Prarthana

Goraksh Guru Vandana

Complete 12-section Gorakhnath lineage prayer supplied in a ShivGoraksh-edited reading; bilingual explanations and variant ledger.

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Text, Meaning & Explanation

Opening Nath acclamations

गंगे हर-नर्मदे हर, जटाशङ़्करी हर ऊँ नमो पार्वती पतये हर, बोलिये श्री शम्भू जती गुरु गोरक्षनाथ महाराज की जय, माया स्वरूपी दादा मत्स्येन्द्रनाथ महाराज की जय, नवनाथ चौरासी सिद्धों की जय, भेष भगवान की जय, अटल क्षेत्र की जय, रमतेश्वर महाराज की जय, कदली काल भैरवनाथ जी की जय, पात्र देवता की जय, ज्वाला महामाई की जय, सनातन धर्म की जय, अपने-अपने गुरु महाराज की जय, गौ-ब्राह्मण की जय, बोले साचे दरबार की जय, हर हर महादेव की जय।

Roman Hindi

Gange har-Narmade har, jatashankari har, un namo Parvati pataye har, Boliye Shri Shambhu jati Guru Gorakshanath Maharaj ki jai, maya svarupi Dada Matsyendranath Maharaj ki jai, Navnath chaurasi siddhon ki jai, bhesh Bhagavan ki jai, atal kshetra ki jai, Ramteshvar Maharaj ki jai, Kadali Kal Bhairavnath ji ki jai, patra devata ki jai, Jwala Mahamai ki jai, Sanatan Dharm ki jai, apne-apne Guru Maharaj ki jai, gau-brahman ki jai, bole sache darbar ki jai, Har Har Mahadev ki jai.Gange har-Narmade har, jatashankari har, un namo Parvati pataye har, Boliye Shri Shambhu jati Guru Gorakshanath Maharaj ki jai, maya svarupi Dada Matsyendranath Maharaj ki jai, Navnath chaurasi siddhon ki jai, bhesh Bhagavan ki jai, atal kshetra ki jai, Ramteshvar Maharaj ki jai, Kadali Kal Bhairavnath ji ki jai, patra devata ki jai, Jvālā Mahamai ki jai, Sanatan Dharm ki jai, apne-apne Guru Maharaj ki jai, gau-brahman ki jai, bole sache darbar ki jai, Har Har Mahadev ki jai.

Meaning

The assembly salutes sacred rivers and the Lord of Parvati, then offers victory-acclamations to Gorakshnath, Matsyendranath, the nine Nāths, eighty-four Siddhas, revered lineage figures, teachers, and Mahadeva.The assembly salutes sacred rivers and the Lord of Parvati, then offers victory-acclamations to Gorakshnath, Matsyendranath, the nine Nāths, eighty-four Siddhas, revered lineage figures, teachers, and Mahadeva.The assembly salutes sacred rivers and the Lord of Pārvatī, then offers victory-acclamations to Gorakṣanātha, Matsyendranātha, the nine Nāths, eighty-four Siddhas, revered lineage figures, teachers, and Mahādeva.

Explanation

This opening is a lineage-oriented public invocation, not one ancient Sanskrit verse. “Nine Nāths” and “eighty-four Siddhas” are customary collective references; actual name lists vary across sources. Terms such as bheṣ bhagavān, aṭal kṣetra, patra devatā and the exact regional names require local Nath consultation. Jwala means flame or radiance in this acclamation. The language of victory expresses reverence, not a claim that each named figure has been historically authenticated.

Camphor-white Śiva with Bhavānī

कपूर्रगौरम् करुणावतारम् संसारसारम् भुजगेन्द्र हारम्। सदा वसन्तम् हृदयारविन्दे भवं भवानी सहितम् नमामि।।

Roman Transliteration

kapoorragauram karunaavataaram samsaarasaaram bhujagendra haaram| sadaa vasantam hridayaaravinde bhavam bhavaanee sahitam namaami||kapūrragauram karuṇāvatāram saṃsārasāram bhujagendra hāram | sadā vasantam hṛdayāravinde bhavaṃ bhavānī sahitam namāmi ||

Meaning

I bow to Bhava, accompanied by Bhavānī: radiant like camphor, embodiment of compassion, essence of worldly existence, and adorned with the serpent-king; they are invoked as abiding in the lotus of the heart.

Explanation

A familiar independent Shaiva devotional stanza has been placed inside the Nath prayer. Camphor whiteness is an image of purity and luminosity; the serpent garland is Shiva iconography; the heart-lotus expresses inward devotion. The opening “कपूर्रगौरम्” differs from the common “कर्पूरगौरं”; its spelling is preserved, not silently repaired. No verified author or original Purāṇic location is claimed.A familiar independent Shaiva devotional stanza has been placed inside the Nath prayer. Camphor whiteness is an image of purity and luminosity; the serpent garland is Shiva iconography; the heart-lotus expresses inward devotion. The opening “कपूर्रगौरम्” differs from the common “कर्पूरगौरं”; its spelling is preserved, not silently repaired. No verified author or original Purāṇic location is claimed.A familiar independent Śaiva devotional stanza has been placed inside the Nath prayer. Camphor whiteness is an image of purity and luminosity; the serpent garland is Śiva iconography; the heart-lotus expresses inward devotion. The opening “कपूर्रगौरम्” differs from the common “कर्पूरगौरं”; its spelling is preserved, not silently repaired. No verified author or original Purāṇic location is claimed.

