What is Vishnu Sahasranama?
Vishnu Sahasranama is the thousand-name praise of Vishnu taught by Bhishma to Yudhishthira in the Mahabharata’s Anushasana Parva. Below is the complete 107-stanza name-bearing hymn, with Sanskrit, IAST transliteration and original English meanings, plus a selected opening meditation, the dialogue, closing prayer and 22 phalashruti verses. A namavali arranges the names individually and is a different reading format.
- Original language: Sanskrit
- Core hymn: 107 stanzas
- Reading sequence here: 144 passages
- Roman text: IAST, not translation
The Sahasranama does more than repeat a single request. It moves between the world and its source, life and its witness, generosity and restraint, familiar avatar stories and descriptions beyond form. Names such as Narayana, Vasudeva, Govinda and Hari recur among more abstract epithets. The sequence lets the reader approach Vishnu through several relationships rather than through one physical image.
The dialogue matters. Yudhishthira asks about the highest refuge, worship, dharma and release from the bondage of birth. Bhishma answers in the language of devotion. Reading those questions before the names makes the hymn’s direction clearer: refuge, remembrance and spiritual understanding. Its setting is not a catalogue of techniques for obtaining a different material result from each name.
Which complete edition is included?
This reading edition follows the Mahabharata form transmitted in the Sanskrit Documents Sahasranama text. The core wording has been compared with the Sanskrit Wikisource witness. Numbering below is local to each section, so dialogue 1 is not name-bearing stanza 1. The common Shantakaram meditation is shown separately as a recitation preface; it is not counted among the thousand names.
“Full text” here means every stanza of the selected 107-stanza hymn, all thirteen dialogue stanzas shown before it, the Vanamali closing prayer and the twenty-two-verse phalashruti. It does not mean every optional appendix found in every temple booklet. Formal nyasa, additional dhyana verses and later prayers belong to particular recitation arrangements and are outside this selected sequence.
| Part | Passages | Purpose |
|---|---|---|
| Shantakaram meditation | 1 | A commonly recited image for contemplation |
| Dialogue | 13 | Narration, Yudhishthira’s questions and Bhishma’s reply |
| Name-bearing hymn | 107 | The thousand-name sequence, Vishvam to Sarvapraharanayudha |
| Vanamali prayer | 1 | A closing appeal for protection, outside the thousand-name count |
| Phalashruti | 22 | Traditional praise of the fruit of hearing and recitation |
The meanings are passage-level explanations. They do not replace the distinct philosophical commentaries associated with different teachers. A name may have several traditional etymologies; an original short meaning can make the verse readable without pretending to settle all of them. Keep the Sanskrit visible when comparing an explanation, especially where the verse pairs opposite descriptions such as small and great, moving and unmoving, or with form and without form.
Opening meditation and the Mahabharata dialogue
The opening meditation offers a familiar form of Vishnu. The dialogue then introduces the hymn’s speaker and purpose. Dialogue 1 is narration; 2–3 contain Yudhishthira’s questions; 4–13 are Bhishma’s reply. Read an English meaning after each Sanskrit passage if you are learning; continuous chanting can follow the Sanskrit and transliteration without reading the prose aloud.
Opening meditation
Opening meditation
शान्ताकारं भुजगशयनं पद्मनाभं सुरेशं
विश्वाधारं गगनसदृशं मेघवर्णं शुभाङ्गम् ।
लक्ष्मीकान्तं कमलनयनं योगिभिर्ध्यानगम्यं
वन्दे विष्णुं भवभयहरं सर्वलोकैकनाथम् ॥śāntākāraṃ bhujagaśayanaṃ padmanābhaṃ sureśaṃ
viśvādhāraṃ gaganasadṛśaṃ meghavarṇaṃ śubhāṅgam |
lakṣmīkāntaṃ kamalanayanaṃ yogibhirdhyānagamyaṃ
vande viṣṇuṃ bhavabhayaharaṃ sarvalokaikanātham ||Meaning: I bow to peaceful Vishnu, reclining on the serpent, lotus-navelled lord of the devas, support of the universe, sky-like and cloud-coloured. Beloved of Lakshmi, lotus-eyed and approached by yogis in meditation, he is praised as the remover of worldly fear and sole lord of all worlds.
Yudhishthira and Bhishma: the dialogue
Dialogue 1
श्रुत्वा धर्मानशेषेण पावनानि च सर्वशः ।
युधिष्ठिरः शान्तनवं पुनरेवाभ्यभाषत ॥śrutvā dharmānaśeṣeṇa pāvanāni ca sarvaśaḥ |
yudhiṣṭhiraḥ śāntanavaṃ punarevābhyabhāṣata ||Meaning: After hearing the teachings of dharma and purifying subjects, Yudhishthira again addresses Bhishma, the son of Shantanu. This narrator's verse places the following questions in an ongoing conversation rather than an isolated spell.
Dialogue 2
किमेकं दैवतं लोके किं वाप्येकं परायणम् ।
स्तुवन्तः कं कमर्चन्तः प्राप्नुयुर्मानवाः शुभम् ॥kimekaṃ daivataṃ loke kiṃ vāpyekaṃ parāyaṇam |
stuvantaḥ kaṃ kamarcantaḥ prāpnuyurmānavāḥ śubham ||Meaning: Yudhishthira asks: What is the one divine reality and highest refuge? Whom should human beings praise and worship to approach wellbeing? These are questions about orientation and devotion, not the choosing of a worldly shortcut.
Dialogue 3
को धर्मः सर्वधर्माणां भवतः परमो मतः ।
किं जपन्मुच्यते जन्तुर्जन्मसंसारबन्धनात् ॥ko dharmaḥ sarvadharmāṇāṃ bhavataḥ paramo mataḥ |
kiṃ japanmucyate janturjanmasaṃsārabandhanāt ||Meaning: He asks which dharma Bhishma considers highest among all forms of dharma, and what remembrance frees a being from the bondage of recurring birth. The hymn is introduced within this concern for liberation.
Dialogue 4
जगत्प्रभुं देवदेवमनन्तं पुरुषोत्तमम् ।
स्तुवन् नामसहस्रेण पुरुषः सततोत्थितः ॥jagatprabhuṃ devadevamanantaṃ puruṣottamam |
stuvan nāmasahasreṇa puruṣaḥ satatotthitaḥ ||Meaning: Bhishma begins his answer with steadfast praise of the world's lord, deva of devas, infinite Purushottama, through a thousand names. The thought continues in the following verses; this line is not a separate complete instruction.
Dialogue 5
तमेव चार्चयन्नित्यं भक्त्या पुरुषमव्ययम् ।
ध्यायन् स्तुवन् नमस्यंश्च यजमानस्तमेव च ॥tameva cārcayannityaṃ bhaktyā puruṣamavyayam |
dhyāyan stuvan namasyaṃśca yajamānastameva ca ||Meaning: Daily devotion is described through worship, meditation, praise, bowing and offering to the imperishable Purusha. Several modes of remembrance are named together, so the passage is broader than vocal repetition alone.
Dialogue 6
अनादिनिधनं विष्णुं सर्वलोकमहेश्वरम् ।
लोकाध्यक्षं स्तुवन्नित्यं सर्वदुःखातिगो भवेत् ॥anādinidhanaṃ viṣṇuṃ sarvalokamaheśvaram |
lokādhyakṣaṃ stuvannityaṃ sarvaduḥkhātigo bhavet ||Meaning: Praise of beginningless and endless Vishnu, great lord and overseer of all worlds, is associated with going beyond sorrow. This is Bhishma's devotional teaching about refuge, expressed in the hymn's spiritual language.
Dialogue 7
ब्रह्मण्यं सर्वधर्मज्ञं लोकानां कीर्तिवर्धनम् ।
लोकनाथं महद्भूतं सर्वभूतभवोद्भवम् ॥brahmaṇyaṃ sarvadharmajñaṃ lokānāṃ kīrtivardhanam |
lokanāthaṃ mahadbhūtaṃ sarvabhūtabhavodbhavam ||Meaning: The praised presence supports sacred knowledge, knows all dharma, increases the worlds' renown and is their lord. Great being and the source of all beings complete this description before the answer about highest dharma.
Dialogue 8
एष मे सर्वधर्माणां धर्मोऽधिकतमो मतः ।
यद्भक्त्या पुण्डरीकाक्षं स्तवैरर्चेन्नरः सदा ॥eṣa me sarvadharmāṇāṃ dharmo'dhikatamo mataḥ |
yadbhaktyā puṇḍarīkākṣaṃ stavairarcennaraḥ sadā ||Meaning: Bhishma states his judgement: continual, devoted praise and worship of the lotus-eyed one is the dharma he holds highest. Keeping the speaker visible helps distinguish a named devotional teaching from a universal instruction imposed on every tradition.
Dialogue 9
परमं यो महत्तेजः परमं यो महत्तपः ।
परमं यो महद्ब्रह्म परमं यः परायणम् ॥paramaṃ yo mahattejaḥ paramaṃ yo mahattapaḥ |
paramaṃ yo mahadbrahma paramaṃ yaḥ parāyaṇam ||Meaning: The subject is praised as highest radiance, deepest tapas, supreme Brahman and ultimate refuge. These parallel expressions gather luminosity, discipline, reality and shelter around the same presence.
Dialogue 10
पवित्राणां पवित्रं यो मङ्गलानां च मङ्गलम् ।
दैवतं देवतानां च भूतानां योऽव्ययः पिता ॥pavitrāṇāṃ pavitraṃ yo maṅgalānāṃ ca maṅgalam |
daivataṃ devatānāṃ ca bhūtānāṃ yo'vyayaḥ pitā ||Meaning: The purest among purifying things, the most auspicious among the auspicious and the deva of devas is the imperishable father of beings. The verse intensifies praise rather than cataloguing physical properties.
Dialogue 11
यतः सर्वाणि भूतानि भवन्त्यादियुगागमे ।
यस्मिंश्च प्रलयं यान्ति पुनरेव युगक्षये ॥yataḥ sarvāṇi bhūtāni bhavantyādiyugāgame |
yasmiṃśca pralayaṃ yānti punareva yugakṣaye ||Meaning: All beings arise from this source at the beginning of a cosmic age and return into it when the age ends. Creation and dissolution form the setting for the thousand-name praise.
Dialogue 12
तस्य लोकप्रधानस्य जगन्नाथस्य भूपते ।
विष्णोर्नामसहस्रं मे शृणु पापभयापहम् ॥tasya lokapradhānasya jagannāthasya bhūpate |
viṣṇornāmasahasraṃ me śṛṇu pāpabhayāpaham ||Meaning: Addressing the king, Bhishma invites him to hear Vishnu's thousand names, described as removing the fear associated with wrongdoing. The invitation now turns the conversation toward the actual hymn.
Dialogue 13
यानि नामानि गौणानि विख्यातानि महात्मनः ।
ऋषिभिः परिगीतानि तानि वक्ष्यामि भूतये ॥yāni nāmāni gauṇāni vikhyātāni mahātmanaḥ |
ṛṣibhiḥ parigītāni tāni vakṣyāmi bhūtaye ||Meaning: He will speak the renowned epithets associated with the great being's qualities, sung by the sages, for wellbeing. Gaunani points to attributive names; the stanza does not claim a thousand unrelated personal identities.
Full Vishnu Sahasranama: stanzas 1–107
Read the following 107 stanzas in order for the complete name-bearing hymn. The group links are bookmarks for study, not divisions into separate Sahasranamas. Each card keeps the Sanskrit, Roman reading and English explanation aligned. Pause between stanzas when learning unfamiliar conjuncts; avoid forcing the speed of a recording before the wording is familiar.
