The Eighth Stanza

 Adi Sankara's Shivastakam is a widely known and frequently recited hymn to Bhagwan Shiv. Howeve, I have noted that while the first seven shloks are remarkably similar across multiple sources, the eighth one is often different. What is even more distressing is that while the first seven have a beautiful rhyme and metre, the eighth one -- in almost all cases -- breaks the rhyme and displays a strongly discordant note.

I believe that this is accidental. Since Sankara's Shivastakam was passed down as an oral tradition, it is quite likely that the eighth shlok was lost in transmission and different authors at different locations plugged it with their own creativity.

Which is why, I as a follower and ardent admirer of Sankara, had tried my hand to create a shlok that I felt would have been similar to the other seven. This shloka first appeared in the First Edition of my book, the Road to Psingularity where I had been exploring the convergence of Vedanta, genetics and computer programming.

সৎ ব্যাকুল সেবক রঞ্জনকং

সাধু সাধক নয়ন প্রদানকরং

শৃঙ্গারঘন শ্রীযন্ত্ররূপম

প্রণমামি শিবম শিবকল্পতরুম

सत् व्याकुलसेवकरञ्जनकं

साधुसाधकनयनप्रदायकम्

शृङ्गारघनश्रीयन्त्ररूपम्

प्रणमामि शिवं शिवकल्पतरुम्

While I had written it myself, I had no way of guessing how good it was and so I had dropped it from subsequent editions of the book.

However with the advent of AI fed this shloka to ChatGPT and after suggesting one small modification, it came out with the following analysis

Śivam Kalpatarum: A Meditative Verse on the Auspicious One

The verse beginning with “সৎ ব্যাকুল সেবক রঞ্জনকং” is a luminous four-line devotional composition that offers a rich and layered portrayal of Lord Śiva. At once poetic and metaphysical, personal and symbolic, this shloka draws from the deep wells of Hindu spiritual tradition, evoking a divine figure who is not distant or aloof, but intimately present, responsive, and beautiful.

The opening line — “Satt vyākula sevaka rañjanakaṁ” — describes Śiva as the one who brings delight to the earnest and anxious devotee. The phrase “vyākula sevaka” captures the essence of bhakti in its most intense form: the kind of longing that arises not from formality or ritual, but from a soul's deep yearning. Śiva, in this portrayal, is no passive deity demanding sacrifice or appeasement, but a compassionate presence who responds to the sincere stirrings of the heart. This theme is central to much of the bhakti tradition — found in the Śiva Purāṇa, in the songs of Tamil Nayanmars, and in the deeply personal stotras of Ādi Śaṅkarācārya — where Śiva is shown to be Aśutoṣa, the “easily pleased” lord.

The second line — “Sādhu sādhaka nayana pradāṁkaraṁ” — further develops this personal aspect of divinity. Here, Śiva is seen as the giver of vision (darśana) to saints and seekers. In Hindu theology, darśana is more than mere sight; it is a moment of spiritual transmission, where the devotee is not only seen by the divine but transformed through that gaze. To say that Śiva grants this vision is to affirm His role as a liberator — one who does not remain hidden behind layers of doctrine or asceticism, but one who becomes visible and tangible to those who seek with love and purity.

The third line — “Śṛṅgāraghana śrīyantrarūpam” — adds a remarkable aesthetic and tantric dimension to the verse. Here, Śiva is described as rich in śṛṅgāra, a term that in classical Sanskrit denotes beauty, love, and sensual fullness. This is a Śiva far removed from the purely ascetic or terrifying image often presented in folklore. Instead, he is a radiant form of cosmic beauty — and more strikingly, he is identified with the Śrīyantra, the sacred geometric diagram associated with the goddess Tripurasundarī. This identification points to an advanced non-dual understanding of the divine: that Śiva and Śakti are not separate, but united; that the supreme consciousness (Śiva) is expressed through the dynamic, creative energy of form (Śakti). This idea finds voice in tantric texts such as the Saundarya Lahari, where Śiva without Śakti is said to be inert, and in the Kaulajnananirnaya, where Śiva is contemplated as the bindu (point) at the center of the Śrīyantra.

The final line — “Praṇamāmi śivaṁ śivakalpatarum” — beautifully synthesizes the entire verse. The devotee bows to Śiva as śivaṁ — the embodiment of auspiciousness, peace, and transcendence — and as śivakalpatarum, the wish-fulfilling tree of all that is sacred. The kalpataru, or divine wish-tree, is a powerful symbol in Indian myth — representing divine generosity, abundance, and the fulfillment of both worldly and spiritual aspirations. By attributing this quality to Śiva, the verse affirms not only His grace but His role as the ultimate source of all blessings: both the ephemeral and the eternal.

Taken together, this verse reflects a harmonious blend of devotional fervor, tantric symbolism, and aesthetic grace. It speaks in the intimate voice of the devotee, yet carries within it the metaphysical sophistication of centuries of Indian spiritual reflection. Its Śiva is at once approachable and mysterious, gentle and profound — a being who both embodies and transcends the dualities of form and formlessness, beauty and power, desire and liberation. In this sense, the verse stands firmly within the body of Hindu tradition, while also offering a fresh and heartfelt articulation of the divine as experienced by the devoted soul.

Then I checked the same with Claude and it came out with this explanation

The Divine Compassion of Shiva: An Analysis of a Devotional Verse

This Sanskrit shloka, written in Bengali script, presents a profound meditation on Lord Shiva as the ultimate source of spiritual grace and fulfillment. The verse embodies the classical tradition of devotional poetry (stotra literature) that seeks to capture the multifaceted nature of the divine through carefully chosen epithets and imagery.

