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Mantra · Kalidasa's long-lined dandaka to Shyamala, the vina-playing Matangi

Shyamala Dandakam

माणिक्यवीणामुपलालयन्तीं मदालसां मञ्जुलवाग्विलासाम् । माहेन्द्रनीलद्युतिकोमलाङ्गीं मातङ्गकन्यां सततं स्मरामि ॥

Also known as Manikya Veenam

In Devanagari, Tamil, Telugu, Kannada, Malayalam and English — with the meaning of every word, and the one syllable most people pronounce wrongly.

What the Shyamala Dandakam is

The Shyamala Dandakam is a Sanskrit hymn to Shyamala, the dark daughter of the sage Matanga, and tradition gives it to the poet Kalidasa. It opens with four short meditation verses that set her before the eye: a ruby-studded vina in her hands, a body the colour of sapphire, a Kadamba grove for a home and a pet parrot for company. Then the metre changes. What follows is a dandaka, a long chain of compound epithets in the vocative, each ending in -e, that places her on a jewelled island in an ocean of nectar and then describes her from hair-knot to toenails. Gods bow until their crowns redden her feet, and Ganesha, the eight Bhairavas and the Matrikas attend her throne. The prose then turns to who worships her, Krishna and Brahma among them, and to the parrot, described down to the three coloured lines on its throat. It closes by naming her the soul of every mantra, yantra and holy seat.

The woodcutter locked in Kali's shrine

The text carries no account of its own composition; the story comes from folk tradition about Kalidasa. In one telling he began as an unlettered woodcutter. Courtiers of a proud princess coached him to pass as a scholar, and she married him. On discovering the deception she sent him to a temple of Kali. He shut himself inside, and when the Goddess returned he would not open the door until she made him wise. She granted it, and the Shyamala Dandakam is told as the first hymn he uttered. A quieter telling says only that the hymn was composed and recited when Kalidasa had a vision of Kali in the temple his wife had sent him to. Ujjain claims the place. Temple tradition at Gadhkalika, on the old fort site of the city, holds that Kalidasa worshipped there and first recited the hymn within its grounds, and the spot is honoured each year before the Kalidasa festival. Two points are worth keeping apart. The legend speaks of Kali, while the verses address Matangi, the daughter of Matanga; and the ascription to the author of the Meghaduta is traditional rather than proven. In the last century the hymn moved from the shrine to the concert stage, popularised in recording by D. K. Pattammal and set to a sequence of ragas by K. S. Kameswaran.

The mantra, in six scripts

DevanagariSanskrit & Hindiमाणिक्यवीणामुपलालयन्तीं मदालसां मञ्जुलवाग्विलासाम् । माहेन्द्रनीलद्युतिकोमलाङ्गीं मातङ्गकन्यां सततं स्मरामि ॥

Tamilமாணிக்யவீணாமுபலாலயந்தீம் மதாலஸாம் மஞ்ஜுலவாக்விலாஸாம் । மாஹேந்த்ரநீலத்யுதிகோமலாங்கீம் மாதங்ககந்யாம் ஸததம் ஸ்மராமி ॥

Teluguమాణిక్యవీణాముపలాలయన్తీం మదాలసాం మఞ్జులవాగ్విలాసామ్ । మాహేన్ద్రనీలద్యుతికోమలాఙ్గీం మాతఙ్గకన్యాం సతతం స్మరామి ॥

Kannadaಮಾಣಿಕ್ಯವೀಣಾಮುಪಲಾಲಯನ್ತೀಂ ಮದಾಲಸಾಂ ಮಞ್ಜುಲವಾಗ್ವಿಲಾಸಾಮ್ । ಮಾಹೇನ್ದ್ರನೀಲದ್ಯುತಿಕೋಮಲಾಙ್ಗೀಂ ಮಾತಙ್ಗಕನ್ಯಾಂ ಸತತಂ ಸ್ಮರಾಮಿ ॥

Malayalamമാണിക്യവീണാമുപലാലയന്തീം മദാലസാം മഞ്ജുലവാഗ്വിലാസാമ് । മാഹേന്ദ്രനീലദ്യുതികോമലാങ്ഗീം മാതങ്ഗകന്യാം സതതം സ്മരാമി ॥

EnglishRoman transliterationmāṇikyavīṇāmupalālayantīṃ madālasāṃ mañjulavāgvilāsām | māhendranīladyutikomalāṅgīṃ mātaṅgakanyāṃ satataṃ smarāmi ||

“I ever remember the daughter of Matanga, who fondly plays a vina set with rubies, languid with divine rapture, graceful in her charming speech, her tender body glowing like a deep-blue sapphire.”

