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Easy Roman is a Devanagari-based Sanskrit reading aid. IAST preserves scholarly distinctions. Where no Roman text was supplied, IAST is derived automatically from the Devanagari; this is not a certified pronunciation guide. Vernacular songs retain their supplied word forms and spoken endings. Easy Roman simplifies unambiguous diacritics; their scholarly view retains the supplied Roman form rather than inventing Sanskrit pronunciation. Selected bija spellings are kept where unambiguous.

Stotra

Shiva Tandava Stotram

A powerful, rhythmic hymn to Shiva whose images move from cosmic dance and ascetic fire to devotion and equanimity.

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Text, Meaning & Explanation

Verse 1

जटाऽटवीगलज्जलप्रवाहपावितस्थले गलेऽवलम्ब्य लम्बितां भुजङ्गतुङ्गमालिकाम्। डमड्डमड्डमड्डमन्निनादवड्डमर्वयं चकार चण्डताण्डवं तनोतु नः शिवः शिवम् ॥१॥

Roman Transliteration

jataa’taveegalajjalapravaahapaavitasthale gale’valambya lambitaam bhujangatungamaalikaam| damaddamaddamaddamanninaadavaddamarvayam chakaara chandataandavam tanotu nah shivah shivam ||1||jaṭā’ṭavīgalajjalapravāhapāvitasthale gale’valambya lambitāṃ bhujaṅgatuṅgamālikām. ḍamaḍḍamaḍḍamaḍḍamanninādavaḍḍamarvayaṃ cakāra caṇḍatāṇḍavaṃ tanotu naḥ śivaḥ śivam ||1||

Meaning

Shiva dances vigorously beneath his streaming locks, serpent garland and beating drum; may his dance bring auspiciousness.

Explanation

The fierce movement is not merely violent: the hymn turns the drum’s audible rhythm and Ganga’s cleansing flow into a prayer for well-being.

Verse 2

जटाकटाहसम्भ्रमभ्रमन्निलिम्पनिर्झरीविलोलवीचिवल्लरीविराजमानमूर्द्धनि। धगद्धगद्धगज्ज्वलल्ललाटपट्टपावके किशोरचन्द्रशेखरे रतिः प्रतिक्षणं मम ॥२॥

Roman Transliteration

jataakataahasambhramabhramannilimpanirjhareevilolaveechivallareeviraajamaanamoorddhani| dhagaddhagaddhagajjvalallalaatapattapaavake kishorachandrashekhare ratih pratikshanam mama ||2||jaṭākaṭāhasambhramabhramannilimpanirjharīvilolavīcivallarīvirājamānamūrddhani. dhagaddhagaddhagajjvalallalāṭapaṭṭapāvake kiśoracandraśekhare ratiḥ pratikṣaṇaṃ mama ||2||

Meaning

The heavenly river swirls in Shiva’s hair; flame flashes upon his forehead and the young crescent crowns him. May my love for him never cease.

Explanation

Water, fire and moonlight share one divine form. The speaker moves from describing the spectacle to the personal wish for lasting devotion.

Verse 3

धराधरेन्द्रनन्दिनीविलासबन्धुबन्धुरस्फुरद्दिगन्तसन्ततिप्रमोदमानमानसे। कृपाकटाक्षधोरणीनिरुद्धदुर्धरापदि क्वचिद्दिगम्बरे मनो विनोदमेतु वस्तुनि ॥३॥

Roman Transliteration

dharaadharendranandineevilaasabandhubandhurasphuraddigantasantatipramodamaanamaanase| kripaakataakshadhoraneeniruddhadurdharaapadi kvachiddigambare mano vinodametu vastuni ||3||dharādharendranandinīvilāsabandhubandhurasphuraddigantasantatipramodamānamānase. kṛpākaṭākṣadhoraṇīniruddhadurdharāpadi kvaciddigambare mano vinodametu vastuni ||3||

Meaning

May my heart rejoice in the sky-clad Shiva, whose mind delights with the daughter of the mountain and whose gracious glance withstands great hardship.

Explanation

Parvati is not incidental to the imagery: her companionship and Shiva’s compassion temper the hymn’s fierceness. “Sky-clad” is an ascetic epithet, not a literal dress prescription.Parvati is not incidental to the imagery: her companionship and Shiva’s compassion temper the hymn’s fierceness. “Sky-clad” is an ascetic epithet, not a literal dress prescription.Pārvatī is not incidental to the imagery: her companionship and Shiva’s compassion temper the hymn’s fierceness. “Sky-clad” is an ascetic epithet, not a literal dress prescription.