Śivā and Śiva — shared divinity

मन्दारमाला कलिनाल कायै कपालमालाङि़्कत कन्थराय। दिव्याम्बरायै च दिगम्बराय, नमः शिवायै च नमः शिवाय

Roman Transliteration

mandaaramaalaa kalinaala kaayai kapaalamaalaani़kata kantharaaya| divyaambaraayai cha digambaraaya, namah shivaayai cha namah Shivayamandāramālā kalināla kāyai kapālamālāṅikat kantharāya | divyāmbarāyai ca digambarāya, namaḥ śivāyai ca namaḥ śivāya

Meaning

Salutations to Shiva (Parvati), imagined with a garland of flowers and splendid garments, and to Shiva, imagined with a skull garland and clothed in the directions.Salutations to Shiva (Parvati), imagined with a garland of flowers and splendid garments, and to Shiva, imagined with a skull garland and clothed in the directions.Salutations to Śivā (Pārvatī), imagined with a garland of flowers and splendid garments, and to Śiva, imagined with a skull garland and clothed in the directions.

Explanation

This is a version of the fifth verse of the Ardhanārīśvara-stotra, contrasting the Goddess’s ornaments with Shiva’s ascetic imagery. The submitted expressions “कलिनाल कायै” and “कन्थराय” do not match widely printed “कलितालकायै” and “कन्धराय”. The pair “दिव्याम्बरायै च दिगम्बराय” appears in the user version but is absent from the temple HTML. The intended paired ending is preserved as submitted. This is a distinct sourced stanza inside the composite, not an original line proven to be by Goraksh.This is a version of the fifth verse of the Ardhanārīśvara-stotra, contrasting the Goddess’s ornaments with Shiva’s ascetic imagery. The submitted expressions “कलिनाल कायै” and “कन्थराय” do not match widely printed “कलितालकायै” and “कन्धराय”. The pair “दिव्याम्बरायै च दिगम्बराय” appears in the user version but is absent from the temple HTML. The intended paired ending is preserved as submitted. This is a distinct sourced stanza inside the composite, not an original line proven to be by Goraksh.This is a version of the fifth verse of the Ardhanārīśvara-stotra, contrasting the Goddess’s ornaments with Śiva’s ascetic imagery. The submitted expressions “कलिनाल कायै” and “कन्थराय” do not match widely printed “कलितालकायै” and “कन्धराय”. The pair “दिव्याम्बरायै च दिगम्बराय” appears in the user version but is absent from the temple HTML. The intended paired ending is preserved as submitted. This is a distinct sourced stanza inside the composite, not an original line proven to be by Gorakṣa.

Gorakṣa praise — four pādas

गोरक्ष बालम् गुरु शिष्य पालम् शेषांहिमालम् शशिखण्ड भालम्। कालस्य कालम् जितजन्म जालम् वन्दे जटालम जगदब्जनालम्।।

Roman Transliteration

Goraksh baalam Guru shishya paalam sheshaamhimaalam shashikhanda bhaalam| kaalasya kaalam jitajanma jaalam vande jataalama jagadabjanaalam||gorakṣa bālam guru śiṣya pālam śeṣāṃhimālam śaśikhaṇḍa bhālam | kālasya kālam jitajanma jālam vande jaṭālam jagadabjanālam ||

Meaning

I bow to Goraksh, honored as a guardian of the teacher–disciple bond, crescent-marked, matted-haired, and beyond the snare of time and repeated birth. Two compounded epithets remain uncertain.I bow to Goraksh, honored as a guardian of the teacher–disciple bond, crescent-marked, matted-haired, and beyond the snare of time and repeated birth. Two compounded epithets remain uncertain.I bow to Gorakṣa, honored as a guardian of the teacher–disciple bond, crescent-marked, matted-haired, and beyond the snare of time and repeated birth. Two compounded epithets remain uncertain.

Explanation

“शेषांहिमालम्” and “जगदब्जनालम्” cannot be confidently parsed from the current witnesses. “कालस्य कालम्” functions as devotional praise of transcendence, not a literal medical or physical promise.

Guru as the Divine

गुरुर्ब्रह्मा गुरुर्विष्णु गुरुर्देवो महेश्वर! गुरुः साक्षात्परब्रह्म, तस्मै श्री गुरवै नमः।।

Roman Transliteration

gururbrahmaa gururvishnu gururdevo maheshvara! guruh saakshaatparabrahma, tasmai Shri guravai namah||gururbrahmā gururviṣṇu gururdevo maheśvara! guruḥ sākṣātparabrahma, tasmai śrī guravai namaḥ ||

Meaning

The guru is praised through the imagery of Brahma, Vishnu and Maheśvara and is honored as directly revealing the supreme reality; salutations to that revered teacher.The guru is praised through the imagery of Brahma, Vishnu and Maheśvara and is honored as directly revealing the supreme reality; salutations to that revered teacher.The guru is praised through the imagery of Brahmā, Viṣṇu and Maheśvara and is honored as directly revealing the supreme reality; salutations to that revered teacher.

