॥ श्रीरामरक्षास्तोत्रम्‌ ॥ - Shri Ram Raksha Stotram

॥ श्रीरामरक्षास्तोत्रम्‌ ॥

श्रीगणेशायनम: ।

अस्य श्रीरामरक्षास्तोत्रमन्त्रस्य ।

बुधकौशिक ऋषि: ।

श्रीसीतारामचंद्रोदेवता ।

अनुष्टुप्‌ छन्द: । सीता शक्ति: ।

श्रीमद्‌हनुमान्‌ कीलकम्‌ ।

श्रीसीतारामचंद्रप्रीत्यर्थे जपे विनियोग: ॥

|| Shri Ram Raksha Stotram ||

Shri Ganeshaaya Namaha |
Asya Shri Rama Raksha stotra mantrasya |
Budha Koushika Rushi-hi |
Shri Seeta Ramachandro devataa |
Anushtup Chanda-ha | Seeta shakti-hi |
Srimad Hanumaan-a Keelakam-m |
Shri Seeta Ramachandro preetyarte jape viniyoga-ha ||

||8|| - ॥८॥

सुग्रीवेश: कटी पातु सक्थिनी हनुमत्प्रभु: ।

ऊरू रघुत्तम: पातु रक्ष:कुलविनाशकृत्‌ ॥८॥


Sugreevasha katee paathu sakthinee Hanumath-prabhu-h |
Uruu Raghuththama-h paathu raksha-h kula vinaasha-kruth ||8||

Anushtup Chanda

Sri Budha Kousika Rishi has written the Sri Ram Raksha Stotra in the Anushtup Chanda, or the Anushtup metre. The great sage-poet, Valmiki, had also composed the Ramayana in the same metre, the Anushtup Chanda. This much is known, for it is said so, at the beginning of the stotra – Sri Sitaramachandro Devata | Anushtup Chanda | Seeta Shakti | Srimad Hanumana Keelakam | - The deity of this stotra is Sri Ram, the metre is Anushtup, the power of the stotra is from Sita, and Sri Hanuman is the lynchpin (nail) that keeps the verses and the entire stotra together and gives it the magnificence of devotion that only he can.

We will not discuss or argue the timeline or the possible time-period of the Ramayana. What is most certainly known, without argument, is that the great sage-poet, Valmiki, wrote the Ramayana in the Anushtup Chanda, or metre. He is credited with the discovery of the verse-metre that was named ‘Anushtup’. He wrote the Ramayana in verse-form through nearly 24,000 verses, divided amongst seven books that are recognized as Kaandas. To illustrate the use of a specific metre, through an entire stotra, is the Gayatri Chanda, or metre, for the Gayatri Mantra, composed by Brahmarishi Vishwamitra. Later, Veda Vyasa included the mantra in the Vedas.

There are other authors and poets who have written the Ramayana in variant versions, including those that are written in other countries of South and South-East Asia. Some of these variant metres have the entire Ramayana beginning and concluding within those nations, without any trace or hint that the story could have taken place in India. The diversity can be discussed by a million other webpages, blogs, network groups and experts.

The great variants in India of the Ramayana by the Eleventh Century Tamil Poet, Kamban, and by the Sixteenth Century Hindi-Hindustani Poet, Tulsidas, through his Ramacharitamanas, have been recognized as distinctly different depictions.

The story of Valmiki discovering the Anushtup Chanda metre of poetry is in itself extremely fascinating, especially because of the romanticisation of the love of the Krauncha birds and their subsequent sorrow. The death of one of the birds caused the sage, Valmiki, to exclaim in verse, that he later realized was in a proper metre, and was accepted and recognized as the Anushtup.

The verses in Anushtup metre were grouped into chapters that were termed as Sarga, that were later compiled within a Kaanda. Interestingly, the word Kaanda, is usually meant to depict the internode point of sugarcane, and in ancient Sanskrit, was used to depict an interlude within a story. Valmiki’s Ramayana, now recognized as the Srimad Valmiki Ramayan, is organized into six Kaandas or Books. There is a seventh Kaanda, and its inclusion is a different story and a different argument elsewhere.