Verse 4

जटाभुजङ्गपिङ्गलस्फुरत्फणामणिप्रभाकदम्बकुङ्कुमद्रवप्रलिप्तदिग्वधूमुखे। मदान्धसिन्धुरासुरत्वगुत्तरीयमेदुरे मनो विनोदमद्भुतं बिभर्तु भूतभर्तरि ॥४॥

Roman Transliteration

jataabhujangapingalasphuratphanaamaniprabhaakadambakunkumadravapraliptadigvadhoomukhe| madaandhasindhuraasuratvaguttareeyamedure mano vinodamadbhutam bibhartu bhootabhartari ||4||jaṭābhujaṅgapiṅgalasphuratphaṇāmaṇiprabhākadambakuṅkumadravapraliptadigvadhūmukhe. madāndhasindhurāsuratvaguttarīyamedure mano vinodamadbhutaṃ bibhartu bhūtabhartari ||4||

Meaning

The glow of gems on the serpents in Shiva’s matted locks colors the directions; he is wrapped in the hide of a mighty elephant-like foe. May the sustainer of beings delight my mind.

Explanation

The compound-packed language juxtaposes jewels, serpents and animal hide. It is iconographic praise, not a recommended handling of animals or ritual material.

Verse 5

सहस्रलोचनप्रभृत्यशेषलेखशेखरप्रसूनधूलिधोरणीविधूसराङ्घ्रिपीठभूः। भुजङ्गराजमालया निबद्धजाटजूटकः श्रिये चिराय जायतां चकोरबन्धुशेखरः ॥५॥

Roman Transliteration

sahasralochanaprabhrityasheshalekhashekharaprasoonadhoolidhoraneevidhoosaraanghripeethabhooh| bhujangaraajamaalayaa nibaddhajaatajootakah shriye chiraaya jaayataam chakorabandhushekharah ||5||sahasralocanaprabhṛtyaśeṣalekhaśekharaprasūnadhūlidhoraṇīvidhūsarāṅghripīṭhabhūḥ. bhujaṅgarājamālayā nibaddhajāṭajūṭakaḥ śriye cirāya jāyatāṃ cakorabandhuśekharaḥ ||5||

Meaning

Even gods such as Indra bow so low that flower dust covers the base of Shiva’s feet. May the serpent-adorned, moon-crested lord grant enduring welfare.

Explanation

The stanza reverses worldly hierarchy: powerful gods are pictured offering reverence. The printed variant between “jāṭa” and “jaṭā” in the hair compound merits separate collation.

Verse 6

ललाटचत्वरज्वलद्धनञ्जयस्फुलिङ्गभानिपीतपञ्चसायकं नमन्निलिम्पनायकम्। सुधामयूखलेखया विराजमानशेखरं महः कपालि सम्पदे सरिज्जटालमस्तु नः ॥६॥

Roman Transliteration

lalaatachatvarajvaladdhananjayasphulingabhaanipeetapanchasaayakam namannilimpanaayakam| sudhaamayookhalekhayaa viraajamaanashekharam mahah kapaali sampade sarijjataalamastu nah ||6||lalāṭacatvarajvaladdhanañjayasphuliṅgabhānipītapañcasāyakaṃ namannilimpanāyakam. sudhāmayūkhalekhayā virājamānaśekharaṃ mahaḥ kapāli sampade sarijjaṭālamastu naḥ ||6||

Meaning

The fire of Shiva’s forehead consumed Kāma, yet the crescent still shines above his head. May this skull-bearing, river-haired radiance bless us.

Explanation

Kāma is the desire-god of mythology; the image can also invite reflection on ungoverned craving. The hymn never makes compassion incompatible with ascetic fire.

Verse 7

करालभालपट्टिकाधगद्धगद्धगज्ज्वलद्धनञ्जयाहुतीकृतप्रचण्डपञ्चसायके। धराधरेन्द्रनन्दिनीकुचाग्रचित्रपत्रकप्रकल्पनैकशिल्पिनि त्रिलोचने रतिर्मम ॥७॥

Roman Transliteration

karaalabhaalapattikaadhagaddhagaddhagajjvaladdhananjayaahuteekritaprachandapanchasaayake| dharaadharendranandineekuchaagrachitrapatrakaprakalpanaikashilpini trilochane ratirmama ||7||karālabhālapaṭṭikādhagaddhagaddhagajjvaladdhanañjayāhutīkṛtapracaṇḍapañcasāyake. dharādharendranandinīkucāgracitrapatrakaprakalpanaikaśilpini trilocane ratirmama ||7||

Meaning

My devotion rests in the three-eyed Shiva whose blazing forehead defeated the arrows of Love and who is pictured as a playful artist adorning Parvati.My devotion rests in the three-eyed Shiva whose blazing forehead defeated the arrows of Love and who is pictured as a playful artist adorning Parvati.My devotion rests in the three-eyed Shiva whose blazing forehead defeated the arrows of Love and who is pictured as a playful artist adorning Pārvatī.

Explanation

The poet binds formidable ascetic power to domestic tenderness. The ornamenting motif is devotional imagination and should not be converted into an exclusive social ideal.