Name-bearing stanzas 1–20
Stanza 1
विश्वं विष्णुर्वषट्कारो भूतभव्यभवत्प्रभुः ।
भूतकृद्भूतभृद्भावो भूतात्मा भूतभावनः ॥viśvaṃ viṣṇurvaṣaṭkāro bhūtabhavyabhavatprabhuḥ |
bhūtakṛdbhūtabhṛdbhāvo bhūtātmā bhūtabhāvanaḥ ||Meaning: The opening gathers the universe, its pervading presence and the sacred sacrificial utterance into Vishnu's names. He is praised across past, future and present, as the origin, support, inner life and nurturer of beings.
Stanza 2
पूतात्मा परमात्मा च मुक्तानां परमा गतिः ।
अव्ययः पुरुषः साक्षी क्षेत्रज्ञोऽक्षर एव च ॥pūtātmā paramātmā ca muktānāṃ paramā gatiḥ |
avyayaḥ puruṣaḥ sākṣī kṣetrajño'kṣara eva ca ||Meaning: Purity, the supreme Self and the destination of the liberated stand together. The remaining names describe an enduring presence that witnesses experience, knows the field of life and does not perish with changing forms.
Stanza 3
योगो योगविदां नेता प्रधानपुरुषेश्वरः ।
नारसिंहवपुः श्रीमान् केशवः पुरुषोत्तमः ॥yogo yogavidāṃ netā pradhānapuruṣeśvaraḥ |
nārasiṃhavapuḥ śrīmān keśavaḥ puruṣottamaḥ ||Meaning: Vishnu is approached through yoga and praised as the guide of its knowers, sovereign over primordial nature and conscious beings. Narasimha's form, Shri's presence, Keshava and the supreme Purusha bring narrative and philosophical names together.
Stanza 4
सर्वः शर्वः शिवः स्थाणुर्भूतादिर्निधिरव्ययः ।
सम्भवो भावनो भर्ता प्रभवः प्रभुरीश्वरः ॥sarvaḥ śarvaḥ śivaḥ sthāṇurbhūtādirnidhiravyayaḥ |
sambhavo bhāvano bhartā prabhavaḥ prabhurīśvaraḥ ||Meaning: The names move between totality, dissolution, auspiciousness and stillness. The beginning and lasting store of beings is also their supporter and lord. Sharva and Shiva occur here as epithets within a hymn addressed to Vishnu.
Stanza 5
स्वयम्भूः शम्भुरादित्यः पुष्कराक्षो महास्वनः ।
अनादिनिधनो धाता विधाता धातुरुत्तमः ॥svayambhūḥ śambhurādityaḥ puṣkarākṣo mahāsvanaḥ |
anādinidhano dhātā vidhātā dhāturuttamaḥ ||Meaning: Self-originating existence and the giver of wellbeing are evoked through solar brilliance, lotus eyes and a mighty sacred sound. The stanza closes with beginningless, endless support: the bearer, arranger and highest sustaining principle.
Stanza 6
अप्रमेयो हृषीकेशः पद्मनाभोऽमरप्रभुः ।
विश्वकर्मा मनुस्त्वष्टा स्थविष्ठः स्थविरो ध्रुवः ॥aprameyo hṛṣīkeśaḥ padmanābho'maraprabhuḥ |
viśvakarmā manustvaṣṭā sthaviṣṭhaḥ sthaviro dhruvaḥ ||Meaning: Beyond ordinary measurement, Vishnu is named lord of the senses, lotus-navelled and lord of the immortals. Cosmic workmanship and shaping are joined to immensity, ancientness and stability; the names describe several ways creation depends on its source.
Stanza 7
अग्राह्यः शाश्वतः कृष्णो लोहिताक्षः प्रतर्दनः ।
प्रभूतस्त्रिककुब्धाम पवित्रं मङ्गलं परम् ॥agrāhyaḥ śāśvataḥ kṛṣṇo lohitākṣaḥ pratardanaḥ |
prabhūtastrikakubdhāma pavitraṃ maṅgalaṃ param ||Meaning: What the senses cannot seize is praised as everlasting. Krishna, red-eyed power and dissolution appear beside abundant presence, the dwelling of the three regions, purity and supreme auspiciousness. The images range from intimate names to cosmic scale.
Stanza 8
ईशानः प्राणदः प्राणो ज्येष्ठः श्रेष्ठः प्रजापतिः ।
हिरण्यगर्भो भूगर्भो माधवो मधुसूदनः ॥īśānaḥ prāṇadaḥ prāṇo jyeṣṭhaḥ śreṣṭhaḥ prajāpatiḥ |
hiraṇyagarbho bhūgarbho mādhavo madhusūdanaḥ ||Meaning: The ruler who gives and embodies life is eldest, foremost and lord of beings. Golden-womb and earth-containing imagery lead to Madhava and Madhusudana: names that recall Shri and the traditional overcoming of Madhu.
Stanza 9
ईश्वरो विक्रमी धन्वी मेधावी विक्रमः क्रमः ।
अनुत्तमो दुराधर्षः कृतज्ञः कृतिरात्मवान् ॥īśvaro vikramī dhanvī medhāvī vikramaḥ kramaḥ |
anuttamo durādharṣaḥ kṛtajñaḥ kṛtirātmavān ||Meaning: Authority and courageous movement are combined with the bow, intelligence and ordered progress. The incomparable, unassailable one recognises what is done, embodies accomplishment and rests in his own being rather than needing an outside support.
Stanza 10
सुरेशः शरणं शर्म विश्वरेताः प्रजाभवः ।
अहः संवत्सरो व्यालः प्रत्ययः सर्वदर्शनः ॥sureśaḥ śaraṇaṃ śarma viśvaretāḥ prajābhavaḥ |
ahaḥ saṃvatsaro vyālaḥ pratyayaḥ sarvadarśanaḥ ||Meaning: Lord of the devas, refuge and wellbeing are followed by the seed and origin of the world. Day and year make time itself an epithet; elusive power, assured awareness and all-seeing presence complete the stanza.
Stanza 11
अजः सर्वेश्वरः सिद्धः सिद्धिः सर्वादिरच्युतः ।
वृषाकपिरमेयात्मा सर्वयोगविनिःसृतः ॥ajaḥ sarveśvaraḥ siddhaḥ siddhiḥ sarvādiracyutaḥ |
vṛṣākapirameyātmā sarvayogaviniḥsṛtaḥ ||Meaning: Birthless sovereignty and completeness are paired with the origin of all and Achyuta, the unfailing one. Vrishakapi is a traditional name with several explanations; immeasurable Selfhood and freedom from limiting bonds conclude the verse.
Stanza 12
वसुर्वसुमनाः सत्यः समात्माऽसम्मितः समः ।
अमोघः पुण्डरीकाक्षो वृषकर्मा वृषाकृतिः ॥vasurvasumanāḥ satyaḥ samātmā'sammitaḥ samaḥ |
amoghaḥ puṇḍarīkākṣo vṛṣakarmā vṛṣākṛtiḥ ||Meaning: Dwelling presence, a generous mind, truth and equal regard shape the first half. Our reading takes asammita as beyond measure. Lotus eyes and deeds and forms aligned with dharma complete a portrait of impartial, auspicious action.
Stanza 13
रुद्रो बहुशिरा बभ्रुर्विश्वयोनिः शुचिश्रवाः ।
अमृतः शाश्वतस्थाणुर्वरारोहो महातपाः ॥rudro bahuśirā babhrurviśvayoniḥ śuciśravāḥ |
amṛtaḥ śāśvatasthāṇurvarāroho mahātapāḥ ||Meaning: Power associated with Rudra, many heads and sustaining the world is joined to sacred hearing. Immortality, enduring steadiness, an exalted place of refuge and great tapas describe a presence both cosmic and worthy of contemplation.
Stanza 14
सर्वगः सर्वविद्भानुर्विष्वक्सेनो जनार्दनः ।
वेदो वेदविदव्यङ्गो वेदाङ्गो वेदवित् कविः ॥sarvagaḥ sarvavidbhānurviṣvakseno janārdanaḥ |
vedo vedavidavyaṅgo vedāṅgo vedavit kaviḥ ||Meaning: Pervading knowledge and radiance lead to Vishvaksena and Janardana. The Veda, its knowing, its limbs and its visionary understanding are then gathered into the hymn's subject. Knowledge is portrayed as a whole, not merely memorised wording.
Stanza 15
लोकाध्यक्षः सुराध्यक्षो धर्माध्यक्षः कृताकृतः ।
चतुरात्मा चतुर्व्यूहश्चतुर्दंष्ट्रश्चतुर्भुजः ॥lokādhyakṣaḥ surādhyakṣo dharmādhyakṣaḥ kṛtākṛtaḥ |
caturātmā caturvyūhaścaturdaṃṣṭraścaturbhujaḥ ||Meaning: Oversight of worlds, devas and dharma stands beside cause and effect. Fourfold forms, manifestations, fangs and arms recall Vishnu's many presentations. The repeated four is religious imagery within the stanza, not a scientific classification.
Stanza 16
भ्राजिष्णुर्भोजनं भोक्ता सहिष्णुर्जगदादिजः ।
अनघो विजयो जेता विश्वयोनिः पुनर्वसुः ॥bhrājiṣṇurbhojanaṃ bhoktā sahiṣṇurjagadādijaḥ |
anagho vijayo jetā viśvayoniḥ punarvasuḥ ||Meaning: Brilliance, food and the one who receives it place giver, gift and enjoyment in relation. Patient endurance and the world's first origin are followed by freedom from fault, victory and renewed dwelling among beings.
Stanza 17
उपेन्द्रो वामनः प्रांशुरमोघः शुचिरूर्जितः ।
अतीन्द्रः सङ्ग्रहः सर्गो धृतात्मा नियमो यमः ॥upendro vāmanaḥ prāṃśuramoghaḥ śucirūrjitaḥ |
atīndraḥ saṅgrahaḥ sargo dhṛtātmā niyamo yamaḥ ||Meaning: Upendra and Vamana recall the small form that expands beyond ordinary scale. Purity and force stand with gathering, creation and a steadily held Self. Niyama and Yama evoke ordering and restraint in the wider divine pattern.
Stanza 18
वेद्यो वैद्यः सदायोगी वीरहा माधवो मधुः ।
अतीन्द्रियो महामायो महोत्साहो महाबलः ॥vedyo vaidyaḥ sadāyogī vīrahā mādhavo madhuḥ |
atīndriyo mahāmāyo mahotsāho mahābalaḥ ||Meaning: The one to be known is also a knower and ever joined in yoga. Heroic overcoming, Madhava and the sweetness of Madhu are followed by transcendence of the senses, wondrous manifestation, great initiative and immense strength.
Stanza 19
महाबुद्धिर्महावीर्यो महाशक्तिर्महाद्युतिः ।
अनिर्देश्यवपुः श्रीमानमेयात्मा महाद्रिधृक् ॥mahābuddhirmahāvīryo mahāśaktirmahādyutiḥ |
anirdeśyavapuḥ śrīmānameyātmā mahādridhṛk ||Meaning: Intelligence, valour, power and radiance are magnified together. A form that cannot be exhaustively pointed out is nevertheless Shri-bearing. Immeasurable inward being and the bearer of a great mountain connect transcendence with a remembered divine deed.
Stanza 20
महेष्वासो महीभर्ता श्रीनिवासः सतां गतिः ।
अनिरुद्धः सुरानन्दो गोविन्दो गोविदां पतिः ॥maheṣvāso mahībhartā śrīnivāsaḥ satāṃ gatiḥ |
aniruddhaḥ surānando govindo govidāṃ patiḥ ||Meaning: A great bow, the bearing of earth and the dwelling of Shri are followed by refuge for the good. Unobstructed presence gives joy to the devas. Govinda and the lord of knowers of go invite several traditional readings of that word.