The Anushtup metre is comprised of 32 syllables in one verse. Each sloka, or a para within the poem, is usually comprised of four lines, and sometimes more. Uniquely, the sage-poet, Valmiki, seemed to have confirmed to most of the rules of Sanskrit Grammer, that must have been defined much later. The Ram Raksha Stotra is also similarly constructed, in precise Anushtup metre, with 32 syllables in four lines of the verse.

Sri Budha Kousika Rishi, as did Valmiki, did not stray from the rules that would later be written to depict the system governing the structural and functional relationships of the verse, following its earlier verse, and subsequently leading to the compilation of the entire Sri Ram Raksha Stotra. There is extremely complex interplay of word components, mostly of course, with the word ‘Ram’, which is to be expected. There is also complex organization of the morphology and syntax of the series of words within each metre.

It would be obvious to those who have memorized the Sri Ram Raksha Stotra, and those who are able to recite the entire Stotra in loud chanting, with rhythm, that the phonology of the verse following verse, is very simple, once you have been able to internalize the entire series. This simplicity of the phonology of the Stotra, in juxtaposition to the complex nature of its morphology, is what makes the Sri Ram Raksha Stotra so very amazing, and makes one respect the genius of these great sage-poets, such as Valmiki and Budha Kousika Rishi.

Panini’s Ashtadhyayi, the most definitive treatise on Sanskrit Grammar, was also composed or written, possibly after Valmiki would have written the Ramayana. Did Sanskrit Grammar get defined because of the Ramayana of Valmiki? It would be interesting to determine, and more interesting to be proved wrong. A lesser-known fact to those who are not familiar with Sanskrit Grammar is that Panini’s definitive Ashtadhyayi was also written in the sloka format, and was completed in a precise 1000 slokas. Compare this to the Ramayana, in 24,000 verses.

Sanskrit grammar explains and defines the Sandhi, the rules and context and variations of combinations of two words, such as Surya (= Sun) + Udhayam (= Sunrise) = Suryodham. There could be many variants in combining two words. Similarly, there could be variants of vibhakti or declensions, in the combination of two words. A declension is when a noun changes its form when it changes its number or its case. This can also be similarly noticed in the conjugation of verbs. These are however, finite.

In contrast, there are other variants, where avyayas or indeclinables are used. This is particularly noticed when words that refuse to merge with each other, are brought together. Thus, there could be combinations of using vibhakti and avyaya within the same line of a verse. This is where it gets complex, when one has to compose in the Anushtup chanda. How do you use the same word, for e.g., Ram, because the verse is in devotion to Sri Ram, and evoke diverse aspects of bhakti (= sublime devotion), and yet use only 32 syllables and not deviate from the metre?

This is the genius of Budha Kousika Rishi in the Sri Ram Raksha Stotra. For centuries, devotees of Ram, be they Hindus, or from any other religion, have been reciting the Stotra. Those who have memorized the Stotra, and those who chant it out loud, and those who teach the words to younger generations, have fallen in love again and again with the words and the images that they invoke. This magic has been made possible by the awesome interplay of rules of grammar within the Anushtup Chanda.

The final verse, when written, is recognized by the foremost of Sanksrit grammarians, as achievement of rupasiddhi (= attainment of form). Authoritative Sanskrit grammar texts recognize the achievement of Sri Budha Kousika Rishi, in writing the Sri Ram Raksha Stotra, as the depiction of his mastery of Sanskrit grammar. They accept that the complex structure of the 32 syllables in Anushtup metre, helps the devotee to memorise the complicated vibhakti forms, and the common bhakta does not need to learn Sanskrit grammar to internalize the stotra.

This is especially true in the most amazing verse of the Sri Ram Raksha Stotra, and can be the most illustrative example of the completeness of the 32-syllable structure of each verse through the magic of Sri Budha Kousika Rishi in Anushtup Chanda. This verse has been made an example to depict the magic and excellence of the Stotra in texts that explain Sanskrit grammar.

