example of heritage and form of cultural expressions. The proclamation says that in the
age of globalization and modernization when cultural diversity is under pressure, the preservation of
oral tradition of Vedic chanting, a unique cultural heritage, has great significance.

The jury members included Dr. Richard Kurin, Director of the Center for Folklore and Cultural
Heritage of the Smithsonian Institution (United Nations), Mr. Juan Goytisolo, Writer (Spain), Mr.
Yoshikazu Hasegawa (Japan), Ms. Olive W.M. Lewin. Pianist, ethnomusicologist, Director of the
Jamaica Orchestra for Youth (Jamaica).

The UNESCO declaration will bring international recognition to the excellence of the Vedic chanting
tradition of India, which has survived for centuries encoding the wisdo contained in the Vedas
through an extraordinary effort of memorization and through elaborately worked out mnemonic
methods. The purity and fail-safe technique devised for Vedic chanting in the olden days led to access
to one of the ancient literatures of humanity in its entirety today.

The Department of Culture, Ministry of Tourism and Culture, took the initiative to put up the
candidature of the Vedic chanting to UNESCO. A presentation was prepared by Indira Gandhi National
Centre for Arts. The Department has also prepared a five-year action plan to safeguard, protect,
promote and disseminate the oral tradition of Vedas in terms of their uniqueness and distinctiveness,
encourage scholars and practitioners to preserve, revitalize and promote their own branch of Vedic
recitation as the custodians of their own traditions and direct the efforts primarily to making the
tradition survive in its own context.
 D
DIIV
VIISSIIO
ONNSS O
OFF T
THHE
E FFO
OUUR
RVVE
EDDA
ASS
The Veda is considered to be infinite [ananto vai vedh] in the beginning of creation there was only one
Veda and the number of revealed texts was far greater than we could imagine, during the course of time
due to the diminishing intelligence of mankind as well as declining in strength health and loss of faith,
many texts were lost and the Veda that is known today is a mere fraction of the original Veda.

Towards the close of the Dvpara Yuga, it is believed, the Lord manifested as the sage Veda Vysa, who
in order to save the Veda fro extinction, re-edited the Veda dividing it into 4 units. Each unit was
assigned to different classes of brahmins so that it would be easier to preserve them. These 4 books are
known as the Rik, Yajur, Sma and Atharvana Vedas. Seeing that only the first 3 orders of society had
access to the Vedas this excluded over half the population which consisted of women and Sdras fro
spiritual knowledge. It is for their benefit that the Holy Sage compiled the Puras and the Itihsas
[Rmyaa and Mahbhrata which is known as the Fifth Veda].

Had it not been for the work of this great Rishi, humankind with its deteriorating intellectual capacity
would have forgotten this massive sacred heritage. Veda Vysa had 4 disciples and to each of them he
taught one Veda. Paila mastered the Rik veda, Jaimini the Sma Veda, Vaiampyana the Yajur Veda and
the Atharvana Veda was learnt by Sumantu. Romaharana was entrusted with the duty of transmitting the
Puras and Itihsas.

The Vedas transmitted by these sages to their disciple and in turn by the latter to theirs resulted in the
Vedas becoming diversified into many branches or schools through the disciplic succession.

Each of the Vedas is divided into Sahita, Brhmaa, Arayaka and Upaiad. The Sahita is the text
which comprises of hymns used in the sacrifices. The Brhmaas are the theological treatises which deal
with the sacrificial details and gives the interpretation of the ritual. The Arayakas and the Upaiads deal
with a variety of topics related mainly to cosmology and philosophy.

In addition each Vedic school had its own Ghya Stra which dealt with the performances of the domestic
rites and sacraments and its own rauta stra which dealt with the public rituals and sacrifices of national
import.
 VEDIC CHANT

T
he Vedic Chant is the oldest form of psalmody known. Very strict and complex methods of instruction have
made it possible to preserve the ritual chant unchanged, despite thousands of years of wars, conquests and social
upheavals.
The Rig Veda is chanted on 3 notes, the Yajur Veda on up to 5 notes and the Sma Veda on 7 notes. The Sma is
the only chant that is considered really musical per se and as such is considered to be inferior to the other two
Vedas. Because of it's 'worldly' character it is often forbidden in certain rituals. It is also prescribed that if the
Sma Veda is heard while the other two are being recited then the recitation should stop immediately and only
continue after the Sma has terminated.
According to the Taittiriya Upaiad ik-vai there are 6 main factors that need to be taken into
consideration:

1. Vara pronunciation
Correct pronunciation of the letters of the alphabet.
Differentiation between short and long vowels.
Sandhi Anusvara () changes according to the letter that follows it.

When followed by changes to

ka kha ga gha a
ca cha ja jha a
a ha a ha a
ta tha da dha na n
pa pha ba bha ma m
Any vowel
sa a a ha ya ra gu
samyukta akara (combined letter) gg

Visarga () also changes

When followed by sa, a, a, the visarga changes into those letters.
When followed by a p it changes into pha

2. Svara notes
The sma veda uses 7 musical notes.
Chanting of the k, yajur and atharvana veda is done using 3 notes only.

Udtta the raised note indicated in the text by a vertical stroke over the letter. (a)
Anudtta the lowered note indicated by a line under the letter. (a)
Svarita the neutral drone which is not indicated in the text (a)

Nigdha a deviant note which is based on the udtta and is like a double udtta with the second
being slight raised above the first. In the ka yajur veda it is usually marked by double perpendicular
stokes above the letter. (a)
The udtta changes into a nigdha in the following situations:
! When a mantra ends in a long udtta
! When a mantra ends in a anusvara which carries the udtta
! When the udtta is followed by a samyuktkara (combined letter such as k, stha, tv, r, etc.

3. Mtra duration
ardha half when a word ends in an halanta.
hrasva short (the short vowels a, i, u, & )
drgha long (, , , e, ai o & au sometimes indicated by the digit 2 after the letter in a text)
pluta extra long indicated by the digit 3 after the syllable:

UIU3 UI3 |
adhas svid s3d upari svids3t |
4. Balam emphasis
Alpa pra soft these are all the regular vowels and consonants.
Mah pra hard these are all the aspirated consonants also a and ha.

5. Sma continuity
One must ensure a continuity and smooth flow of the chanting.

6. Santna punctuation
One must pause at the appropriate places - commonly indicated by (|)
In addition a slight pause is required:

After chanting OM
When a word ends in a vowel and is followed by a vowel.
When a visarga () is followed by ka
 TTH
HEE V
VEED
DIIC
CAAC
CCCEEN
NTT
All the Vedic texts as well as in two Brhmaas Taittiriya [and its Arayaka] and the atapatha
Brhmaa [including the Bhadarayaka Upaiad] are marked with the accent [svara].