Explanation

This well-known Guru-vandanā also has an independent ShivGoraksh the related reading. Its presence here is a quoted functional section of a larger Nath prayer, not a replacement for the related reading or evidence that its author was Gorakshnath. The common “गुरुः साक्षात् परं ब्रह्म” form has transmission differences from Guru Gītā recensions. Reverence should be coupled with discernment and ethical accountability.This well-known Guru-vandanā also has an independent ShivGoraksh the related reading. Its presence here is a quoted functional section of a larger Nath prayer, not a replacement for the related reading or evidence that its author was Gorakshnath. The common “गुरुः साक्षात् परं ब्रह्म” form has transmission differences from Guru Gītā recensions. Reverence should be coupled with discernment and ethical accountability.This well-known Guru-vandanā also has an independent ShivGoraksh the related reading. Its presence here is a quoted functional section of a larger Nath prayer, not a replacement for the related reading or evidence that its author was Gorakṣanātha. The common “गुरुः साक्षात् परं ब्रह्म” form has transmission differences from Guru Gītā recensions. Reverence should be coupled with discernment and ethical accountability.

Four roots of guru practice

ध्यानमूलं गुरोर्मूर्तिः, पूजा मूलं गुरोः पदम् मन्त्रमूलं गुरोर्वाक्यं मोक्ष मूलं गुरोः कृपा

Roman Transliteration

dhyaanamoolam gurormoortih, Puja moolam guroh padam mantramoolam gurorvaakyam Moksha moolam guroh kripaadhyānamūlaṃ gurormūrtiḥ, pūjā mūlaṃ guroḥ padam mantramūlaṃ gurorvākyaṃ mokṣa mūlaṃ guroḥ kṛpā

Meaning

The guru’s form is the basis of contemplation; the feet symbolize devotion; the words provide guidance; grace is regarded as essential to liberation.

Explanation

The four parallel clauses map four dimensions of discipleship rather than give an operational ritual. The “feet” are a conventional emblem of humility and reverence. This edition reads “मोक्ष मूलं गुरोः कृपा”; other grammatical recensions differ. No initiation or lineage-specific procedural authority is inferred.

Truth of mantra, worship and guru teaching

मन्त्र सत्यं पूजा सत्यं सत्यदेव निरन्जनम् गुरुवाक्यं सदा सत्यं सत्यमेकम् परंपदम्

Roman Transliteration

Mantra satyam Puja satyam satyadeva niranjanam guruvaakyam sadaa satyam satyamekam parampadammantra satyaṃ pūjā satyaṃ satyadeva nirañjanam guruvākyaṃ sadā satyaṃ satyamekam paraṃpadam

Meaning

The passage repeatedly praises truthfulness in mantra, worship and the guru’s instruction, culminating in a reference to the one highest reality.

Explanation

“Satya” appears as a repeated ethical and theological ideal. Calling the guru’s instruction true is a devotional formulation, not a licence to surrender judgment or tolerate abuse. “निरन्जनम्” evokes the stainless or unblemished principle in Nath/Śaiva vocabulary; its compound with “सत्यदेव” and the exact intended segmentation need review.

You alone are mother and father

त्वमेव माता च पिता त्वमेव त्वमेव बन्धुश्च सखा त्वमेव। त्वमेव विद्या द्रविड़म् त्वमेव त्वमेव सर्वम् मम देव देव!

Roman Transliteration

tvameva maataa cha pitaa tvameva tvameva bandhushcha sakhaa tvameva| tvameva vidyaa draviḏam tvameva tvameva sarvam mama deva deva!tvameva mātā ca pitā tvameva tvameva bandhuśca sakhā tvameva | tvameva vidyā draviṛam tvameva tvameva sarvam mama deva deva!

Meaning

You are mother and father, kinsman and friend, knowledge and wealth; you are everything to me, O Lord of lords. The submitted third line has a visibly uncertain word.

Explanation

The independently attested prayer often reads “त्वमेव विद्या द्रविणं त्वमेव”, whereas this supplied sequence prints “द्रविड़म्” (draviḍam). The meaning “resources/wealth” is based on the well-attested comparator and is explicitly conditional, not a claim that the selected reading itself means wealth. The same prayer is also the subject of ShivGoraksh the related reading; its stable relationship is preserved.

Śiva-liṅga reverence in three realms

आकाशे ताडका लिंगम पाताले वटुकेश्वरम् मर्त्ये लोके महाकालम् सर्व लिंगम नमोस्तुते।।

Roman Transliteration

aakaashe taadakaa limgama paataale vatukeshvaram martye loke mahaakaalam sarva limgama namostute||ākāśe tāḍakā liṅgam pātāle vaṭukeśvaram martye loke mahākālam sarva liṅgam namostute ||

Meaning

The prayer bows to forms of Shiva’s linga associated poetically with the sky, the nether realm and the human world, including Mahākāla.The prayer bows to forms of Shiva’s linga associated poetically with the sky, the nether realm and the human world, including Mahākāla.The prayer bows to forms of Śiva’s liṅga associated poetically with the sky, the nether realm and the human world, including Mahākāla.