माणिक्यवीणामुपलालयन्तीं: māṇikyavīṇāmupalālayantīṃ — fondly playing a ruby-set vina
मदालसां: madālasāṃ — languid with rapture
मञ्जुलवाग्विलासाम्: mañjulavāgvilāsām — graceful in charming speech
माहेन्द्रनीलद्युतिकोमलाङ्गीं: māhendranīladyutikomalāṅgīṃ — tender-limbed, glowing like sapphire
मातङ्गकन्यां: mātaṅgakanyāṃ — the daughter of Matanga
सततं: satataṃ — ever, always
स्मरामि: smarāmi — I remember

Shyamala Dandakam lyrics in full

The four meditation verses followed by the prose dandaka, in the reading of the 1886 Kavyamala edition.

All 28 verses, in Sanskrit, Tamil, Telugu, Kannada, Malayalam and English, each with its meaning. Choose a script:

Download the Shyamala Dandakam PDFAll 28 verses with their meanings, in Sanskrit. Free to print and keep.

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Dhyanam 1

माणिक्यवीणामुपलालयन्तीं मदालसां मञ्जुलवाग्विलासाम् ।
माहेन्द्रनीलद्युतिकोमलाङ्गीं मातङ्गकन्यां सततं स्मरामि ॥

I ever remember the daughter of Matanga, who fondly plays a vina set with rubies, languid with divine rapture, graceful in her charming speech, her tender body glowing like a deep-blue sapphire.

Dhyanam 2

चतुर्भुजे चन्द्रकलावतंसे कुचोन्नते कुङ्कुमरागशोणे ।
पुण्ड्रेक्षुपाशाङ्कुशपुष्पबाणहस्ते नमस्ते जगदेकमातः ॥

O four-armed one, crowned with the crescent moon, full-bosomed and red with saffron, holding the sugarcane bow, noose, goad and flower arrows in your hands: salutations to you, sole Mother of the world.

Dhyanam 3

माता मरकतश्यामा मातङ्गी मदशालिनी ।
कटाक्षयतु कल्याणी कदम्बवनवासिनी ॥

May the Mother, dark like an emerald, Matangi, radiant with rapture, the auspicious one who dwells in the Kadamba forest, look upon me with her side-glance of grace.

Dhyanam 4

जय मातङ्गतनये जय नीलोत्पलद्युते ।
जय सङ्गीतरसिके जय लीलाशुकप्रिये ॥

Victory to you, daughter of Matanga; victory to you whose lustre is that of the blue lotus; victory to you who delight in music; victory to you who love your pet parrot.

Dandakam 1

जय जननि सुधासमुद्रान्तरुद्यन्मणिद्वीपसंरूढबिल्वाटवीमध्यकल्पद्रुमाकल्पकादम्बकान्तारवासप्रिये कृत्तिवासःप्रिये सर्वलोकप्रिये ।

Victory to you, O Mother, who love to dwell in the Kadamba grove, splendid as wish-fulfilling trees, in the middle of the Bilva forest that grows on the jewelled island rising within the ocean of nectar; beloved of Shiva who wears the hide, beloved of all the worlds.

Dandakam 2

सादरारब्धसङ्गीतसम्भावनासम्भ्रमालोलनीपस्रगाबद्धचूलीसनाथत्रिके सानुमत्पुत्रिके ।
शेखरीभूतशीतांशुरेखामयूखावलीबद्धसुस्निग्धनीलालकश्रेणिशृङ्गारिते लोकसम्भाविते ।
कामलीलाधनुःसन्निभभ्रूलतापुष्पसन्दोहसन्देहकृल्लोचने वाक्सुधासेचने ।

O daughter of the Mountain, whose neck and shoulders are graced by the hair-knot tied with a Nipa garland that sways as you nod in eager appreciation of the music begun with devotion; adorned with glossy dark curls lit by the rays of the crescent moon on your head, honoured by the worlds; whose eyes seem like clusters of blossoms on the creepers of your brows, curved like the bow of Kama; you who sprinkle the nectar of speech.

