Subrahmanya Bhujanga Stotram
Lyrics:
सदा बालरूपाऽपि विघ्नाद्रिहन्त्री
महादन्तिवक्त्राऽपि पञ्चास्यमान्या।
विधीन्द्रादिमृग्या गणेशाभिधा मे
विधत्तां श्रियं काऽपि कल्याणमूर्तिः।।1।।
न जानामि शब्दं न जानामि चार्थं
न जानामि पद्यं न जानामि गद्यम्।
चिदेका षडास्या हृदि द्योतते मे
मुखान्निःसरन्ते गिरश्चापि चित्रम्।।2।।
मयूराधिरूढं महावाक्यगूढं
मनोहारिदेहं महच्चित्तगेहम्।
महीदेवदेवं महावेदभावं
महादेवबालं भजे लोकपालम्।।3।।
यदा सन्निधानं गता मानवा मे
भवाम्भोधिपारं गतास्ते तदैव।
इति व्यञ्जयन् सिन्धुतीरे य आस्ते
तमीडे पवित्रं पराशक्तिपुत्रम्।4।।
यथाब्धेस्तरङ्गा लयं यान्ति तुङ्गा-
स्तथैवापदः सन्निधौ सेवतां मे।
इतीवोर्मिपङ्क्तीर्नृणां दर्शयन्तं
सदा भावये हृत्सरोजे गुहं तम्।5।।
गिरौ मन्निवासे नरा येऽधिरूढा-
स्तदा पर्वते राजते तेऽधिरूढाः।
इतीव ब्रुवन्गन्धशैलाधिरूढः
स देवो मुदे मे सदा षण्मुखोऽस्तु।6।।
महाम्भोधितीरे महापापचोरे
मुनीन्द्रानुकूले सुगन्धाख्यशैले।
गुहायां वसन्तं स्वभासा लसन्तं
जनार्तिं हरन्तं श्रयामो गुहं तम्।।7।।
लसत्स्वर्णगेहे नृणां कामदोहे
सुमस्तोमसञ्छन्नमाणिक्यमञ्चे।
समुद्यत्सहस्रार्कतुल्यप्रकाशं
सदा भावये कार्तिकेयं सुरेशम्।।8।।
रणद्धंसके मञ्जुलेऽत्यन्तशोणे
मनोहारिलावण्यपीयूषपूर्णे।
मनःषट्पदो मे भवक्लेशतप्तः
सदा मोदतां स्कन्द ते पादपद्मे।।9।।
सुवर्णाभदिव्याम्बरैर्भासमानां
क्वणत्किङ्किणीमेखलाशोभमानाम्।
लसद्धेमपट्टेन विद्योतमानां
कटिं भावये स्कन्द ते दीप्यमानाम्।।10।।
पुलिन्देशकन्याघनाभोगतुङ्ग-
स्तनालिङ्गनासक्तकाश्मीररागम्।
नमस्यामहं तारकारे तवोरः
स्वभक्तावने सर्वदा सानुरागम्।।11।।
विधौ कॢप्तदण्डान् स्वलीलाधृताण्डा-
न्निरस्तेभशुण्डान् द्विषत्कालदण्डान्।
हतेन्द्रारिषण्डाञ्जगत्राणशौण्डान्
सदा ते प्रचण्डान् श्रये बाहुदण्डान्।12।।
सदा शारदाः षण्मृगाङ्का यदि स्युः
समुद्यन्त एव स्थिताश्चेत्समन्तात्।
सदा पूर्णबिम्बाः कलङ्कैश्च हीना-
स्तदा त्वन्मुखानां ब्रुवे स्कन्द साम्यम्।13।।
स्फुरन्मन्दहासैः सहंसानि चञ्च-
त्कटाक्षावलीभृङ्गसङ्घोज्ज्वलानि।
सुधास्यन्दिबिम्बाधराणीशसूनो
तवालोकये षण्मुखाम्भोरुहाणि।।14।।
विशालेषु कर्णान्तदीर्घेष्वजस्रं
दयास्यन्दिषु द्वादशस्वीक्षणेषु।
मयीषत्कटाक्षः सकृत्पातितश्चे-
द्भवेत्ते दयाशील का नाम हानिः।।15।।
सुताङ्गोद्भवो मेऽसि जीवेति षड्धा
जपन्मन्त्रमीशो मुदा जिघ्रते यान्।
जगद्भारभृद्भ्यो जगन्नाथ तेभ्यः
किरीटोज्ज्वलेभ्यो नमो मस्तकेभ्यः।।16।।
स्फुरद्रत्नकेयूरहाराभिराम-
श्चलत्कुण्डलश्रीलसद्गण्डभागः।
कटौ पीतवासाः करे चारुशक्तिः
पुरस्तान्ममास्तां पुरारेस्तनूजः।।17।।
इहायाहि वत्सेति हस्तान्प्रसार्या-
ह्वयत्यादराच्छङ्करे मातुरङ्कात्।
समुत्पत्य तातं श्रयन्तं कुमारं
हराश्लिष्टगात्रं भजे बालमूर्तिम्।।18।।
कुमारेशसूनो गुह स्कन्द सेना-
पते शक्तिपाणे मयूराधिरूढ।
पुलिन्दात्मजाकान्त भक्तार्तिहारिन्
प्रभो तारकारे सदा रक्ष मां त्वम्।।19।।
प्रशान्तेन्द्रिये नष्टसंज्ञे विचेष्टे
कफोद्गारिवक्त्रे भयोत्कम्पिगात्रे।
प्रयाणोन्मुखे मय्यनाथे तदानीं
द्रुतं मे दयालो भवाग्रे गुह त्वम्।।20।।
कृतान्तस्य दूतेषु चण्डेषु कोपा-
द्दहच्छिन्द्धि भिन्द्धीति मां तर्जयत्सु।
मयूरं समारुह्य मा भैरिति त्वं
पुरः शक्तिपाणिर्ममायाहि शीघ्रम्।।21।।
प्रणम्यासकृत्पादयोस्ते पतित्वा
प्रसाद्य प्रभो प्रार्थयेऽनेकवारम्।
न वक्तुं क्षमोऽहं तदानीं कृपाब्धे
न कार्यान्तकाले मनागप्युपेक्षा।।22।।
सहस्राण्डभोक्ता त्वया शूरनामा
हतस्तारकः सिंहवक्त्रश्च दैत्यः।
ममान्तर्हृदिस्थं मनःक्लेशमेकं
न हंसि प्रभो किं करोमि क्व यामि।।23।।
अहं सर्वदा दुःखभारावसन्नो
भवान् दीनबन्धुस्त्वदन्यं न याचे।
भवद्भक्तिरोधं सदा कॢप्तबाधं
ममाधिं द्रुतं नाशयोमासुत त्वम्।।24।।
अपस्मारकुष्ठक्षयार्शः प्रमेह-
ज्वरोन्मादगुल्मादिरोगा महान्तः।
पिशाचाश्च सर्वे भवत्पत्रभूतिं
विलोक्य क्षणात्तारकारे द्रवन्ते।।25।।
दृशि स्कन्दमूर्तिः श्रुतौ स्कन्दकीर्ति-
र्मुखे मे पवित्रं सदा तच्चरित्रम्।
करे तस्य कृत्यं वपुस्तस्य भृत्यं
गुहे सन्तु लीना ममाशेषभावाः।।26।।
मुनीनामुताहो नृणां भक्तिभाजा-
मभीष्टप्रदाः सन्ति सर्वत्र देवाः।
नृणामन्त्यजानामपि स्वार्थदाने
गुहाद्देवमन्यं न जाने न जाने।।27।।
कलत्रं सुता बन्धुवर्गः पशुर्वा
नरो वाऽथ नारी गृहे ये मदीयाः।
यजन्तो नमन्तः स्तुवन्तो भवन्तं
स्मरन्तश्च ते सन्तु सर्वे कुमार।।28।।
मृगाः पक्षिणो दंशका ये च दुष्टा-
स्तथा व्याधयो बाधका ये मदङ्गे।