Name-bearing stanzas 21–40
Stanza 21
मरीचिर्दमनो हंसः सुपर्णो भुजगोत्तमः ।
हिरण्यनाभः सुतपाः पद्मनाभः प्रजापतिः ॥marīcirdamano haṃsaḥ suparṇo bhujagottamaḥ |
hiraṇyanābhaḥ sutapāḥ padmanābhaḥ prajāpatiḥ ||Meaning: A ray of light, disciplined restraint, the hamsa, a winged form and the foremost serpent create a series of images. Golden navel, deep tapas, lotus navel and lordship of beings return the reader to creation and its support.
Stanza 22
अमृत्युः सर्वदृक् सिंहः सन्धाता सन्धिमान् स्थिरः ।
अजो दुर्मर्षणः शास्ता विश्रुतात्मा सुरारिहा ॥amṛtyuḥ sarvadṛk siṃhaḥ sandhātā sandhimān sthiraḥ |
ajo durmarṣaṇaḥ śāstā viśrutātmā surārihā ||Meaning: Deathlessness and complete sight are joined to the lion's strength. The maker and possessor of joining, steadiness and birthlessness precede an irresistible guide, widely known inward presence and the overcoming of the devas' adversaries.
Stanza 23
गुरुर्गुरुतमो धाम सत्यः सत्यपराक्रमः ।
निमिषोऽनिमिषः स्रग्वी वाचस्पतिरुदारधीः ॥gururgurutamo dhāma satyaḥ satyaparākramaḥ |
nimiṣo'nimiṣaḥ sragvī vācaspatirudāradhīḥ ||Meaning: Teacher and highest teacher are praised as radiant dwelling, truth and true courage. Closing and unclosing eyes stand together, followed by a garland, mastery of speech and a broad understanding: attentive guidance rather than one fixed physical picture.
Stanza 24
अग्रणीर्ग्रामणीः श्रीमान् न्यायो नेता समीरणः ।
सहस्रमूर्धा विश्वात्मा सहस्राक्षः सहस्रपात् ॥agraṇīrgrāmaṇīḥ śrīmān nyāyo netā samīraṇaḥ |
sahasramūrdhā viśvātmā sahasrākṣaḥ sahasrapāt ||Meaning: The foremost guide and leader of the group are associated with Shri, right ordering and movement like air. A thousand heads, eyes and feet widen the image into the Self of the whole world, rather than a counted human body.
Stanza 25
आवर्तनो निवृत्तात्मा संवृतः सम्प्रमर्दनः ।
अहः संवर्तको वह्निरनिलो धरणीधरः ॥āvartano nivṛttātmā saṃvṛtaḥ sampramardanaḥ |
ahaḥ saṃvartako vahniranilo dharaṇīdharaḥ ||Meaning: Turning and returning coexist with inward withdrawal and concealment. Dissolving force, the unfolding of day, fire and air lead to the bearer of earth. The stanza holds the world's change and its sustaining ground together.
Stanza 26
सुप्रसादः प्रसन्नात्मा विश्वधृग्विश्वभुग्विभुः ।
सत्कर्ता सत्कृतः साधुर्जह्नुर्नारायणो नरः ॥suprasādaḥ prasannātmā viśvadhṛgviśvabhugvibhuḥ |
satkartā satkṛtaḥ sādhurjahnurnārāyaṇo naraḥ ||Meaning: Grace and a clear, glad inward state introduce the supporter, enjoyer and pervasive presence of the world. Honour given and received, goodness, Jahnu, Narayana and Nara bring generosity, narrative names and divine-human association into the same verse.
Stanza 27
असङ्ख्येयोऽप्रमेयात्मा विशिष्टः शिष्टकृच्छुचिः ।
सिद्धार्थः सिद्धसङ्कल्पः सिद्धिदः सिद्धिसाधनः ॥asaṅkhyeyo'prameyātmā viśiṣṭaḥ śiṣṭakṛcchuciḥ |
siddhārthaḥ siddhasaṅkalpaḥ siddhidaḥ siddhisādhanaḥ ||Meaning: Countlessness and immeasurability precede distinctive excellence, the formation of good conduct and purity. Accomplished purpose and intention are joined to both the giving and the means of accomplishment. These are epithets of the hymn's subject, not promises about a reader's project.
Stanza 28
वृषाही वृषभो विष्णुर्वृषपर्वा वृषोदरः ।
वर्धनो वर्धमानश्च विविक्तः श्रुतिसागरः ॥vṛṣāhī vṛṣabho viṣṇurvṛṣaparvā vṛṣodaraḥ |
vardhano vardhamānaśca viviktaḥ śrutisāgaraḥ ||Meaning: Repeated vrisha imagery is traditionally associated with dharma and sustaining abundance. Growth and the one who grows what exists stand beside distinctness and the ocean of sacred hearing. The stanza links nourishment, development and the depth of revelation.
Stanza 29
सुभुजो दुर्धरो वाग्मी महेन्द्रो वसुदो वसुः ।
नैकरूपो बृहद्रूपः शिपिविष्टः प्रकाशनः ॥subhujo durdharo vāgmī mahendro vasudo vasuḥ |
naikarūpo bṛhadrūpaḥ śipiviṣṭaḥ prakāśanaḥ ||Meaning: Beautiful arms, irresistible presence and eloquence lead to lordly power, the giver of wealth and indwelling being. Many forms and a vast form coexist with Shipivishta and illumination. Material and expansive images do not limit the divine to either.
Stanza 30
ओजस्तेजोद्युतिधरः प्रकाशात्मा प्रतापनः ।
ऋद्धः स्पष्टाक्षरो मन्त्रश्चन्द्रांशुर्भास्करद्युतिः ॥ojastejodyutidharaḥ prakāśātmā pratāpanaḥ |
ṛddhaḥ spaṣṭākṣaro mantraścandrāṃśurbhāskaradyutiḥ ||Meaning: Vital force, splendour and brightness are borne together by a luminous presence. Prosperity, a clearly expressed sacred syllable and mantra are followed by the cooling moon-ray and sunlight. The verse deliberately joins gentle and intense kinds of light.
Stanza 31
अमृतांशूद्भवो भानुः शशबिन्दुः सुरेश्वरः ।
औषधं जगतः सेतुः सत्यधर्मपराक्रमः ॥amṛtāṃśūdbhavo bhānuḥ śaśabinduḥ sureśvaraḥ |
auṣadhaṃ jagataḥ setuḥ satyadharmaparākramaḥ ||Meaning: Moon-related imagery, brilliance and the marking of the hare lead to lordship of the devas. Aushadha evokes healing and sustenance within the hymn, while the world's bridge and courage founded on true dharma close the stanza.
Stanza 32
भूतभव्यभवन्नाथः पवनः पावनोऽनलः ।
कामहा कामकृत्कान्तः कामः कामप्रदः प्रभुः ॥bhūtabhavyabhavannāthaḥ pavanaḥ pāvano'nalaḥ |
kāmahā kāmakṛtkāntaḥ kāmaḥ kāmapradaḥ prabhuḥ ||Meaning: Lordship across time is followed by wind, purification and inexhaustibility. Desire is then presented through several relationships: removing it, bringing it forth, being beloved and granting it. This layered naming is richer than a single instruction to suppress every wish.
Stanza 33
युगादिकृद्युगावर्तो नैकमायो महाशनः ।
अदृश्यो व्यक्तरूपश्च सहस्रजिदनन्तजित् ॥yugādikṛdyugāvarto naikamāyo mahāśanaḥ |
adṛśyo vyaktarūpaśca sahasrajidanantajit ||Meaning: The maker of ages and their cycles possesses many modes of manifestation and absorbs on a great scale. Unseen presence can still take visible form. Vast and unending victory completes the movement between cosmic time, manifestation and transcendence.
Stanza 34
इष्टोऽविशिष्टः शिष्टेष्टः शिखण्डी नहुषो वृषः ।
क्रोधहा क्रोधकृत्कर्ता विश्वबाहुर्महीधरः ॥iṣṭo'viśiṣṭaḥ śiṣṭeṣṭaḥ śikhaṇḍī nahuṣo vṛṣaḥ |
krodhahā krodhakṛtkartā viśvabāhurmahīdharaḥ ||Meaning: The desired one is not confined to a narrow distinction and is beloved of the good. Crested form, power and dharma imagery lead into both the ending and arising of anger. Universal arms and earth-bearing presence place those contrasts in a larger whole.
Stanza 35
अच्युतः प्रथितः प्राणः प्राणदो वासवानुजः ।
अपांनिधिरधिष्ठानमप्रमत्तः प्रतिष्ठितः ॥acyutaḥ prathitaḥ prāṇaḥ prāṇado vāsavānujaḥ |
apāṃnidhiradhiṣṭhānamapramattaḥ pratiṣṭhitaḥ ||Meaning: Achyuta and widely known presence are named as life and its giver. The younger brother of Vasava, the store of waters and a foundational dwelling stand beside unbroken attentiveness and firmly established being.
Stanza 36
स्कन्दः स्कन्दधरो धुर्यो वरदो वायुवाहनः ।
वासुदेवो बृहद्भानुरादिदेवः पुरन्दरः ॥skandaḥ skandadharo dhuryo varado vāyuvāhanaḥ |
vāsudevo bṛhadbhānurādidevaḥ purandaraḥ ||Meaning: Skanda, the bearer of responsibility and the giver of blessings stand beside movement carried by wind. Vasudeva, great radiance and the first deva culminate in Purandara, a name recalling the breaking of fortified opposition.
Stanza 37
अशोकस्तारणस्तारः शूरः शौरिर्जनेश्वरः ।
अनुकूलः शतावर्तः पद्मी पद्मनिभेक्षणः ॥aśokastāraṇastāraḥ śūraḥ śaurirjaneśvaraḥ |
anukūlaḥ śatāvartaḥ padmī padmanibhekṣaṇaḥ ||Meaning: Freedom from sorrow and the crossing of difficulty accompany courage and the Shura lineage. The lord of people is favourable, manifests in many turns, bears the lotus and looks with eyes compared to its petals.
Stanza 38
पद्मनाभोऽरविन्दाक्षः पद्मगर्भः शरीरभृत् ।
महर्द्धिरृद्धो वृद्धात्मा महाक्षो गरुडध्वजः ॥padmanābho'ravindākṣaḥ padmagarbhaḥ śarīrabhṛt |
maharddhirṛddho vṛddhātmā mahākṣo garuḍadhvajaḥ ||Meaning: Lotus navel, lotus eyes and lotus inwardness frame the bearer of embodied life. Abundance, maturity of being and far-reaching sight lead to the Garuda banner, joining contemplative beauty with a recognisable Vaishnava emblem.
Stanza 39
अतुलः शरभो भीमः समयज्ञो हविर्हरिः ।
सर्वलक्षणलक्षण्यो लक्ष्मीवान् समितिञ्जयः ॥atulaḥ śarabho bhīmaḥ samayajño havirhariḥ |
sarvalakṣaṇalakṣaṇyo lakṣmīvān samitiñjayaḥ ||Meaning: The incomparable one is also formidable, knows right occasion and receives the offering as Hari. All distinguishing signs point toward this presence, endowed with Lakshmi and victorious in encounter. Gentle prosperity and fearsome strength coexist.
Stanza 40
विक्षरो रोहितो मार्गो हेतुर्दामोदरः सहः ।
महीधरो महाभागो वेगवानमिताशनः ॥vikṣaro rohito mārgo heturdāmodaraḥ sahaḥ |
mahīdharo mahābhāgo vegavānamitāśanaḥ ||Meaning: The imperishable presence is path and cause, while Damodara recalls a familiar bound-waist form. Endurance, earth-bearing, good fortune, swiftness and immeasurable receiving describe powers that reach beyond the smallness of that remembered image.