Dandakam 3

चारुगोरोचनापङ्ककेलीललामाभिरामे सुरामे रमे ।
प्रोल्लसद्वालिकामौक्तिकश्रेणिकाचन्द्रिकामण्डलोद्भासिलावण्यगण्डस्थलन्यस्तकस्तूरिकापत्ररेखासमुद्भूतसौरभ्यसम्भ्रान्तभृङ्गाङ्गनागीतसान्द्रीभवन्मन्द्रतन्त्रीस्वरे सुस्वरे भास्वरे ।

O lovely one, beautiful with a playful mark of fragrant gorochana paste, most charming, O Rama; whose deep vina notes grow richer with the humming of bees drawn by the scent of the musk designs painted on cheeks that shine in the moonlight of the pearl rows on your ear ornaments; sweet-voiced and radiant one.

Dandakam 4

वल्लकीवादनप्रक्रियालोलतालीदलाबद्धताटङ्कभूषाविशेषान्विते सिद्धसम्मानिते ।
दिव्यहालामदोद्वेलहेलालसच्चक्षुरान्दोलनश्रीसमाक्षिप्तकर्णैकनीलोत्पले पूरिताशेषलोकाभिवाञ्छाफले श्रीफले ।

O you who wear special ear ornaments of rolled palm leaf that sway as you play the vina, honoured by the Siddhas; whose single blue lotus over the ear is outshone by the play of your eyes, brimming with the joy of the divine drink; you who fulfil the wishes of all the worlds and bestow prosperity.

Dandakam 5

स्वेदबिन्दूल्लसत्फाललावण्यनिष्यन्दसन्दोहसन्देहकृन्नासिकामौक्तिके सर्वविश्वात्मिके कालिके ।

O you whose nose-pearl looks like a drop of the beauty flowing from your forehead, which glistens with beads of perspiration; you who are the soul of the whole universe, O Kalika.

Dandakam 6

मुग्धमन्दस्मितोदारवक्त्रस्फुरत्पूगताम्बूलकर्पूरखण्डोत्करे ज्ञानमुद्राकरे सर्वसम्पत्करे पद्मभास्वत्करे ।

O you whose lovely face, gentle with an innocent smile, holds areca nut, betel leaf and bits of camphor; whose hand shows the gesture of knowledge; giver of every wealth, whose hand shines with a lotus.

Dandakam 7

कुन्दपुष्पद्युतिस्निग्धदन्तावलीनिर्मलालोलकल्लोलसम्मेलनस्मेरशोणाधरे चारुवीणाधरे पक्वबिम्बाधरे ॥

O you whose red lips smile as they meet the pure, rippling waves of light from your teeth, glossy and bright as jasmine flowers; bearer of the lovely vina, whose lips are like the ripe bimba fruit.

Dandakam 8

सुललितनवयौवनारम्भचन्द्रोदयोद्वेललावण्यदुग्धार्णवाविर्भवत्कम्बुबिब्बोकभृत्कन्धरे सत्कलामन्दिरे मन्थरे ।
दिव्यरत्नप्रभाबन्धुरच्छन्नहारादिभूषासमुद्योतमानानवद्यांशुशोभे शुभे ।
रत्नकेयूररश्मिच्छटापल्लवप्रोल्लसद्दोर्लताराजिते योगिभिः पूजिते ।
विश्वदिङ्मण्डलव्यापिमाणिक्यतेजःस्फुरत्कङ्कणालङ्कृते विभ्रमालङ्कृते साधकैः सत्कृते ।

O you whose neck has the grace of a conch born from the milk-ocean of beauty that swells at the moonrise of fresh youth; home of the fine arts, of unhurried gait. O auspicious one, whose flawless radiance shines with necklaces and ornaments set thick with celestial gems; resplendent with creeper-like arms lit by the rays of jewelled armlets, worshipped by yogis; adorned with bangles whose ruby light fills every direction, adorned with grace, honoured by spiritual aspirants.