Explanation

Names such as “ताडका लिंगम”, “वटुकेश्वरम्” and “महाकालम्” occur in this user-supplied ordering. The first locus and whether “ताडका” is a local form, an oral variant, or a copying error are not verified. Treat the spatial terms as devotional cosmology, not navigational claims or a claim that every Shiva shrine has the same liturgical text.Names such as “ताडका लिंगम”, “वटुकेश्वरम्” and “महाकालम्” occur in this user-supplied ordering. The first locus and whether “ताडका” is a local form, an oral variant, or a copying error are not verified. Treat the spatial terms as devotional cosmology, not navigational claims or a claim that every Shiva shrine has the same liturgical text.Names such as “ताडका लिंगम”, “वटुकेश्वरम्” and “महाकालम्” occur in this user-supplied ordering. The first locus and whether “ताडका” is a local form, an oral variant, or a copying error are not verified. Treat the spatial terms as devotional cosmology, not navigational claims or a claim that every Śiva shrine has the same liturgical text.

Nath yogic appearance and Ādeś

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शेली श्रृंगी शिर जटा झोली भगवा भेष, कानन कुण्डल भस्म लसै, शिव गोरक्ष आदेश।।

Roman Hindi

Sheli shringi shir jata jholi bhagva bhesh, Kanan kundal bhasm lasai, Shiv Goraksh Aadesh.Sheli shringi shir jata jholi bhagva bhesh, Kanan kundal bhasm lasai, Shiv Goraksh Aadesh.

Meaning

The Nath renunciate is pictured with a horn, matted hair, ochre attire, earrings and sacred ash, ending with the greeting “Shiva Gorakṣa Ādeś”.The Nath renunciate is pictured with a horn, matted hair, ochre attire, earrings and sacred ash, ending with the greeting “Śiva Gorakṣa Ādeś”.

Explanation

The words evoke recognized Nath symbols: śṛṅgī (horn), kuṇḍal (ear ornaments), jata and bhasma. Regional spelling and practice differ. “Ādeś” is an important Nath greeting/affirmation; explaining its devotional role does not authorise a secret mantra practice. The verse stands as a vernacular doha-like section of this selected prayer.The words evoke recognized Nath symbols: śṛṅgī (horn), kuṇḍal (ear ornaments), jata and bhasma. Regional spelling and practice differ. “Ādeś” is an important Nath greeting/affirmation; explaining its devotional role does not authorise a secret mantra practice. The verse stands as a vernacular doha-like section of this selected prayer.The words evoke recognized Nath symbols: śṛṅgī (horn), kuṇḍal (ear ornaments), jaṭā and bhasma. Regional spelling and practice differ. “Ādeś” is an important Nath greeting/affirmation; explaining its devotional role does not authorise a secret mantra practice. The verse stands as a vernacular doha-like section of this selected prayer.

Oṃkāra, nāda and Gorakh

ऊँकार तेरा आधार तीन लोक में जय-जयकार। नाद बाजे काल भागे, ज्ञान की टोपी, गोरख साजे गले नाद, पुष्पन की माला रक्षा करें, श्री शम्भुजति गुरु गोरक्षनाथ जी बाला।।

Roman Hindi

Unkar tera adhar Tin lok men jai-jaikar. Nad baje kal bhage, Gyan ki topi, Gorakh saje Gale nad, pushpan ki mala Raksha karen, Shri Shambhujati Guru Gorakshanath ji bala.Unkar tera adhar Tin lok men jai-jaikar. Nad baje kal bhage, Gyan ki topi, Gorakh saje Gale nad, pushpan ki mala Raksha karen, Shri Shambhujati Guru Gorakshanath ji bala.

Meaning

Oṃkāra is celebrated as a foundation acclaimed across the three worlds. The sounds of nāda, the yogic headgear, necklace and a plea for Gorakshnath’s protection appear as devotional imagery.Oṃkāra is celebrated as a foundation acclaimed across the three worlds. The sounds of nāda, the yogic headgear, necklace and a plea for Gorakshnath’s protection appear as devotional imagery.Oṃkāra is celebrated as a foundation acclaimed across the three worlds. The sounds of nāda, the yogic headgear, necklace and a plea for Gorakṣanātha’s protection appear as devotional imagery.

Explanation

The rhythmic language belongs to the assembled prayer; it is not a technical instruction for nāda-yoga or an assurance of supernatural safety. “काल भागे” dramatizes courage and transcendence. The short independent Oṃ/Pranava work is related reading; this section does not replace its Upaniṣadic exposition.

Four life-forms and final Ādeś

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चार खाणी चार बानी चन्द्र सूर्य पवन पानी एको देवा सर्वत्र सेवा ज्योति पाटले परसो देवा कानन कुण्डल गले नाद करो सिद्धो नाद्कार सिद्ध गुरुवरों को आदेश! आदेश!!

Roman Hindi

Char khani char bani Chandra surya pavan pani Eko deva sarvatra seva Jyoti patale parso deva Kanan kundal gale nad Karo siddho nadkar Siddh guruvaron ko Aadesh! Aadesh!!Char khani char bani Chandra surya pavan pani Eko deva sarvatra seva Jyoti patale parso deva Kanan kundal gale nad Karo siddho nadkar Siddh guruvaron ko Aadesh! Aadesh!!