The Vedic chant is based upon these accents or svaras and consists of basically 3 notes; The chief tone
is the Udtta [raised] the other two being the Svarita [drone] and the Anudtta [low].

Textual Markings;

There are 4 different methods of marking the svaras in the texts. In the Rik, Yajur and Atharva Vedas
and the Taittiriya Sahita & Brhmana the svarita is not marked at all because it is the middle pitch.
The preceding anudtta is marked by a horizontal stroke below the syllable, and the following udtta is
marked by a perpendicular stroke above the syllable, two perpendicular strokes together mean that
there is an elongated double raised sound -nigdha. In some texts the udtta is marked by a crescent
above the syllable, when this is done then the elongated double sound is marked by a singular
perpendicular line.
The place of the principle accent the svarita is governed by grammatical rules. A udtta always follows
an svarita and is called the 'enclitic udtta. When an svarita is lost due to an euphonic combination
[sandhi] of the vowel into the corresponding semi-vowel e.g. kva = kua then the udtta is called the
'independent udtta.
When an independent udtta is placed immediately before an svarita then it is accompanied by the
numeral 1 if the vowel is short and by the numeral 3 if the vowel is long; the numeral itself being
marked with both the udtta and the anudtta.
In the Sma Veda the figures 1, 2, & 3 are written above the accented syllable to mark the svarita,
udtta, & anudtta respectively.
When there are 2 successive svarita then the second is not marked but the following udttas has a 2r
written above. The independent udtta is also marked with a 2r, and the preceding anudtta is marked
with a 3k.
A peculiar feature of the Vedic chant is that the anusvara () changes to a GU before the following
letters; a, ha, sa, a, & r.
Example; sahita = saguhita, (` = `)
pada sad = padagu sad (U` I = U` I )

Before a sayukta akara (conjoined consonant) the gu changes to gga

htyg svh = htyggas svh (U` Ii)

I` U` u@` U` U` Ii ||
jynigu ryas poagu suvryagu samvatsarggas svastiggas svh |
 VARIANT FORMS OF VEDIC CHANT
Vedic recitation has assumed two distinct forms that evolved to preserve its immutable character:
Prkti and Vikti with sub-forms.

The pda pha forms the basis of a number of special recitations known as 'vikriti' or 'crooked'
recitations. The text is recited backwards or forwards or the successive words are chanted in specific
combinations. These were originally designed to prevent the student fro forgetting even one letter of
the text, however through the ages these mnemonic techniques became an end in themselves.

Prkti
1. Sahita pha continuous recitation

F U UIU U@ U IU I |
o vsyam idagu sarva yat kica jagaty jagat |

2. Pda pha word for word recitation 1/2/3/4/5

1 2 3 4 5 6 7 8
| | | @ | | | | |
| vsyam | ida | sarva | yat | kica | jagaty | jagat |

3. Krama pha words recited in pairs 1 2 / 2 3 / 3 4 / 5 6 / 7 8 /.......

1+2 2+3 3+4 4+5 5+6
vsyam vsyam ida idagu sarva sarva yat yat kica

In the Prkti form the words do not change their sequence.

Vikti
There are 8 traditional vikriti combinations which are;
4. ja; 1 2 2 1 1 2 / 2 3 3 2 2 3 / 3 4 4 3 3 4 / 4 5 5 4 4 5 / .........
5. ml; 1 2 / 2 1 / 1 2 / 2 3 / 3 2 / 2 3 / 3 4 / 4 3 / 3 4 / ........
6. ikh; 1 2 2 1 1 2 3 / 2 3 3 2 2 3 4 / 3 4 4 3 3 4 5 / 4 5 5 4 4 5 6 / ..........
7. rekh; 12/21/12/234/432/23/3456/6534/34/45678/87654/45/567
8 9 10 / 10 9 8 7 6 5 / 5 6 / ......
8. dhvaja; 1 2 / 99 100 / 2 3 / 98 99 / 3 4 / 97 98 / 4 5 / 97 98 / 5 6 / 96 97 / ....... 97 98 / 3 4 / 98 99
/ 2 3 / 99 100 / 1 2 .
9. daa; 12/21/12/23/321/12/23/34/4321/12/23/34/45/54321
................
10. ratha; 12/56/21/65/12/56/23/67/321/765/12/56/23/67/34/78
/ 4 3 2 1 / 8 7 6 5 /.....
11. ghaa; 1 2 2 1 1 2 3 3 2 1 1 2 3 / 2 3 3 2 2 3 4 4 3 2 2 3 4 / 3 4 4 3 3 4 5 5 4 3 3 4 5 / ........
 STYLES OF VEDIC CHANTING

In India today there are 3 distinctive styles of Vedic chant;

1. Maharra Brahmins
2. Tamil Brahmins
3. Nambudiri Brahmins of Kerala
The northern tradition is characterized by a preponderance of the Sukla Yajur Veda of the
Madhydina recension, The Rik Veda of the Sakala recension and Sma Veda of the Kauthuma
Ranayaniya recension and very little Atharva Veda.
The Southern tradition is characterized by the Ka Yajur Veda of the Taittiriya recension, along with
the Rik and Sma Vedas of the same school. Atharva Veda is non-existent in the south.
In the Nambudiri tradition the Rik Veda belongs entirely to the Vskala recension [Kauitaki]. The
Yajur Veda is exclusively Taittiriya but the recitation differs fro that of the Tamils. The Sma Veda
belongs entirely to the Jaiminiya school which is not found elsewhere.
MUDRAS
When teaching the method of chanting there are certain movements of the hands which are designed to
help the memory;

1. udtta - right hand to shoulder

anudtta - hand to knee
svarita - hand moved to 45 degree angle to the body
2. udtta - head up
anudtta - head down
svarita - head turned slightly to the side
3. udtta - palm turned up
anudtta - palm down
svarita - hand moved horizontaly to the right
4. udtta - thumb on index finger
anudtta - thumb on little finger
svarita - thumb on ring finger
 CHANDAS METRE.
Rhyme is not used in the Rig-veda.
The metres are regulated by the number of syllables akaras in the stanza (k), which consists
generally of 3 or four Pdas, measures, divisions, or quarter verses, with a distinctly marked interval at
the end of the second Pda, and so forming two semi-stanzas of varying length.
The most common metres consist of 8, 9, 10, 11, 12, syllables (akaras) is each pda these are known
as anuubh, bhati, pakti, triup, jagati.
The anutubh is the prevailing form of metre in the Dharma-sastras, the Mahabharata, the Ramayana,
and all the Puranas and the Tantras.
The Pdas of a stanza are generally of equal length and of more or less corresponding prosodial
quantities: but sometimes two or more kinds of metre are employed in one stanza, and then the Pdas
vary in quantity and length.

