It is also necessary to understand that not every one may agree with my interpretation of the original Sanskrit composition of Mahimna for many reasons. One reason is that the rendition of Mahimna, like many other ancient stotras, is preserved for thousands of years by traditional recitation; first, handed over to disciples (shishya) by teachers (Guru) and then, in later years, to children by their parents. Since the script was not always available, learners had to entirely depend on ‘the patha’, i.e. recitation of what they listened to from their teachers. What they memorized, their students (children) followed per their skills and ability. Naturally, variations crept in, in the form of recitation as also the number of stanzas (shlokas).  As there were “patha-bheda” i.e. differences in recitation; there may have been additions or deletions, initiated or ignored deliberately or unintentionally, by scholars as well as laymen (learners).  For instance, Mahimna followed in Kashmir region is slightly different by a stanza or two from the Mahimna that is followed in Maharashtra, Gujarat, and Southern India. Sequence of a few stanzas is also different slightly in different regions.

Although the exact year of composition is difficult to determine, it can be safely assumed that the Mahimna is about 2,500 years old. The mention of Bauddha and Sankhya principles in the composition indicate that it might have been composed in the early post-Buddha period of 500 BC.  Pushpadanta, the composer, is supposed to be a king of ‘Gandharva,’ (an equivalent of an angel).  According to a myth, he lost his heavenly abode as a result of wrath of Lord Shiva he brought over himself by an inadvertent show of respect towards the Shiva. In order to expiate and to win over the Lord, he composed this ‘stotram,’ a poetic praise to the Glory of the Lord Shiva.  It is full of devotion yet highly pedantic with philosophical, cultural and historical references to contemporary and ancient schools of thought.  The Sanskrit rendition may appear difficult at first, but if repeated in classical and traditional fashion, it sounds exhilarating: very pleasant and spiritually elevating.  (Audio files* for Sanskrit and Marathi versions can be downloaded, free of charge.)

On this website, the original Sanskrit script in Devanagari, its conversion in Roman script and its paraphrased English version were obtained from the internet, but I improved on them based on what I was taught. I regret that I am unable to credit any particular source as several of websites were scanned and their list is no more available.  However, I gratefully acknowledge all the help I received from different websites and assure that nothing will be used for any financial gains.  This is a ‘seva’ i.e. service in the name of Lord Shiva and I hope everyone will love to join in spreading the Word (‘bhakti’) without any expectation (‘nishkam’). Now, let us turn to shlokas.

Simple meaning (SM): Pushpadanta says: Oh Lord Shiva, if Your glory should not be sung by anyone who cannot understand You, then even Lord Brahma, the creator of the universe, may not be able to praise You.  However, one cannot be faulted if he praises You according to his own understanding. Therefore, in spite of my limited intelligence, I dare sing Your glory by composing these verses entitled Mahimna! (1)

Note: Of several types of devotion, nine are main and called Navavidha Bhakti.  Here the poet displays the Vinay Bhakti (humility) claiming lack of intelligence.  He is however determined to declare his devotion and ready to praise the Lord Shiva.