Vishwanatha Panchaka Stotram
तरङ्गभङ्गशोभिगङ्गयाभिषिक्तपार्वती-पते पदं समस्तपापतापतारकं तव। श्रये शिवाशुतोष लोकपाशमाशु नाशय प्रमत्तमत्तमोवृतं मनःप्रबोधय प्रभो ॥१॥
O Lord of Parvati, whose feet are bathed by the Ganges made beautiful with its breaking waves! I take refuge in Your feet, which redeem one from all sins and sufferings. O Shiva, O Ashutosha (one who is easily pleased), quickly destroy my worldly bonds and awaken my mind, which is enveloped in arrogance, intoxication, and delusion, O Lord!
This opening verse is a prayer of profound surrender. It establishes Shiva’s supreme purity by depicting His feet being perpetually washed by the sacred Ganga. The poet seeks refuge at these holy feet, considering them the ultimate sanctuary and cure for all worldly afflictions ('sins and sufferings'). He addresses the Lord by two significant names: 'Shiva', the auspicious one, and 'Ashutosha', He who is easily pleased by devotion. The appeal is deeply personal, acknowledging the flawed state of his own mind—trapped in ego ('pramatta'), worldly intoxication ('matta'), and ignorance ('moha'). The prayer is thus twofold: for liberation from external bonds and for an internal awakening of consciousness.
नूतनोढसुन्दरीसमानमण्डितां भुवं मन्दिरे विलोकितुं समुत्सुकं मनो मम। व्याव्य गर्भगेहगर्तभूमिभागमायतं शङ्करः प्रकर्षति प्रदर्श्य विक्रमं निजम् ॥२॥
My mind is intensely eager to behold the temple ground, which is adorned like a beautiful newlywed bride. It feels as if Shankara, displaying His own prowess, is powerfully pulling me, pervading the long path that leads into the depths of the sanctum sanctorum.
Here, the poet describes the irresistible magnetic pull of the divine. He employs a beautiful and tender simile, comparing the sacred precincts of the temple to a 'newlywed bride', evoking a sense of pristine beauty, auspiciousness, and fresh beginnings. The poet’s journey is not passive; he feels an active, divine force drawing him in. He personifies this pull as Lord Shankara Himself, using His divine power ('vikramam') to guide the devotee toward the holiest space, the inner sanctum ('garbhageha'). This verse beautifully illustrates the spiritual truth that a pilgrimage finds its true meaning when divine grace actively draws the seeker closer.
विनिर्गताम्बुमेघवृन्दसुप्रभासहोदर-श्मशानभस्मलेपिताङ्गसुन्दरं महेश्वरम्। चलद्भुजङ्गकङ्कणप्रजातरोमहर्षणं मुहुर्मुहुस्स्मरन्नुपैमि रोमहर्षणं भृशम्॥३॥
I remember again and again the great Lord, Maheshvara, who is beautiful with His body smeared with cremation-ground ash, His radiance akin to a cluster of clouds from which rain has just been released. The sight of His moving snake-bracelets causes my hair to stand on end, and remembering Him repeatedly, I experience profound and thrilling goosebumps.
This verse is a deep meditation on the iconic, ascetic form of Shiva. The poet finds extraordinary beauty in symbols that might otherwise seem fearsome: the body covered in sacred ash ('shmashana bhasma') and coiled snakes worn as bracelets ('bhujanga kankana'). The comparison of his ash-smeared body to a 'post-rain cloud' is a striking image, suggesting a serene, calm, greyish-white effulgence. The devotee’s reaction is visceral and overwhelming. The mere memory of this divine form triggers 'romaharshanam'—the hair standing on end—a classic physical sign of spiritual ecstasy in Indian tradition, indicating a state where the soul is overcome with divine love and awe.