Verse 8

नवीनमेघमण्डलीनिरुद्धदुर्धरस्फुरत्कुहूनिशीथिनीतमःप्रबन्धबद्धकन्धरः। निलिम्पनिर्झरीधरस्तनोतु कृत्तिसिन्धुरः कलानिधानबन्धुरः श्रियं जगद्धुरन्धरः ॥८॥

Roman Transliteration

naveenameghamandaleeniruddhadurdharasphuratkuhoonisheethineetamahprabandhabaddhakandharah| nilimpanirjhareedharastanotu krittisindhurah kalaanidhaanabandhurah shriyam jagaddhurandharah ||8||navīnameghamaṇḍalīniruddhadurdharasphuratkuhūniśīthinītamaḥprabandhabaddhakandharaḥ. nilimpanirjharīdharastanotu kṛttisindhuraḥ kalānidhānabandhuraḥ śriyaṃ jagaddhurandharaḥ ||8||

Meaning

Shiva’s dark throat resembles clouded new-moon night; he bears the celestial river, wears a hide and supports the world. May he bring prosperity.

Explanation

The dark throat is traditionally connected to the poison-drinking Neelkantha account, though the verse itself uses a dense night-and-cloud simile.

Verse 9

प्रफुल्लनीलपङ्कजप्रपञ्चकालिमप्रभाऽवलम्बिकण्ठकन्दलीरुचिप्रबद्धकन्धरम्। स्मरच्छिदं पुरच्छिदं भवच्छिदं मखच्छिदं गजच्छिदान्धकच्छिदं तमन्तकच्छिदं भजे ॥९॥

Roman Transliteration

praphullaneelapankajaprapanchakaalimaprabhaa’valambikanthakandaleeruchiprabaddhakandharam| smarachchhidam purachchhidam bhavachchhidam makhachchhidam gajachchhidaandhakachchhidam tamantakachchhidam bhaje ||9||praphullanīlapaṅkajaprapañcakālimaprabhā’valambikaṇṭhakandalīruciprabaddhakandharam. smaracchidaṃ puracchidaṃ bhavacchidaṃ makhacchidaṃ gajacchidāndhakacchidaṃ tamantakacchidaṃ bhaje ||9||

Meaning

I worship Shiva, whose blue-dark throat shines like a lotus and who destroys Kāma, Tripura, bondage, Daksha’s sacrifice, the elephant foe, Andhaka and Death itself.

Explanation

A chain of “-chid” compounds rapidly names different conquests. They are layered mythological episodes, not permission to treat actual opponents violently.

Verse 10
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अखर्वसर्वमङ्गलाकलाकदम्बमञ्जरीरसप्रवाहमाधुरीविजृम्भणामधुव्रतम्। स्मरान्तकं पुरान्तकं भवान्तकं मखान्तकं गजान्तकान्धकान्तकं तमन्तकान्तकं भजे ॥१०॥

Roman Transliteration

akharvasarvamangalaakalaakadambamanjareerasapravaahamaadhureevijrimbhanaamadhuvratam| smaraantakam puraantakam bhavaantakam makhaantakam gajaantakaandhakaantakam tamantakaantakam bhaje ||10||akharvasarvamaṅgalākalākadambamañjarīrasapravāhamādhurīvijṛmbhaṇāmadhuvratam. smarāntakaṃ purāntakaṃ bhavāntakaṃ makhāntakaṃ gajāntakāndhakāntakaṃ tamantakāntakaṃ bhaje ||10||

Meaning

I worship Shiva, the bee drawn to the sweet blossoms of auspiciousness, who ends Kāma, Tripura, worldly becoming, the sacrifice and terrifying adversaries.

Explanation

The bee-and-flower image softens the repeated martial names. It is a poetic counterpart to the previous verse, not evidence of a separate event.

Verse 11

जयत्वदभ्रविभ्रमभ्रमद्भुजङ्गमश्वसद्विनिर्गमत्क्रमस्फुरत्करालभालहव्यवाट्। धिमिद्धिमिद्धिमिद्ध्वनन्मृदङ्गतुङ्गमङ्गलध्वनिक्रमप्रवर्तितप्रचण्डताण्डवः शिवः ॥११॥

Roman Transliteration

jayatvadabhravibhramabhramadbhujangamashvasadvinirgamatkramasphuratkaraalabhaalahavyavaat| dhimiddhimiddhimiddhvananmridangatungamangaladhvanikramapravartitaprachandataandavah shivah ||11||jayatvadabhravibhramabhramadbhujaṅgamaśvasadvinirgamatkramasphuratkarālabhālahavyavāṭ. dhimiddhimiddhimiddhvananmṛdaṅgatuṅgamaṅgaladhvanikramapravartitapracaṇḍatāṇḍavaḥ śivaḥ ||11||

Meaning

Victory to Shiva: serpents whirl, his forehead-fire flashes and the auspicious beats of the mṛdaṅga set his fierce Tāṇḍava in motion.

Explanation

Onomatopoeic “dhimid-dhimid” imitates percussion. The poem emphasizes an audible dance; it must not be confused with a technical choreography manual.