Summary of the Metres

1. Aup, anuup or Anuubh: 4 Pdas of 8 akaras each, 2 Pdas forming a line.
jayanti magal kali, bhadra kal kaplin |
durg iv kam dhtr, svh svadh namostu te ||

2. Tristup or Tristubh: = 4 Pdas of 11 akaras each.

gurn ahatv hi mahnubhvn
reyo bhoktu bhaikyam apha loke |
hatvrtha kms tu gurn ihaiva
bhujya bhogn rudhira-pradigdhn || 5 ||

3. Pakti: 5 Pdas of 8 akaras like Anuup with an additional Pda.

4. Gyatri: the stanza usually consists of 24 akaras, variously arranged, but generally as a triplet of 3
Pdas of 8 akaras each, or in one line of 16 akaras and a second line of 8.

o tatpuruya vidmahe |
mahdevya dhmahi |
tanno rudra pracodayt ||

Brhati: 4 Pdas ( 8 + 8 + 12 + 8) containing 36 akaras in the stanza.

Jagati: 48 akaras arranged in 4 Pdas of 12 akaras each, 2 Pdas forming a line or hemistich.
Anuup Pipilikamadhya: a species of Anuup, having the second Pda shorter than the first and
third (8 akaras+ 4+8+ 8).
Anuub-garbha: a metre of the Usnih class: the first Pda containing 5 akaras, and the 3 following
Pdas of 8 akaras each.
Nastarupi: a variety of Anuup.
Asti: consisting of 4 Pdas of 16 akaras each, or 64 akaras in the stanza.
Astrapaikti: consisting of 2 Pdas of 8 akaras each, followed by two Pdas of 12 akaras each.
Atidhrti: 4 Pdas of 19 akaras each = 76 akaras.
Atincrti: consisting of 3 Pdas containing respectively seven, six, and seven akaras.
Atiakvari: 4 Pdas of 15 akaras each.
Atyasti: 4 Pdas of 17 akaras each.
Brhati: 4 Pdas ( 8 + 8 + 12 + 8) containing 36 akaras in the stanza.
Purastadbrhati: a variety of Brhati with twelve akaras in the first Pda.
Caturvimsatika Dvipda: a Dvipda containing 24 akaras instead of 20.
Dhrti: consisting of seventy-two akaras in a stanza.
Ekapda Tristup: a Trstup consisting of a single Pda or quarter stanza.
Ekapda Viraj: a Viraj consisting of a single Pda.
Gyatri: the stanza usually consists of 24 akaras, variously arranged, but generally as a triplet of 3
Pdas of eight akaras each, or in one line of sixteen akaras and a second line of eight.
There are eleven varieties of this metre, and the number of akaras in the stanza varies accordingly
fro nineteen to 33.
Dvipda Viraj: a species of Gyatri consisting of two Pdas only (12+8 or 10+10 akaras);
inadequately represented in the translation by two decasyllabic iambic lines.
Vardhamana: a species of Gayatri; 6 + 7 + 8 = 21 akaras.
Jagati: a metre consisting of 48 akaras arranged in 4 Pdas of twelve akaras each, two Pdas forming
a line or hemistich which in the translation is represented by a double Alexandrine.
Atijagati: 4 Pdas of 13 akaras each.
Kakup or Kakubh: a metre of 3 Pdas consisting of 8, 12, and 8 akaras respectively.
Kakubh Nyakusira; consisting of 3 Pdas of 9+12+4 akaras.
Krti: a metre of 4 Pdas. of 20 akaras each.
Madhyejyotis: a metre in which a Pda of 8 akaras stands between two Pdas of 12.
Mahibrhati: 4 Pdas of 8 akaras each, followed by one of 12.
Mahapdapakti: a 2-lined metre of 31 akaras, the first line consisting of 4 Pdas of five akaras
each, and the second being a Tristup of the usual eleven akaras.
Mah-pakti: a metre of forty-eight akaras 8 x 6 or 12 x 4.
Nyakusarini: a metre of 4 Pdas of 8 + 12 + 8 + 8 akaras.
Pdanicrt: a variety of Gayatri in which one syllable is wanting in each Pda: 7+3=21 akaras.
Pdapakti: a metre consisting of 5 Pdas of 5 akaras each.
Pakti: a metre of 5 Pdas of 8 akaras like Anuup with an additional Pda.
Paktyuttara: a metre which ends with a Pakti of 5 + 5 akaras.
Pipilikamadhya: any metre the middle Pda of which is shorter than the preceding and the following.
Pragatha: a metre in Book VIII, consisting of strophes combining two verses, viz. a Brhati or Kakup
followed by a Satobrhati.
Prastarapakti: a metre of forty akaras: 12+12+8+8
Pratistha: a metre of 4 Pdas of 4 akaras each; also a variety of the Gyatri consisting of 3 Pdas of
eight, seven, and six akaras respectively.
Pura-usnih: a metre of 3 Pdas, containing 12+8+8 akaras.
Sakvari: a metre of 4 Pdas of 14 akaras each.
Satobrhati: a metre whose even Pdas contain eight akaras each, and the uneven twelve:
12+8+12+8=40.
Mahasatobrhati: a lengthened form of Satobrhati.
Skandhogriva: consisting of Pdas of 8 + 12 + 8 + 8 akaras.
Tanusira: consisting of 3 Pdas of 11 + 11 + 6 akaras.
Abhisarini: a species of Trstup, in which two Pdas contain twelve instead of eleven akaras.
Uparistadbrhati: consisting of 4 Pdas of 12 + 8 + 8 + 8 akaras.
Uparistajjyotis: a Tristup stanza the last Pda of which contains only eight akaras.
Urdhvabrhati: a variety of Brhati.
Urobrhati: a variety of Brhati: 8+12 8 + 8 akaras.
Usniggarbha: Gayatri of 3 Pdas of six, seven, and eleven akaras respectively.
Usnih: consisting of 3 Pdas of 8 + 8 + 12 akaras.
Viraj: a metre of 4 Pdas of ten akaras each.
Viparita: a metre of 4 Pdas resembling Vistarapakti.
Viradrupa: a Tristup metre of 4 Pdas, 11 + 11 + 11 + 7 or 8 akaras.
Viratpurva: a variety of Tristup.
Viratsthana: a variety of Tristup.
Visamapda: metre of uneven stanzas.
Vistarabrhati: a form of Brhati of 4 Pdas containing 8 + 10 + 10 + 8= 36 akaras.
Vistarapakti: a form of Pakti consisting of 4 pdas of 8+12+12+8-40 akaras.
Yavamadhya: a metre having a longer Pda between two shorter ones.
 CHANTING EXERCISES
(The traditional method of instruction is for the teacher to pronounce once and the students to repeat
twice)