नातिदूरतोऽग्रतः प्रसारितेन पाणिना भावुकैः कृतं जलार्चनं हि पूर्णकुम्भतः। लालया प्रपूरितं शिशोर्मनोज्ञचुम्बनं मोदकं पितुर्यथा तथा विभाति निश्चयम्॥४॥
The water-offering made by devotees from a full pot, with hands stretched forward not too far from the deity, certainly appears like a charming kiss from a child filled with affection, or like a sweetmeat ('modaka') offered to a beloved father.
The poet’s perspective shifts from his internal state to observing the simple acts of devotion around him. He sees the humble ritual of offering water ('jalarchanam') and perceives its profound emotional depth. He compares this simple offering to two of the most pure and loving gestures imaginable: an affectionate child’s kiss and a sweet offering to a loving father. This verse beautifully captures the essence of 'bhakti' (devotion), where the 'bhava'—the underlying feeling and intention—is infinitely more valuable than the material offering itself. To the divine, an act performed with pure love is as precious as the most intimate expression of affection.
निरन्तरं हृदङ्गणे विभासमानविग्रहं चिरन्तनं विभावयामि लिङ्गरूपिणं शिवम्। तनोतु लोकमङ्गलं दिशेच्च सत्पथं नृणां निजात्मभावजाग्रतौ तदस्तु कारणं द्रुतम्॥५॥
I meditate upon the eternal Shiva in His Linga form, whose image is constantly shining in the courtyard of my heart. May He bring about the welfare of the world and show the righteous path to humanity. May He swiftly be the cause for the awakening of the consciousness of one's own true self.
This verse marks a transition from external worship to internal realisation. The focus is now the 'Shiva Linga', the formless-form, the primordial symbol of the Lord. The poet visualises this not in a temple sanctum, but within the 'courtyard of his own heart' ('hridangane'), signifying a higher stage of spiritual practice. From this inner communion, his prayer expands to embrace all of existence. He prays for universal well-being ('lokamangalam') and for moral guidance for all people ('satpatham'). The prayer culminates in a plea for the ultimate spiritual goal: self-realisation ('nijatma-bhava-jagratau'), the awakening to one's true, divine nature.
शोभने सिते शिवस्य माघमासिके दिने धेनुधूलिसंयुतेऽतिपावने मुहूर्तके। काशिकापुराधिनाथ दर्शनं प्रपूजनं जातमद्य ते कृपाभरेण चन्द्रशेखर॥६॥
O Chandrashekhara (adorned with the crescent moon)! Today, by Your abundant grace, on an auspicious and bright day of the month of Magha, during the most holy twilight hour sanctified by the dust raised by cows, the sight and worship of the Lord of the city of Kashi has been accomplished.
The spiritual experience is now grounded in a specific, cherished moment in time and space. The poet expresses his profound gratitude, declaring that his pilgrimage has reached its fulfillment. He lovingly notes the auspicious details: the holy month of 'Magha', a bright, clear day, and the sacred 'godhuli' hour of dusk, made pure by the dust raised by returning cows. The place is the holy city of Kashi (Varanasi), and the deity is its presiding Lord, Vishwanath. Crucially, the poet attributes his success not to his own efforts but entirely to the 'abundant grace' of the Lord, whom he addresses as 'Chandrashekhara', He who wears the crescent moon, invoking His serene and beautiful form.
दृष्टा काशीति हर्षेण विश्वनाथस्य पञ्चकम्। शिवरात्रौ शिवायेदं बालचन्द्रेण निर्मितम्॥७॥
'Kashi has been seen!' – with this joy, this 'Panchakam' (hymn of five verses) on Vishwanatha was composed for Shiva on the night of Shivaratri by Balachandra.
This final verse is a colophon, providing the context for the hymn's creation. It reveals the author’s name, 'Balachandra', and his direct motivation: the overwhelming joy ('harshena') of having fulfilled his sacred desire to see Kashi. It specifies the precise and most sacred time of composition—the holy night of 'Shivaratri', a time especially consecrated to Lord Shiva’s worship. The work is identified as a 'Panchakam', a traditional five-verse poetic form, and is offered as a gift to Shiva. This verse immortalises a moment of profound spiritual fulfillment, beautifully channeling the poet’s ecstatic experience into a timeless offering of devotional poetry.