Ramo rajamanih sada vijayate,

Ramam ramesam bhaje, |

Ramenabhihata nisacaracam,

Ramaya tasmai namah ||

I would also propose the following verse-line to present the magic of Sri Budha Kousika Rishi. The padama (first), dwitiya (second), tritiya (third) and chatushpaada (fourth) lines depict awesome word play that could not be more beautiful, more evocative and more sublime.

Rama rame rameti,

rame rame manorame |

Sahasra naama tatulyam,

rama naama varanane ||

Can there be any other verse that can be better? Sri Budha Kousika Rishi, ascribes these two lines to Shiva, in explaining to Parvati, that he, himself (= varanane), recites the words, ‘Rama, Rama, Rama’ within his mind, and the recitation delights him (= manorame), and that, he takes pleasure in visiting the places where Rama has been (= rameti). For, as Shiva explains, the recitation of the word ‘Rama’ is equal to the recitation of the word ‘Vishnu’, for a thousand times (= sahasra).

All our modern-day software programmers may put their minds together, and discover and invent the best algorithms, and develop a method of writing in the 32-syllable Anushtup metre of verse. This may be possible in the world of the future. However, nobody will be able to write more sublimely, to establish the best of devotion, as has been written by Sri Budha Kousika Rishi, in Anushtup chanda, when he writes these two verse-lines, and yet, be extremely evocative. They are presented in variant contexts in the Stotra.

Rameti ramabadreti,

ramachandreti va smarana |

Naro na lipyate paapai,

bhuktim muktim cha vindate ||

The one who will constantly recite the words – Ram, Ramchandra or Ramabhadra will never be trapped in sinly acts. That person will always enjoy happiness and will acquire enlightenment (= moksha, mukti).

At Rama’s paadukas 

- Dr. Bharat Bhushan 

Email - bharatbhushan@yahoo.com 

28 October 2010 

Shiva, Parvati and Rama

Sri Budha Kousika Rishi presents the source of the Sri Ram Raksha Stotra, and reaffirms – Adhishtavaana yathaa swapne, - As told earlier (= Aadhi), in his dreams, - Ramarakshaam mimaam hara, - Shiva (= Hara), recounted the Sri Ram Raksha Stotra, and, - Tatha likhita vaana prathahaa – was written as told, exactly, by the sage, in the early dawn (= prathahaa), - prabhudhdho budha kousika – in homage to the lord, by Budha Kousika.

It is thus written that Sri Budha Kousika Rishi dreamt of Shiva reciting the entire series of verses, and later, at dawn, the sage wrote the entire Sri Ram Raksha Stotra. Why would Shiva recite the stotra to present aspects of Ram that would help people seek succour and support in times of distress? What were the aspects of Ram that Shiva needed to inform people about that were not already specified in the Ramayana?

The beginning is, of course, at the beginning. Shiva, Vishnu and Brahma are the trinity. Different Puranas present the importance, sequence and relevance of the three deities in different ways. The Shiva Purana depicts Shiva as foremost, and similarly, the Vishnu Purana presents Vishnu as the earliest. Once we are past the beginning of the beginning, the unity of Hari and Hara is depicted through various stories in several Puranas and Itihaasas, including the Ramayana, Mahabharata and Skanda Purana, among others. The aspect of Ardhanaarishwara, the half-man and half-woman, when Shiva and Shakti came together to present themselves as one individual, is most certainly an entirely fascinating story, but is to be retold elsewhere.

Later, i.e., after the beginning, is the Adhyaatma Ramayana, supposed to have been composed through the manner of telling the story of Rama by Shiva to Parvati. The recounting is datelined to be hundreds or thousands of years before the Valmiki Ramayana. The story of composing the Adhyaatma Ramayana needs to be told here, in brief, to help us understand the clear visualization that Shiva developed about Rama. At one point, Shiva says that there cannot be Hari without Hara, or Maheshwara.