o | 1 |
o nama |
o namo nama |
o namo nama o |
o namo nama o o |
o namo nama o o nama ||

m | 2 |
m aham |
m aham - aham |
m aham - aham m |
m aham - aha m m |
m aham - aha m m - aha |

mayi | 3 |
mayi medhm |
mayi medh medhm |
mayi medh medh mayi |
mayi medh medh mayi mayi |
mayi medh medh mayi mayi medhm ||

srya | 4 |
sryo bhrja |
sryo bhrjo bhrja |
sryo bhrjo bhrjas srya |
sryo bhrjo bhrjas sryas srya |
sryo bhrjo bhrjas sryas sryo bhrja ||

aham | 5 |
aham - annam |
aham - annam - annam |
aham - annam annam - aham |
aham - annam annam - aham - aham |
aham - annam annam - aham - aham - annam ||
nama | 6 |
nama-ivya |
nama-ivya ivya |
nama-ivya ivya nama |
nama-ivya ivya namo nama |
nama-ivya ivya namo nama-ivya ||

savitu | 7 |
savitur vareyam |
savitur vareya vareyam |
savitur vareya vareyagu savitu |
savitur vareya vareyagu savitus-savitu |
savitur-vareya vareyagu savitus savitur vareyam |

aham | 8 |
aha mana |
aha mano mana |
aha mano mano aham |
aha mano mano aham - aham |
aha mano mano aham - aha mana ||

oadhaya | 9 |
oadhayas-sam |
oadhayas-sagu sam |
oadhayas-sagu sam - oadhaya |
oadhayas-sagu sam - oadhaya oadhaya |
oadhayas-sagu sam - oadhaya oadhayas-sam |

bhrja | 10 |
bhrjo dadhtu |
bhrjo dadhtu dadhtu |
bhrjo dadhtu dadhtu bhrja |
bhrjo dadhtu dadhtu bhrjo bhrja |
bhrjo dadhtu dadhtu bhrjo bhrjo dadhtu ||

aham | 11|
aha pram |
aha pra pram |
aha pra pram - aham |
aha pra pram - aham - aham |
aha pra pram - aham - aha pram ||

mayi | 12 |
mayi srya |
mayi sryas-srya |
mayi sryas-sryo mayi |
mayi sryas-sryo mayi mayi |
mayi sryas-sryo mayi mayi srya ||

ca | 13 |
ca nama |
ca namo nama |
ca namo namaca |
ca namo namaca ca |
ca namo namaca ca nama |

aham | 14 |
aha vijnam |
aha vijna vijnam |
aha vijna vijnam aha |
aham vijna vijnam aha - aham |
aham vijna vijnam aham - aha vijnam ||

kavim | 15 |
kavi kavnm |
kavi kavn kavnm |
kavi kavn kavn kavim |
kavi kavn kavn kavi kavim |
kavi kavn kavn kavi kavi kavnm ||

atyu | 16 |
atyu (f) purua |
atyu (f) purua (f) purua |
atyu (f) purua (f) purua-atyu |
atyu (f) purua (f) purua-atyu-atyu |
atyu (f) purua (f) purua-atyu-atyu (f) purua ||
aham | 17 |
aham - nandam |
aham - nandam - nandam |
aham - nandam - nandam - aham |
aham - nandam - nandam - aham - aham |
aham - nandam - nandam - aham - aham - nandam ||
dev | 18 |
dev budhyante |
dev budhyante budhyante |
dev budhyante budhyante dev |
dev budhyante budhyante dev dev |
dev budhyante budhyante dev dev budhyante ||

o nama prya prya nama o | 19 |

o namopnya apnya nama o |
o namo vynya vynya nama o |
o nama udnya udnya nama o |
o namas-samnya samnya nama o ||

o pra me udhyantm | 20 |
o pna me udhyantm |
o vyna me udhyantm |
o samn me udhyantm |
o udna me udhyantm |
o sarva paca me udhyantm ||
o prpna vynodna samn me udhyantm ||

o bh bhmyai nama | 21 |
o va varuya nama |
o ra - agnaye nama |
o ya vyave nama |
o ha - kaya nama |
o a - tmya nama ||

o mitrya nama | 22 |
o ravaye nama |
o sryya nama |
o bhave nama |
o khagya nama |
o pe nama |
o hirayagarbhya nama |
o marcaye nama |
o dityya nama |
o savitre nama |
o arkya nama |
o bhskarya nama ||
 Laghu Nysa
agnir me vci rita | vg-hdaye | hdaya mayi | aham amte |
amta brahmai || 1 ||
Fire is dissolved in speech, speech in the mind, the mind in me. I am submerged in the deathless
ambrosia of the Supreme.
vyur me pre rita | pro hdaye | hdaya mayi | aham amte | amta
brahmai || 2 ||
Wind is dissolved in the breath, the breath in the mind, the mind in me. I am submerged in the..
sryo me cakui rita | cakur hdaye | hdaya mayi | aham amte |
amta brahmai || 3 ||
Sun is dissolved in the sight, the sight in the mind, the mind in me. I am submerged in ..
candram me manasi rita | mano hdaye | hdaya mayi | aham amte |
amta brahmai || 4 ||
The Moon is dissolved in the mind, the mind in the mind, the mind in me. I am submerged ..
dio me rotre rit | rotragu hdaye | hdaya mayi | aham amte |
amta brahmai || 5 ||
Space is dissolved in the hearing, the hearing in the mind, the mind in me. I am submerged ..
po me retasi rit | reto hdaye | hdaya mayi | aham amte |
amta brahmai || 6 ||
Water is dissolved in the reproductive functions, the reproductive function in the mind, the mind in me.
I am submerged in the deathless ambrosia of the Supreme.
pthiv me arre rit | arragu hdaye | hdaya mayi | aham amte |
amta brahmai || 7 ||
Earth is dissolved in the body, the body in the mind, the mind in me. I am submerged
oadhi vanaspatayo me lomasu rit | lomni hdaye | hdaya mayi | aham
amte | amta brahmai || 8 ||
The herbs of the forests are dissolved in the hairs of the body, they in the mind, the mind in me..
indro me bale rit | balagu hdaye | hdaya mayi | aham amte | amta
brahmai || 9 ||
Indra is dissolved in the strength, strength in the mind, the mind in me. I am submerged .
parjanyo me mrdhni rita | mrdho hdaye | hdaya mayi | aham amte |
amta brahmai || 10 ||