Meaning

The closing verses invoke four kinds of beings or birth, four modes of expression, sun, moon, wind and water, then hail the One and bow to accomplished gurus with the repeated greeting “Ādeś”.

Explanation

“Cār khāṇī” is conventionally linked in Indian tradition with four birth categories, but the exact Nath schema and the phrase “cār bānī” require lineage review. “ज्योति पाटले परसो देवा” and “नाद्कार” are opaque in the supplied text: no precise word-for-word claim is made. The concluding salutation is a communal devotional formula, not a command for physical ritual performance.

Context & Usage

Selected edition: Complete user-supplied ShivGoraksh-edited Nath prayer, twelve ordered sections. The official Gorakhnath Mandir liturgy corroborates much of this sequence but is not identical. Opening Nath acclamations

Meaning: The assembly salutes sacred rivers and the Lord of Parvati, then offers victory-acclamations to Gorakshnath, Matsyendranath, the nine Nāths, eighty-four Siddhas, revered lineage figures, teachers, and Mahadeva. The assembly salutes sacred rivers and the Lord of Pārvatī, then offers victory-acclamations to Gorakṣanātha, Matsyendranātha, the nine Nāths, eighty-four Siddhas, revered lineage figures, teachers, and Mahādeva. Explanation: This opening is a lineage-oriented public invocation, not one ancient Sanskrit verse. “Nine Nāths” and “eighty-four Siddhas” are customary collective references; actual name lists vary across sources. Terms such as bheṣ bhagavān, aṭal kṣetra, patra devatā and the exact regional names require local Nath consultation. Jwala means flame or radiance in this acclamation. The language of victory expresses reverence, not a claim that each named figure has been historically authenticated.

2. Camphor-white Shiva with Bhavānī2. Camphor-white Śiva with Bhavānī

Meaning: I bow to Bhava, accompanied by Bhavānī: radiant like camphor, embodiment of compassion, essence of worldly existence, and adorned with the serpent-king; they are invoked as abiding in the lotus of the heart. Explanation: A familiar independent Shaiva devotional stanza has been placed inside the Nath prayer. Camphor whiteness is an image of purity and luminosity; the serpent garland is Shiva iconography; the heart-lotus expresses inward devotion. The opening “कपूर्रगौरम्” differs from the common “कर्पूरगौरं”; its spelling is preserved, not silently repaired. No verified author or original Purāṇic location is claimed. A familiar independent Śaiva devotional stanza has been placed inside the Nath prayer. Camphor whiteness is an image of purity and luminosity; the serpent garland is Śiva iconography; the heart-lotus expresses inward devotion. The opening “कपूर्रगौरम्” differs from the common “कर्पूरगौरं”; its spelling is preserved, not silently repaired. No verified author or original Purāṇic location is claimed.

3. Shiva and Shiva — shared divinity3. Śivā and Śiva — shared divinity

Meaning: Salutations to Shiva (Parvati), imagined with a garland of flowers and splendid garments, and to Shiva, imagined with a skull garland and clothed in the directions. Salutations to Śivā (Pārvatī), imagined with a garland of flowers and splendid garments, and to Śiva, imagined with a skull garland and clothed in the directions. Explanation: This is a version of the fifth verse of the Ardhanārīśvara-stotra, contrasting the Goddess’s ornaments with Shiva’s ascetic imagery. The submitted expressions “कलिनाल कायै” and “कन्थराय” do not match widely printed “कलितालकायै” and “कन्धराय”. The pair “दिव्याम्बरायै च दिगम्बराय” appears in the user version but is absent from the temple HTML. The intended paired ending is preserved as submitted. This is a distinct sourced stanza inside the composite, not an original line proven to be by Goraksh. This is a version of the fifth verse of the Ardhanārīśvara-stotra, contrasting the Goddess’s ornaments with Śiva’s ascetic imagery. The submitted expressions “कलिनाल कायै” and “कन्थराय” do not match widely printed “कलितालकायै” and “कन्धराय”. The pair “दिव्याम्बरायै च दिगम्बराय” appears in the user version but is absent from the temple HTML. The intended paired ending is preserved as submitted. This is a distinct sourced stanza inside the composite, not an original line proven to be by Gorakṣa.

4. Goraksh praise — four pādas4. Gorakṣa praise — four pādas

Meaning: I bow to Goraksh, honored as a guardian of the teacher–disciple bond, crescent-marked, matted-haired, and beyond the snare of time and repeated birth. Two compounded epithets remain uncertain. I bow to Gorakṣa, honored as a guardian of the teacher–disciple bond, crescent-marked, matted-haired, and beyond the snare of time and repeated birth. Two compounded epithets remain uncertain. Explanation: “शेषांहिमालम्” and “जगदब्जनालम्” cannot be confidently parsed from the current witnesses. “कालस्य कालम्” functions as devotional praise of transcendence, not a literal medical or physical promise.