तरङ्गभङ्गशोभिगङ्गयाभिषिक्तपार्वती-
पते पदं समस्तपापतापतारकं तव।
श्रये शिवाशुतोष लोकपाशमाशु नाशय
प्रमत्तमत्तमोवृतं मनःप्रबोधय प्रभो ॥१॥
नूतनोढसुन्दरीसमानमण्डितां भुवं
मन्दिरे विलोकितुं समुत्सुकं मनो मम।
व्याव्य गर्भगेहगर्तभूमिभागमायतं
शङ्करः प्रकर्षति प्रदर्श्य विक्रमं निजम् ॥२॥
विनिर्गताम्बुमेघवृन्दसुप्रभासहोदर-
श्मशानभस्मलेपिताङ्गसुन्दरं महेश्वरम्।
चलद्भुजङ्गकङ्कणप्रजातरोमहर्षणं
मुहुर्मुहुस्स्मरन्नुपैमि रोमहर्षणं भृशम्॥३॥
नातिदूरतोऽग्रतः प्रसारितेन पाणिना
भावुकैः कृतं जलार्चनं हि पूर्णकुम्भतः।
लालया प्रपूरितं शिशोर्मनोज्ञचुम्बनं
मोदकं पितुर्यथा तथा विभाति निश्चयम्॥४॥
निरन्तरं हृदङ्गणे विभासमानविग्रहं
चिरन्तनं विभावयामि लिङ्गरूपिणं शिवम्।
तनोतु लोकमङ्गलं दिशेच्च सत्पथं नृणां
निजात्मभावजाग्रतौ तदस्तु कारणं द्रुतम्॥५॥
शोभने सिते शिवस्य माघमासिके दिने
धेनुधूलिसंयुतेऽतिपावने मुहूर्तके।
काशिकापुराधिनाथ दर्शनं प्रपूजनं
जातमद्य ते कृपाभरेण चन्द्रशेखर॥६॥
दृष्टा काशीति हर्षेण विश्वनाथस्य पञ्चकम्।
शिवरात्रौ शिवायेदं बालचन्द्रेण निर्मितम्॥७॥
tarangabhangashobhigangayaabhishiktapaarvatee-
pate padam' samastapaapataapataarakam' tava.
shraye shivaashutosha lokapaashamaashu naashaya
pramattamattamovri'tam' manah'prabodhaya prabho ..1..
nootanod'hasundareesamaanamand'itaam' bhuvam'
mandire vilokitum' samutsukam' mano mama.
vyaavya garbhagehagartabhoomibhaagamaayatam'
shankarah' prakarshati pradarshya vikramam' nijam ..2..
vinirgataambumeghavri'ndasuprabhaasahodara-
shmashaanabhasmalepitaangasundaram' maheshvaram.
chaladbhujangakankanaprajaataromaharshanam'
muhurmuhussmarannupaimi romaharshanam' bhri'sham..3..
naatidoorato'gratah' prasaaritena paaninaa
bhaavukaih' kri'tam' jalaarchanam' hi poornakumbhatah'.
laalayaa prapooritam' shishormanojnyachumbanam'
modakam' pituryathaa tathaa vibhaati nishchayam..4..
nirantaram' hri'dangane vibhaasamaanavigraham'
chirantanam' vibhaavayaami lingaroopinam' shivam.
tanotu lokamangalam' dishechcha satpatham' nri'naam'
nijaatmabhaavajaagratau tadastu kaaranam' drutam..5..
shobhane site shivasya maaghamaasike dine
dhenudhoolisam'yute'tipaavane muhoortake.
kaashikaapuraadhinaatha darshanam' prapoojanam'
jaatamadya te kri'paabharena chandrashekhara..6..
dri'sht'aa kaasheeti harshena vishvanaathasya panchakam.
shivaraatrau shivaayedam' baalachandrena nirmitam..7..
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