Parjanya is dissolved in my head, the head in the mind, the mind in me. I am submerged in the ..
no me manyau rita | manyur hdaye | hdaya mayi | aham amte |
amta brahmai || 11 ||
Ishana is dissolved in my anger, anger in the mind, the mind in me. I am submerged in the .
tm ma tmani rita | tm hdaye | hdaya mayi | aham amte | amta
brahmai || 12 ||
May the radiant essence which is in all beings increase its diffusion in all direction. Well established
within, may it protect us mortals.

punar ma tm punar yurgt | puna pra punar ktam gt |

vaivnaro ramabhir-v-vdhna | antas-tihat-vamtasya gop || 13 ||

Virja Homa mantras

prpa vynodna samna me udhyant
jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may all my vital forces become purified. I pray that I may become filled with the supreme
Light bereft of all obstructing karma and their cause: the desires that I harbour.

vg mana-caku-rotra-jihv-ghra-reto-budhy-ktis sakalp
me udhyant jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may my speech, mind, sight, taste, smell, seed, intellect, intention and aim become purified. I
pray that I may become filled with the supreme Light bereft of all obstructing karma and their cause: the
desires that I harbour.

tvak-carma-mgsa-rudhira-medo-majj-snyavo-sthni
me udhyant jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may my seven bodily components become purified. I pray that I may become filled with the
supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.
ira-pi-pda-prva-phor-udara-jagh-ino-pastha-pyavo
me udhyant jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may limbs, head, hands, feet, sides, back, thighs, abdomen, shanks, generative organs and the
rectum all become purified. I pray that I may become filled with the supreme Light bereft of all obstructing
karma and their cause: the desires that I harbour.

uttiha purua harita pigala lohitki dehi dehi dadpayit

me udhyant jyotir-aha viraj vippm bhysaggas svh ||
O Divine Person, who is dark blue and brown, with red eyes, make hast to favour me. Grant that I may become
purified. Grant me knowledge, and purity through the medium of my preceptor. May my thoughts becme
purified. I pray that I may become filled with the supreme Light bereft of all obstructing karma and their
cause: the desires that I harbour.

pthivyap-tejo-vyur-k me udhyant
jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may the five constituent elements of my body become purified. I pray that I may become filled
with the supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.

abda spara rpa rasa gandh me udhyant

jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may the qualities of sound, touch, vision, taste, and smell become purified. I pray that I may
become filled with the supreme Light bereft of all obstructing karma and their cause: the desires that I
harbour.

mano-vk-kya karmi me udhyant

jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may all the acts accomplished through body, speech and mind become purified. I pray that I
may become filled with the supreme Light bereft of all obstructing karma and their cause: the desires that I
harbour.

avyakta-bhvair-ahakrair jyotir-aha
viraj vippm bhysaggas svh ||
May I not have any suppressed feelings of egoism. I pray that I may become filled with the supreme Light
bereft of all obstructing karma and their cause: the desires that I harbour.

tm me udhyant jyotir-aha viraj vippm bhysaggas svh ||

By this oblation may my body become purified. I pray that I may become filled with the supreme Light bereft
of all obstructing karma and their cause: the desires that I harbour.

antartm me udhyant jyotir-aha viraj vippm bhysaggas svh ||

By this oblation may all my internal organs become purified. I pray that I may become filled with the
supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.
paramtm me udhyant jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may my infinite Self become purified. I pray that I may become filled with the supreme Light
bereft of all obstructing karma and their cause: the desires that I harbour.

kudhe svh | kut-pipsya svh | viviyai svh |

g-vidhnya svh | kaot-kya svh | oggas svh ||
I make this oblation to hunger, to the conjoined deities of hunger and thirst, to the omnipresent Supreme, to
the ordainer of the Rik chants, to the One who is invested in His projection of the universe, I am the truth
expressed by the praava.

kut-pipsa-mala jyehm alakmr naymyaham |

abhtim asamddhi ca sarvn niruda me ppmnaggas svh ||
O Lord through your grace I remove fro me the affliction of hunger, thirst, misfortune, adversity, poverty
and lack of progress etc. Efface my sins.

anna-maya pra-maya mano-maya vijna-mayam nanda-mayam

tm me udhyant jyotir-aha viraj vippm bhysaggas svh ||
By this oblation may my five-fold self consisting of the sheaths of nourishment, respiration, mind, intellect,
and bliss become purified. I pray that I may become filled with the supreme Light bereft of all obstructing
karma and their cause: the desires that I harbour.

Agnir Annda
agnir anndonna-pati |
anndyam asmin yaje yajamnya dadtu svh |
somo rj rja-pati |
rjyam asmin yaje yajamnya dadtu svh |
varua sar sara-pati |
smrjyam asmin yaje yajamnya dadtu svh |
mitra katra katra-pati |
katram asmin yaje yajamnya dadtu svh |
indro bala bala-pati |
balam asmin yaje yajamnya dadtu svh |
bhaspatir brahma brahma-pati |
brahmsmin yaje yajamnya dadtu svh |
savit rragum rra-pati |
rram asmin yaje yajamnya dadtu svh |
 p vim vi-pati |
viam asmin yaje yajamnya dadtu svh |
sarasvat pui pui-patn |
puim asmin yaje yajamnya dadtu svh |
tva pan mithungum rpa-kd rpa-pati |
rpe asmin yaje yajamnya pan dadtu svh |

First Verses from the Four Vedas
Rig Veda
agnim e purohita yaasya deam tija | hotra rata tamam || 1 ||
I Praise Agni, the Chosen Mediator, the Shining One, the Minister, the summoner, who most grants ecstasy.

Yajur Veda
ie tvorje tv vyavas sthopyavas stha devo vas savit prrpayatu
rehatamya karmaa | pyyadhvam-aghniy deva-bhgam rjasvat
payasvat prajvatr-anamv ayakm m vas stena ata mghaagu so
rudrasya heti pari vo vaktu dhruv asmin gopatau syta bahvir-
yajamnasya pan phi || 1 ||
O Palasha branch I am cutting you in order to use you as an offering to the gods. O Calves! Depart from your
mothers to the forest to eat grass and again return to your master's house in the evening. O Cows the
Supreme Lord that is within you impels you so that your milk may be used in the sacrifice.

Sma Veda
agna yhi vtaye gno havya dtaye | nihot satsi barhii || 3 ||
Agni moves and arouses the desires of the devotee to bestow oblations. He presides below in existence and
binds us with desires to the variegated sense activities.