5. Guru as the Divine

Meaning: The guru is praised through the imagery of Brahma, Vishnu and Maheśvara and is honored as directly revealing the supreme reality; salutations to that revered teacher. The guru is praised through the imagery of Brahmā, Viṣṇu and Maheśvara and is honored as directly revealing the supreme reality; salutations to that revered teacher. Explanation: This well-known Guru-vandanā also has an independent ShivGoraksh the related reading. Its presence here is a quoted functional section of a larger Nath prayer, not a replacement for the related reading or evidence that its author was Gorakshnath. The common “गुरुः साक्षात् परं ब्रह्म” form has transmission differences from Guru Gītā recensions. Reverence should be coupled with discernment and ethical accountability. This well-known Guru-vandanā also has an independent ShivGoraksh the related reading. Its presence here is a quoted functional section of a larger Nath prayer, not a replacement for the related reading or evidence that its author was Gorakṣanātha. The common “गुरुः साक्षात् परं ब्रह्म” form has transmission differences from Guru Gītā recensions. Reverence should be coupled with discernment and ethical accountability.

6. Four roots of guru practice

Meaning: The guru’s form is the basis of contemplation; the feet symbolize devotion; the words provide guidance; grace is regarded as essential to liberation. Explanation: The four parallel clauses map four dimensions of discipleship rather than give an operational ritual. The “feet” are a conventional emblem of humility and reverence. This edition reads “मोक्ष मूलं गुरोः कृपा”; other grammatical recensions differ. No initiation or lineage-specific procedural authority is inferred.

7. Truth of mantra, worship and guru teaching

Meaning: The passage repeatedly praises truthfulness in mantra, worship and the guru’s instruction, culminating in a reference to the one highest reality. Explanation: “Satya” appears as a repeated ethical and theological ideal. Calling the guru’s instruction true is a devotional formulation, not a licence to surrender judgment or tolerate abuse. “निरन्जनम्” evokes the stainless or unblemished principle in Nath/Śaiva vocabulary; its compound with “सत्यदेव” and the exact intended segmentation need review.

8. You alone are mother and father

Meaning: You are mother and father, kinsman and friend, knowledge and wealth; you are everything to me, O Lord of lords. The submitted third line has a visibly uncertain word. Explanation: The independently attested prayer often reads “त्वमेव विद्या द्रविणं त्वमेव”, whereas this supplied sequence prints “द्रविड़म्” (draviḍam). The meaning “resources/wealth” is based on the well-attested comparator and is explicitly conditional, not a claim that the selected reading itself means wealth. The same prayer is also the subject of ShivGoraksh the related reading; its stable relationship is preserved.

9. Shiva-linga reverence in three realms9. Śiva-liṅga reverence in three realms

Meaning: The prayer bows to forms of Shiva’s linga associated poetically with the sky, the nether realm and the human world, including Mahākāla. The prayer bows to forms of Śiva’s liṅga associated poetically with the sky, the nether realm and the human world, including Mahākāla. Explanation: Names such as “ताडका लिंगम”, “वटुकेश्वरम्” and “महाकालम्” occur in this user-supplied ordering. The first locus and whether “ताडका” is a local form, an oral variant, or a copying error are not verified. Treat the spatial terms as devotional cosmology, not navigational claims or a claim that every Shiva shrine has the same liturgical text. Names such as “ताडका लिंगम”, “वटुकेश्वरम्” and “महाकालम्” occur in this user-supplied ordering. The first locus and whether “ताडका” is a local form, an oral variant, or a copying error are not verified. Treat the spatial terms as devotional cosmology, not navigational claims or a claim that every Śiva shrine has the same liturgical text.

10. Nath yogic appearance and Ādeś

Meaning: The Nath renunciate is pictured with a horn, matted hair, ochre attire, earrings and sacred ash, ending with the greeting “Śiva Gorakṣa Ādeś”. Explanation: The words evoke recognized Nath symbols: śṛṅgī (horn), kuṇḍal (ear ornaments), jata and bhasma. Regional spelling and practice differ. “Ādeś” is an important Nath greeting/affirmation; explaining its devotional role does not authorise a secret mantra practice. The verse stands as a vernacular doha-like section of this selected prayer. The words evoke recognized Nath symbols: śṛṅgī (horn), kuṇḍal (ear ornaments), jaṭā and bhasma. Regional spelling and practice differ. “Ādeś” is an important Nath greeting/affirmation; explaining its devotional role does not authorise a secret mantra practice. The verse stands as a vernacular doha-like section of this selected prayer.

11. Oṃkāra, nāda and Gorakh

Meaning: Oṃkāra is celebrated as a foundation acclaimed across the three worlds. The sounds of nāda, the yogic headgear, necklace and a plea for Gorakshnath’s protection appear as devotional imagery. Oṃkāra is celebrated as a foundation acclaimed across the three worlds. The sounds of nāda, the yogic headgear, necklace and a plea for Gorakṣanātha’s protection appear as devotional imagery. Explanation: The rhythmic language belongs to the assembled prayer; it is not a technical instruction for nāda-yoga or an assurance of supernatural safety. “काल भागे” dramatizes courage and transcendence. The short independent Oṃ/Pranava work is related reading; this section does not replace its Upaniṣadic exposition.