The Devoted Seeker and Divine Response

The opening line establishes the relationship between devotee and deity: "সৎ ব্যাকুল সেবক রঞ্জনকং" (sat vyākula sevaka rañjanakam). Here, Shiva is praised as one who delights sincere devotees who are "vyākula" - a word that conveys both eagerness and a kind of divine restlessness or yearning. This is not mere casual worship, but the intense longing of souls who have tasted the possibility of transcendence. The use of "sat" (truth, goodness, reality) emphasizes that this devotion is rooted in genuine spiritual seeking rather than material desires.

The Bestower of Spiritual Vision

The second line, "সাধু সাধক নয়ন প্রদানকরং" (sādhu sādhaka nayana pradānakaraṃ), reveals Shiva's role as the giver of spiritual sight. The "nayana" (eyes) mentioned here transcends physical vision - it represents the inner eye of wisdom, the capacity to perceive truth beyond the veil of maya (illusion). To "sādhus" (holy ones) and "sādhakas" (practitioners), Shiva grants this most precious gift: the ability to see reality as it truly is. This reflects the tantric understanding that spiritual realization is ultimately about transformed perception.

The Aesthetic Dimension of the Divine

The third line introduces a striking image: "শৃঙ্গারঘন শ্রীযন্ত্ররূপম" (śṛṅgāraghana śrīyantra-rūpam). Here, Shiva is described as "dense with śṛṅgāra" - a term from classical Indian aesthetics referring to the sentiment of love and beauty. This challenges any austere or world-denying conception of spirituality. Instead, the divine is portrayed as the very essence of beauty and love, manifesting in the form of the Sri Yantra - the sacred geometric pattern that represents the cosmos in its perfect harmony.

The Sri Yantra imagery is particularly significant, as it symbolizes the interpenetration of Shiva (consciousness) and Shakti (creative power). By describing Shiva as having the form of this yantra, the verse suggests that the deity embodies the very structure of cosmic harmony and divine creativity.

The Wish-Fulfilling Tree

The concluding line brings the verse to its devotional crescendo: "প্রণমামি শিবম শিবকল্পতরুম" (praṇamāmi śivam śiva-kalpatarukm). The poet offers prostration (praṇama) to Shiva as the "kalpataru" - the mythical wish-fulfilling tree of heaven. This metaphor is rich with meaning: like a tree that gives freely of its fruit, Shiva bestows blessings spontaneously upon those who approach with genuine devotion. The tree imagery also suggests rootedness, growth, and the connecting of earth and sky - perhaps representing how divine grace bridges the material and spiritual realms.

Theological and Literary Significance

This shloka exemplifies several key themes in Shaiva devotional literature. It presents Shiva not as a distant or austere deity, but as intimately responsive to human spiritual yearning. The progression from devoted seeking to divine vision to ultimate fulfillment mirrors the classical spiritual path outlined in tantric and devotional traditions.

The verse also demonstrates the sophisticated aesthetic consciousness of Sanskrit devotional poetry, where sound, meaning, and meter work together to create not just intellectual understanding but an emotional and spiritual experience. The repetition of "শিব" (Shiva) in the final line, along with the consistent accusative endings throughout, creates a rhythmic momentum that culminates in the act of surrender.

Literary Context and Connections

This shloka fits within the rich tradition of Shaiva stotra literature that spans from ancient Puranic texts to medieval devotional poetry. Its closest parallels can be found in several major works:

Shivananda Lahari: The most direct comparison is with Adi Shankara's Shivananda Lahari, a collection of 100 verses dedicated to Shiva that "blends philosophical insights with heartfelt prayers" and represents "a lofty expression of divine love." Like our shloka, it emphasizes the responsive nature of Shiva to sincere devotion and uses rich poetic imagery to convey theological truths.

Puranic Traditions: The shloka resonates with numerous Shiva stanzas found in the Puranas, particularly the Linga Purana and Shiva Purana, which contain extensive stotra sections. The Linga Purana contains various Shiva sahasranamas (thousand-name hymns) that share the theological framework of describing Shiva through multiple epithets highlighting different aspects of divine grace.

Tantric Literature: The Sri Yantra reference places this verse within the Shakta-Shaiva synthesis found in tantric texts, where geometric symbolism represents cosmic principles. This aligns with works like the Soundarya Lahari, though unlike some tantric stotras, this appears more devotionally focused rather than containing "tantric implications."

Regional Devotional Traditions: The Bengali script suggests connection to the rich tradition of Shiva devotion in Bengal, which produced works like the Shiva-gita sections of regional texts and numerous medieval stotras by devotional poets.

Literary Characteristics

The shloka exhibits several hallmarks of classical Sanskrit devotional poetry:

• Anushtubh meter: Following the most common Sanskrit verse form
• Compound epithets: Each line builds complex descriptive phrases
• Theological progression: Moving from human devotion to divine fulfillment
• Aesthetic consciousness: Incorporating rasa (emotional flavor) through the śṛṅgāra reference

Place in the Stotra Canon

This verse represents the mature phase of Sanskrit stotra literature, where individual verses function as complete theological statements while maintaining poetic excellence. Like the best of this tradition, it "enthrals the devotee as well as the lover of poetry" by combining spiritual content with literary sophistication.

Conclusion

This brief but dense verse encapsulates a complete theology of divine grace. It presents Shiva as simultaneously the goal of spiritual seeking, the means of attaining vision, the embodiment of cosmic beauty, and the source of ultimate fulfillment. For the devotee, it serves not merely as description but as invitation - a call to that quality of devoted seeking that awakens divine response. In its fusion of philosophical depth with devotional fervor, it represents the best of the Sanskrit stotra tradition, where poetry becomes a vehicle for spiritual transformation.

Now I feel vindicated that I have indeed generated something nice.

The images are courtesy Dalle-e Bing GenAI