Verse 12

दृषद्विचित्रतल्पयोर्भुजङ्गमौक्तिकस्रजोर्गरिष्ठरत्नलोष्ठयोः सुहृद्विपक्षपक्षयोः। तृणारविन्दचक्षुषोः प्रजामहीमहेन्द्रयोः समप्रवृत्तिकः कदा सदाशिवं भजाम्यहम् ॥१२॥

Roman Transliteration

drishadvichitratalpayorbhujangamauktikasrajorgarishtharatnaloshthayoh suhridvipakshapakshayoh| trinaaravindachakshushoh prajaamaheemahendrayoh samapravrittikah kadaa sadaashivam bhajaamyaham ||12||dṛṣadvicitratalpayorbhujaṅgamauktikasrajorgariṣṭharatnaloṣṭhayoḥ suhṛdvipakṣapakṣayoḥ. tṛṇāravindacakṣuṣoḥ prajāmahīmahendrayoḥ samapravṛttikaḥ kadā sadāśivaṃ bhajāmyaham ||12||

Meaning

When shall I worship Sadashiva with equal regard for stone and fine bedding, serpent and pearl necklace, costly jewel and clod, friend and foe, grass and lotus-eyed beauty, commoner and emperor?

Explanation

This is the hymn’s sharp ethical turn toward equanimity. Equality of inward regard does not erase duties to resist harm or discern right conduct.

Verse 13

कदा निलिम्पनिर्झरीनिकुञ्जकोटरे वसन् विमुक्तदुर्मतिः सदा शिरःस्थमञ्जलिं वहन्। विमुक्तलोललोचनाललामभाललग्नकं शिवेति मन्त्रमुच्चरन् कदा सुखी भवाम्यहम् ॥१३॥

Roman Transliteration

kadaa nilimpanirjhareenikunjakotare vasan vimuktadurmatih sadaa shirahsthamanjalim vahan| vimuktalolalochanaalalaamabhaalalagnakam shiveti mantramuchcharan kadaa sukhee bhavaamyaham ||13||kadā nilimpanirjharīnikuñjakoṭare vasan vimuktadurmatiḥ sadā śiraḥsthamañjaliṃ vahan. vimuktalolalocanālalāmabhālalagnakaṃ śiveti mantramuccaran kadā sukhī bhavāmyaham ||13||

Meaning

When may I dwell beside the celestial river in a quiet grove, free from confused thought, hands joined above, repeating “Shiva” in contentment?

Explanation

A personal yearning replaces the cosmic panorama. The description evokes contemplative solitude; it need not be read as an obligation to withdraw from society.

Verse 14

निलिम्पनाथनागरीकदम्बमौलमल्लिकानिगुम्फनिर्भरक्षरन्मधूष्णिकामनोहरः। तनोतु नो मनोमुदं विनोदिनीमहर्निशं परश्रियः परं पदं तदङ्गजत्विषां चयः ॥१४॥

Roman Transliteration

nilimpanaathanaagareekadambamaulamallikaanigumphanirbharaksharanmadhooshnikaamanoharah| tanotu no manomudam vinodineemaharnisham parashriyah param padam tadangajatvishaam chayah ||14||nilimpanāthanāgarīkadambamaulamallikānigumphanirbharakṣaranmadhūṣṇikāmanoharaḥ. tanotu no manomudaṃ vinodinīmaharniśaṃ paraśriyaḥ paraṃ padaṃ tadaṅgajatviṣāṃ cayaḥ ||14||

Meaning

May the radiant beauty of Shiva’s divine adornment, imagined through flowers and heavenly fragrance, bring delight to our minds by day and night.

Explanation

This verse contains unusually compressed compounds and significant witness differences. Its exact ornament and radiance imagery requires Sanskrit-specialist review before any confident word-by-word gloss.

Verse 15

प्रचण्डवाडवानलप्रभाशुभप्रचारणी महाष्टसिद्धिकामिनीजनाऽवहूतजल्पना। विमुक्तवामलोचनाविवाहकालिकध्वनिः शिवेति मन्त्रभूषणा जगज्जयाय जायताम् ॥१५॥

Roman Transliteration

prachandavaadavaanalaprabhaashubhaprachaaranee mahaashtasiddhikaamineejanaa’vahootajalpanaa| vimuktavaamalochanaavivaahakaalikadhvanih shiveti mantrabhooshanaa jagajjayaaya jaayataam ||15||pracaṇḍavāḍavānalaprabhāśubhapracāraṇī mahāṣṭasiddhikāminījanā’vahūtajalpanā. vimuktavāmalocanāvivāhakālikadhvaniḥ śiveti mantrabhūṣaṇā jagajjayāya jāyatām ||15||

Meaning

May the voice glorifying Shiva—amid fiery radiance, spiritual attainments and auspicious celebratory sound—be victorious through the worlds.

Explanation

The verse is textually difficult: “marriage-time sound,” eight siddhis and a left-eye image appear in competing interpretations. None establishes a ritual prescription or guaranteed power.