Dandakam 9

वासरारम्भवेलासमुज्जृम्भमाणारविन्दप्रतिद्वन्द्विपाणिद्वये सन्ततोद्यद्दये अद्वये ।
दिव्यरत्नोर्मिकादीधितिस्तोमसन्ध्यायमानाङ्गुलीपल्लवोद्यन्नखेन्दुप्रभामण्डले सन्नताखण्डले चित्प्रभामण्डले प्रोल्लसत्कुण्डले ।

O you whose two hands rival lotuses opening at daybreak, ever full of compassion, the one without a second; whose moon-like nails glow on fingers reddened like twilight by the light of jewelled rings; to whom Indra bows, whose halo is pure consciousness, whose earrings shine.

Dandakam 10

तारकाराजिनीकाशहारावलिस्मेरचारुस्तनाभोगभारानमन्मध्यवल्लीवलिच्छेदवीचीसमुल्लाससन्दर्शिताकारसौन्दर्यरत्नाकरे वल्लकीभृत्करे किङ्करश्रीकरे ।
हेमकुम्भोपमोत्तुङ्गवक्षोजभारावनम्रे त्रिलोकावनम्रे ।
लसद्वृत्तगम्भीरनाभीसरस्तीरशैवालशङ्काकरश्यामरोमावलीभूषणे मञ्जुसम्भाषणे ।

O ocean of beauty, whose form is revealed by the waves of the three folds on your slender waist, bent under a full bosom gleaming with necklaces like rows of stars; who hold the vina, who give wealth to your servants. Bowed by the weight of a bosom like golden pots, to whom the three worlds bow; adorned with a fine dark line of hair that looks like moss at the edge of the deep round lake of your navel; sweet of speech.

Dandakam 11

चारुशिञ्जत्कटीसूत्रनिर्भर्त्सितानङ्गलीलाधनुःशिञ्जिनीडम्बरे दिव्यरत्नाम्बरे ।
पद्मरागोल्लसन्मेखलाभास्वरश्रोणिशोभाजितस्वर्णभूभृत्तले चन्द्रिकाशीतले ॥

O you whose sweetly tinkling girdle puts to shame the twang of Kama's bowstring, clothed in a garment of divine gems; whose hips, bright with a ruby-studded belt, surpass the slopes of the golden mountain; cool as moonlight.

Dandakam 12

विकसितनवकिंशुकाताम्रदिव्यांशुकच्छन्नचारूरुशोभापराभूतसिन्दूरशोणायमानेन्द्रमातङ्गहस्तार्गले वैभवानर्गले श्यामले ।
कोमलस्निग्धनीलोत्पलोत्पादितानङ्गतूणीरशङ्काकरोदारजङ्घालते चारुलीलागते ।
नम्रदिक्पालसीमन्तिनीकुन्तलस्निग्धनीलप्रभापुञ्जसञ्जातदूर्वाङ्कुराशङ्कसारङ्गसंयोगरिङ्खन्नखेन्दूज्ज्वले प्रोज्ज्वले निर्मले ।

O Shyamala of boundless glory, the beauty of whose thighs, clad in divine silk coppery as fresh kimshuka flowers, defeats the trunk of Indra's elephant reddened with vermilion; whose shapely calves look like Kama's quivers made of soft blue lotuses, who move with lovely grace; bright with moon-like toenails that seem to hold a grazing deer, as the dark gleam of the hair of the Guardians' wives bowing at your feet looks like tender durva grass; brilliant and pure one.

Dandakam 13

प्रह्वदेवेशलक्ष्मीशभूतेशतोयेशवाणीशकीनाशदैत्येशयक्षेशवाय्वग्निकोटीरमाणिक्यसङ्घृष्टबालातपोद्दामलाक्षारसारुण्यतारुण्यलक्ष्मीगृहीताङ्घ्रिपद्मे सुपद्मे उमे ॥

O Uma, holder of the fair lotus, whose lotus feet take on the youthful glow of red lac, bright as the morning sun, from being rubbed by the crown jewels of Indra, Vishnu, Shiva, Varuna, Brahma, Yama, the lord of the demons, Kubera, Vayu and Agni as they bow before you.