भवच्छक्तितीक्ष्णाग्रभिन्नाः सुदूरे
विनश्यन्तु ते चूर्णितक्रौञ्जशैल।।29।।
जनित्री पिता च स्वपुत्रापराधं
सहेते न किं देवसेनाधिनाथ।
अहं चातिबालो भवान् लोकतातः
क्षमस्वापराधं समस्तं महेश।।30।।
नमः केकिने शक्तये चापि तुभ्यं
नमश्छाग तुभ्यं नमः कुक्कुटाय।
नमः सिन्धवे सिन्धुदेशाय तुभ्यं
पुनः स्कन्दमूर्ते नमस्ते नमोऽस्तु।।31।।
जयानन्दभूमञ्जयापारधाम-
ञ्जयामोघकीर्ते जयानन्दमूर्ते।
जयानन्दसिन्धो जयाशेषबन्धो
जय त्वं सदा मुक्तिदानेशसूनो।।32।।
भुजङ्गाख्यवृत्तेन कॢप्तं स्तवं यः
पठेद्भक्तियुक्तो गुहं सम्प्रणम्य।
सुपुत्रान् कलत्रं धनं दीर्घमायु-
र्लभेत्स्कन्दसायुज्यमन्ते नरः सः।।33।।
sadaa baalaroopaa'pi vighnaadrihantree
mahaadantivaktraa'pi panchaasyamaanyaa.
vidheendraadimri'gyaa ganeshaabhidhaa me
vidhattaam' shriyam' kaa'pi kalyaanamoortih'..1..
na jaanaami shabdam' na jaanaami chaartham'
na jaanaami padyam' na jaanaami gadyam.
chidekaa shad'aasyaa hri'di dyotate me
mukhaannih'sarante girashchaapi chitram..2..
mayooraadhirood'ham' mahaavaakyagood'ham'
manohaarideham' mahachchittageham.
maheedevadevam' mahaavedabhaavam'
mahaadevabaalam' bhaje lokapaalam..3..
yadaa sannidhaanam' gataa maanavaa me
bhavaambhodhipaaram' gataaste tadaiva.
iti vyanjayan sindhuteere ya aaste
tameed'e pavitram' paraashaktiputram.4..
yathaabdhestarangaa layam' yaanti tungaa-
stathaivaapadah' sannidhau sevataam' me.
iteevormipankteernri'naam' darshayantam'
sadaa bhaavaye hri'tsaroje guham' tam.5..
girau mannivaase naraa ye'dhirood'haa-
stadaa parvate raajate te'dhirood'haah'.
iteeva bruvangandhashailaadhirood'hah'
sa devo mude me sadaa shanmukho'stu.6..
mahaambhodhiteere mahaapaapachore
muneendraanukoole sugandhaakhyashaile.
guhaayaam' vasantam' svabhaasaa lasantam'
janaartim' harantam' shrayaamo guham' tam..7..
lasatsvarnagehe nri'naam' kaamadohe
sumastomasanchhannamaanikyamanche.
samudyatsahasraarkatulyaprakaasham'
sadaa bhaavaye kaartikeyam' suresham..8..
ranaddham'sake manjule'tyantashone
manohaarilaavanyapeeyooshapoorne.
manah'shat'pado me bhavakleshataptah'
sadaa modataam' skanda te paadapadme..9..
suvarnaabhadivyaambarairbhaasamaanaam'
kvanatkinkineemekhalaashobhamaanaam.
lasaddhemapat't'ena vidyotamaanaam'
kat'im' bhaavaye skanda te deepyamaanaam..10..
pulindeshakanyaaghanaabhogatunga-
stanaalinganaasaktakaashmeeraraagam.
namasyaamaham' taarakaare tavorah'
svabhaktaavane sarvadaa saanuraagam..11..
vidhau kli'ptadand'aan svaleelaadhri'taand'aa-
nnirastebhashund'aan dvishatkaaladand'aan.
hatendraarishand'aanjagatraanashaund'aan
sadaa te prachand'aan shraye baahudand'aan.12..
sadaa shaaradaah' shanmri'gaankaa yadi syuh'
samudyanta eva sthitaashchetsamantaat.
sadaa poornabimbaah' kalankaishcha heenaa-
stadaa tvanmukhaanaam' bruve skanda saamyam.13..
sphuranmandahaasaih' saham'saani chancha-
tkat'aakshaavaleebhri'ngasanghojjvalaani.
sudhaasyandibimbaadharaaneeshasoono
tavaalokaye shanmukhaambhoruhaani..14..
vishaaleshu karnaantadeergheshvajasram'
dayaasyandishu dvaadashasveekshaneshu.
mayeeshatkat'aakshah' sakri'tpaatitashche-
dbhavette dayaasheela kaa naama haanih'..15..
sutaangodbhavo me'si jeeveti shad'dhaa
japanmantrameesho mudaa jighrate yaan.
jagadbhaarabhri'dbhyo jagannaatha tebhyah'
kireet'ojjvalebhyo namo mastakebhyah'..16..
sphuradratnakeyoorahaaraabhiraama-
shchalatkund'alashreelasadgand'abhaagah'.
kat'au peetavaasaah' kare chaarushaktih'
purastaanmamaastaam' puraarestanoojah'..17..
ihaayaahi vatseti hastaanprasaaryaa-
hvayatyaadaraachchhankare maaturankaat.
samutpatya taatam' shrayantam' kumaaram'
haraashlisht'agaatram' bhaje baalamoortim..18..
kumaareshasoono guha skanda senaa-
pate shaktipaane mayooraadhirood'ha.
pulindaatmajaakaanta bhaktaartihaarin
prabho taarakaare sadaa raksha maam' tvam..19..
prashaantendriye nasht'asanjnye vichesht'e
kaphodgaarivaktre bhayotkampigaatre.