12. Four life-forms and final Ādeś

Meaning: The closing verses invoke four kinds of beings or birth, four modes of expression, sun, moon, wind and water, then hail the One and bow to accomplished gurus with the repeated greeting “Ādeś”. Explanation: “Cār khāṇī” is conventionally linked in Indian tradition with four birth categories, but the exact Nath schema and the phrase “cār bānī” require lineage review. “ज्योति पाटले परसो देवा” and “नाद्कार” are opaque in the supplied text: no precise word-for-word claim is made. The concluding salutation is a communal devotional formula, not a command for physical ritual performance.

How to read this composite Nath prayer

This is not a single continuous ancient Sanskrit composition. It gathers institutional Nath victory-invocations; a short Shiva–Bhavani salutation; a verse of the Ardhanārīśvara tradition; a four-pāda Goraksh praise; two guru contemplations; a declaration of truth; the This is not a single continuous ancient Sanskrit composition. It gathers institutional Nath victory-invocations; a short Shiva–Bhavani salutation; a verse of the Ardhanārīśvara tradition; a four-pāda Gorakṣa praise; two guru contemplations; a declaration of truth; the Tvameva Mātā prayer; a linga invocation; and vernacular descriptions of Nath signs, Oṃkāra and the final prayer; a liṅga invocation; and vernacular descriptions of Nath signs, Oṃkāra and the final Ādeś. Each has its own textual questions. [SRC-MANDIR-064] [SRC-ARDHA-064]

The original v1 four-pāda Goraksh stanza is now The original v1 four-pāda Gorakṣa stanza is now section 4, still addressable under related reading; the expanded v2 has its own edition ID. The independent ShivGoraksh works related reading, 056, 067 and 068 remain distinct. This work does not overwrite their textual content.

Distinct readings and unresolved source questions

Absence of introductory “ऊँ शिव गोरक्ष योगी”: Mandir HTML supplies a stand-alone line before the text; the selected user sequence starts at “गंगे…”
जटाशङ़्करी: Non-standard nukta on ङ; temple shows same form, other Nath witnesses spell this differently
ज्वाला महामाई: Temple HTML also displays “ज्वाला”; separate Nath witness reads “ज्वाला”
कपूर्रगौरम्: Widely printed “कर्पूरगौरं”; temple HTML has the user form
मन्दारमाला कलिनाल कायै: Ardhanārīśvara-stotra comparator: “मन्दारमालाकलितालकायै”
कपालमालाङि़्कत कन्थराय: Ardhanārīśvara-stotra comparator: “कपालमालाङ्कितकन्धराय”
दिव्याम्बरायै च दिगम्बराय: Present in supplied sequence and full Ardhanārīśvara stanza; apparently omitted in online Mandir HTML
शेषांहिमालम्: Earlier separate the related reading GYAN comparator “Sesha himalam”; meaning of compound unresolved
जगदब्जनालम्: Earlier four-pāda witness gives jagadābjanālam; exact segmentation and meaning unresolved
गुरुर्ब्रह्मा गुरुर्विष्णु: Common Sanskrit recitation writes “गुरुर्ब्रह्मा गुरुर्विष्णुः”; do not silently replace user spelling
द्रविड़म्: Common Tvameva prayer comparator reads “द्रविणं”; user and Mandir HTML have “द्रविड़म्”
ताडका लिंगम: Current source does not establish the geographic/theological referent or alternate reading
ज्योति पाटले परसो देवा: Nath oral/literary regional wording needs expert elucidation
नाद्कार: No secure meaning/reading from checked comparisons
Lineage names within the acclamation: Alternate modern Nath prayer changes some divine/place names; do not blend versions
मन्दारमाला verse attribution: Ardhanārīśvara-stotra verse 5 embedded in composite; entire Nath prayer must not be attributed to Shankara or Goraksh Ardhanārīśvara-stotra verse 5 embedded in composite; entire Nath prayer must not be attributed to Śaṅkara or Gorakṣa

Frequently asked questions

Is this all one verse? No. It is a composite twelve-part performance prayer, including Sanskrit stanzas, regional Nath lines and collective acclamations.

Was the whole prayer written by Gorakhnath? That authorship is not demonstrated. Gorakhnath is its principal honored guru; component texts circulate independently.

Why not correct “द्रविड़म्” or “ज्वाला” now? This is an explicitly user-selected edited witness. Probable comparison readings are documented, but changing the original block requires an editorial decision.

Is the Ardhanārīśvara passage complete here? The selected four-line verse is present. The full longer Ardhanārīśvara-stotra is a different work and is not reproduced.

Can this immediately go public? No. Temple website republication permission, the source-specific rights layers, Nath/Sanskrit review and production asset checks remain outstanding.

Does this teach initiation or advanced Nath practice? No. It is an explanatory reading edition, not a lineage-recognized initiation manual.

Sources, Credits & Licensing

Founder-authorized educational edition. Independent textual and specialist review remains incomplete; this reading does not confer initiation or ritual authorization.

Underlying lyric permission confirmed by the founder; supporting document not independently inspected. ShivGoraksh edited educational presentation and original bilingual meanings. No recording or music included.

Original Roman reading

The Roman reading recorded with this edition, retaining its spelling and word forms before the Easy Roman display conversion.