Dandakam 14

सुरुचिरनवरत्नपीठस्थिते सुस्थिते ।
रत्नपद्मासने रत्नसिंहासने शङ्खपद्मद्वयोपाश्रिते ।
तत्र विघ्नेशदुर्गावटुक्षेत्रपालैर्युते ।
मत्तमातङ्गकन्यासमूहान्विते मञ्जुलामेनकाद्यङ्गनामानिते भैरवैरष्टभिर्वेष्टिते ।
देवि वामादिभिः शक्तिभिः सेविते ।

O you who are firmly seated on a beautiful platform of nine gems, on a jewelled lotus seat and jewelled lion throne, attended by the two treasures Shankha and Padma; there joined by Ganesha, Durga, Batuka and the Kshetrapalas; surrounded by a band of rapt Matanga maidens, honoured by Manjula, Menaka and other celestial women, encircled by the eight Bhairavas; O Goddess served by Vama and the other Shaktis.

Dandakam 15

धात्रिलक्ष्म्यादिशक्त्यष्टकैः संयुते ।
मातृकामण्डलैर्मण्डिते ।
यक्षगन्धर्वसिद्धाङ्गनामण्डलैरर्चिते ।
पञ्चबाणात्मिके ।
पञ्चबाणेन रत्या च सम्भाविते ।
प्रीतिभाजा वसन्तेन चानन्दिते ।

O Sustainer, accompanied by the eight Shaktis beginning with Lakshmi; adorned by the circles of the Mother goddesses; worshipped by the companies of Yaksha, Gandharva and Siddha women; you who are one with Kama of the five arrows; honoured by Kama and Rati, and delighted by Spring, who is dear to them.

Dandakam 16

भक्तिभाजां परं श्रेयसे कल्पसे ।
योगिनां मानसे द्योतसे ।
छन्दसामोजसा भ्राजसे ।

You bring the highest good to those who are devoted; you shine in the minds of yogis; you blaze with the power of the Vedic hymns.

Dandakam 17

गीतविद्याविनोदातितृष्णेन कृष्णेन सम्पूज्यसे ।
भक्तिमच्चेतसा वेधसा स्तूयसे ।
विश्वहृद्येन वाद्येन विद्याधरैर्गीयसे ॥

You are worshipped by Krishna, who thirsts for the delight of music; you are praised by Brahma with a devoted heart; you are sung by the Vidyadharas with instruments that charm the whole world.

Dandakam 18

श्रवणहरणदक्षिणक्वाणया वीणया किन्नरैर्गीयसे ।

You are sung by the Kinnaras on vinas whose notes are skilled at captivating the ear.

Dandakam 19

यक्षगन्धर्वसिद्धाङ्गनामण्डलैरर्च्यसे ।
सर्वसौभाग्यवाञ्छावतीभिर्वधूभिः सुराणां समाराध्यसे ।

You are worshipped by the companies of Yaksha, Gandharva and Siddha women; you are propitiated by the wives of the gods, who long for every good fortune.

Dandakam 20

सर्वविद्याविशेषात्मकं चाटुगाथासमुच्चारणं कण्ठमूलोल्लसद्वर्णराजित्रयं कोमलश्यामलोदारपक्षद्वयं तुण्डशोभातिदूरीभवत्किंशुकं तं शुकं लालयन्ती परिक्रीडसे ।

You play, fondling that parrot who embodies every branch of learning, who recites pleasing verses, who has three bright coloured lines at the base of his throat, a pair of soft, fine dark-green wings, and a beak whose beauty leaves the kimshuka flower far behind.

Dandakam 21

पाणिपद्मद्वयेनाक्षमालामपि स्फाटिकीं ज्ञानसारात्मकं पुस्तकं चाङ्कुशं पाशमाबिभ्रती येन सञ्चिन्त्यसे तस्य वक्त्रान्तरात् गद्यपद्यात्मिका भारती निस्सरेत् ।

The verse says that from the mouth of the one who meditates on you holding, in your lotus hands, a crystal rosary, a book that is the essence of knowledge, a goad and a noose, speech in prose and verse will pour forth.