prayaanonmukhe mayyanaathe tadaaneem'
drutam' me dayaalo bhavaagre guha tvam..20..
kri'taantasya dooteshu chand'eshu kopaa-
ddahachchhinddhi bhinddheeti maam' tarjayatsu.
mayooram' samaaruhya maa bhairiti tvam'
purah' shaktipaanirmamaayaahi sheeghram..21..
pranamyaasakri'tpaadayoste patitvaa
prasaadya prabho praarthaye'nekavaaram.
na vaktum' kshamo'ham' tadaaneem' kri'paabdhe
na kaaryaantakaale manaagapyupekshaa..22..
sahasraand'abhoktaa tvayaa shooranaamaa
hatastaarakah' sim'havaktrashcha daityah'.
mamaantarhri'distham' manah'kleshamekam'
na ham'si prabho kim' karomi kva yaami..23..
aham' sarvadaa duh'khabhaaraavasanno
bhavaan deenabandhustvadanyam' na yaache.
bhavadbhaktirodham' sadaa kli'ptabaadham'
mamaadhim' drutam' naashayomaasuta tvam..24..
apasmaarakusht'hakshayaarshah' prameha-
jvaronmaadagulmaadirogaa mahaantah'.
pishaachaashcha sarve bhavatpatrabhootim'
vilokya kshanaattaarakaare dravante..25..
dri'shi skandamoortih' shrutau skandakeerti-
rmukhe me pavitram' sadaa tachcharitram.
kare tasya kri'tyam' vapustasya bhri'tyam'
guhe santu leenaa mamaasheshabhaavaah'..26..
muneenaamutaaho nri'naam' bhaktibhaajaa-
mabheesht'apradaah' santi sarvatra devaah'.
nri'naamantyajaanaamapi svaarthadaane
guhaaddevamanyam' na jaane na jaane..27..
kalatram' sutaa bandhuvargah' pashurvaa
naro vaa'tha naaree gri'he ye madeeyaah'.
yajanto namantah' stuvanto bhavantam'
smarantashcha te santu sarve kumaara..28..
mri'gaah' pakshino dam'shakaa ye cha dusht'aa-
stathaa vyaadhayo baadhakaa ye madange.
bhavachchhaktiteekshnaagrabhinnaah' sudoore
vinashyantu te choornitakraunjashaila..29..
janitree pitaa cha svaputraaparaadham'
sahete na kim' devasenaadhinaatha.
aham' chaatibaalo bhavaan lokataatah'
kshamasvaaparaadham' samastam' mahesha..30..
namah' kekine shaktaye chaapi tubhyam'
namashchhaaga tubhyam' namah' kukkut'aaya.
namah' sindhave sindhudeshaaya tubhyam'
punah' skandamoorte namaste namo'stu..31..
jayaanandabhoomanjayaapaaradhaama-
njayaamoghakeerte jayaanandamoorte.
jayaanandasindho jayaasheshabandho
jaya tvam' sadaa muktidaaneshasoono..32..
bhujangaakhyavri'ttena kli'ptam' stavam' yah'
pat'hedbhaktiyukto guham' sampranamya.
suputraan kalatram' dhanam' deerghamaayu-
rlabhetskandasaayujyamante narah' sah'..33..
Meaning:
Verse 1
sada balarupapi vighnadrhihantri
mahadantivaktrapi pancasyamanya
vidhindradimrgya ganesabhidha me
vidhattam sriyam kapi kalyanamurtih
This verse praises the mysterious and auspicious form of Bhagavan Ganesha. The words say that although he appears as a child, he destroys mountains of obstacles. The phrase vighna-adri-hantri means the destroyer of the mountain of impediments that block the path of devotees.
The verse also mentions that he possesses the great elephant face, yet he is honored even by pancasya, the five-faced Shiva. The meaning is that even Shiva himself reveres this divine power. Vidhindra-adimrgya means sought after by Brahma, Indra, and the other devas. Even the rulers of the universe turn toward him when they require success and harmony.
The name Ganesha means the lord of the ganas, the cosmic forces and attendants of Shiva. But in philosophy it also means the master of all inner energies of the human being. The mind, senses, intellect, and impulses are like many ganas moving in different directions. Ganesha governs them and brings order.
The verse finally prays that this auspicious form of divine welfare, called kalyanamurti, may grant sri. The word sri does not merely mean wealth. It means grace, prosperity, beauty, harmony, and inner wellbeing. The devotee invokes Ganesha so that life becomes aligned with divine order and obstacles dissolve naturally.
Verse 2
na janami sabdam na janami cartham
na janami padyam na janami gadyam
cideka sadhasya hrdi dyotate me
mukhan nissaranti giras capi citram
This verse expresses humility before divine knowledge. The devotee says that he does not know sabda, the proper words. He does not know artha, the deep meaning of language. He does not know poetry or prose. In other words, he confesses that human learning is limited.
Yet something extraordinary happens. The verse declares that a radiant consciousness appears within the heart. The phrase cid eka means pure awareness alone. This awareness shines in the heart like a silent teacher.
The expression sadhasya refers to the six-faced deity, Skanda or Kartikeya. This divine presence manifests inside the devotee’s heart. Though the devotee claims ignorance, divine wisdom flows through him.
Then the verse says something remarkable. Words begin to flow from the mouth spontaneously. The devotee himself is surprised. This is described as citram, a wonder.
Philosophically, the verse teaches that true wisdom does not arise merely from intellectual effort. When the mind becomes humble and receptive, divine consciousness begins to guide speech and thought. In the tradition of Sanskrit literature, many great hymns are believed to arise in this way. The poet becomes an instrument through which divine inspiration expresses itself.
Verse 3
mayuradhirudham mahavakyagudham
manoharideham mahaccittageham
mahadevadevam mahavedabhavam
mahadevabalam bhaje lokapalam
This verse describes Bhagavan Skanda seated upon the peacock. The word mayuradhirudha means mounted on the peacock, which is his traditional vehicle. The peacock symbolizes beauty, majesty, and the conquest of poison, because the peacock can transform poison into radiant feathers.
The phrase mahavakya-gudham indicates that Skanda embodies the hidden meaning of the great Upanishadic statements, the mahavakyas such as tat tvam asi. These statements reveal the identity of the individual self with ultimate reality. Skanda represents the living wisdom behind these teachings.
The verse calls him manohari-deha, one whose form captivates the mind. His presence is both beautiful and spiritually powerful. The expression mahac-citta-geham suggests that he resides in the great heart or consciousness of realized sages.
He is also called mahadeva-bala, the son of Shiva. Mythologically, Skanda was born from the fiery energy of Shiva to defeat the demon Tarakasura who threatened the cosmic order.
As lokapala, he becomes a protector of the worlds. Spiritually this means that divine wisdom protects the inner world of the devotee. When knowledge awakens within the heart, confusion and fear gradually lose their power.