Verse 16

इमं हि नित्यमेवमुक्तमुत्तमोत्तमं स्तवं पठन्स्मरन्ब्रुवन्नरो विशुद्धिमेतिसन्ततम्। हरे गुरौ सुभक्तिमाशु याति नाऽन्यथा गतिं विमोहनं हि देहिनां सुशङ्करस्य चिन्तनम् ॥१६॥

Roman Transliteration

imam hi nityamevamuktamuttamottamam stavam pathansmaranbruvannaro vishuddhimetisantatam| hare gurau subhaktimaashu yaati naa’nyathaa gatim vimohanam hi dehinaam sushankarasya chintanam ||16||imaṃ hi nityamevamuktamuttamottamaṃ stavaṃ paṭhansmaranbruvannaro viśuddhimetisantatam. hare gurau subhaktimāśu yāti nā’nyathā gatiṃ vimohanaṃ hi dehināṃ suśaṅkarasya cintanam ||16||

Meaning

The closing verse praises repeated reflection on this excellent hymn as a means of inner purification and deepened devotion to Shiva as teacher and lord.

Explanation

This is the hymn’s internal assurance about devotional benefit; it is not empirical proof of purity, a mandatory repetition count or a special initiatory practice.

Closing benediction — verse 17
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पूजावसानसमये दशवक्त्रगीतं यः शम्भुपूजनपरं पठति प्रदोषे। तस्य स्थिरां रथगजेन्द्रतुरङ्गयुक्तां लक्ष्मीं प्रसादसमये प्रददाति शम्भुः ॥१७॥

Roman Transliteration

poojaavasaanasamaye dashavaktrageetam yah shambhupoojanaparam pathati pradoshe| tasya sthiraam rathagajendraturangayuktaam lakshmeem prasaadasamaye pradadaati shambhuh ||17||pūjāvasānasamaye daśavaktragītaṃ yaḥ śambhupūjanaparaṃ paṭhati pradoṣe. tasya sthirāṃ rathagajendraturaṅgayuktāṃ lakṣmīṃ prasādasamaye pradadāti śambhuḥ ||17||

Meaning

The final benediction says that one who recites this ten-faced Ravana-associated hymn at the end of Shiva worship, including Pradosha, receives lasting prosperity by Shiva’s grace.

Explanation

This phalaśruti supplies the Ravana attribution within the transmitted text and uses elephants, horses and chariots as traditional prosperity imagery. It cannot independently prove Ravana’s historical authorship or guarantee wealth.

Context & Usage

Selected text: fixed Sanskrit Wikisource 16+1 witness. Number 17 is supplied for reader navigation, not printed in the selected source.

Closing benediction

Meaning: The final benediction says that one who recites this ten-faced Ravana-associated hymn at the end of Shiva worship, including Pradosha, receives lasting prosperity by Shiva’s grace. Explanation: This phalaśruti supplies the Ravana attribution within the transmitted text and uses elephants, horses and chariots as traditional prosperity imagery. It cannot independently prove Ravana’s historical authorship or guarantee wealth.

Why this hymn remains memorable

The Shiva Tandava Stotram is not simply a description of fierce movement. It creates its own soundscape with driving compounds, repeating consonants, the drumbeat of ḍamaḍ and the larger percussion of dhimid. It then makes a striking transition into ethical equanimity and a quiet longing to chant Shiva’s name. Both the cosmic and personal dimensions belong to the selected hymn. 1

Edition note: The 17 displayed units are 16 numbered main verses and one final benediction, unnumbered in this fixed source. This is a chosen witness, not a claim that every community uses 17 units. 12

Cosmic dance, iconography and sound

The opening images place the Ganga, snakes, forehead-fire, crescent moon and the damaru into a continuous rhythm. By verse 11 the drum-like dhimid-dhimid becomes almost audible. These are poetic images of Shiva’s movement, not a manual defining specific dance steps. 1

Chola-period Nataraja sculptures likewise use the damaru, flame, gesture of fearlessness and the figure of Apasmara to express creation, transformation, refuge and ignorance. Museum catalogues also describe a five-activity model of Shiva—creation, preservation, dissolution, concealment and grace. These artistic and theological associations illuminate the hymn without proving that it was composed at the same time as those bronzes. 56

Ravana: tradition versus historical authorship

The heading and final benediction identify this as a hymn associated with the ten-headed Ravana. That attribution matters to living devotional reception and the literary image of Ravana as an ardent Shiva worshipper. It does not, without independent dated evidence, verify the actual author or century of composition. We therefore say traditionally attributed to Ravana, not “historically written by Ravana.” 12

Why the 15-, 16- and 17-unit versions differ

A shorter Bṛhatstotraratnākara text begins with a verse that is number 2 here, and it lacks this edition’s challenging flower-imagery verse 14. Its conclusion also has alternative wording. Popular recitation editions may count only the principal hymn while another includes the final phalaśruti. This draft does not import one tradition’s missing verses into another. 12378

