Sri Budha Kousika Rishi

Sri Budha Kousika Rishi wrote the Sri Rama Raksha Stotra. Who was he? For those who may know, the identity of Sri Budha Kousika Rishi may be very obvious. For many, it is not. The obvious answer is that he was a Sage – i.e., a rishi. He was extremely learned and talented. The Sri Ram Raksha Stotra is composed in the Anushtup Chanda, in the metre of a specific combination of numbers. The usual answer, however, is that Sri Budha Kousika Rishi was the great Brahmarishi Vishwamitra.  

I have not found the correct answer, and I feel I should say so. Why do I hesitate to accept that Brahmarishi Vishwamitra could be the author? This is because Vishwamitra was already recognized as a Brahmarishi, many hundreds of years earlier, when he met Dasharath to ask him to allow Ram to accompany him. He was not recognized or mentioned as Kousika Rishi during and after his association with Ram. The identity of Sri Budha Kousika Rishi, the author of the Sri Rama Raksha Stotra, is a mystery.

It is said, in the Stotra, that Shiva appeared to Sri Budha Kousika Rishi, in his dream, and recited the entire Sri Rama Raksha Stotra to him. At dawn, the next day, Sri Budha Kousika Rishi, penned down the entire Sri Rama Raksha Stotra.

There could be four theories. The most recounted and repeated theory is that Sri Budha Kousika Rishi is nobody other than Brahmarishi Vishwamitra himself. I am very tempted to believe it. This theory is on the basis of the fact that he was the King Kousika, and later, the Kousika Rishi, before he was recognized as the Brahmarishi Vishwamitra.

The second theory is that the ‘Kousika’ gotra began with Brahmarishi Vishwamitra, since he was the King Kousika, and later the Kousika Rishi. Thus, a later Rishi, of the ‘Kousika’ gotra, and with the prefix, Budha, being the name of the Planet Mercury in Sanskrit, has written the Sri Rama Raksha Stotra, after the appearance of Shiva in his dreams.

The third theory is that there could have been an entirely different rishi, unconnected and unrelated to Brahmarishi Vishwamitra, or to the ‘Kousika’ gotra. He could have existed, in some other time period, and he could have written the Sri Rama Raksha Stotra. If this were to be true, then indeed, the identity and story of Sri Budha Kousika Rishi would be an absolute riddle.

The fourth theory is that a rishi named ‘Budha’, in Brahmarishi Vishwamitra’s ashrama, could have been recognized as a ‘Kousika Rishi’. He could have been known as such, because he was one of the rishis in the ashram of ‘Kousika’, i.e., Vishwamitra. This rishi could have been later recognized through his signature title in the stotra, as ‘Budha Kousika Rishi’. In an alternate aspect, the title 'Budha' could be a samasa, ie an intended recognition to the 'budhdhi' i.e., intelligence of 'Kousika'. 

It is written, that, in ancient times, the sages in an ashram, the pupils of a teacher or guru in a gurukul ashram, or the descendants of an important sage, could also inherit the ‘gotra’ or clan name of the master. It is also known that certain important sages also gave rise to new clan lines, or ‘gotras’ that were named after them. This is true of the sages who had manifested as the sons born from Brahma, the Creator. In contemporary times, the ‘gotra’ is usually referred to for arranging marriages between two different clans. That, of course, is a different story.

The seven of the most important rishis of those times are (1) Gautama, (2) Bharadwaja, (3) Vishwamitra, (4) Jamadagni, (5) Vasishta, (6) Kashyapa, and (7) Atri. It is later mentioned that Kousika was a descendant of the great Brahmarishi Vishwamitra. Similarly, Kaundinya was a descendant of the great sage Vasishta, and Vatsa was descended from the great sage Jamadagni.

Why could the author be Brahmarishi Vishwamitra? First reason, of course, Viswamitra knew Ram. He knew him better than anyone else, perhaps better than his father, Dasharatha, or even his brother, Lakshmana. He knew Ram, before Sita or Hanuman became inseparable aspects of his life. He knew the abilities of Ram, and knew exactly about the aspect of the manifestation of Vishnu, and of the aspect that he had descended in a human avatar, solely for the purpose of the decimation of Ravana and the Rakshasas.