Name-bearing stanzas 41–60
Stanza 41
उद्भवः क्षोभणो देवः श्रीगर्भः परमेश्वरः ।
करणं कारणं कर्ता विकर्ता गहनो गुहः ॥udbhavaḥ kṣobhaṇo devaḥ śrīgarbhaḥ parameśvaraḥ |
karaṇaṃ kāraṇaṃ kartā vikartā gahano guhaḥ ||Meaning: Arising and stirring are followed by divine splendour and supreme lordship. Instrument, cause, maker and maker of differing forms are all named together. Gahana and Guha acknowledge a depth that ordinary description cannot fully disclose.
Stanza 42
व्यवसायो व्यवस्थानः संस्थानः स्थानदो ध्रुवः ।
परर्द्धिः परमस्पष्टस्तुष्टः पुष्टः शुभेक्षणः ॥vyavasāyo vyavasthānaḥ saṃsthānaḥ sthānado dhruvaḥ |
pararddhiḥ paramaspaṣṭastuṣṭaḥ puṣṭaḥ śubhekṣaṇaḥ ||Meaning: Determination, ordering, settled form and the giving of a place lead to Dhruva's constancy. Highest fullness and clarity accompany contentment, nourishment and an auspicious gaze. Stability here includes care, rather than mere immobility.
Stanza 43
रामो विरामो विरजो मार्गो नेयो नयोऽनयः ।
वीरः शक्तिमतां श्रेष्ठो धर्मो धर्मविदुत्तमः ॥rāmo virāmo virajo mārgo neyo nayo'nayaḥ |
vīraḥ śaktimatāṃ śreṣṭho dharmo dharmaviduttamaḥ ||Meaning: Rama, rest and freedom from stain introduce the path, the one led and the guide, alongside independence from a guide. Heroic strength culminates in dharma and the foremost knower of dharma: the support and understanding of right conduct.
Stanza 44
वैकुण्ठः पुरुषः प्राणः प्राणदः प्रणवः पृथुः ।
हिरण्यगर्भः शत्रुघ्नो व्याप्तो वायुरधोक्षजः ॥vaikuṇṭhaḥ puruṣaḥ prāṇaḥ prāṇadaḥ praṇavaḥ pṛthuḥ |
hiraṇyagarbhaḥ śatrughno vyāpto vāyuradhokṣajaḥ ||Meaning: Vaikuntha and Purusha are praised as life, its giver and Pranava. Spaciousness and the golden germ of creation accompany overcoming opposition, pervasiveness and wind. Adhokshaja signals what cannot be reduced to ordinary sensory apprehension.
Stanza 45
ऋतुः सुदर्शनः कालः परमेष्ठी परिग्रहः ।
उग्रः संवत्सरो दक्षो विश्रामो विश्वदक्षिणः ॥ṛtuḥ sudarśanaḥ kālaḥ parameṣṭhī parigrahaḥ |
ugraḥ saṃvatsaro dakṣo viśrāmo viśvadakṣiṇaḥ ||Meaning: Season, auspicious sight, time and the highest dwelling bring cosmic order into focus. Fierceness, the year and skill are balanced by rest and universal competence. The verse places comforting repose within the same power that governs time.
Stanza 46
विस्तारः स्थावरस्थाणुः प्रमाणं बीजमव्ययम् ।
अर्थोऽनर्थो महाकोशो महाभोगो महाधनः ॥vistāraḥ sthāvarasthāṇuḥ pramāṇaṃ bījamavyayam |
artho'nartho mahākośo mahābhogo mahādhanaḥ ||Meaning: Expansion and steadfast support are named as the standard and an imperishable seed. Artha and Anartha place purpose or value beside freedom from dependence on it. Great store, enjoyment and wealth round out this language of abundance.
Stanza 47
अनिर्विण्णः स्थविष्ठोऽभूर्धर्मयूपो महामखः ।
नक्षत्रनेमिर्नक्षत्री क्षमः क्षामः समीहनः ॥anirviṇṇaḥ sthaviṣṭho'bhūrdharmayūpo mahāmakhaḥ |
nakṣatranemirnakṣatrī kṣamaḥ kṣāmaḥ samīhanaḥ ||Meaning: Undiscouraged presence, vastness and birthless being accompany the sacrificial post of dharma and a great offering. The wheel of stars, patience, attenuated form and purposeful endeavour bring cosmic and disciplined images into one sequence.
Stanza 48
यज्ञ इज्यो महेज्यश्च क्रतुः सत्रं सतां गतिः ।
सर्वदर्शी विमुक्तात्मा सर्वज्ञो ज्ञानमुत्तमम् ॥yajña ijyo mahejyaśca kratuḥ satraṃ satāṃ gatiḥ |
sarvadarśī vimuktātmā sarvajño jñānamuttamam ||Meaning: Sacrifice, the worshipped one and great worship are joined to the refuge of the good. The seer of all is inwardly free, knows all and is highest knowledge itself. Ritual and insight therefore meet within the stanza.
Stanza 49
सुव्रतः सुमुखः सूक्ष्मः सुघोषः सुखदः सुहृत् ।
मनोहरो जितक्रोधो वीरबाहुर्विदारणः ॥suvrataḥ sumukhaḥ sūkṣmaḥ sughoṣaḥ sukhadaḥ suhṛt |
manoharo jitakrodho vīrabāhurvidāraṇaḥ ||Meaning: Good vows, a gracious face, subtlety and resonant sound lead to happiness and friendship. The captivating one has mastered anger and has heroic arms that can tear apart opposition. Kindness does not erase the hymn's forceful imagery.
Stanza 50
स्वापनः स्ववशो व्यापी नैकात्मा नैककर्मकृत् ।
वत्सरो वत्सलो वत्सी रत्नगर्भो धनेश्वरः ॥svāpanaḥ svavaśo vyāpī naikātmā naikakarmakṛt |
vatsaro vatsalo vatsī ratnagarbho dhaneśvaraḥ ||Meaning: Sleep, self-governance, pervasiveness and many forms of action introduce tender relationship. Vatsala and Vatsi evoke affection and care; the gem-filled store and lordship of wealth carry that nurturing tone into images of abundance.
Stanza 51
धर्मगुब्धर्मकृद्धर्मी सदसत्क्षरमक्षरम् ।
अविज्ञाता सहस्रांशुर्विधाता कृतलक्षणः ॥dharmagubdharmakṛddharmī sadasatkṣaramakṣaram |
avijñātā sahasrāṃśurvidhātā kṛtalakṣaṇaḥ ||Meaning: The guardian and maker of dharma is dharma-bearing, encompassing being and non-being, perishable and imperishable. The unknown, thousand-rayed ordainer also establishes distinguishing signs. Opposites point to a reach greater than one category.
Stanza 52
गभस्तिनेमिः सत्त्वस्थः सिंहो भूतमहेश्वरः ।
आदिदेवो महादेवो देवेशो देवभृद्गुरुः ॥gabhastinemiḥ sattvasthaḥ siṃho bhūtamaheśvaraḥ |
ādidevo mahādevo deveśo devabhṛdguruḥ ||Meaning: The centre of rays, established goodness and a lion-like presence are followed by great lordship over beings. Adideva, Mahadeva, Devesha and the teacher of the devas continue the language of origin, majesty and guidance.
Stanza 53
उत्तरो गोपतिर्गोप्ता ज्ञानगम्यः पुरातनः ।
शरीरभूतभृद्भोक्ता कपीन्द्रो भूरिदक्षिणः ॥uttaro gopatirgoptā jñānagamyaḥ purātanaḥ |
śarīrabhūtabhṛdbhoktā kapīndro bhūridakṣiṇaḥ ||Meaning: The higher one protects go and is approached through knowledge. Ancient presence sustains embodied beings and receives their experience. Kapindra and generous giving add narrative and hospitable forms to these philosophical epithets.
Stanza 54
सोमपोऽमृतपः सोमः पुरुजित्पुरुसत्तमः ।
विनयो जयः सत्यसन्धो दाशार्हः सात्वताम्पतिः ॥somapo'mṛtapaḥ somaḥ purujitpurusattamaḥ |
vinayo jayaḥ satyasandho dāśārhaḥ sātvatāmpatiḥ ||Meaning: Receiving soma and amrita stands with victory, human excellence, humility and steadfast truth. Dasharha and lordship of the Satvatas locate the verse in remembered Krishna-related lineage and community, alongside its wider sacrificial imagery.
Stanza 55
जीवो विनयिता साक्षी मुकुन्दोऽमितविक्रमः ।
अम्भोनिधिरनन्तात्मा महोदधिशयोऽन्तकः ॥jīvo vinayitā sākṣī mukundo'mitavikramaḥ |
ambhonidhiranantātmā mahodadhiśayo'ntakaḥ ||Meaning: Life, disciplining guidance and witnessing lead to Mukunda, traditionally understood as giver of liberation. Immeasurable stride, the store of waters, infinite inward being and reclining on the great ocean end with the power of completion.
Stanza 56
अजो महार्हः स्वाभाव्यो जितामित्रः प्रमोदनः ।
आनन्दो नन्दनो नन्दः सत्यधर्मा त्रिविक्रमः ॥ajo mahārhaḥ svābhāvyo jitāmitraḥ pramodanaḥ |
ānando nandano nandaḥ satyadharmā trivikramaḥ ||Meaning: Birthlessness and great worth are linked to inherent being, overcoming adversaries and several forms of joy. True dharma culminates in Trivikrama, whose three strides are remembered as a divine expansion beyond ordinary measure.
Stanza 57
महर्षिः कपिलाचार्यः कृतज्ञो मेदिनीपतिः ।
त्रिपदस्त्रिदशाध्यक्षो महाशृङ्गः कृतान्तकृत् ॥maharṣiḥ kapilācāryaḥ kṛtajño medinīpatiḥ |
tripadastridaśādhyakṣo mahāśṛṅgaḥ kṛtāntakṛt ||Meaning: The sage Kapila and teacherhood accompany knowing what has been done and lordship of earth. Three steps, oversight of the devas, a great horn and the making of an end recall several different narrative and cosmic associations.
Stanza 58
महावराहो गोविन्दः सुषेणः कनकाङ्गदी ।
गुह्यो गभीरो गहनो गुप्तश्चक्रगदाधरः ॥mahāvarāho govindaḥ suṣeṇaḥ kanakāṅgadī |
guhyo gabhīro gahano guptaścakragadādharaḥ ||Meaning: The great boar and Govinda appear with a well-ordered force and golden armlets. Hidden, deep and hard-to-fathom presence is finally made recognisable by the discus and mace. Visible emblems coexist with inward mystery.
Stanza 59
वेधाः स्वाङ्गोऽजितः कृष्णो दृढः सङ्कर्षणोऽच्युतः ।
वरुणो वारुणो वृक्षः पुष्कराक्षो महामनाः ॥vedhāḥ svāṅgo'jitaḥ kṛṣṇo dṛḍhaḥ saṅkarṣaṇo'cyutaḥ |
varuṇo vāruṇo vṛkṣaḥ puṣkarākṣo mahāmanāḥ ||Meaning: Creator, fitting form, unconquered Krishna and firmness lead to Sankarshana and Achyuta. Varuna, the tree, lotus eyes and a great mind continue the many associations; these names should not be forced into one physical portrait.
Stanza 60
भगवान् भगहाऽऽनन्दी वनमाली हलायुधः ।
आदित्यो ज्योतिरादित्यः सहिष्णुर्गतिसत्तमः ॥bhagavān bhagahā''nandī vanamālī halāyudhaḥ |
ādityo jyotirādityaḥ sahiṣṇurgatisattamaḥ ||Meaning: Bhagavan and joyful presence are associated with a forest garland and the plough-bearing form. Aditya, solar light, endurance and the highest destination extend the verse from familiar devotional images to cosmic radiance and refuge.