Verse 4
yada sannidhanam gata manava me
bhavambhodhiparam gataste tadaiva
iti vyanjayan sindhutire ya aste
tam ide pavitram parashaktiputram
This verse speaks about the transformative power of divine presence. It says that when people come into the nearness of this deity, they cross the ocean of worldly existence.
The phrase bhava-ambhodhi refers to the ocean of samsara, the endless cycle of birth, struggle, attachment, and suffering. Crossing this ocean symbolizes liberation from ignorance and fear.
The verse imagines Skanda standing on the shore of the ocean, silently conveying this message. His very presence suggests that those who approach him sincerely will find a path across the ocean of life.
He is called the son of Parashakti, the supreme cosmic energy. According to mythology, Skanda is born from the combined powers of Shiva and Shakti. Thus he represents the union of consciousness and energy.
Philosophically this verse suggests that divine wisdom acts like a lighthouse on the shore of the ocean of life. The devotee wandering in confusion eventually reaches this guiding presence. Once the direction becomes clear, the journey across the ocean of worldly existence becomes possible.
Verse 5
yathabdhes taranga layam yanti tungas
tathaivapadah sannidhau sevatam me
itiveormipanktir nrnam darsayantam
sada bhavaye hrtsaroje guham tam
This verse uses a powerful metaphor from nature. It compares life’s troubles to towering waves in the ocean.
The words say that just as high waves eventually dissolve back into the ocean, the difficulties faced by devotees dissolve in the presence of the divine. The phrase apadah refers to misfortunes, dangers, and suffering.
The poet imagines Skanda showing this truth to humanity through rows of ocean waves. Every wave rises dramatically, but it cannot exist independently of the ocean. In the same way, problems appear large and threatening, yet they ultimately dissolve into the deeper reality of existence.
The deity is called Guha here, which means the one who dwells in the cave. This cave symbolizes the inner heart of consciousness.
The devotee says he constantly meditates upon this divine presence in the lotus of his heart. The heart is described as a lotus because it represents purity and spiritual awakening.
Philosophically this verse teaches that when the mind becomes centered in the divine awareness within, external troubles lose their overwhelming power. They arise and disappear like waves in the vast ocean of consciousness.
Verse 6
girau mannivase nara ye adhirudha
stada parvate rajate te adhirudhah
itiva bruvan gandhashailadhirudhah
sa devo mude me sada sanmukho astu
This verse uses a striking symbolic image involving mountains. The poet says that those who climb the hill where the Lord resides appear as if they have ascended the greatest mountain of all. The phrase girau mannivase refers to the sacred hill that is the dwelling place of the deity. In the traditional understanding this points to Skanda’s temples situated on hills, especially sacred places like Palani or Tiruttani where devotees physically climb the hill to reach him.
The verse says that when people ascend such a hill, they shine as though they have climbed a mighty mountain. This implies that approaching divine wisdom elevates human life. What appears to be a simple physical act becomes a profound spiritual ascent.
The Lord himself stands upon the fragrant hill, called Gandhashaila. The mountain symbolizes stability and spiritual height. In Indian philosophy, mountains often represent the upward journey of consciousness from ordinary awareness to divine realization.
The poet prays that this six-faced deity, Sanmukha, may always stand before him bringing joy. The six faces represent omniscience and the ability to perceive all directions simultaneously. Spiritually it suggests complete awareness. When the devotee turns toward this presence, the inner life becomes uplifted like someone who has climbed a great mountain.
Verse 7
maham bhodhitire mahapapachore
munindranukule sugandhakhya shaile
guhayam vasantam svabhasa lasantam
janartim harantam srayamo guham tam
This verse describes the sacred dwelling place of Skanda in poetic imagery. It speaks of a mountain near the great ocean where the Lord resides in a cave. The phrase maham-bhodhi-tire indicates the shore of a vast ocean. This may refer symbolically to the boundless ocean of existence.
The verse also calls him a destroyer of great sins. The word papachora literally suggests one who steals away sins. This means that through devotion and remembrance of the divine, the heavy burden of past actions gradually loses its hold over the mind.
The location is described as Sugandha mountain, a fragrant hill. Fragrance in Sanskrit poetry often represents purity and spiritual merit. A fragrant environment suggests a space filled with sacred presence.
The Lord dwells in a cave, again reinforcing the symbolism of Guha, the one hidden in the cave of the heart. Though he lives in a secluded place, his radiance shines everywhere. His light removes the suffering of people.
The devotee declares that he takes refuge in this divine presence. Philosophically the cave represents the deepest center of consciousness. When one enters that inner cave through meditation and devotion, the light of awareness removes the distress created by ignorance.
Verse 8
lasatsvarnagehe nrnam kamadohe
sumastomasanchannamanikyamanche
samudyat sahasrarka tulya prakasam
sada bhavaye kartikeyam suresam
This verse paints a majestic image of Kartikeya seated in a radiant palace. The golden house symbolizes divine splendor and spiritual abundance. Gold in traditional symbolism represents purity, incorruptibility, and luminous brilliance.
The phrase kamadoha suggests that the Lord fulfills the genuine aspirations of devotees. This does not merely refer to material desires but to deeper human longings for wisdom, peace, and fulfillment.
The Lord is imagined sitting upon a throne made of precious gems, surrounded by offerings of flowers. Such imagery reflects the traditional temple worship where the deity is adorned with jewels, flowers, and sacred ornaments.
The verse compares his radiance to a thousand rising suns. This is a classical expression used in Sanskrit literature to describe overwhelming brilliance. It emphasizes the divine light that dispels darkness.
Kartikeya is also called Suresa, the lord of the devas. In mythology he becomes the commander of the celestial armies and the protector of cosmic order.
Spiritually this verse encourages the devotee to meditate upon the luminous form of the deity. Such meditation fills the mind with clarity and strength, gradually replacing confusion with inner radiance.
Verse 9
ranaddhamsake manjule atyanta shone
manohari lavanya piyusha purne
manah shatpado me bhavaklesha taptah
sada modatam skanda te padapadme
This verse expresses devotion through a beautiful poetic metaphor. The mind of the devotee is compared to a bee. The word shatpada literally means six-legged creature, referring to a bee.
The bee seeks nectar from flowers. In the same way, the devotee’s mind seeks the sweetness of divine presence. The lotus feet of Skanda are compared to a flower filled with nectar.
The verse describes the Lord’s feet as extremely beautiful and reddish in color. In traditional imagery, divine feet are often described as red like lotus petals or the dawn sky. This color symbolizes vitality, compassion, and auspiciousness.
The devotee says that his mind has been scorched by the suffering of worldly life. The phrase bhava-klesha refers to the afflictions caused by attachment, anxiety, and the endless cycle of desires.
Just as a tired bee finds relief in a nectar-filled flower, the devotee’s restless mind finds joy in resting at the divine feet of Skanda. Spiritually this indicates surrender. When the mind stops wandering among temporary pleasures and turns toward divine wisdom, it experiences peace and sweetness.