Dandakam 22

येन वा यावकाभाकृतिर्भाव्यसे तस्य वश्या भवन्ति स्त्रियः पूरुषाः ।
येन वा शातकुम्भद्युतिर्भाव्यसे सोऽपि लक्ष्मीसहस्रैः परिक्रीडते ।
किं न सिद्ध्येद्वपुः श्यामलं कोमलं चन्द्रचूडान्वितं तावकं ध्यायतः ।

The verse says that whoever contemplates you as red like lac draws women and men under his sway; whoever contemplates you as golden enjoys a thousand kinds of wealth. What would not be achieved by one who meditates on your dark, tender form crowned with the moon?

Dandakam 23

तस्य लीलासरो वारिधिः तस्य केलीवनं नन्दनं तस्य भद्रासनं भूतलं तस्य गीर्देवता किङ्करी तस्य चाज्ञाकरी श्रीः स्वयम् ।

For such a one, the verse says, the ocean is a pleasure lake, Indra's Nandana garden a play-grove, the whole earth a royal seat, the goddess of speech a servant, and Lakshmi herself one who carries out his commands.

Dandakam 24

सर्वतीर्थात्मिके सर्वमन्त्रात्मिके सर्वतन्त्रात्मिके सर्वयन्त्रात्मिके सर्वशक्त्यात्मिके सर्वपीठात्मिके सर्वतत्त्वात्मिके सर्वविद्यात्मिके सर्वयोगात्मिके सर्वनादात्मिके सर्वशब्दात्मिके सर्वविश्वात्मिके सर्वदीक्षात्मिके सर्वसर्वात्मिके सर्वगे ।
पाहि मां पाहि मां पाहि मां ।
देवि तुभ्यं नमो देवि तुभ्यं नमो देवि तुभ्यं नमः ॥

O you who are the soul of every sacred place, every mantra, every tantra, every yantra, every power, every holy seat, every principle, every science, every yoga, every sound, every word, the whole universe and every initiation, the self of all, present everywhere: protect me, protect me, protect me. O Goddess, salutations to you, salutations to you, salutations to you.

The syllable people get wrong

In the first prose line, kṛttivāsaḥpriye ('beloved of Shiva, who wears the hide') keeps its visarga: say krit-ti-VAA-sah-pri-ye, with a light breathed h after vāsa, rather than running it together as 'krittivaasa-priye'. The visarga marks a separate word, kṛttivāsas, the name of Shiva, and dropping it blurs the epithet.

When the Shyamala Dandakam is chanted

Weekday. Friday

Festival. Shyamala Navaratri, the Magha Gupta Navaratri

Questions

Danda means a staff, and a dandaka is the Sanskrit metre whose lines run past 26 syllables, so long that they sound like prose. Pingala's rule has each line begin with two na-ganas, six short syllables, and continue in ra-ganas, a long-short-long beat. The first prose line, jaya janani sudhasamudrantarudyan..., opens on exactly six short syllables before the beat starts. Line lengths are not equal, and the form suits singing more than plain recitation.

The verses address Matangi, called Matanga-kanya and Matanga-tanaya, the daughter of Matanga, and Shyamala, the dark one. The prose also calls her Kalika, Uma and the daughter of the Mountain, so the hymn treats these as one Goddess. Kali enters through the legend of Kalidasa's enlightenment in her temple. In Sri Vidya, Shyamala is the Mantrini, minister of Lalita, which is why the throne scene surrounds her with a full court.

The phala lines come near the end, before the closing list of names. The verse says that whoever pictures her holding a crystal rosary, a book, a goad and a noose will pour out speech in prose and verse. It adds that contemplating her as red like lac brings people under that person's sway, and as golden brings wealth. It then says the ocean becomes their pleasure lake and Lakshmi herself carries out their commands.

Two families of the text circulate. The Kavyamala anthology of 1886 prints a shorter reading; many later prints add epithets such as shyamale, nirmale, shrikare and vishrute, and lengthen the closing list. The Kavyamala also has only two meditation verses before the prose and gives Mata marakata-shyama as a closing verse, while most chanting books place all four at the start. The added words are further epithets of the same Goddess.

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