Name-bearing stanzas 61–80
Stanza 61
सुधन्वा खण्डपरशुर्दारुणो द्रविणप्रदः ।
दिवस्पृक् सर्वदृग्व्यासो वाचस्पतिरयोनिजः ॥sudhanvā khaṇḍaparaśurdāruṇo draviṇapradaḥ |
divaspṛk sarvadṛgvyāso vācaspatirayonijaḥ ||Meaning: A good bow and an axe-bearing form introduce formidable force and the giving of resources. Touching heaven and seeing everything accompany Vyasa and the lord of speech. Ayonija closes with birth beyond an ordinary womb.
Stanza 62
त्रिसामा सामगः साम निर्वाणं भेषजं भिषक् ।
संन्यासकृच्छमः शान्तो निष्ठा शान्तिः परायणम् ॥trisāmā sāmagaḥ sāma nirvāṇaṃ bheṣajaṃ bhiṣak |
saṃnyāsakṛcchamaḥ śānto niṣṭhā śāntiḥ parāyaṇam ||Meaning: Saman chant, liberation, remedy and physician gather around renunciation and tranquillity. Established rest, peace and final refuge complete a devotional account of healing and release; the verse's religious imagery is not a treatment instruction.
Stanza 63
शुभाङ्गः शान्तिदः स्रष्टा कुमुदः कुवलेशयः ।
गोहितो गोपतिर्गोप्ता वृषभाक्षो वृषप्रियः ॥śubhāṅgaḥ śāntidaḥ sraṣṭā kumudaḥ kuvaleśayaḥ |
gohito gopatirgoptā vṛṣabhākṣo vṛṣapriyaḥ ||Meaning: Auspicious form, peace-giving creation and delight in earth are followed by protection and care for go. Vrishabhaksha and Vrishapriya return to the hymn's dharma-associated imagery, linking goodness with the keeping of life.
Stanza 64
अनिवर्ती निवृत्तात्मा सङ्क्षेप्ता क्षेमकृच्छिवः ।
श्रीवत्सवक्षाः श्रीवासः श्रीपतिः श्रीमतांवरः ॥anivartī nivṛttātmā saṅkṣeptā kṣemakṛcchivaḥ |
śrīvatsavakṣāḥ śrīvāsaḥ śrīpatiḥ śrīmatāṃvaraḥ ||Meaning: Non-retreat and inward withdrawal appear with gathering, wellbeing and auspiciousness. The chest marked by Shrivatsa, dwelling of Shri and lordship of Shri identify a particular devotional form within those abstract epithets.
Stanza 65
श्रीदः श्रीशः श्रीनिवासः श्रीनिधिः श्रीविभावनः ।
श्रीधरः श्रीकरः श्रेयः श्रीमाँल्लोकत्रयाश्रयः ॥śrīdaḥ śrīśaḥ śrīnivāsaḥ śrīnidhiḥ śrīvibhāvanaḥ |
śrīdharaḥ śrīkaraḥ śreyaḥ śrīmām̐llokatrayāśrayaḥ ||Meaning: A sustained series of Shri names praises giving, lordship, dwelling, treasure and manifestation. Bearing and making Shri lead to the highest good. The Shri-endowed one is the refuge of the three worlds, not merely a symbol of money.
Stanza 66
स्वक्षः स्वङ्गः शतानन्दो नन्दिर्ज्योतिर्गणेश्वरः ।
विजितात्माऽविधेयात्मा सत्कीर्तिश्छिन्नसंशयः ॥svakṣaḥ svaṅgaḥ śatānando nandirjyotirgaṇeśvaraḥ |
vijitātmā'vidheyātmā satkīrtiśchinnasaṃśayaḥ ||Meaning: Beautiful eyes and limbs, many joys and the lord of luminous hosts precede self-mastery and independence from command. Good renown and the cutting of doubt complete the stanza's picture of clarity and established inward freedom.
Stanza 67
उदीर्णः सर्वतश्चक्षुरनीशः शाश्वतस्थिरः ।
भूशयो भूषणो भूतिर्विशोकः शोकनाशनः ॥udīrṇaḥ sarvataścakṣuranīśaḥ śāśvatasthiraḥ |
bhūśayo bhūṣaṇo bhūtirviśokaḥ śokanāśanaḥ ||Meaning: Exalted presence sees in every direction and has no higher ruler. Eternal steadiness, reclining on earth, ornament and flourishing culminate in being without sorrow and removing sorrow, joining transcendence to tenderness.
Stanza 68
अर्चिष्मानर्चितः कुम्भो विशुद्धात्मा विशोधनः ।
अनिरुद्धोऽप्रतिरथः प्रद्युम्नोऽमितविक्रमः ॥arciṣmānarcitaḥ kumbho viśuddhātmā viśodhanaḥ |
aniruddho'pratirathaḥ pradyumno'mitavikramaḥ ||Meaning: Flame-like brilliance, worship and the containing vessel accompany inward purity and purification. Aniruddha, unmatched in chariot combat, Pradyumna and immeasurable valour then recall specific names and heroic forms within that luminous presence.
Stanza 69
कालनेमिनिहा वीरः शौरिः शूरजनेश्वरः ।
त्रिलोकात्मा त्रिलोकेशः केशवः केशिहा हरिः ॥kālaneminihā vīraḥ śauriḥ śūrajaneśvaraḥ |
trilokātmā trilokeśaḥ keśavaḥ keśihā hariḥ ||Meaning: The defeat of Kalanemi, courage and the Shura lineage introduce the Self and lord of three worlds. Keshava, the slayer of Keshi and Hari connect immense scope with remembered Krishna narratives and the removing of affliction.
Stanza 70
कामदेवः कामपालः कामी कान्तः कृतागमः ।
अनिर्देश्यवपुर्विष्णुर्वीरोऽनन्तो धनञ्जयः ॥kāmadevaḥ kāmapālaḥ kāmī kāntaḥ kṛtāgamaḥ |
anirdeśyavapurviṣṇurvīro'nanto dhanañjayaḥ ||Meaning: Desire, its protection, love and beauty are associated with the making of sacred teachings. A form beyond full description is nevertheless Vishnu, heroic and infinite. Dhananjaya adds the language of winning or gathering wealth.
Stanza 71
ब्रह्मण्यो ब्रह्मकृद् ब्रह्मा ब्रह्म ब्रह्मविवर्धनः ।
ब्रह्मविद् ब्राह्मणो ब्रह्मी ब्रह्मज्ञो ब्राह्मणप्रियः ॥brahmaṇyo brahmakṛd brahmā brahma brahmavivardhanaḥ |
brahmavid brāhmaṇo brahmī brahmajño brāhmaṇapriyaḥ ||Meaning: This verse repeatedly explores brahma-related words: supporting sacred knowledge, creating, absolute reality, increasing and knowing it. Brahma, Brahman and Brahmana are related but grammatically distinct terms; their sequence should be read attentively rather than flattened into one definition.
Stanza 72
महाक्रमो महाकर्मा महातेजा महोरगः ।
महाक्रतुर्महायज्वा महायज्ञो महाहविः ॥mahākramo mahākarmā mahātejā mahoragaḥ |
mahākraturmahāyajvā mahāyajño mahāhaviḥ ||Meaning: Great stride, great action, radiance and serpent imagery lead to the great rite, its celebrant, sacrifice and offering. The repeated maha enlarges each image, gathering cosmic activity and sacrificial roles within the same divine subject.
Stanza 73
स्तव्यः स्तवप्रियः स्तोत्रं स्तुतिः स्तोता रणप्रियः ।
पूर्णः पूरयिता पुण्यः पुण्यकीर्तिरनामयः ॥stavyaḥ stavapriyaḥ stotraṃ stutiḥ stotā raṇapriyaḥ |
pūrṇaḥ pūrayitā puṇyaḥ puṇyakīrtiranāmayaḥ ||Meaning: The one praised, lover of praise, hymn, act of praise and praising voice are brought together. Fullness and the filling of others accompany sacred worth, sacred renown and freedom from affliction: a reflection on worship's whole relationship.
Stanza 74
मनोजवस्तीर्थकरो वसुरेता वसुप्रदः ।
वसुप्रदो वासुदेवो वसुर्वसुमना हविः ॥manojavastīrthakaro vasuretā vasupradaḥ |
vasuprado vāsudevo vasurvasumanā haviḥ ||Meaning: Mind-swift movement and the making of a crossing place accompany repeated giving of vasu. Vasudeva, dwelling or wealth, generous inwardness and the offering complete the stanza. The repeated Vasuprada is retained in the transmitted text.
Stanza 75
सद्गतिः सत्कृतिः सत्ता सद्भूतिः सत्परायणः ।
शूरसेनो यदुश्रेष्ठः सन्निवासः सुयामुनः ॥sadgatiḥ satkṛtiḥ sattā sadbhūtiḥ satparāyaṇaḥ |
śūraseno yaduśreṣṭhaḥ sannivāsaḥ suyāmunaḥ ||Meaning: Good destination, worthy action, being and beneficent presence culminate in devotion to the good. Shurasena and the foremost of the Yadus connect these qualities with a welcoming dwelling and a remembered Yamuna-related setting.
Stanza 76
भूतावासो वासुदेवः सर्वासुनिलयोऽनलः ।
दर्पहा दर्पदो दृप्तो दुर्धरोऽथापराजितः ॥bhūtāvāso vāsudevaḥ sarvāsunilayo'nalaḥ |
darpahā darpado dṛpto durdharo'thāparājitaḥ ||Meaning: The dwelling of beings and all vital breaths is Vasudeva. Taking away pride, granting pride and fullness of power stand in tension. The hard-to-contain and undefeated one exceeds a simple instruction that all confidence is wrong.
Stanza 77
विश्वमूर्तिर्महामूर्तिर्दीप्तमूर्तिरमूर्तिमान् ।
अनेकमूर्तिरव्यक्तः शतमूर्तिः शताननः ॥viśvamūrtirmahāmūrtirdīptamūrtiramūrtimān |
anekamūrtiravyaktaḥ śatamūrtiḥ śatānanaḥ ||Meaning: World-form, great form and blazing form are immediately followed by absence of material form. Many manifestations, the unmanifest, hundreds of forms and faces resist a single limiting picture. The verse holds appearance and transcendence together.
Stanza 78
एको नैकः सवः कः किं यत् तत्पदमनुत्तमम् ।
लोकबन्धुर्लोकनाथो माधवो भक्तवत्सलः ॥eko naikaḥ savaḥ kaḥ kiṃ yat tatpadamanuttamam |
lokabandhurlokanātho mādhavo bhaktavatsalaḥ ||Meaning: One and many open a sequence of brief, questioning and pointing words: ka, kim, yat and tat. The highest state is also the world's friend and lord, Madhava and affectionate toward devotees. Philosophical inquiry returns to relationship.
Stanza 79
सुवर्णवर्णो हेमाङ्गो वराङ्गश्चन्दनाङ्गदी ।
वीरहा विषमः शून्यो घृताशीरचलश्चलः ॥suvarṇavarṇo hemāṅgo varāṅgaścandanāṅgadī |
vīrahā viṣamaḥ śūnyo ghṛtāśīracalaścalaḥ ||Meaning: Golden colour and limbs, beauty and sandalwood adornment coexist with formidable and unequalled presence. Emptiness, abundance, immovability and movement then appear together. The stanza's contrasts should be kept visible rather than resolved into a literal statue description.