Later, after the recounting of the story, it is said that Parvati was extremely enamoured with the characters of Rama, Sita and Hanuman, and she desired that Shiva would cause for the events to happen. She also wished that the story be written in specific verse, while the characters would be alive. Thereby, does Shiva recount the story to the wandering sage Narada and cause him to meet the sage-poet Valmiki and create the situation for the Ramayana to be known, through his pen, through the Anushtup Chanda, the 32-syllable metre.

We will not explore the various schools of thought that would believe or disbelieve, ascribe or not allow it to be accepted that Shiva conjured up the story, through the Adhyaatma Ramayana, and then caused for the tale to actually take place. This is indeed fascinating, extremely fascinating. But, it does help us understand that it could only have been someone as complex as Shiva, who could bring together the tremendous aspects of Rama, and cause it to be written, through the Sri Ram Raksha Stotra.

The Bhaktamala, and the Bhakti Premakara, are illustrations of Shiva’s bhakti, devotion, to Rama. There is a situation during the actual course of events of the Ramayana, when Rama is in exile, with Sita and Lakshmana that needs to be discussed here in perspective of the triangulation of Shiva, Parvati and Rama. Some stories ascribe the triangulation to begin with Sati, while some ascribe it to Parvati.

Sati or Parvati, has this niggling doubt, ascribed by the Bhaktamala, to almost sacrilege, for she dared to doubt the actuality and purpose of the Rama Avatara, or, perhaps, that she could have been in delusion. The Bhaktamala supposes Shiva’s consort, during these interactions, to be Sati, and therefore, much earlier than Parvati. Let others debate it.

She wondered about the aspect that, if Rama was indeed an Avatar of Vishnu, and was all that was supreme in the Universe, why would he accept his father’s orders, and go ahead to live out fourteen years in exile in the forests? Shiva warned Sati to avoid deliberating such thoughts, but then, that gave rise to rebellion. Sati left Kailasa to test Rama by herself, to determine, if indeed he was the supreme manu, as Shiva accepted him to be, and drowned himself in devotion, reciting ‘Rama, Rama, Rama’.

Shiva cautioned Sati against testing Rama and the aspects of his divinity. Sati went ahead to the forest where Rama was in exile, and took upon herself the appearance of Sita. For Rama, however, the aspect of Sati or Parvati, as Shiva’s consort, was very obvious, and he could recognize her. He did not speak to her, and Sati, disappointed, returned to Kailasa. Shiva is described as a saddened spouse, in the fact that Sati did not believe him about the divinity of Rama, and the aspect of him being absolute supreme.

It is said, that in modern day Kangra, ages ago, Shiva and Parvati, traveled through, seated on Nandi, their great white bull, their vaahana. At one particular location, Shiva alighted and presented his prayers. On being questioned by Parvati, he said that this was a place where there dwelt a bhakta, devotee, of Rama, and there would be none other like him for another 10,000 years. And since, Parvati’s appreciation of the bhaktas of Rama has always increased.

Much later, Shiva explains to Parvati the tremendous scope of the divinity of Rama. Tulsidas writes that, in similar manner of that of Sri Krishna declaring that he would always descend to save the world from disaster, so does Shiva explain the responsibility of Rama in saving his bhaktas and destroying evil. Tulsidas writes, in the Ramcharitmanas, through these amazing lines in verse –

Hari guna naam apara,

Katharupa aganita amita,

Main nija mati anusara,

Kahaum Uma sadara sunahu.

Shiva explains to Parvati, that the names of Rama (= Hari) are without number, and the stories and avatars or manifestations cannot be counted. Shiva says that he would try, to the best of his ability, to tell the story of Rama, to Parvati, or Uma. And, he requests her to listen, with respect to the divinity. It is believed that this emphasis to Parvati, asking her to pay attention to the narration with respect, is to ensure that Sati’s mistake in doubting Rama is not to be repeated. These micr0-nuances are amazing.