Atharvana Veda
an-no devr-abhiaya po bhavantu ptaye | a yor-abhisravantu na || 4 ||
May the excellent waters be helpful to us for our bliss and our drink. May they flow all around, for curing our
ailments, and preventing us from falling prey to them.

 Aikatya Sktam
Rig Veda 10,191:2,3,4.
sagacchadhvagu savadadhvam | sa vo mngusi jnatm ||
dev bhga yath prve | sajnn upsate ||
Meet together, talk together, let your minds comprehend in harmony; In like manner as the ancient gods
concurring, accepted their portion of the sacrifices.

samno mantras samitis samn | samna manas-saha cittam em |

samna keto abhisaga rabhadhvam | sajnena vo havi yajmahe ||
May you pray together in harmony, may you strive for common goals with a common purpose, may you
have associated desires. I repeat for you a common prayer, I offer for you a common oblation.

samn va kti | samn hdayni va |

samn astu vo mana | yath va susah sati ||
United be your intention, united be your hearts, united your thoughts, so that there may be a thorough
harmony among you.


Prayer for Harmony in Studies

saha-nvavatu | saha nau bhunaktu | saha vrya karavvahai | tejasvi-
nvadhtam astu m vidvivahai || o nti nti nti ||
May Brahman protect us both together, May he nourish us both together. May we both work together with
great energy. May our study be vigorous and effective. May we never hate each other. May peace physical,
mental and spiritual be on us forever.

 iva-packar mantra
1. sahit pha nama ivya ca |
2. pada pha nama | ivya | ca |
3. krama pha nama ivya | ivya ca |
4. ja pha
nama ivya ivya ca namo nama ivya |
ivya ca ca ivya ivya ca ivya ca ||
5. Ghana pha
nama ivya ivya namo nama ivya ca ca ivya
namo nama ivya ca | ivya ca ca ivya ivya ca ||

atamnam bhavati rvdam

1. sahit pha
atamna bhavatu atyu purua-atendriya
yuyevendriye prati tihati ||

2. krama pha
atamna bhavatu | atamnam iti ata -mnam |
bhavatu atyu | atyu purua |
atyur iti ata -yu | purua atendriya |
atendriya yui | atendriyaiti ata indriya |
yuyeva | eva prati | prati tihati | tihatti -tihati ||

Gyatr mantra
o bhr bhuvas suva | tat savitur vareya bhargo devasya dhmahi | dhiyo
yo na pracodayt ||

1. Ghana-pha
tat savitus savitus tat tat savitur vareya vareyagu savitus tat tat savitur
vareya |
savitur vareya vareyagu savitus savitur vareya bhargo bhargo
vareyagu savitus savitur vareya bharga |
vareya bhargo bhargo vareya vareya bhargo devasya devasya
bhargo vareya vareya bhargo devasya |
bhargo devasya devasya bhargo bhargo devasya dhmahi dhmahi devasya
bhargo bhargo devasya dhmahi |
devasya dhmahi dhmahi devasya devasya dhmahi | dhmahti dhmahi |
dhiyo yo yo dhiyo dhiyo yo no no yo dhiyo dhiyo yo na |
yo no no yo yo na pracodayt pracodayn no yo yo na pracodayt |
na pracodayt pracodayn no na pracodayt |
pracodayd iti pra-codayt ||

Karoti Rpi
Taittiriya Samhita 7:1:6:28

karoti rpi juhoti rpair evaingu samardhayati tasy upotthya karam

japed ie rante'dite sarasvati priye preyasi mahi viruty-etni te aghniye
nmni sukta m deveu brtd iti devebhya evainam vedayaty-anvena
dev budhyante |
He offers to her forms; verily he unites with her forms. Rising up he repeats into her ear: O Ida, Ranti, Aditi,
Sarasvati, Priya, Preyasi, Mahi Vishruti; these O Inviolable one are thy names, proclaim me among the gods
as the doer of good deeds. Verily she proclaims him among the gods, and the gods take note of him.

1. sahit pha
karoti | rpi | juhoti | rpai | eva | enm | samiti | ardhayati | tasy |
upotthya | karam | eti | japet | ie | rante | adite | sarasvati | priye |
preyasi | mahi | viruti | etni | te | aghniye | nmni | suktam | m |
deveu | brutt | iti | devebhya | eva | enam | eti | vedayati | anviti |
dev | budhyante ||

2. krama pha

karoti rpi | sukta m |

rpi juhoti | suktam iti su - ktam |
juhoti rpai | m deveu |
rpair-eva | deveu brtt |
evainm | brtd iti |
engu sam | iti devebhya |
samardhayati | devebhya eva |
ardhayati tasy | evainam |
tasy upotthya | enam |
upotthya karam | vedayati |
upotthyetyupa - utthya | vedayatyanu |
karam | anvenam |
japet | ena dev |
japed ie | dev budhyante |
ie rante | budhyanta iti budhyante ||
rantedite |
adite sarasvati |
sarasvati priye |
priye preyasi |
preyasi mahi |
mahi viruti |
virutyetni |
virutti vi - ruti |
etni te |
te aghniye |
aghniye nmni |
nmni suktam |
3. ja pha
karoti rpi rpi karoti karoti rpi |
rpi juhoti juhoti rpi rpi juhoti |
juhoti rpai-rpair-juhoti juhoti rpai |
rpair-evaiva rpai-rpair-eva |
evainm-enm-evai-vainm |
engu sagu samenm-engu sam |
samardhayaty-ardhayati sagu samardhayati |
ardhayati tasys-tasy ardhayaty-ardhayati tasy |
tasy upotthyopotthya tasys-tasy upotthya |
upotthya kara karam upotthyopotthya karam |
upotthyety-upa - utthya |
karam kara karam |
japet japed japet |
japed-ia ie japej-japed-ie |
ie rante ranta ia ie rante |
rantedite-dite rante rante-dite |
adite sarasvati sarasvaty-adite-dite sarasvati |
sarasvati priye priye sarasvati sarasvati priye |
priye preyasi preyasi priye priye preyasi |
preyasi mahi mahi preyasi preyasi mahi |
mahi viruti viruti mahi mahi viruti |
viruty-etny-etni viruti viruty-etni |
virutti vi - ruti |
etni teta etnyetni te |
te aghniye aghniye te te aghniye |
aghniye nmni nmny-aghniye aghniye nmni |
nmni suktagu sukta nmni nmni suktam |
sukta m m suktagu sukta m |
suktam iti su - ktam |
m deveu deveu m m deveu |
deveu brtt brtt deveu deveu brtt |
brtd itti brtt brtd iti |
iti devebhyo devebhya itti devebhya |
devebhya evaiva devebhyo devebhya eva |
evainam enam evai-vainam |
enam ainam enam |
vedayati vedayaty vedayati |
vedayaty-anvanu vedayati vedayaty-anu |
anvenam-enam-anvan-venam |
ena dev dev enam-ena dev |
dev budhyante budhyante dev dev budhyante |
budhyanta iti budhyante ||