Verse 10
suvarnabha divyambarair bhasamanam
kvanat kinkinimekhalashobhamanam
lasaddhemapattena vidyotamanam
katim bhavaye skanda te dipyamanam
This verse describes the divine beauty of Skanda’s form in detail. The poet focuses particularly on the waist region adorned with divine garments and ornaments.
The Lord is described as wearing shining golden clothes. Gold symbolizes divine brilliance and spiritual purity. These garments represent the radiance of divine knowledge surrounding the deity.
The sound of tiny bells tied to the waist belt is also mentioned. The word kinkinimekhala refers to a girdle decorated with small bells that produce a gentle musical sound. In classical temple imagery, such ornaments signify grace and elegance.
The waist is also adorned with a shining golden cloth or belt. These ornaments do not merely emphasize physical beauty but symbolize the splendor of divine energy manifesting in the world.
The devotee meditates upon this radiant form of Skanda. In devotional practice, visualizing the details of the deity’s form helps focus the mind and deepen emotional connection.
Spiritually the divine form serves as a bridge between the visible and invisible worlds. The beauty of the form draws the mind inward toward the divine essence that lies beyond form itself.
Verse 11
pulindesha kanyaghana bhogatunga
stanalimgan asakta kashmira ragam
namasyamaham tarakare tavorah
svabhaktavane sarvada sanuragam
This verse contains a reference to a mythological episode in Skanda’s life. It speaks of the tribal maiden known as Valli, the daughter of the Pulinda chieftain. According to traditional stories, Skanda married Valli after a series of playful divine adventures.
The verse describes the Lord’s chest bearing the marks of affectionate embrace from this beloved consort. The mention of kashmira raga refers to the reddish fragrance of saffron traditionally applied as a cosmetic adornment.
In mythology Skanda has two principal consorts, Devasena and Valli. Devasena represents divine order and celestial harmony, while Valli symbolizes spontaneous devotion and natural love.
The verse praises the chest of the Lord, which is filled with compassion and affection toward his devotees. The poet bows to this chest that constantly protects those who seek refuge.
Philosophically the two consorts represent two paths of devotion. One path follows discipline, tradition, and sacred law. The other arises from pure love and emotional surrender. Skanda embraces both paths, showing that divine grace welcomes all sincere seekers regardless of their background.
Verse 12
vidhau klipta dandan svalila dhrta andan
nirast ebha shundan dvisat kaladandan
hatendrarishandan jagatrana shaundan
sada te prachandan sraye bahudandan
This verse glorifies the powerful arms of Skanda. His arms represent strength, protection, and the ability to restore cosmic order.
The phrase vidhau klipta dandan suggests that his arms act as instruments of divine justice. They uphold dharma and maintain balance in the universe. In mythology Skanda uses his weapons and strength to defeat powerful demons who threaten the devas.
The verse mentions the destruction of enemies such as the elephant-like demons and other forces of chaos. The reference to Indra’s enemies indicates the demons who once defeated the celestial beings before Skanda’s birth.
The poet calls these arms prachanda, meaning extremely powerful and fierce against injustice. At the same time they are compassionate toward devotees.
The devotee declares that he takes refuge in these mighty arms. Spiritually this symbolizes surrender to divine protection. When a person aligns with dharma and divine wisdom, inner strength arises naturally.
Thus the arms of Skanda represent the protective power of righteousness. They remind the devotee that divine strength supports those who stand on the side of truth and harmony.
Verse 13
sada saradah sanmrganka yadi syuh
samudyanta eva sthitas cet samantat
sada purnabimbah kalankais ca hinah
stada tvanmukhanam bruve skanda samyam
This verse praises the extraordinary beauty of Skanda’s six faces. The poet imagines a comparison with the moon, which in Sanskrit literature is often the standard symbol of beauty and cool radiance.
The verse says that if six autumn moons were to rise simultaneously in all directions, if they remained perfectly full, and if they had no blemish at all, only then could they resemble the six faces of Skanda. The autumn moon is considered the most pure and luminous because the sky is clear during that season.
Yet even this comparison is presented cautiously. The poet suggests that such flawless moons would only approximate the splendor of Skanda’s faces. The implication is that divine beauty surpasses all natural beauty.
Mythologically the six faces of Skanda originate from the story of his birth. When the divine child appeared, the six Krittika mothers nourished him. In order to receive nourishment from each of them simultaneously, he manifested six faces.
Philosophically these six faces symbolize complete awareness and mastery over the six directions of experience. They represent the expansion of consciousness beyond limitation. The devotee meditates upon this radiant form as a source of wisdom, purity, and divine grace.
Verse 14
sphuran mandahasaih sahamsani canca
tkatakshavali bhrnga sanghojjvalani
sudhasyandi bimbadharani isasuno
tavalokaye sanmukhambhoruhani
This verse continues the contemplation of Skanda’s divine faces with delicate poetic imagery. The poet observes the gentle smile that shines upon those faces. The phrase manda-hasa refers to a soft and compassionate smile that reflects divine kindness.
The glances of the Lord are compared to bees hovering around a lotus. In Sanskrit poetry bees are often drawn to flowers because of their nectar. Similarly the Lord’s glances move gracefully and attractively.
The lips are compared to the red bimba fruit. This fruit is bright and smooth, making it a common poetic image for divine lips. From these lips flows speech that is like nectar, meaning that the teachings and blessings of the Lord bring sweetness and life.
The faces themselves are compared to lotuses. The lotus symbolizes purity, spiritual awakening, and divine beauty. It grows from mud yet remains untouched by it, which is often used to illustrate spiritual detachment.
By contemplating these lotus-like faces of the son of Shiva, the devotee’s mind becomes calm and joyful. Such meditation gradually purifies the heart and deepens devotion.
Verse 15
visalesu karnanta dirghesv ajasram
dayasyandisu dvadasasv iksanesu
mayi isa kataksah sakrt patitas ced
bhavet te dayasila ka nama hanih
This verse highlights the compassion reflected in the twelve eyes of Skanda. Because the deity has six faces, each with two eyes, the total becomes twelve eyes.
These eyes are described as large and extending almost to the ears. This description emphasizes their extraordinary beauty and fullness. More importantly, the verse says that these eyes constantly overflow with compassion.
The poet then makes a humble request. He asks that even one brief glance of grace fall upon him. The phrase kataksha refers to a side glance, which in devotional language means a glance of blessing or favor from the deity.
The devotee asks a simple question. If such a compassionate Lord were to cast just one glance upon him, what loss would the Lord suffer? The implication is that divine grace costs nothing for the deity but can transform the life of the devotee.
Philosophically the verse teaches that divine compassion is ever present, but the devotee must open his heart to receive it. Even a moment of divine insight can dissolve long-standing ignorance and bring clarity to the mind.
Verse 16
sutangodbhavo me asi jiveti sadha
japan mantram iso muda jighrate yan
jagadbhara bhrydbhyo jagannatha tebhyah
kiritujjvalebhyo namo mastakebhyah
This verse refers to a mythological moment involving Shiva and his son Skanda. It describes the affection of Shiva toward the child born from his own divine energy.