There is the paradox of the devotion of Rama or Vishnu to Shiva that is also most delightful and tremendous in its depiction at various moments of the Ramayana. Who can ever forget the moment when Rama offers prayers to the Shiva Linga, at Rameswaram, prior to construction of the pathway across the sea to Lanka? The place is now recognized as one of the twelve jyotirlingas of Shiva.

Once, Narada approaches Vishnu, and requests his guidance to ward off a curse that had been placed on the mendicant-sage. Vishnu advises Narada to meditate upon Shiva and is thus written –

  

Japau Jai Sankara Sata Nama

Hoyhi Hridayam Turata Bisrama

“Recite through chanting, the hundred names of Sankara, or Shiva, and obtain bliss in your mind.”

Narada questions, as to why would Vishnu want him to chant Shiva’s name, and is advised that there is none dearer to Vishnu, than Shiva. Vishnu also emphasizes that he will not bless the one who is not blessed by Shiva. Tulsidas explains this significantly in the Ramacharitamanas –

Siva seva kara phala suta soi,

Abirala bhagati Rama pada hoi.

“Only those who pray or serve Shiva will have answers to their prayers to Rama. Further, since Rama himself is extremely devoted to Shiva, there is no need to explain further.”

The Ram Raksha Stotra has, in various verses, presented the devotion of Shiva to Rama, and of his understanding that reciting the word of ‘Rama’ is equal to several recitations of the different words of ‘Narayana’ or ‘Vishnu’.

There is another fascinating story of the manner in which the Ramayana was retold, and once again, Parvati questioned this aspect. Shiva informs Parvati that the Sage Kakabhushundi, also told the story of Ramayana to Vishnu’s vaahana, Garuda. The sage had the body of a crow, and therefore, his name, ‘Kakabhushundi’. Parvati wondered about the fact that Garuda was extremely close to Vishnu, and was also an erudite scholar. Why did Garuda not know of the Ramayana from Vishnu?

Cursed by Shiva, the sage Kakabhushundi explained to Garuda that he could escape the damages by reciting the name of Rama, and that he had lived through twenty-seven kalpas, time-eras, chanting the name of Rama.

Shiva, as told to Budha Kousika Rishi, affirms that Rama is very dear to him, and more. Ram is his mother (Maata Ramo), maternal grandfather (Matpita), deity (Swami Ramo) and friend (Mats). He says that he is all forgiving (Sarvasvam, Dayalu), and he (Shiva) does not recognize any other deity or being, and has never done so, at any moment (Rnaanyam jaane, naiva jaane na jaane).

At Rama’s paadukas 

- Dr. Bharat Bhushan 

Email - bharatbhushan@yahoo.com 

29 October 2010

Keelakam

The sage-poet Sri Budha Kousika Rishi writes in the introductory prelude (‘aadhyaay’) about the aspect of the Sri Rama Raksha Stotra. As discussed separately, he says that this is the Sri Rama Raksha Stotra in the form of a mantra (Asya Sri Rama Raksha Stotra Mantrasya), written by him, Budha Kousika Rishi, wherein the deity of the stotra is Shri Sitaram, i.e., Sita’s Ram (Sri Sitaramachandro Devata).

The stotra is, as explained by the sage-poet, written in the Anushtup Chanda, and the power to the stotra is derived from Sita (Sita Shaktihi), and that venerable Sri Hanuman is the crucial fulcrum in the form of the linchpin that holds the cartwheel (Srimad Hanuman Keelakam).

The linchpin is the very important and strategic large nail that holds the cartwheel in place on the central axle of a vehicle. It requires extraordinary strength, and one has to have absolute faith in its ability to provide the support for the journey. One knows that the linchpin will not betray the vehicle. The Sri Ram Raksha Stotra is your vehicle on your journey to Rama. The sage-poet recognizes Srimad Hanuman as the fulcrum who would give you the absolutely reliable strength in the journey.