The wording of verse 5, the equanimity ending in verse 12, the compressed compounds in verses 14–15 and the benediction need deliberate Sanskrit-specialist collation. The meanings provided are original interpretive drafts, not substitute manuscript authority. 12

Understanding the final benediction responsibly

The closing reference to Pradosha and the imagery of chariots, elephants, horses and Lakshmi belongs to the language of traditional devotional reward. It should not be treated as proof of material gains, automatic spiritual attainments, or an exact, universally required worship procedure. This educational page offers no restricted initiation or ritual instructions. 1

Key terms and pronunciation

Jata:Jaṭā: matted hair of an ascetic. Damaru: hand drum. Tāṇḍava: a vigorous mode of Shiva’s dance. Digambara: sky-clad, a poetic ascetic epithet. Samabhāva: inward equipoise across changing circumstances. Phalaśruti: concluding verse describing traditional benefits of recitation. IAST letters such as ṭ, ḍ, ṇ, ś, ṣ and long ā mark Sanskrit distinctions that need review by a trained reader.

Frequently asked questions

What does the title mean?

“Shiva Tandava Stotram” means a hymn praising Shiva’s energetic dance. Its compact Sanskrit compounds imitate movement and percussion. Did Ravana compose it?

The hymn is traditionally attributed to Ravana, including in the transmitted heading and final benediction. Its historical composer and precise date are not established by those claims alone. How many verses are there?

This selected witness contains 16 main verses plus an unnumbered closing benediction, shown here as unit 17. Other editions use shorter sequences or different counting. Is this the same as the Nataraja icon?

Both celebrate Shiva’s dance, but this hymn and South Indian Chola Nataraja sculpture have distinct documentary histories. Similar imagery does not establish an identical origin. Does the hymn promise money or powers?

The final benediction uses traditional prosperity language. It is a devotional assurance, not an empirical guarantee or instruction for attaining powers. What is the role of Parvati?

The poem repeatedly invokes the daughter of the mountain alongside Shiva, notably in verses 3 and 7; cosmic power is accompanied by affection and compassion. Can I read the Roman script as an English translation?

No. The Roman text reproduces Sanskrit sounds through IAST; the meaning is provided afterward in separate English prose. Is it an initiatory mantra?

This page offers public educational reading of a stotra, not initiation or restricted ritual instructions. Why do two websites print different verses?

Different recensional and recitation traditions omit, add or rearrange verses. This edition names its witness and records differences without creating a synthetic text.

Related Reading

Sources, Credits & Licensing

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

Wikimedia contributors. Based on शिवताण्डवस्तोत्रम्, fixed Wikisource revision. Original words, new Roman rendering and derivative meanings: CC BY-SA 4.0. Script conversion, punctuation, Romanization and any declared editorial lyric changes are adaptations; no independent textual certification.

Text licence

Original Roman reading

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

  1. Verse 1

    jaṭā’ṭavīgalajjalapravāhapāvitasthale gale’valambya lambitāṃ bhujaṅgatuṅgamālikām. ḍamaḍḍamaḍḍamaḍḍamanninādavaḍḍamarvayaṃ cakāra caṇḍatāṇḍavaṃ tanotu naḥ śivaḥ śivam ||1||

  2. Verse 2

    jaṭākaṭāhasambhramabhramannilimpanirjharīvilolavīcivallarīvirājamānamūrddhani. dhagaddhagaddhagajjvalallalāṭapaṭṭapāvake kiśoracandraśekhare ratiḥ pratikṣaṇaṃ mama ||2||

  3. Verse 3

    dharādharendranandinīvilāsabandhubandhurasphuraddigantasantatipramodamānamānase. kṛpākaṭākṣadhoraṇīniruddhadurdharāpadi kvaciddigambare mano vinodametu vastuni ||3||

  4. Verse 4

    jaṭābhujaṅgapiṅgalasphuratphaṇāmaṇiprabhākadambakuṅkumadravapraliptadigvadhūmukhe. madāndhasindhurāsuratvaguttarīyamedure mano vinodamadbhutaṃ bibhartu bhūtabhartari ||4||

  5. Verse 5

    sahasralocanaprabhṛtyaśeṣalekhaśekharaprasūnadhūlidhoraṇīvidhūsarāṅghripīṭhabhūḥ. bhujaṅgarājamālayā nibaddhajāṭajūṭakaḥ śriye cirāya jāyatāṃ cakorabandhuśekharaḥ ||5||

  6. Verse 6

    lalāṭacatvarajvaladdhanañjayasphuliṅgabhānipītapañcasāyakaṃ namannilimpanāyakam. sudhāmayūkhalekhayā virājamānaśekharaṃ mahaḥ kapāli sampade sarijjaṭālamastu naḥ ||6||

  7. Verse 7

    karālabhālapaṭṭikādhagaddhagaddhagajjvaladdhanañjayāhutīkṛtapracaṇḍapañcasāyake. dharādharendranandinīkucāgracitrapatrakaprakalpanaikaśilpini trilocane ratirmama ||7||