The verse suggests that Shiva joyfully chants a mantra and affectionately smells the heads of the child. In traditional Indian culture, smelling the head of a child is an expression of deep parental affection and blessing.
The heads being praised are radiant with crowns, indicating the divine dignity and majesty of Skanda. The crowns symbolize spiritual authority and cosmic responsibility.
The phrase jagadbhara-bhrdbhyah indicates that these divine heads carry the burden of protecting the universe. Skanda is not merely a child but a cosmic guardian who upholds dharma.
The devotee bows to these radiant heads. Philosophically this verse reveals an intimate aspect of the divine. The cosmic protector is also a beloved child of Shiva. This duality reflects an important theme in Hindu spirituality: the divine is both infinitely powerful and deeply personal.
Verse 17
sphuradratna keyura harabhirama
scalat kundala sri lasad ganda bhagah
katau pitavasah kare caru shaktih
purastan mam astam purarestanujah
This verse describes the fully adorned form of Skanda standing before the devotee. His arms are decorated with shining armlets and necklaces made of precious jewels.
His earrings move gently and illuminate his cheeks. These ornaments symbolize divine beauty and royal dignity. In traditional temple iconography, such ornaments express the splendor of the deity.
The Lord wears yellow garments around his waist. Yellow often symbolizes knowledge, purity, and spiritual illumination.
In his hand he holds the shakti spear, which is his principal weapon. This spear represents the piercing power of knowledge that destroys ignorance. Mythologically it is the weapon with which Skanda defeated the demon Tarakasura.
The verse ends with a prayer that the son of Shiva, called the son of the destroyer of Tripura, may stand before the devotee. To stand before the devotee means to remain constantly present in awareness.
Spiritually the form of the deity becomes a living symbol of protection, knowledge, and divine guidance in the life of the devotee.
Verse 18
ihayahi vatseti hastan prasarya
ahvayaty adarac sankare matur ankat
samutpatya tatam srayantam kumaram
haraslishta gatram bhaje balamurtim
This verse presents a tender and affectionate scene between Shiva and the child Skanda. Shiva stretches out his hands and calls the child lovingly, saying come here my child.
The child leaps from the lap of the mother and runs toward the father. Shiva embraces him warmly. The phrase haraslishta gatra means the body of the child embraced by Shiva.
This scene highlights the parental affection within the divine family. In many Hindu traditions, the divine is not only worshipped as a distant cosmic power but also experienced through intimate relationships such as parent and child.
The devotee says he worships this child form of Skanda. The child form symbolizes innocence, purity, and spontaneous joy.
Philosophically the verse reminds devotees that the divine contains both majestic power and gentle tenderness. The cosmic commander of the celestial armies is also a playful child embraced by his father. This dual nature invites devotees to approach the divine with both reverence and affection.
Verse 19
kumaresha suno guha skanda sena
pate shaktipane mayuradhirudha
pulindatmaja kanta bhaktartiharine
prabho tarakare sada raksha mam tvam
This verse gathers many sacred names of Skanda and turns them into a direct prayer. The devotee addresses him as the son of Shiva, the hidden one called Guha, the commander of the celestial army, and the bearer of the divine spear.
The name Guha means the one who dwells in secrecy, hidden in the cave of the heart. Though the divine pervades the universe, it is realized inwardly through contemplation. The name Skanda refers to the one who sprang forth from divine energy.
He is called Senapati, the leader of the army of the devas. In mythology he leads the celestial forces against the demon Taraka. This is why he is called Tarakari, the destroyer of Tarakasura.
The verse also refers to his beloved Valli, the daughter of the tribal chief. This reminds the devotee that divine grace extends to all people regardless of social status.
The prayer ends with a simple request for protection. In philosophy this protection is not merely physical safety. It means protection from ignorance, fear, and confusion. When the devotee remembers the divine presence, courage and clarity naturally arise within.
Verse 20
prasantendriye nashtasanjne viceste
kaphodgari vaktre bhayotkampigatre
prayanonmukhe mayy anathe tadanim
drutam me dayalo bhavagre guha tvam
This verse describes a deeply moving moment: the final stage of life. The poet imagines the condition of a person whose senses have grown weak and whose body trembles as life approaches its end.
The words portray a realistic scene. The senses become calm and inactive. Awareness begins to fade. The body trembles with fear and weakness. Breathing becomes difficult. Such descriptions reflect the honest observation of human life found in many spiritual texts.
At that moment the devotee calls upon Guha, the compassionate Lord hidden in the heart. He asks that the deity appear before him quickly when he becomes helpless and alone.
This verse reveals the profound trust of devotion. The devotee knows that worldly relationships and possessions cannot accompany him at the final moment.
Philosophically the verse reminds us that spiritual remembrance during life prepares the mind for the final transition. When the mind has been trained to remember the divine, fear diminishes even in the face of death. The presence of divine awareness becomes a guiding light at the final moment.
Verse 21
krtantasya dutesu chandesu kopad
dahacchinddhi bhinddhi iti mam tarjayatsu
mayuram samaruhya ma bhair iti tvam
purah shaktipanir mam ayahi sighram
This verse continues the meditation on the moment of death but introduces vivid mythological imagery. The poet imagines the fierce messengers of Yama, the lord of death, approaching the departing soul.
These messengers threaten and frighten the dying person, shouting commands to seize him. Such imagery appears in many devotional traditions to represent the fear and uncertainty that arise when the soul leaves the body.
The devotee calls upon Skanda to come quickly riding his peacock. He asks the Lord to stand before him holding the divine spear and reassure him with the words do not fear.
The peacock symbolizes majesty and victory. The spear represents the power of knowledge that destroys darkness.
The deeper meaning of this verse is psychological and spiritual. When the mind has devotion and faith, the fear of death loses its power. The divine presence becomes the protector of the soul during the transition from one state of existence to another.
Thus the verse expresses confidence that divine grace guides the devotee beyond fear.
Verse 22
pranamya sakrt padayos te patitva
prasadya prabho prarthaye anekavaram
na vaktum kshamo aham tadanim krpabdhe
na karyantakale manag api upeksa
In this verse the devotee makes an earnest appeal. He says that he repeatedly bows at the feet of the Lord and places himself in surrender.
He prays again and again because he knows that the final moment of life may arrive suddenly. At that time the body and mind may not have the strength to pray or speak clearly.
Therefore he asks the compassionate Lord, described as an ocean of mercy, not to neglect him at that critical moment. The phrase karyanta kala refers to the end of worldly activities, meaning the moment when life concludes.
This verse reflects a deep spiritual insight. Devotion practiced during life becomes the support that carries the soul through the final moment.
The devotee understands that words may fail at that time. Breath may become weak, and the mind may become confused. Therefore he places his trust entirely in divine compassion.
Philosophically this verse highlights the importance of cultivating remembrance of the divine throughout life so that it naturally arises when the body can no longer act.