The recognition of the status of the Keelakam is found in most mantras and stotras. Some naamavalis also include the recognition of a deity or an aspect as the Keelakam of the prayer. The mantra, or stotra, or other forms of prayer are accepted as different types of expressing or enabling devotion within oneself, i.e., dhyaan. Informing the devotee that the fulcrum is from a specific deity or aspect usually strengthens the dhyaan slokas and mantras.

There are other complex prayers that are known to be crucial in seeking the blessings of deities with multivariate aspects. The entire prayer in such examples are classified as ‘Keelakam’ and are to be recited with the status thus provided – Devi Keelakam, Keelakam Stotram or the Vishnu Sahasranaama Keelakam.

The prayer to Devi, the ‘Durga Saptasati’ is one of the most complex dhyaana stotras, comprising nearly 700 slokas. The entire sequence is made of different ‘chapters’, if one may term them as such. However, all the chapters comprising the entire range of 700 slokas are hinged on the earlier Keelakam Sloka, being the fulcrum. The Durga Saptasati has a verse that is very commonly recited by most devotees in prayer, to Devi, but rarely does anyone place it in the sequence of the 700 slokas.

Sarva mangala mangalye,

Sive sarvaartha saadike,

Sharanye tryambake Gowri,

Narayani namosthuthe

The Kavacham (= Armour) Sloka, and the Araghala Stotram precede the Keelakam Sloka of the Durga Saptasati. Thirteen chapters follow the Keelakam Sloka, and the devotee is usually advised to recite the verses over an entire week. The Katyayani classification of the Durga Saptasati documents the structure of the 700 slokas.

The aspect of Srimad Hanuman as the Keelakam of the Sri Rama Raksha Stotra is almost mentioned as if in passing. But, the role of the fulcrum, being Hanuman, is depicted in perfection. Who could have been more appropriate than Hanuman when any devotee seeks out the blessings of Ram?

When one crosses over from the stotra to the aspects of tantra or mantra, the position of the Keelakam is extremely specific and elaborate. The Keelakam is not mentioned merely in passing, but placed in the sequence of prayer, with deliberate instructions to the devotee. This is true of the Sri Sri Chandi.

The Keelakam in the prayers and recitation of the Sri Sri Chandi, follows the (a) Devi Suktam, (b) Kavacham, and (c) Araghala Stotram, similar to the Durga Saptasati. The Keelakam is followed by the (d) Ratri Suktam, (e) Devi Mahatmya, (f) Phala Sruti and, (g) Kshama Prarthana. Rishi Markandeya has recited the Keelakam in sixteen slokas in this prayer.

All great mantras or stotras are recognized within two different purposes – (a) Loukika mantra, and (b) Moksha mantra. The Loukika mantra is composed to help the devotee to seek blessings from the deity to fulfill desires, while the Moksha mantra is meant to seek blessings to always be with God. Some prayers are intertwined with both purposes. Thus, when the great Dehu-Alandi-Pandharpur Waari takes place to coincide with Ashaad Ekadashi, and nearly 1.4 million devotees walk for more than 250 kms, they seek only one blessing, to be at one with Panduranga.

The great bhakti saints of Maharashtra helped the millions of devotees over the past four hundred years and more to reach ‘moksha’ with Panduranga, by merely reciting the very simple prayer of “Om Rama Krishna Hari”. The saints, Tukaram and Jnaneshwar, simplified the journey by clarifying that the devotee need not remember or recite complex mantras, stotras or prayers, or seek sanctuary from witch-craft or from spiritual con artists. They taught that the fulcrum or Keelakam of the prayers of the devotees is in just being at one with Panduranga and by repeatedly reciting ‘Om Rama Krishna Hari’.

In the Sri Rama Raksha Stotra, the sage-poet Sri Budha Kousika Rishi specifies the framework by explaining in proper sequence, as it should be. Most stotras and mantras are composed in the sequence of – (a) Rishi = naming the author, e.g. Sri Budha Kousika Rishi, (b) Chanda = specifying the metre of the verse, e.g. Anushtup Chanda, (c) Devatha = identifying the deity, e.g. Sita’s Ramachandra, (d) Shakti = explaining the source of strength to the stotra, e.g. Sita, and (e) Keelakam = locating the fulcrum or linchpin, e.g. Hanuman.