Stanza 80
अमानी मानदो मान्यो लोकस्वामी त्रिलोकधृक् ।
सुमेधा मेधजो धन्यः सत्यमेधा धराधरः ॥amānī mānado mānyo lokasvāmī trilokadhṛk |
sumedhā medhajo dhanyaḥ satyamedhā dharādharaḥ ||Meaning: Freedom from demanding honour is paired with giving honour and being worthy of it. Lordship of the worlds and their support accompany good understanding, blessedness and true intelligence. Dharadhara returns the sequence to sustaining earth.
Name-bearing stanzas 81–100
Stanza 81
तेजोवृषो द्युतिधरः सर्वशस्त्रभृतां वरः ।
प्रग्रहो निग्रहो व्यग्रो नैकशृङ्गो गदाग्रजः ॥tejovṛṣo dyutidharaḥ sarvaśastrabhṛtāṃ varaḥ |
pragraho nigraho vyagro naikaśṛṅgo gadāgrajaḥ ||Meaning: Radiance and brightness are joined to pre-eminence among bearers of weapons. Holding and restraining, readiness, many horn-like forms and Gadagraja follow. The movement combines energetic care, control and remembered divine associations.
Stanza 82
चतुर्मूर्तिश्चतुर्बाहुश्चतुर्व्यूहश्चतुर्गतिः ।
चतुरात्मा चतुर्भावश्चतुर्वेदविदेकपात् ॥caturmūrtiścaturbāhuścaturvyūhaścaturgatiḥ |
caturātmā caturbhāvaścaturvedavidekapāt ||Meaning: Four forms, arms, arrangements, paths, aspects and modes of being accumulate around knowledge of the four Vedas. Ekapad then introduces a single support. The number pattern is theological imagery, not a requirement to count anatomical parts.
Stanza 83
समावर्तोऽनिवृत्तात्मा दुर्जयो दुरतिक्रमः ।
दुर्लभो दुर्गमो दुर्गो दुरावासो दुरारिहा ॥samāvarto'nivṛttātmā durjayo duratikramaḥ |
durlabho durgamo durgo durāvāso durārihā ||Meaning: Turning throughout and non-withdrawal lead into a repeated dur sequence: hard to conquer, surpass, find, reach or dwell in. Durga evokes a difficult stronghold, followed by overcoming formidable adversaries. Difficulty here describes majesty and depth.
Stanza 84
शुभाङ्गो लोकसारङ्गः सुतन्तुस्तन्तुवर्धनः ।
इन्द्रकर्मा महाकर्मा कृतकर्मा कृतागमः ॥śubhāṅgo lokasāraṅgaḥ sutantustantuvardhanaḥ |
indrakarmā mahākarmā kṛtakarmā kṛtāgamaḥ ||Meaning: Auspicious limbs and the world's essential support accompany a fine thread and its extension. Indra-like deed, great action, accomplished work and established teaching complete the stanza, using the thread as an image of continuity and connection.
Stanza 85
उद्भवः सुन्दरः सुन्दो रत्ननाभः सुलोचनः ।
अर्को वाजसनः शृङ्गी जयन्तः सर्वविज्जयी ॥udbhavaḥ sundaraḥ sundo ratnanābhaḥ sulocanaḥ |
arko vājasanaḥ śṛṅgī jayantaḥ sarvavijjayī ||Meaning: Arising, beauty, graciousness, a jewel-like navel and lovely eyes precede solar and sustaining imagery. Horn-bearing form, victory and knowing all close the verse. Its attractive images stand alongside strength rather than replacing it.
Stanza 86
सुवर्णबिन्दुरक्षोभ्यः सर्ववागीश्वरेश्वरः ।
महाह्रदो महागर्तो महाभूतो महानिधिः ॥suvarṇabindurakṣobhyaḥ sarvavāgīśvareśvaraḥ |
mahāhrado mahāgarto mahābhūto mahānidhiḥ ||Meaning: The golden point and unshaken presence have lordship over all masters of speech. A great lake, deep hollow, vast being and great treasure then evoke depth and containment. Words approach a reality that remains expansive beyond them.
Stanza 87
कुमुदः कुन्दरः कुन्दः पर्जन्यः पावनोऽनिलः ।
अमृताशोऽमृतवपुः सर्वज्ञः सर्वतोमुखः ॥kumudaḥ kundaraḥ kundaḥ parjanyaḥ pāvano'nilaḥ |
amṛtāśo'mṛtavapuḥ sarvajñaḥ sarvatomukhaḥ ||Meaning: Earth-delighting and flower-like purity accompany rain, purification and air. This edition reads Amritasha, associated with amrita nourishment, followed by immortal form, all-knowing presence and a face turned everywhere. Another edition's Amritamsha is a different reading.
Stanza 88
सुलभः सुव्रतः सिद्धः शत्रुजिच्छत्रुतापनः ।
न्यग्रोधोऽदुम्बरोऽश्वत्थश्चाणूरान्ध्रनिषूदनः ॥sulabhaḥ suvrataḥ siddhaḥ śatrujicchatrutāpanaḥ |
nyagrodho'dumbaro'śvatthaścāṇūrāndhraniṣūdanaḥ ||Meaning: Accessibility and good vows stand beside accomplishment and the overcoming of adversaries. Banyan, udumbara and ashvattha tree names follow, before the defeat of Chanura. Natural imagery and Krishna's heroic narrative belong to the same sequence.
Stanza 89
सहस्रार्चिः सप्तजिह्वः सप्तैधाः सप्तवाहनः ।
अमूर्तिरनघोऽचिन्त्यो भयकृद्भयनाशनः ॥sahasrārciḥ saptajihvaḥ saptaidhāḥ saptavāhanaḥ |
amūrtiranagho'cintyo bhayakṛdbhayanāśanaḥ ||Meaning: A thousand flames and repeated sevens of tongues, fuel and vehicles suggest radiant, fire-associated abundance. Formlessness, faultlessness and what cannot be fully conceived coexist with causing and removing fear. The hymn keeps both formidable and reassuring aspects.
Stanza 90
अणुर्बृहत्कृशः स्थूलो गुणभृन्निर्गुणो महान् ।
अधृतः स्वधृतः स्वास्यः प्राग्वंशो वंशवर्धनः ॥aṇurbṛhatkṛśaḥ sthūlo guṇabhṛnnirguṇo mahān |
adhṛtaḥ svadhṛtaḥ svāsyaḥ prāgvaṃśo vaṃśavardhanaḥ ||Meaning: Small and vast, slender and substantial, bearing qualities and beyond qualities: contrasts widen the reader's understanding. Unsupported yet self-supported being accompanies ancestry and growth of the line. No single size or material quality exhausts the subject.
Stanza 91
भारभृत् कथितो योगी योगीशः सर्वकामदः ।
आश्रमः श्रमणः क्षामः सुपर्णो वायुवाहनः ॥bhārabhṛt kathito yogī yogīśaḥ sarvakāmadaḥ |
āśramaḥ śramaṇaḥ kṣāmaḥ suparṇo vāyuvāhanaḥ ||Meaning: Bearing burdens, being spoken of, yoga and mastery of yoga accompany the giving of desired things. A place of rest, disciplined exertion, attenuated form, beautiful wings and wind-borne movement balance shelter with endeavour.
Stanza 92
धनुर्धरो धनुर्वेदो दण्डो दमयिता दमः ।
अपराजितः सर्वसहो नियन्ताऽनियमोऽयमः ॥dhanurdharo dhanurvedo daṇḍo damayitā damaḥ |
aparājitaḥ sarvasaho niyantā'niyamo'yamaḥ ||Meaning: The bow, knowledge of archery, governing staff and restraint introduce discipline. The undefeated one bears everything and regulates, yet is not confined by imposed rules or another's control. Ordering and sovereign independence stand together.
Stanza 93
सत्त्ववान् सात्त्विकः सत्यः सत्यधर्मपरायणः ।
अभिप्रायः प्रियार्होऽर्हः प्रियकृत् प्रीतिवर्धनः ॥sattvavān sāttvikaḥ satyaḥ satyadharmaparāyaṇaḥ |
abhiprāyaḥ priyārho'rhaḥ priyakṛt prītivardhanaḥ ||Meaning: Goodness, purity and truth are rooted in true dharma. Intention, worthiness of affection, deservingness, doing what is loved and increasing love complete the stanza. Its final movement places relationship within the earlier emphasis on right conduct.
Stanza 94
विहायसगतिर्ज्योतिः सुरुचिर्हुतभुग्विभुः ।
रविर्विरोचनः सूर्यः सविता रविलोचनः ॥vihāyasagatirjyotiḥ surucirhutabhugvibhuḥ |
ravirvirocanaḥ sūryaḥ savitā ravilocanaḥ ||Meaning: Movement through the sky and light introduce splendid appearance and receiving the offering. Ravi, Virochana, Surya, Savita and the sun-related gaze make a sustained solar sequence, celebrating illumination and life-bearing power.
Stanza 95
अनन्तो हुतभुग्भोक्ता सुखदो नैकजोऽग्रजः ।
अनिर्विण्णः सदामर्षी लोकाधिष्ठानमद्भुतः ॥ananto hutabhugbhoktā sukhado naikajo'grajaḥ |
anirviṇṇaḥ sadāmarṣī lokādhiṣṭhānamadbhutaḥ ||Meaning: The infinite receiver and enjoyer of offerings gives happiness and appears in many births while remaining first. Undiscouraged, always forbearing presence is the world's foundation and a wonder. Manifestation does not diminish this enduring support.
Stanza 96
सनात्सनातनतमः कपिलः कपिरव्ययः ।
स्वस्तिदः स्वस्तिकृत्स्वस्ति स्वस्तिभुक्स्वस्तिदक्षिणः ॥sanātsanātanatamaḥ kapilaḥ kapiravyayaḥ |
svastidaḥ svastikṛtsvasti svastibhuksvastidakṣiṇaḥ ||Meaning: Ancient and most ancient presence, Kapila, Kapi and imperishability lead into five swasti expressions. Giving, making, being, receiving and generously conveying wellbeing develop one auspicious theme through different relationships.
Stanza 97
अरौद्रः कुण्डली चक्री विक्रम्यूर्जितशासनः ।
शब्दातिगः शब्दसहः शिशिरः शर्वरीकरः ॥araudraḥ kuṇḍalī cakrī vikramyūrjitaśāsanaḥ |
śabdātigaḥ śabdasahaḥ śiśiraḥ śarvarīkaraḥ ||Meaning: Non-fierce presence wears earrings and the discus, strides powerfully and governs firmly. Beyond sound yet able to bear sound, cooling and making night, the subject exceeds language while offering familiar forms of rest and refreshment.
Stanza 98
अक्रूरः पेशलो दक्षो दक्षिणः क्षमिणांवरः ।
विद्वत्तमो वीतभयः पुण्यश्रवणकीर्तनः ॥akrūraḥ peśalo dakṣo dakṣiṇaḥ kṣamiṇāṃvaraḥ |
vidvattamo vītabhayaḥ puṇyaśravaṇakīrtanaḥ ||Meaning: Uncruel, gentle, capable and gracious presence is foremost among the forgiving. Great learning, freedom from fear and sacred hearing and praise conclude the verse. Its gentleness is expressed through conduct, understanding and remembrance together.
Stanza 99
उत्तारणो दुष्कृतिहा पुण्यो दुःस्वप्ननाशनः ।
वीरहा रक्षणः सन्तो जीवनः पर्यवस्थितः ॥uttāraṇo duṣkṛtihā puṇyo duḥsvapnanāśanaḥ |
vīrahā rakṣaṇaḥ santo jīvanaḥ paryavasthitaḥ ||Meaning: Bringing across difficulty and removing wrongdoing accompany sacredness and the ending of bad dreams. Heroic force, protection, goodness, life and presence around all complete a devotional picture of shelter in unsettled experience.