Verse 23
sahasrandabhokta tvaya suranama
hatas tarakah simhavaktras ca daityah
mamantarhrdi stham manahklesham ekam
na hamsi prabho kim karomi kva yami
This verse expresses both praise and personal appeal. The poet reminds Skanda of his great victories in mythology. The Lord destroyed the powerful demon Tarakasura and other fierce enemies such as Simhavaktra.
These demons symbolize forces of chaos and oppression that once threatened the cosmic order. Skanda’s birth itself occurred for the purpose of defeating Taraka, who had become invincible to all others.
The devotee then turns inward and says something profound. If the Lord who destroyed such mighty demons has such great power, why does he not destroy the single enemy within the devotee’s own heart.
That enemy is mental suffering. The phrase manah klesha refers to the inner disturbances of anxiety, attachment, anger, and sorrow.
The devotee asks in helplessness what should he do and where should he go if even the divine does not remove this suffering.
Philosophically this verse reveals a deep truth. The greatest battle is not always external. The real demon often lives within the mind. Spiritual practice seeks the help of divine wisdom to overcome these inner enemies.
Verse 24
aham sarvada duhkhabharavasanno
bhavan dinabandhus tvad anyam na yace
bhavadbhaktirodham sada klipta badham
mamadim drutam nashaya umasuta tvam
In this verse the devotee openly expresses his condition. He says that he is always weighed down by the burden of suffering. The difficulties of life, both external and internal, press heavily upon the heart.
He addresses Skanda as Dinabandhu, the friend of the distressed. This name reflects the compassionate nature of the deity who supports those who are struggling.
The devotee declares that he seeks refuge nowhere else. The phrase tvad anyam na yace means I ask nothing from anyone else. This expresses complete surrender.
The devotee asks the son of Uma to destroy the obstacles that prevent true devotion. Sometimes the greatest hindrance to spiritual life is not external difficulty but inner distraction, doubt, and lack of steadiness.
By removing these barriers, divine grace allows devotion to grow naturally in the heart.
Philosophically the verse teaches that surrender and humility are powerful forces in spiritual life. When the ego softens and the heart opens in trust, the inner transformation begins.
Verse 25
apasmarakustha kshayarsha prameha
jvaronmada gulmadi roga mahantah
pisacas ca sarve bhavat patra bhutim
vilokya kshanat tarakare dravanti
This verse praises the protective power of Skanda. It lists several serious diseases such as epilepsy, leprosy, tuberculosis, fever, madness, and other severe ailments.
In ancient devotional literature such lists symbolize the various forms of suffering that afflict human life. Illness is not merely physical but also mental and emotional.
The verse also mentions negative spiritual forces such as malevolent spirits. According to traditional belief, divine protection shields devotees from such harmful influences.
The phrase bhavat patra bhutim refers to the sacred ash or blessing associated with the deity. When devotees apply sacred ash with faith, it becomes a symbol of divine protection.
The verse says that these afflictions and negative forces flee instantly when they encounter the power of the Lord.
Philosophically the verse emphasizes the protective aspect of divine remembrance. Devotion strengthens the mind and spirit, giving resilience in the face of physical or psychological challenges. The divine presence becomes a source of courage, healing, and stability for the devotee.
Verse 26
drsi skandamurtih srutau skandakirtir
mukhe me pavitram sada tac caritram
kare tasya krityam vapus tasya bhrtyam
guhe santu lina mama sesa bhavah
The devotee now expresses the wish that every faculty of his life be absorbed in Skanda. He begins with the eyes. May the eyes always behold the form of Skanda. This does not mean that one must physically see the deity at all times. Rather it means that the mind should continually remember the divine presence behind all forms.
Next he speaks of the ears. Let the ears hear only the glories of Skanda. In Indian spiritual practice, listening to sacred stories and hymns is considered a powerful path of devotion because what the ears hear gradually shapes the mind.
The mouth should speak only the sacred narratives of the Lord. When speech is purified in this way, it becomes a vehicle for truth and harmony.
The hands should perform the works of the Lord. This indicates service. Every action can become sacred when performed with devotion and ethical intention.
The body itself becomes a servant of the divine. Finally the devotee says that all his inner thoughts and feelings should dissolve into Guha, the Lord who dwells in the cave of the heart. This verse describes complete integration of devotion with every aspect of life.
Verse 27
muninam utaho nrnam bhaktibhajam
abhistapradah santi sarvatra devah
nrnam antyajanam api svarthadane
guhad devam anyam na jane na jane
This verse reflects on the accessibility of divine grace. The poet acknowledges that many deities grant the wishes of sages and devoted people. Throughout the world, there are many sacred forms that bless those who worship sincerely.
However the poet then says something more personal. Even those considered low or marginalized in society can receive fulfillment from Skanda. The word antyajana traditionally referred to people outside the higher social classes.
The poet declares that he knows no other deity besides Guha who grants blessings even to such humble seekers without hesitation. The repetition of na jane emphasizes the sincerity of this declaration.
Mythologically this sentiment reflects the story of Valli, the tribal maiden whom Skanda married. Through this story the tradition emphasizes that divine grace does not depend upon social status or learning.
Philosophically the verse highlights an important theme in devotional spirituality. The divine responds to sincerity rather than external qualifications. Even a simple heart filled with faith can receive profound grace.
Verse 28
kalatram suta bandhuvargah pasur va
naro va atha nari grhe ye madiyah
yajanto namantah stuvanto bhavantam
smarantas ca te santu sarve kumara
In this verse the devotee extends his prayer to all members of his household. He asks that everyone connected to him may become devoted to the Lord.
He mentions his spouse, children, relatives, servants, and even animals that live in his home. This reflects the inclusive nature of traditional Indian household spirituality, where the entire environment of the home is considered part of sacred life.
The devotee wishes that all of them may worship, bow to, praise, and remember Skanda. The repetition of these actions emphasizes that devotion can manifest through many forms such as ritual worship, respectful gestures, singing praises, and inner remembrance.
The deeper meaning of this verse lies in the idea that spiritual life should permeate daily living. A home where sacred remembrance is present becomes a place of harmony and moral strength.
When devotion is shared within a family or community, it influences the attitudes and actions of everyone involved. Thus the devotee prays not only for personal liberation but also for the spiritual wellbeing of all those around him.
Verse 29
mrga paksino damsaka ye ca dustah
tatha vyadhayo badhaka ye madange
bhavacchakti tiksnagra bhinnah sudure
vinasyantu te curnita kraunca saila
This verse invokes the protective power of Skanda against dangers and obstacles. The poet mentions wild animals, harmful insects, and diseases that trouble the human body.
These represent the unpredictable difficulties that can arise in life. In ancient times such threats were very real, especially for people living close to forests and natural environments.
The devotee asks that these dangers be destroyed by the sharp point of Skanda’s spear. The spear symbolizes decisive power and divine protection.