The sequence varies in some mantras or stotras, where the Beejam (= seed) is also identified. In such prayers, the sequence is – Rishi – Chanda – Devatha – Beejam – Keelakam – Shakti.

In the Sri Rama Raksha Stotra, the deity is Sri Rama, and is established as the adishtana devatha, meaning that Sri Rama has been positioned with deliberate thought and purpose. Shiva has placed Sri Rama at the foremost prominence of the stotra, and therefore, Sri Rama as the deity, is given the aadhi (= foremost) sthaan (= place).

There are other prayers to Sri Rama, as presented by the traveling deity-saint Narada. These are the Rama Sadakshari and the Rama Dasakshari. The Keelakam is not specified in these prayers. This is the reason for the prominence and reverence given over thousands of years to the Sri Rama Raksha Stotra.

For, how can the devotee dare to step around Hanuman, the parama bhakt of Sri Rama? How can the devotee assume that one can succeed where even Bhima could not?

The reverse is also supreme. Shiva explained the Sri Rama Raksha Stotram to Sri Budha Kousika Rishi and the deity has placed Sri Rama as the Keelakam. The roles are reversed in the Shiva Kavacham as presented in the Skanda Purana. The rishi Rishabha Deva taught the Shiva Kavacham to Bhadraayu.

Asya Shiva Kavacha Stotra Mahamantrasya

Brahma Rishi, Anushtup Chanda,

Sri Sada Shivo Rudro Devatha, Hreem Shakti,

Ram Keelakam, Sreem, Hreem, Kleem Bheejam,

Sri Sada Shivapreetyarthe,

Shiva Kavacha Stotra Jape Viniyogaha

The Shiva Kavacham presents the sequence of – (a) Rishi = Brahma, (b) Chanda = Anushtup, (c) Devatha = Sada Shiva Rudra, (d) Shakti = Hreem, (e) Keelakam = Rama, (f) Bheejam = Sreem, Hreem, Kleem. There is another version, wherein the Rishi is Rishabha Yogeeshwara Rishi, Bheejam is ‘Om’, and Keelakam is ‘Shiva’.

The Sri Hanuman Kavacham Stotram is also yet another example of the dialogue between Shiva and Parvati. Upon an enquiry by Parvati – How can people be protected from sorrow? Kena raksha bhaved dhruvam? From fear of the dead, the fire of the funeral pyre and sorrow? Dukha davagni santhaptha…

Shiva recites, in response, the guidance provided by Rama to Vibheeshana, and specifies that the reciting of the Sri Hanuman Kavacham Stotram would be the only pathway to seek strength and support in times of distress from sorrows that cannot be reversed.

Om Asya Sri Hanuman Kavacha Stotra Maha Mantrasya, 

Sri Ramachandra Rishi, 

Sri Hanuman Parmarthma Devatha, 

Anushtup Chanda, 

Maruthaatmaja Ithi Bheeja Anjanaa Soorithi Sakthi, 

Lakshmana Prana Ithi Keelakam…

The Keelakam in this stotra is the aspect of giving life to Lakshmana by Hanuman, and the recitation of the Sri Hanuman Kavaca Stotram is to give encouragement and courage to the devotee under duress or sorrow, sometimes due to the loss of a close relative, or the extended distress due to illness.

It is usually advised that the devotee may also direct one’s prayers to the Keelakam designated in the stotra with the same reverence that may be indicated to the Adhishtana Devatha. The deity cannot be ‘unlocked’ without the correct position and use of the fulcrum. The Keelakam will provide better strength and support only if recited and recognized with the correct inclination, as Hanuman, the supreme bhakta of Rama, would never refuse to help a devotee.

At Rama’s paadukas 

- Dr. Bharat Bhushan 

Email - bharatbhushan@yahoo.com 

4 November 2010