  8. Verse 8

    navīnameghamaṇḍalīniruddhadurdharasphuratkuhūniśīthinītamaḥprabandhabaddhakandharaḥ. nilimpanirjharīdharastanotu kṛttisindhuraḥ kalānidhānabandhuraḥ śriyaṃ jagaddhurandharaḥ ||8||

  9. Verse 9

    praphullanīlapaṅkajaprapañcakālimaprabhā’valambikaṇṭhakandalīruciprabaddhakandharam. smaracchidaṃ puracchidaṃ bhavacchidaṃ makhacchidaṃ gajacchidāndhakacchidaṃ tamantakacchidaṃ bhaje ||9||

  10. Verse 10

    akharvasarvamaṅgalākalākadambamañjarīrasapravāhamādhurīvijṛmbhaṇāmadhuvratam. smarāntakaṃ purāntakaṃ bhavāntakaṃ makhāntakaṃ gajāntakāndhakāntakaṃ tamantakāntakaṃ bhaje ||10||

  11. Verse 11

    jayatvadabhravibhramabhramadbhujaṅgamaśvasadvinirgamatkramasphuratkarālabhālahavyavāṭ. dhimiddhimiddhimiddhvananmṛdaṅgatuṅgamaṅgaladhvanikramapravartitapracaṇḍatāṇḍavaḥ śivaḥ ||11||

  12. Verse 12

    dṛṣadvicitratalpayorbhujaṅgamauktikasrajorgariṣṭharatnaloṣṭhayoḥ suhṛdvipakṣapakṣayoḥ. tṛṇāravindacakṣuṣoḥ prajāmahīmahendrayoḥ samapravṛttikaḥ kadā sadāśivaṃ bhajāmyaham ||12||

  13. Verse 13

    kadā nilimpanirjharīnikuñjakoṭare vasan vimuktadurmatiḥ sadā śiraḥsthamañjaliṃ vahan. vimuktalolalocanālalāmabhālalagnakaṃ śiveti mantramuccaran kadā sukhī bhavāmyaham ||13||

  14. Verse 14

    nilimpanāthanāgarīkadambamaulamallikānigumphanirbharakṣaranmadhūṣṇikāmanoharaḥ. tanotu no manomudaṃ vinodinīmaharniśaṃ paraśriyaḥ paraṃ padaṃ tadaṅgajatviṣāṃ cayaḥ ||14||

  15. Verse 15

    pracaṇḍavāḍavānalaprabhāśubhapracāraṇī mahāṣṭasiddhikāminījanā’vahūtajalpanā. vimuktavāmalocanāvivāhakālikadhvaniḥ śiveti mantrabhūṣaṇā jagajjayāya jāyatām ||15||

  16. Verse 16

    imaṃ hi nityamevamuktamuttamottamaṃ stavaṃ paṭhansmaranbruvannaro viśuddhimetisantatam. hare gurau subhaktimāśu yāti nā’nyathā gatiṃ vimohanaṃ hi dehināṃ suśaṅkarasya cintanam ||16||

  17. Closing benediction — verse 17

    pūjāvasānasamaye daśavaktragītaṃ yaḥ śambhupūjanaparaṃ paṭhati pradoṣe. tasya sthirāṃ rathagajendraturaṅgayuktāṃ lakṣmīṃ prasādasamaye pradadāti śambhuḥ ||17||

Sources and editorial boundaries

  • 1 Fixed Sanskrit Wikisource reading, 16 main verses and unnumbered closing benediction.
  • 2 Shorter Bṛhatstotraratnākara witness, compared for structure and variants.
  • 3 1912 print catalogue; complete image-level collation remains pending.
  • 4, 7, 8 Comparative recitation reports; no modern translations or text files copied.
  • 5, 6 Institutional Nataraja iconography references.
Additional passage commentary

Verse 1

Meaning: Shiva dances vigorously beneath his streaming locks, serpent garland and beating drum; may his dance bring auspiciousness. Explanation: The fierce movement is not merely violent: the hymn turns the drum’s audible rhythm and Ganga’s cleansing flow into a prayer for well-being.

Verse 2

Meaning: The heavenly river swirls in Shiva’s hair; flame flashes upon his forehead and the young crescent crowns him. May my love for him never cease. Explanation: Water, fire and moonlight share one divine form. The speaker moves from describing the spectacle to the personal wish for lasting devotion.

Verse 3

Meaning: May my heart rejoice in the sky-clad Shiva, whose mind delights with the daughter of the mountain and whose gracious glance withstands great hardship. Explanation: Parvati is not incidental to the imagery: her companionship and Shiva’s compassion temper the hymn’s fierceness. “Sky-clad” is an ascetic epithet, not a literal dress prescription. Pārvatī is not incidental to the imagery: her companionship and Shiva’s compassion temper the hymn’s fierceness. “Sky-clad” is an ascetic epithet, not a literal dress prescription.