The verse also mentions the crushing of the Krauncha mountain. This refers to a famous mythological event where Skanda split the Krauncha mountain with his spear while pursuing a demon hiding within it.
The destruction of the mountain symbolizes the removal of massive obstacles that block the path of righteousness.
Philosophically the verse suggests that divine wisdom acts like a sharp instrument cutting through fear, confusion, and harmful influences. When the mind remains connected to the divine, it gains strength to overcome the difficulties that arise in life.
Verse 30
janitri pita ca svaputraparadhah
sahete na kim devasena dhinatha
aham catibalo bhavan lokatatah
ksamasvaparam samastam mahesa
This verse expresses humility and repentance. The devotee compares himself to a child who may commit mistakes.
Parents naturally forgive the faults of their children. The verse asks whether the divine parents would not show the same compassion. Skanda is addressed here as the lord of Devasena and as the universal father.
The devotee calls himself a very small child. This metaphor emphasizes the vulnerability of the human condition. Human beings often act in ignorance and make many mistakes during life.
The devotee therefore asks the Lord to forgive all his offenses. The word kshamasva means please forgive.
Philosophically this verse highlights an important aspect of devotional spirituality: honest self-reflection. Recognizing one’s imperfections does not lead to despair but to humility.
When a person acknowledges faults sincerely and turns toward divine guidance, the possibility of inner transformation opens. The relationship between devotee and deity becomes like that between a compassionate parent and a child seeking forgiveness.
Verse 31
namah kekine shaktaye capi tubhyam
namas chaga tubhyam namah kukkutaya
namah sindhave sindhu desaya tubhyam
punah skandamurte namaste namostu
This verse offers salutations not only to Skanda but also to the symbols associated with him. The peacock, called kekin, is his vehicle. The spear, or shakti, is his weapon.
The verse also mentions the goat and the rooster. In certain traditions these animals are connected with Skanda’s iconography and sacrificial symbolism. Each symbol reflects a different aspect of divine power.
The peacock represents beauty and victory over poison. The spear represents penetrating wisdom. The rooster symbolizes awakening, as its crowing announces the arrival of dawn.
The verse also salutes the ocean and the land near the ocean, perhaps referring to sacred places where Skanda is worshipped.
By saluting these associated symbols, the devotee acknowledges that divine presence permeates not only the central deity but also the entire sacred environment around him.
This verse expresses a worldview in which the divine manifests through many forms and symbols. Every element connected to the deity becomes worthy of reverence.
Verse 32
jayananda bhuman jaya aparadhama
jaya amogha kirte jaya ananda murte
jayananda sindho jaya asesha bandho
jaya tvam sada muktidanesa suno
This verse is a series of joyful praises addressed to Skanda. The word jaya means victory or glory. Each phrase celebrates a different aspect of the Lord’s greatness.
He is called the vast source of bliss and the boundless abode of victory. His fame is described as unfailing, meaning that his glory never diminishes.
He is also described as the embodiment of joy and as an ocean of bliss. Such expressions indicate that the divine is the ultimate source of happiness and fulfillment.
The verse calls him the friend of all beings and the giver of liberation. Liberation here means freedom from ignorance and the cycle of suffering.
He is also addressed as the son of Shiva, reminding the devotee of the divine lineage that connects Skanda with the supreme cosmic consciousness.
The repeated cries of victory create a sense of ecstatic devotion. Through such praise the devotee expresses gratitude and reverence for the divine presence that sustains and guides life.
Verse 33
bhujangakhya vrttena kliptam stavam yah
pathed bhaktiyukto guham sampranamya
suputran kalatram dhanam dirgham ayur
labhet skandasayujyam ante narah sah
This final verse describes the benefit of reciting the hymn. The stotram is composed in a poetic meter known as bhujanga. The word bhujanga means serpent, and the meter flows in a graceful rhythmic pattern resembling the movement of a snake.
The verse says that anyone who recites this hymn with devotion after bowing to Guha will receive many blessings. These blessings include good children, a harmonious family, wealth, and long life.
In traditional texts such blessings represent the stability and prosperity necessary for a balanced life. Spiritual practice is not viewed as separate from worldly wellbeing but as something that harmonizes both.
The verse concludes with the highest blessing: Skanda sayujya. Sayujya means union with the divine. This represents the ultimate spiritual realization where the devotee experiences unity with the divine consciousness.
Thus the hymn ends by affirming that sincere devotion, expressed through prayer and remembrance, gradually leads the seeker from worldly wellbeing toward the highest spiritual fulfillment.
This Stotra describes Subramanya as -
This stotra describes Subramanya in many layered ways. It presents him not only as a warrior deity, but as a child of Shiva, a compassionate protector, a teacher of wisdom, and the inner divine presence in the heart.
He is described as the son of Shiva and Parashakti. Several verses call him Mahadeva-bala, Isasunu, and Umasuta. This emphasizes his origin from the supreme union of consciousness and energy. In mythology, he is born from Shiva’s fiery power to restore cosmic balance.
He is portrayed as the commander of the celestial army. Names like Senapati and Tarakari appear repeatedly. This refers to the famous episode where Subramanya destroys the demon Tarakasura, who had become invincible to the devas. In this role he represents the divine force that removes adharma and protects cosmic order.
The stotra emphasizes his six-faced form. The six faces symbolize expanded awareness and omniscience. Mythologically they arise from the six Krittika mothers who nourished the divine child. Philosophically they represent complete perception in all directions of existence.
The hymn repeatedly calls him Guha. This is a very important philosophical name. Guha means the one who dwells in the cave. The cave refers to the heart of consciousness. The stotra therefore presents Subramanya as the inner divine presence residing within every being.
He is shown as a compassionate protector of devotees. The devotee asks him to appear at the moment of death, to remove diseases, to destroy fears, and to protect from dangers. This reflects the bhakti tradition where the deity becomes a personal guardian.
He is also described as a divine child full of tenderness. One verse shows Shiva stretching out his arms to call the child from Parvati’s lap. This human-like scene reveals the affectionate dimension of the divine family.
He is presented as a symbol of spiritual wisdom. The verse describing him as mahavakya-gudha indicates that he embodies the hidden meaning of the Upanishadic statements about ultimate reality. In many traditions Subramanya is regarded as a teacher of the highest knowledge.
He is depicted as the beloved of Valli and Devasena. These two consorts represent different spiritual approaches. Devasena symbolizes disciplined devotion aligned with divine law. Valli represents spontaneous love and natural devotion.
The hymn also presents Subramanya as the destroyer of inner suffering. One verse explicitly says that even though he defeated mighty demons, the devotee asks him to destroy the inner enemy of mental distress.
Overall the stotra presents Subramanya as the son of Shiva and Parvati, the commander of the celestial armies, the destroyer of Tarakasura, the six-faced divine youth, the indwelling presence in the heart, the compassionate protector of devotees, the embodiment of spiritual knowledge, and the beloved lord who grants both worldly wellbeing and liberation.
Other stotras