4. ghana pha

karoti rpi rpi karoti karoti rpi juhoti juhoti rpi

karoti rpi juhoti |
rpi juhoti juhoti rpi rpi juhoti rpair-rpair juhoti
rpi rpi juhoti rpai |
juhoti rpair-rpair juhoti juhoti rpair evaiva rpair
juhoti juhoti rpair eva |
rpair evaiva rpai rpair evainm enm eva rpai rpair evainm |
evainm enm evai-vaingu sagu samenm-evaivai ngu sam |
engu sagu samenm engu samardhayaty-ardhyati
samenm engu samardhayati |
samardhayaty-ardhayati sagu samardhayati tasys-tasy
ardhayati sagu samardhayati tasy |
ardhayati tasys-tasy ardhayaty-ardhayati tasy
upotthyopotthya tasy ardhayaty-ardhayati tasy upotthya |
tasy upotthyopotthya tasys-tasy upotthya kara karam-upotthya
tasyas-tasy upotthya karam |
upotthya kara karam-upotthyopotthya karam karam
upotthyopotthya kara m | upotthyety-upa - utthya |
karam kara karam japej-japed kara karam japet |
japet japed japed ia ie japed japed ie |
japed ia ie japej-japed ie rante ranta ie japej-japed ie rante |
ie rante ranta ia ie rante dite dite ranta ia ie rante dite |
rante-dite-dite rante rante-dite sarasvati sarasvaty-adite rante-dite sarasvati |
adite sarasvati sarasvaty-adite-dite sarasvati priye priye sarasvaty-adite-dite
sarasvati priye |
sarasvati priye priye sarasvati sarasvati priye preyasi preyasi priye
sarasvati sarasvati priye preyasi |
priye preyasi preyasi priye priye preyasi mahi mahi preyasi priye
priye preyasi mahi |
preyasi mahi mahi preyasi preyasi mahi viruti viruti mahi preyasi
preyasi mahi viruti |
mahi viruti viruti mahi mahi viruty-etny-etni viruti mahi
mahi viruty-etni |
viruty-etny-etni viruti viruty-etni teta etni viruti viruty-etni te |
virutti vi - ruti |
etni teta etny-etni te aghniye aghniye ta etny-etnite aghniye |
te aghniye aghniye te te aghniye nmni nmny-aghniye te
te aghniye nmni |
aghniye nmni namny-aghniye aghniye nmni suktagu sukta
namny-aghniye aghniye nmni suktam |
nmni suktagu sukta nmni nmni sukta m m sukta nmni
nmni sukta m |
sukta m m suktagu sukta m deveu deveu m suktagu sukta
m deveu | suktam-iti su - ktam |
m deveu deveu m m deveu brtt brtt deveu m m deveu brtt |
deveu brtt brtt deveu deveu brtd itti brtt deveu
deveu brtd iti |
brtd itti brtt brtd iti devebhyo devebhya iti brtt
brtd iti devebhya |
iti devebhyo devebhya itti devebhya evaiva devebhya itti devebhya eva |
devebhya evaiva devebhyo devebhya evainam enam eva devebhyo
devebhya evainam |
evainam enam evaivainam ainam evai vainam |
enam-ainam-enam vedayati vedayaty-ainam-enam vedayati |
vedayati vedayaty vedayaty-anvanu vedayaty vedayaty-anu |
vedayaty-anvanu-vedayati vedayaty-anvenam enam-anu vedayati
vedayaty-anvenam |
anvenam-ena manvan-vena dev dev enam-anvan-vena dev |
ena dev dev enam-ena dev budhyante budhyante dev enam
ena dev budhyante |
dev budhyante budhyante dev dev budhyante |
budhyanta iti budhyante ||

Brahman Tvam Rj
Taittiriya Sahit 1:8:27
O Brahman! you O King are the Brahmin priest, you are Savitar of true instigation, O Brahman! you O King
are the Brahmin priest, you are Indra of true force, O Brahman! you O King are the Brahmin priest, you are
Mitra the kindly, O Brahman! you O King are the Brahmin priest, you are Varuna of true rule. You are the bolt
of Indra, foe-slaying, with this subdue me. This king has surmounted the quarters, O you of fame, O you of
prosperity, O You of true-rule, To the son of the waters hail, to the son of strength hail, to Agni the Lord of the
house, hail.

sahit pha
brahm3n tvag rjan brahmsi mitrosi suevo brahm3n tvag rjan
brahmsi varuosi satyadharmendrasya vajrosi vrtraghna tena me radhya
diobhyyag rjbht sulok sumangal satyarj3n |
ap naptre svhorjo naptre svhgnaye ghapataye svh ||

pada pha
brahm3n | tvam | rjan | brahm | asi |mitra |asi |sueva iti eva |
brahm3n |tvam | rjan | brahm | asi |varua | asi | satyadharmeti satya
dharma | indrasya | vajra | asi | vrtraghna iti vrtra ghna |
tena | me | radhya | dia | abhiti | ayam | rj | abht | sulok iti su - lok |
sumangal iti su mangal | satyarj3n iti satya - rj3n | apm | naptre |
svh | rja | naptre | svh | agnaye | ghapataya iti gha pataye | svh ||

krama-pha
brahm3n tvam | tvag rjan | rjan brahm | brahmsi | asi mitra |
mitrosi | asi sueva | suevo brahm3n |
sueva iti su eva brahm3n tvam |
tvag rjan | rjan brahm | brahmsi | asi varua | varuosi | asi
satyadharm | satyadharmendrasya | satyadharmeti satya dharma |
indrasya vajra | vajrosi | asi vrtraghna | vrtraghnas tena | vrtraghna iti
vrtra ghna | tena me | me radhya | radhya dia |diobhi | abhyayam |
ayag rj | rjbht | abht sulok | sulok sumangal |
sulok iti su lok |
sumangal satya-rj3n | sumangal iti su mangal |
satya-rj3n iti satya rj3n | ap naptre | naptre svh |
svhorja | rjo naptre | naptre svh | svhgnaye | agnaye ghapataye |
ghapataye svh | ghapataya iti gha pataye svheti svh ||