Verse 4

Meaning: The glow of gems on the serpents in Shiva’s matted locks colors the directions; he is wrapped in the hide of a mighty elephant-like foe. May the sustainer of beings delight my mind. Explanation: The compound-packed language juxtaposes jewels, serpents and animal hide. It is iconographic praise, not a recommended handling of animals or ritual material.

Verse 5

Meaning: Even gods such as Indra bow so low that flower dust covers the base of Shiva’s feet. May the serpent-adorned, moon-crested lord grant enduring welfare. Explanation: The stanza reverses worldly hierarchy: powerful gods are pictured offering reverence. The printed variant between “jāṭa” and “jaṭā” in the hair compound merits separate collation.

Verse 6

Meaning: The fire of Shiva’s forehead consumed Kāma, yet the crescent still shines above his head. May this skull-bearing, river-haired radiance bless us. Explanation: Kāma is the desire-god of mythology; the image can also invite reflection on ungoverned craving. The hymn never makes compassion incompatible with ascetic fire.

Verse 7

Meaning: My devotion rests in the three-eyed Shiva whose blazing forehead defeated the arrows of Love and who is pictured as a playful artist adorning Parvati. My devotion rests in the three-eyed Shiva whose blazing forehead defeated the arrows of Love and who is pictured as a playful artist adorning Pārvatī. Explanation: The poet binds formidable ascetic power to domestic tenderness. The ornamenting motif is devotional imagination and should not be converted into an exclusive social ideal.

Verse 8

Meaning: Shiva’s dark throat resembles clouded new-moon night; he bears the celestial river, wears a hide and supports the world. May he bring prosperity. Explanation: The dark throat is traditionally connected to the poison-drinking Neelkantha account, though the verse itself uses a dense night-and-cloud simile.

Verse 9

Meaning: I worship Shiva, whose blue-dark throat shines like a lotus and who destroys Kāma, Tripura, bondage, Daksha’s sacrifice, the elephant foe, Andhaka and Death itself. Explanation: A chain of “-chid” compounds rapidly names different conquests. They are layered mythological episodes, not permission to treat actual opponents violently.

Verse 10

Meaning: I worship Shiva, the bee drawn to the sweet blossoms of auspiciousness, who ends Kāma, Tripura, worldly becoming, the sacrifice and terrifying adversaries. Explanation: The bee-and-flower image softens the repeated martial names. It is a poetic counterpart to the previous verse, not evidence of a separate event.

Verse 11

Meaning: Victory to Shiva: serpents whirl, his forehead-fire flashes and the auspicious beats of the mṛdaṅga set his fierce Tāṇḍava in motion. Explanation: Onomatopoeic “dhimid-dhimid” imitates percussion. The poem emphasizes an audible dance; it must not be confused with a technical choreography manual.

Verse 12

Meaning: When shall I worship Sadashiva with equal regard for stone and fine bedding, serpent and pearl necklace, costly jewel and clod, friend and foe, grass and lotus-eyed beauty, commoner and emperor? Explanation: This is the hymn’s sharp ethical turn toward equanimity. Equality of inward regard does not erase duties to resist harm or discern right conduct.

Verse 13

Meaning: When may I dwell beside the celestial river in a quiet grove, free from confused thought, hands joined above, repeating “Shiva” in contentment? Explanation: A personal yearning replaces the cosmic panorama. The description evokes contemplative solitude; it need not be read as an obligation to withdraw from society.

Verse 14

Meaning: May the radiant beauty of Shiva’s divine adornment, imagined through flowers and heavenly fragrance, bring delight to our minds by day and night. Explanation: This verse contains unusually compressed compounds and significant witness differences. Its exact ornament and radiance imagery requires Sanskrit-specialist review before any confident word-by-word gloss.

Verse 15

Meaning: May the voice glorifying Shiva—amid fiery radiance, spiritual attainments and auspicious celebratory sound—be victorious through the worlds. Explanation: The verse is textually difficult: “marriage-time sound,” eight siddhis and a left-eye image appear in competing interpretations. None establishes a ritual prescription or guaranteed power.

Verse 16

Meaning: The closing verse praises repeated reflection on this excellent hymn as a means of inner purification and deepened devotion to Shiva as teacher and lord. Explanation: This is the hymn’s internal assurance about devotional benefit; it is not empirical proof of purity, a mandatory repetition count or a special initiatory practice.

  1. शिवताण्डवस्तोत्रम्, fixed Wikisource revision · Open source
  2. रावणकृतशिवताण्डवस्तोत्रम् in Bṛhatstotraratnākara · Open source
  3. Brihat Stotra Ratnakara 1912 digitized index · Open source
  4. Shiva Tandava Stotram expanded Sanskrit text and variant presentation · Open source
  5. Shiva as Lord of Dance (Nataraja), object 1987.80.1 · Open source
  6. Siva Nataraja (National Museum catalogue) · Open source
  7. Shiv Tandav Stotram, 16-verse editorial comparative report with 33 variants · Open source
  8. Śiva and the dance: popular 15-verse reading · Open source