If anyone could describe Ram, in relative perspective to every aspect of his being, behaviour and of his very existence, and ascribe powers to these aspects, it could be none other than Brahmarishi Vishwamitra. But, if the great Brahmarishi did in fact write down the Sri Ram Raksha Stotra, why did he not sign it by the name of Vishwamitra? That indeed, is a mystery. The other contemporary sages, including the first seven, have signed their own names to the works ascribed to them.

Second, is because of the one line that almost gives away his identity – “Hridayam Jaamadagnyajit” – “The one who conquered the son of Jamadagni, please protect my heart”. Vishwamitra and Parashurama, the son of Jamadagni, never got along. They hated each other and were in perpetual mistrust of each other. None other than Brahmarishi Vishwamitra could be more pleased by the fact that Ram defeated Parashurama, and would therefore ascribe the aspect that such a conqueror could indeed protect the ‘heart’.

There are two disturbing lines that make me wonder, if Brahmarishi Vishwamitra may not be the Budha Kousika Rishi, the author of the Sri Ram Raksha Stotra. One is in praise to Vishwamitra, and would the great sage have given such value to himself? The other line is in attribution to the story line of another great hero in India’s mythology that may not have occurred in the Ramayana, but is to be found in the stories of Krishna, after the Kurukshetra war. Would the Brahmarishi have stretched the context to such an extent? Or, am I missing something here?

The line in praise to the great sage is – “Vishwamitra priya shrutee” – “Rama, who is dear to Vishwamitra, protect my ears”. This line makes me doubt, for that very brief moment, if the great Brahmarishi Vishwamitra would appreciate and write about himself? To those who know the story of Vishwamitra, it would be very tempting to say that the great sage would indeed write about himself and ascribe such affection to Ram. Here, I beg to differ. If he would indeed write about his affection to Ram, he could have written about the friendship in more lines, rather than limit it to only one half of the metre.

The other line that strengthens the doubt is – “Naabhim Jambavadaashraya” – “Rama, who gave refuge to Jambavan, protect my navel”. Again, there is this very brief doubt. The story of Jambavan, and his presence in the Ramayana, is much later to Sugreeva, Hanuman, Vaali, Angad and the other vanaras. Jambavan, is depicted, as a bear-man. Rama gives refuge to Jambavan, who swears allegiance in the war to come with Ravana. Rama did give refuge, but in those moments of the Ramayana, he gave support and courage to all those who approached him. It is much later, after the Kurukshetra war that Jambavan reappears in the story of Satyakam and Sri Krishna. The refuge sought by Jambavan from Sri Krishna is certainly more emphatic.

Was there an entirely unknown rishi, by the name, Budha Kousika Rishi? Why would Shiva come to him in his dreams and why would he be asked to write the Sri Rama Raksha Stotra? Who was this great rishi, who penned the Stotra with such precision in accurate metre. Not many realize that the Sri Ram Raksha Stotra is written in the same metre as the Ramayana. Was it indeed difficult in those times to write the Sri Ram Raksha Stotra in such precision? It may not have been, for the great sages composed several stotras during those times, and their authorship is included in the earlier couplets.

I am tempted to agree to the premise that the Brahmarishi Vishwamitra was indeed the author of the Sri Ram Raksha Stotra, after he received the instructions from Shiva. Why? It is not because of the precision of the composition, but it is in the affection, love, the entire surrender to Ram, by one who had already achieved perfection. The great sage, returned to urban areas, to the Royal Court, after nearly two hundred years of residing in the remote forests, to seek Ram, to take it upon him to train Ram, and to insist upon it, and to argue with Dasharath to allow it to happen.

The author, Budha Kousika Rishi, explains that he was commanded in his dream, “Aadhishtavan yathaa swapne”, to write the Ram Raksha Stotra, “Ram raksha mimaam haraha”, and he wrote it out in the morning, “Tathaa likhit vaana praataha”, as told to Budha Kousika by Shiva, “Prabhu-dho Budha Koushikah”. That indeed, is an author, who gave the Ram Raksha Stotra to millions of devotees of Ram, and caused them to be blessed, and will do so in the future.

At Rama’s paadukas

- Dr. Bharat Bhushan 

Email - bharatbhushan@yahoo.com 

27 October 2010

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