jaapha
brahm3n tva tva brahm3n brahm3n tvam ||
tvag rjan rjan tva tvag rjan |
rjan brahm brahm rjan rjan brahm |
brahmsyasi brahm brahmsi |
asi mitro mitrosyasi mitra |
mitrosyasi mitro mitrosi |
asi suevas-suevosy-asi sueva |
suevo brahm3n brahm3n suevas-suevo brahm3n |
sueva iti su eva |
brahm3n tva tva brahm3n brahm3n tvam |
tvag rjan rjan tva tvag rjan |
rjan brahm brahm rjan rjan brahm |
brahmsyasi brahm brahmsi |
asi varuo varunosyasi varua |
varuosyasi varuno varuosi |
asi satya-dharm satya-dharmsy-asi satya-dharm |
satya-dharmendrasy-endrasya satya-dharm
satya-dharm-endrasya |
satya-dharmeti satya dharma |
indrasya vajro vajra indrasyendrasya vajra |
vajrosyasi vajro vajrosi |
asi vrtraghno vrtraghnosy-asi vrtraghna |
vrtraghnas tena tena vrtraghno vrtraghnas tena |
 33
vrtraghna iti vrtra ghna |
tena me me tena tena me |
me radhya radhya me me radhya |
radhya dio dio radhya radhya dia |
diobhyabhi dio diobhi |
abhyayam ayam abhy3 abhyayam |
ayag rj rj ayam ayag rj |
rjbhtabht rj rjbht |
abht sulok sulok abhtabht sulok |
sulok sumangal sumangal sulok sulok
sumangal |
sulok iti su lok |
sumangal satyarj3n satyarj3n sumangal
sumangal satyarj3n | sumangal iti su mangal |
satyarj3n iti satya rj3n |
ap naptre naptre apm ap naptre |
naptre svh svh naptre naptre svh |
svhorja rjassvh svhorja |
rjo naptre naptre rja rjo naptre |
naptre svh svh naptre naptre svh |
svhgnaye agnaye svh svhgnaye |
agnaye ghapataye ghapataye agnaye agnaye ghapataye |
ghapataye svh svh ghapataye ghapataye svh |
ghapataya iti gha pataye |
svheti svh ||

ghanapha
brahm3n tva tva brahm3n brahm3n tvag rjan rjan tva brahm3n
brahm3n tvag rjan |
tvag rjan rjan tva tvag rjan brahm brahm rjan tva tvag rjan
brahm |
rjan brahm brahm rjan rjan brahmsyasi brahm rjan rjan brahmsi |
brahmsyasi brahm brahmsi mitro mitrosi brahm brahmsi mitra |
asi mitro mitrosyasi mitrosyasi mitrosyasi mitrosi |
mitrosyasi mitro mitrosi suevassuevosi mitro mitrosi sueva |
asi suevassuevosyasi suevo brahm3n brahm3n suevosyasi
 34
suevo brahm3n |
suevo brahm3n brahm3n suevassuevo brahm3n
tva tva brahm3n suevassuevo brahm3n tva |
sueva iti su eva |
brahm3n tva tva brahm3n brahm3n tvag rjan
rjan tva brahm3n brahm3n tvag rjan |
tvag rjan rjan tva tvag rjan brahm brahm rjan
tva tvag rjan brahm |
rjan brahm brahm rjan rjan brahmsyasi brahm rjan rjan brahmsi |
brahmsyasi brahm brahmsi varuo varuosi brahm brahmsi varua |
asi varuo varuosyasi varuosyasi varuosyasi varuosi |
varuosyasi varuo varuosi sat yadharm satyadharmsi varuo varuosi
satyadharm | asi satyadharm satyadharmsyasi
satyadharmendrasyendrasya satyadharmsyasi satyadharmendrasya |
satyadharmendrasyendrasya satyadharm satyadharmendrasya
vajro vajra indrasya
satyadharm satyadharmendrasya vajra | satyadharmeti satya dharma |
indrasya vajro vajra indrasyendrasya vajrosyasi vajra
indrasyendrasya vajrosi |
vajrosyasi vajro vajrosi vrtraghno vrtraghnosi vajro vajrosi vrtraghna |
asi vrtraghno vrtraghnosyasi vrtraghnas tena tena
vrtraghnosyasi vrtraghna tena |
vrtraghnas tena tena vrtraghno vrtraghna tena me me tena
vrtraghno vrtraghna tena me |
vrtraghna iti vrtra ghna |
tena me me tena tena me radhya radhya me tena tena me radhya |
me radhya radhya me me radhya dio dio radhya me me radhya dia |
radhya dio dio radhya radhya diobhyabhi dio radhya radhya diobhi |
diobhyabhi dio diobhayam ayam abhi dio diobhyayam |
abhyayam ayam abhy3 abhyayag rj rj ayam abhy3 abhyayag rj |
ayag rj rj ayam ayag rjbhtabht rj ayam ayag rjbht |
rjbhtabht rj rjbht sulok sulok abht rj rjbht sulok |
abht sulok sulok abhtabht sulok sumangal sumangal sulok
abhtabht
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sulok sumangal |
sulok sumangal sumangal sulok sulok sumangal satyarj3n
satyarj3n sumangal sulok sulok sumangal satyarj3n |
sulok iti su lok |
sumangal satyarj3n satyarj3n sumangal sumangal satyarj3n |
sumangal iti su mangal |
satyarj3n iti satya rj3n |
ap naptre naptre apm ap naptre svh svh
naptre apm ap naptre svh |
naptre svh svh naptre naptre svhorja rjassvh
naptre naptre svhorja |
svhorja rjassvh svhorjo naptre naptra rja svh svhorjo naptre |
rjo naptre naptra rja rjo naptre svh svh naptre
rja rjo naptre svh |
naptre svh svh naptre naptre svhgnaye agnaye svh naptre naptre
svhgnaye | svhgnaye agnaye svh svhgnaye ghapataye
ghapataye agnaye svh svhgnaye ghapataye |
agnaye ghapataye ghapataye agnaye agnaye ghapataye svh svh
ghapataye agnaye agnaye ghapataye svh |
ghapataye svh svh ghapataye ghapataye svh |
ghapataya iti gha pataye |
svheti svh ||

Forgiveness for mispronunciation

yad akara pada bhraha mtr hna tu yad bhavet |
tat sarva kamyat deva nryaa namostu te |
visarga bindu mtri pada padkareu ca |
nyntirikta yat kicit bhir-grbhir udrayet ||
O Lord Narayana! whatever mistakes I have made in pronunciation, mispronouncing syllables, neglecting
the metre and beat, dropping the various grammatical forms, elongating or shortening vowels please
forgive me for all of that and accept it as complete.
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