Stanza 100
अनन्तरूपोऽनन्तश्रीर्जितमन्युर्भयापहः ।
चतुरश्रो गभीरात्मा विदिशो व्यादिशो दिशः ॥anantarūpo'nantaśrīrjitamanyurbhayāpahaḥ |
caturaśro gabhīrātmā vidiśo vyādiśo diśaḥ ||Meaning: Infinite forms and Shri accompany mastery of anger and removal of fear. Chaturashra, traditionally evoking completeness or balance, and deep inward being precede directions, their ordering and orientation. Unboundedness is joined to a sense of order.
Name-bearing stanzas 101–107
Stanza 101
अनादिर्भूर्भुवो लक्ष्मीः सुवीरो रुचिराङ्गदः ।
जननो जनजन्मादिर्भीमो भीमपराक्रमः ॥anādirbhūrbhuvo lakṣmīḥ suvīro rucirāṅgadaḥ |
janano janajanmādirbhīmo bhīmaparākramaḥ ||Meaning: Beginningless presence and the support of earth and the middle region are associated with Shri, great courage and beautiful armlets. Birth-giving and the first origin of beings lead to formidable power, connecting creation and protection.
Stanza 102
आधारनिलयोऽधाता पुष्पहासः प्रजागरः ।
ऊर्ध्वगः सत्पथाचारः प्राणदः प्रणवः पणः ॥ādhāranilayo'dhātā puṣpahāsaḥ prajāgaraḥ |
ūrdhvagaḥ satpathācāraḥ prāṇadaḥ praṇavaḥ paṇaḥ ||Meaning: The dwelling of support is independent of another holder, smiles like a blossom and stays awake. Upward movement, conduct on the good path, life-giving and Pranava lead to Pana, a term with offering or exchange associations.
Stanza 103
प्रमाणं प्राणनिलयः प्राणभृत्प्राणजीवनः ।
तत्त्वं तत्त्वविदेकात्मा जन्ममृत्युजरातिगः ॥pramāṇaṃ prāṇanilayaḥ prāṇabhṛtprāṇajīvanaḥ |
tattvaṃ tattvavidekātmā janmamṛtyujarātigaḥ ||Meaning: The standard, dwelling of life, bearer of life and life of living beings culminate in reality and knowledge of reality. One inward Self transcends birth, death and ageing. The passage moves from vitality to its deepest ground.
Stanza 104
भूर्भुवःस्वस्तरुस्तारः सविता प्रपितामहः ।
यज्ञो यज्ञपतिर्यज्वा यज्ञाङ्गो यज्ञवाहनः ॥bhūrbhuvaḥsvastarustāraḥ savitā prapitāmahaḥ |
yajño yajñapatiryajvā yajñāṅgo yajñavāhanaḥ ||Meaning: A tree sheltering the three worlds and a power of crossing accompany Savita and the earliest ancestor. Sacrifice, its lord, celebrant, limbs and vehicle bring every part of the rite into relation with the divine subject.
Stanza 105
यज्ञभृद् यज्ञकृद् यज्ञी यज्ञभुग् यज्ञसाधनः ।
यज्ञान्तकृद् यज्ञगुह्यमन्नमन्नाद एव च ॥yajñabhṛd yajñakṛd yajñī yajñabhug yajñasādhanaḥ |
yajñāntakṛd yajñaguhyamannamannāda eva ca ||Meaning: Supporting, making, undertaking and receiving sacrifice are joined to its means, completion and hidden meaning. Food and its eater close the stanza, extending the offering's relationship into the ordinary nourishment of life.
Stanza 106
आत्मयोनिः स्वयञ्जातो वैखानः सामगायनः ।
देवकीनन्दनः स्रष्टा क्षितीशः पापनाशनः ॥ātmayoniḥ svayañjāto vaikhānaḥ sāmagāyanaḥ |
devakīnandanaḥ sraṣṭā kṣitīśaḥ pāpanāśanaḥ ||Meaning: Self-origin and self-arising presence accompany the earth-cleaving association of Vaikhana and Saman song. Devaki's son is also creator, earth's lord and remover of wrongdoing. The verse brings a particular human birth together with cosmic origin.
Stanza 107
शङ्खभृन्नन्दकी चक्री शार्ङ्गधन्वा गदाधरः ।
रथाङ्गपाणिरक्षोभ्यः सर्वप्रहरणायुधः ॥śaṅkhabhṛnnandakī cakrī śārṅgadhanvā gadādharaḥ |
rathāṅgapāṇirakṣobhyaḥ sarvapraharaṇāyudhaḥ ||Meaning: Conch, Nandaka sword, discus, Sharnga bow, mace and the chariot wheel identify the final protective form. Unshaken presence holds every means of defence. Sarvapraharanayudha is the final counted name in this thousand-name arrangement.
Closing prayer and complete phalashruti
The counted names end with Sarvapraharanayudha in stanza 107. The Vanamali prayer follows as a closing appeal. The phalashruti then describes the traditional fruit of listening, praise and devotion. Its references to health, prosperity and deliverance are religious assurances, not measurements or personal predictions. Its later emphasis on good conduct is part of the text and deserves the same attention as its promises of blessings.
Vanamali closing prayer
Closing prayer
वनमाली गदी शार्ङ्गी शङ्खी चक्री च नन्दकी ।
श्रीमान् नारायणो विष्णुर्वासुदेवोऽभिरक्षतु ॥vanamālī gadī śārṅgī śaṅkhī cakrī ca nandakī |
śrīmān nārāyaṇo viṣṇurvāsudevo'bhirakṣatu ||Meaning: May Shri-endowed Narayana, Vishnu and Vasudeva protect us: wearing the forest garland and bearing mace, Sharnga bow, conch, discus and Nandaka sword. This prayer follows the counted names; it is not a new set of names needed to reach one thousand.
Phalashruti 1–22
Phalashruti 1
इतीदं कीर्तनीयस्य केशवस्य महात्मनः ।
नाम्नां सहस्रं दिव्यानामशेषेण प्रकीर्तितम् ॥itīdaṃ kīrtanīyasya keśavasya mahātmanaḥ |
nāmnāṃ sahasraṃ divyānāmaśeṣeṇa prakīrtitam ||Meaning: The conclusion announces that the divine thousand names of great Keshava, worthy of praise, have now been recited fully. It marks the end of the name sequence and the beginning of reflection on its fruit.
Phalashruti 2
य इदं शृणुयान्नित्यं यश्चापि परिकीर्तयेत् ।
नाशुभं प्राप्नुयात्किञ्चित्सोऽमुत्रेह च मानवः ॥ya idaṃ śṛṇuyānnityaṃ yaścāpi parikīrtayet |
nāśubhaṃ prāpnuyātkiñcitso'mutreha ca mānavaḥ ||Meaning: Regular listening and recitation are praised as bringing auspiciousness here and beyond. This is the phalashruti's devotional assurance; it does not provide an empirical guarantee that a reader will never encounter difficulty.
Phalashruti 3
वेदान्तगो ब्राह्मणः स्यात्क्षत्रियो विजयी भवेत् ।
वैश्यो धनसमृद्धः स्याच्छूद्रः सुखमवाप्नुयात् ॥vedāntago brāhmaṇaḥ syātkṣatriyo vijayī bhavet |
vaiśyo dhanasamṛddhaḥ syācchūdraḥ sukhamavāpnuyāt ||Meaning: The verse assigns learning, victory, prosperity and happiness to the four varna categories in its historical social idiom. Reading that inherited wording does not establish a modern restriction on who may learn or pray.
Phalashruti 4
धर्मार्थी प्राप्नुयाद्धर्ममर्थार्थी चार्थमाप्नुयात् ।
कामानवाप्नुयात्कामी प्रजार्थी प्राप्नुयात्प्रजाम् ॥dharmārthī prāpnuyāddharmamarthārthī cārthamāpnuyāt |
kāmānavāpnuyātkāmī prajārthī prāpnuyātprajām ||Meaning: The wishes for dharma, resources, desired ends and descendants are each linked to recitation. These belong to the hymn's traditional account of devotional fruit; they are not individual predictions of wealth or fertility.
Phalashruti 5
भक्तिमान् यः सदोत्थाय शुचिस्तद्गतमानसः ।
सहस्रं वासुदेवस्य नाम्नामेतत्प्रकीर्तयेत् ॥bhaktimān yaḥ sadotthāya śucistadgatamānasaḥ |
sahasraṃ vāsudevasya nāmnāmetatprakīrtayet ||Meaning: The description turns to a devoted reader who rises regularly, attends to purity and directs the mind toward Vasudeva while reciting the thousand names. Attention and devotion, not only finishing a list, are foregrounded.
Phalashruti 6
यशः प्राप्नोति विपुलं ज्ञातिप्राधान्यमेव च ।
अचलां श्रियमाप्नोति श्रेयः प्राप्नोत्यनुत्तमम् ॥yaśaḥ prāpnoti vipulaṃ jñātiprādhānyameva ca |
acalāṃ śriyamāpnoti śreyaḥ prāpnotyanuttamam ||Meaning: Renown, esteem among kin, steadfast Shri and the highest good are presented as devotional fruits. Shri here carries a broader auspicious sense than a promise of a particular salary, account balance or possession.
Phalashruti 7
न भयं क्वचिदाप्नोति वीर्यं तेजश्च विन्दति ।
भवत्यरोगो द्युतिमान्बलरूपगुणान्वितः ॥na bhayaṃ kvacidāpnoti vīryaṃ tejaśca vindati |
bhavatyarogo dyutimānbalarūpaguṇānvitaḥ ||Meaning: Fearlessness, strength, radiance, health and attractive qualities are praised together. The health language belongs to this religious blessing; bodily illness still calls for appropriate care rather than reliance on recitation as a cure.
Phalashruti 8
रोगार्तो मुच्यते रोगाद्बद्धो मुच्येत बन्धनात् ।
भयान्मुच्येत भीतस्तु मुच्येतापन्न आपदः ॥rogārto mucyate rogādbaddho mucyeta bandhanāt |
bhayānmucyeta bhītastu mucyetāpanna āpadaḥ ||Meaning: Release from sickness, confinement, fear and adversity is the verse's theme of refuge. These assurances express devotion's hope of deliverance; they should not be read as instructions to abandon treatment, protection or lawful assistance.
Phalashruti 9
दुर्गाण्यतितरत्याशु पुरुषः पुरुषोत्तमम् ।
स्तुवन्नामसहस्रेण नित्यं भक्तिसमन्वितः ॥durgāṇyatitaratyāśu puruṣaḥ puruṣottamam |
stuvannāmasahasreṇa nityaṃ bhaktisamanvitaḥ ||Meaning: Continual devotion and a thousand-name praise of Purushottama are associated with crossing hard circumstances. The verse's movement is toward perseverance and refuge, without supplying a measurable timetable for a problem's resolution.
Phalashruti 10
वासुदेवाश्रयो मर्त्यो वासुदेवपरायणः ।
सर्वपापविशुद्धात्मा याति ब्रह्म सनातनम् ॥vāsudevāśrayo martyo vāsudevaparāyaṇaḥ |
sarvapāpaviśuddhātmā yāti brahma sanātanam ||Meaning: A mortal who takes refuge in Vasudeva and makes him the highest orientation is described as purified of wrongdoing and approaching eternal Brahman. This is the spiritual, liberation-oriented culmination of the earlier wishes.
Phalashruti 11
न वासुदेवभक्तानामशुभं विद्यते क्वचित् ।
जन्ममृत्युजराव्याधिभयं नैवोपजायते ॥na vāsudevabhaktānāmaśubhaṃ vidyate kvacit |
janmamṛtyujarāvyādhibhayaṃ naivopajāyate ||Meaning: The devotees' refuge is described through freedom from inauspiciousness and the fear of birth, death, ageing and disease. The focus on fear belongs to a spiritual account of mortality, not a claim of physical immortality.