Opening Nath acclamations
Gange har-Narmade har, jatashankari har, un namo Parvati pataye har, Boliye Shri Shambhu jati Guru Gorakshanath Maharaj ki jai, maya svarupi Dada Matsyendranath Maharaj ki jai, Navnath chaurasi siddhon ki jai, bhesh Bhagavan ki jai, atal kshetra ki jai, Ramteshvar Maharaj ki jai, Kadali Kal Bhairavnath ji ki jai, patra devata ki jai, Jwala Mahamai ki jai, Sanatan Dharm ki jai, apne-apne Guru Maharaj ki jai, gau-brahman ki jai, bole sache darbar ki jai, Har Har Mahadev ki jai.
Camphor-white Śiva with Bhavānī
kapūrragauram karuṇāvatāram saṃsārasāram bhujagendra hāram | sadā vasantam hṛdayāravinde bhavaṃ bhavānī sahitam namāmi ||
Śivā and Śiva — shared divinity
mandāramālā kalināla kāyai kapālamālāṅikat kantharāya | divyāmbarāyai ca digambarāya, namaḥ śivāyai ca namaḥ śivāya
Gorakṣa praise — four pādas
gorakṣa bālam guru śiṣya pālam śeṣāṃhimālam śaśikhaṇḍa bhālam | kālasya kālam jitajanma jālam vande jaṭālam jagadabjanālam ||
Guru as the Divine
gururbrahmā gururviṣṇu gururdevo maheśvara! guruḥ sākṣātparabrahma, tasmai śrī guravai namaḥ ||
Four roots of guru practice
dhyānamūlaṃ gurormūrtiḥ, pūjā mūlaṃ guroḥ padam mantramūlaṃ gurorvākyaṃ mokṣa mūlaṃ guroḥ kṛpā
Truth of mantra, worship and guru teaching
mantra satyaṃ pūjā satyaṃ satyadeva nirañjanam guruvākyaṃ sadā satyaṃ satyamekam paraṃpadam
You alone are mother and father
tvameva mātā ca pitā tvameva tvameva bandhuśca sakhā tvameva | tvameva vidyā draviṛam tvameva tvameva sarvam mama deva deva!
Śiva-liṅga reverence in three realms
ākāśe tāḍakā liṅgam pātāle vaṭukeśvaram martye loke mahākālam sarva liṅgam namostute ||
Nath yogic appearance and Ādeś
Sheli shringi shir jata jholi bhagva bhesh, Kanan kundal bhasm lasai, Shiv Goraksh Aadesh.
Oṃkāra, nāda and Gorakh
Unkar tera adhar Tin lok men jai-jaikar. Nad baje kal bhage, Gyan ki topi, Gorakh saje Gale nad, pushpan ki mala Raksha karen, Shri Shambhujati Guru Gorakshanath ji bala.
Four life-forms and final Ādeś
Char khani char bani Chandra surya pavan pani Eko deva sarvatra seva Jyoti patale parso deva Kanan kundal gale nad Karo siddho nadkar Siddh guruvaron ko Aadesh! Aadesh!!

Sources, attribution and restrictions

User-submitted ShivGoraksh-edited Gorakh Guru Vandana
Gorakhnath Mandir, Gorakhpur — प्रार्थना · Open source
Nath Samparday ki Paramparik Prarthana — Shri Goraksh Nathji · Open source
Ardhanarishvarastotram with meaning · Open source
GYAN — Goraskha Vandana · Open source
Comparative reading supplied with this edition

Text, Meaning & Explanation

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Context & Usage

2. Camphor-white Shiva with Bhavānī2. Camphor-white Śiva with Bhavānī

3. Shiva and Shiva — shared divinity3. Śivā and Śiva — shared divinity

4. Goraksh praise — four pādas4. Gorakṣa praise — four pādas

5. Guru as the Divine

6. Four roots of guru practice

7. Truth of mantra, worship and guru teaching

8. You alone are mother and father

9. Shiva-linga reverence in three realms9. Śiva-liṅga reverence in three realms

10. Nath yogic appearance and Ādeś

11. Oṃkāra, nāda and Gorakh

12. Four life-forms and final Ādeś

How to read this composite Nath prayer

Distinct readings and unresolved source questions

Frequently asked questions

Is this all one verse? No. It is a composite twelve-part performance prayer, including Sanskrit stanzas, regional Nath lines and collective acclamations.

Was the whole prayer written by Gorakhnath? That authorship is not demonstrated. Gorakhnath is its principal honored guru; component texts circulate independently.

Why not correct “द्रविड़म्” or “ज्वाला” now? This is an explicitly user-selected edited witness. Probable comparison readings are documented, but changing the original block requires an editorial decision.

Is the Ardhanārīśvara passage complete here? The selected four-line verse is present. The full longer Ardhanārīśvara-stotra is a different work and is not reproduced.

Can this immediately go public? No. Temple website republication permission, the source-specific rights layers, Nath/Sanskrit review and production asset checks remain outstanding.

Does this teach initiation or advanced Nath practice? No. It is an explanatory reading edition, not a lineage-recognized initiation manual.

Related Reading

Sources, attribution and restrictions