Phalashruti 12
इमं स्तवमधीयानः श्रद्धाभक्तिसमन्वितः ।
युज्येतात्मसुखक्षान्तिश्रीधृतिस्मृतिकीर्तिभिः ॥imaṃ stavamadhīyānaḥ śraddhābhaktisamanvitaḥ |
yujyetātmasukhakṣāntiśrīdhṛtismṛtikīrtibhiḥ ||Meaning: Reading with trust and devotion is linked to inward ease, patience, Shri, steadiness, memory and renown. These qualities show the conclusion's interest in the reader's character and sustained attention as well as its language of blessings.
Phalashruti 13
न क्रोधो न च मात्सर्यं न लोभो नाशुभा मतिः ।
भवन्ति कृतपुण्यानां भक्तानां पुरुषोत्तमे ॥na krodho na ca mātsaryaṃ na lobho nāśubhā matiḥ |
bhavanti kṛtapuṇyānāṃ bhaktānāṃ puruṣottame ||Meaning: Anger, envy, greed and harmful intention are portrayed as absent from worthy devotion to Purushottama. The verse sets an ethical aspiration for the practice; reciting words alone does not excuse harmful behaviour.
Phalashruti 14
द्यौः सचन्द्रार्कनक्षत्रा खं दिशो भूर्महोदधिः ।
वासुदेवस्य वीर्येण विधृतानि महात्मनः ॥dyauḥ sacandrārkanakṣatrā khaṃ diśo bhūrmahodadhiḥ |
vāsudevasya vīryeṇa vidhṛtāni mahātmanaḥ ||Meaning: Heaven with moon, sun and stars, space, directions, earth and the great ocean are sustained by Vasudeva's power. The language is cosmological praise, presenting the many regions as held by one underlying support.
Phalashruti 15
ससुरासुरगन्धर्वं सयक्षोरगराक्षसम् ।
जगद्वशे वर्ततेदं कृष्णस्य सचराचरम् ॥sasurāsuragandharvaṃ sayakṣoragarākṣasam |
jagadvaśe vartatedaṃ kṛṣṇasya sacarācaram ||Meaning: The moving and unmoving world, including devas and the many beings of sacred narrative, is described as within Krishna's sovereignty. The list belongs to the text's religious cosmology rather than a modern zoological classification.
Phalashruti 16
इन्द्रियाणि मनो बुद्धिः सत्त्वं तेजो बलं धृतिः ।
वासुदेवात्मकान्याहुः क्षेत्रं क्षेत्रज्ञ एव च ॥indriyāṇi mano buddhiḥ sattvaṃ tejo balaṃ dhṛtiḥ |
vāsudevātmakānyāhuḥ kṣetraṃ kṣetrajña eva ca ||Meaning: Senses, mind, understanding, vitality, radiance, strength and steadiness are said to have Vasudeva as their ground. The field and its knower are included, returning to the hymn's relationship between experience and witnessing awareness.
Phalashruti 17
सर्वागमानामाचारः प्रथमं परिकल्प्यते ।
आचारप्रभवो धर्मो धर्मस्य प्रभुरच्युतः ॥sarvāgamānāmācāraḥ prathamaṃ parikalpyate |
ācāraprabhavo dharmo dharmasya prabhuracyutaḥ ||Meaning: Good conduct is placed first among the sacred teachings; dharma arises through conduct, and Achyuta is dharma's lord. This verse is a useful corrective to reading the hymn as a way to bypass ethical responsibility.
Phalashruti 18
ऋषयः पितरो देवा महाभूतानि धातवः ।
जङ्गमाजङ्गमं चेदं जगन्नारायणोद्भवम् ॥ṛṣayaḥ pitaro devā mahābhūtāni dhātavaḥ |
jaṅgamājaṅgamaṃ cedaṃ jagannārāyaṇodbhavam ||Meaning: Sages, ancestors, devas, elements and constituents of the world, together with moving and unmoving beings, are traced to Narayana. The description extends the earlier account of one source through the whole field of existence.
Phalashruti 19
योगो ज्ञानं तथा साङ्ख्यं विद्याः शिल्पादिकर्म च ।
वेदाः शास्त्राणि विज्ञानमेतत्सर्वं जनार्दनात् ॥yogo jñānaṃ tathā sāṅkhyaṃ vidyāḥ śilpādikarma ca |
vedāḥ śāstrāṇi vijñānametatsarvaṃ janārdanāt ||Meaning: Yoga, knowledge, Sankhya, learning, crafts, Vedas, teachings and understanding are all associated with Janardana. The inclusion of skilled work alongside contemplation broadens the spiritual view of knowledge and human activity.
Phalashruti 20
एको विष्णुर्महद्भूतं पृथग्भूतान्यनेकशः ।
त्रींल्लोकान्व्याप्य भूतात्मा भुङ्क्ते विश्वभुगव्ययः ॥eko viṣṇurmahadbhūtaṃ pṛthagbhūtānyanekaśaḥ |
trīṃllokānvyāpya bhūtātmā bhuṅkte viśvabhugavyayaḥ ||Meaning: One great Vishnu is present among many differentiated beings, pervades three worlds and receives the world's experience without diminution. Unity and multiplicity, already repeated in the names, return in the conclusion.
Phalashruti 21
इमं स्तवं भगवतो विष्णोर्व्यासेन कीर्तितम् ।
पठेद्य इच्छेत्पुरुषः श्रेयः प्राप्तुं सुखानि च ॥imaṃ stavaṃ bhagavato viṣṇorvyāsena kīrtitam |
paṭhedya icchetpuruṣaḥ śreyaḥ prāptuṃ sukhāni ca ||Meaning: A person seeking the highest good and wellbeing is invited to read this praise of Vishnu, traditionally associated here with Vyasa. The attribution is part of the transmitted conclusion, not a claim about a modern translator.
Phalashruti 22
विश्वेश्वरमजं देवं जगतः प्रभुमव्ययम् ।
भजन्ति ये पुष्कराक्षं न ते यान्ति पराभवम् ॥viśveśvaramajaṃ devaṃ jagataḥ prabhumavyayam |
bhajanti ye puṣkarākṣaṃ na te yānti parābhavam ||Meaning: Devotion to the beginningless, imperishable lord of the world and lotus-eyed deva is praised as freedom from final defeat. The ending expresses confidence in divine refuge rather than a guarantee of winning every competition.
Thousand-name counting, meanings and pronunciation
Sahasra means a thousand; nama means a name. The count belongs to a received division of epithets, not to the number of spaces in the printed Sanskrit. Sandhi joins sounds, several words may form one counted name, and the same name can occupy more than one position. Removing repeats would change the transmitted arrangement. A numbered namavali provides one thousand consecutive entries; the final entry in that arrangement is Sarvapraharanayudha.
The stotra keeps those names in metrical sentences and groups. A namavali changes their grammatical form for individual salutation, commonly Om … namah. For example, Vishnuh in a verse can become Vishnave in a salutation. Turning every printed word into a namavali entry without checking grammar and traditional segmentation is unreliable.
| Text | What to notice | Reading help |
|---|---|---|
| विश्वं — viśvam | The opening name evokes the world or totality | Do not start counting optional prefatory prayers as names |
| नारायणः — nārāyaṇaḥ | A familiar devotional name with several traditional explanations | ā is long; ṇ is the curled-tongue nasal |
| शिवः — śivaḥ | “Auspicious” appears within Vishnu’s praise | Shared divine epithets occur across devotional texts |
| वसुप्रदः — vasupradaḥ | Occurs twice in stanza 74 | A repeated name is retained, not deleted as a typo |
| अमृताशः / अमृतांशः | The selected stanza 87 reads amṛtāśa; amṛtāṃśa is a variant | These are different words, not interchangeable Roman spellings |
| सर्वप्रहरणायुधः | The final counted epithet in stanza 107 | The later Vanamali prayer is outside the count |
In IAST, ā, ī and ū mark long vowels; ṛ marks the vocalic r; ś and ṣ distinguish two sibilants; ṃ records anusvara and ḥ visarga. The mark ’ represents avagraha, an elided vowel. A bar corresponds to a danda pause, not a word to pronounce. Roman letters help locate a sound, but a competent recitation teacher can explain how the sound changes at a word boundary.
Two editions may write a nasal with an explicit consonant or an anusvara, such as saṅgraha and saṃgraha in relevant environments. Other differences are substantive readings. Keep one edition while learning and compare a suspected discrepancy in the whole stanza. The spelling समात्माऽसम्मितः in the selected stanza 12 should not silently be replaced by a different segmentation just because another commentary follows it.
A practical reading and study plan
For a first reading, separate learning from speed. Begin with the meditation’s meaning, the two question verses and the first five name-bearing stanzas. Notice one recurring idea, such as support or witnessing. On another day continue from your bookmark. That is a study plan; it should not be labelled a complete recitation until all 107 core stanzas have been read.
A workable weekly approach is to learn stanzas 1–20, then 21–40, 41–60, 61–80, 81–100 and finally 101–107, allowing as many days as needed for each group. Review a difficult line by reading Sanskrit slowly, matching the Roman text, checking its meaning and listening to the same passage in an edition-consistent recitation. After learning the groups, read the hymn continuously if that is your aim.
For an ordinary devotional reading, choose a comfortable seat and a time when you can attend to the text. An image, flower or lamp may belong to your household practice, but this page does not invent a mandatory shopping list. A formal vow, temple sequence or teacher-led practice can have additional instructions. Its timing and preliminary rites should be learned within that practice.
Read the phalashruti as part of the hymn’s devotional world. It contains historical varna language, aspirations for descendants and health-related blessings. Those passages are presented completely here, with context. They do not justify excluding a modern learner, diagnosing illness or forecasting fertility. Verse 17’s emphasis on conduct also prevents recitation from becoming an excuse to ignore responsibility.
The page can be read before JavaScript loads, and the reading controls adjust the text size. Use the group links to return to a stanza and the print option for a personal study copy. Printed pages keep the text and meanings; no account or audio player is required.
For a shorter Vishnu prayer, continue with the Ugram Viram Narasimha guide. For a different complete devotional composition, read the Hanuman Chalisa text and meanings. For help keeping a home practice modest and consistent, see beginner home worship.
Frequently asked questions
These answers clarify the edition, the count and how to learn the text.
Is Vishnu Sahasranama a stotra or a thousand individual mantras?
The text shown here is a stotra: a metrical hymn containing a traditionally counted thousand names. A namavali arranges those names as separate salutations. Both are useful, but their grammar and reading format differ.
Why does the core hymn have 107 stanzas rather than 1,000 verses?
Each stanza contains several counted epithets. One thousand refers to the traditional name sequence, not the number of verses. This page labels the 107 core stanzas separately from the opening and closing material.
Does this page include the whole selected text?
Yes. It includes the 107 name-bearing stanzas, thirteen dialogue stanzas, one Shantakaram meditation, one Vanamali closing prayer and twenty-two phalashruti stanzas: 144 reading passages with Sanskrit, transliteration and original meanings. Optional nyasa and other appended prayers are outside this edition.
Can I recite from the English letters?
The IAST line represents the Sanskrit sounds and is a reading aid. The English meaning explains the passage but is not the chant. Learn long vowels, anusvara, visarga and conjunct consonants gradually, ideally with a recitation teacher.
Why do names repeat or differ between books?
Repeated epithets belong to the received sequence. Editions can also differ in nasal spelling, sandhi, segmentation or an actual word reading. Keep repeats, use one edition consistently and compare differences in context rather than mixing lines at random.
Must I finish the hymn in a fixed number of minutes?
No duration is prescribed by this guide. Reading speed depends on familiarity and whether meanings and framing prayers are included. Study in groups if necessary; call it a complete recitation only when the complete intended sequence has been read.