*Umā Sahasram* is the **greatest and most important poetic work of Kāvyakaṇṭha Vasiṣṭha Śrī Gaṇapati Muni**. It was composed soon after the great turning point in his spiritual life, when he accepted **Bhagavān Śrī Ramana Maharshi as his Guru in 1907**. Gaṇapati Muni composed these one thousand verses as part of his tapas and as an offering of gratitude to **Goddess Umā**, whom he believed had blessed him by giving him Śrī Ramana Maharshi as his Master.

After his meeting with the Maharshi, the Muni wished to continue his intense spiritual practice. At the suggestion of Śrī Ramana, he went to the **Mango-tree Cave on Arunachala Hill**. There he decided to compose one thousand verses in praise of Goddess Umā. Śrī Ramana silently gave his approval and blessings. The Muni took a firm vow to complete all one thousand verses within **twenty days**, and began the work on **26 November 1907**.

Soon, however, a serious obstacle arose. A painful **whitlow developed on the writing finger of his right hand**, making it difficult for him to continue writing. This threatened the completion of his vow. Yet, according to the traditional account, the finger healed remarkably through the grace of the Divine Mother, and the Muni was able to continue his composition.

The greatest challenge came on the final day, **15 December 1907**. More than **two hundred verses** still remained to be composed. Determined to fulfil his vow, the Muni arranged for **five scribes** to sit with him and began dictating verses rapidly to them. Bhagavān Ramana Maharshi was seated beside him with his eyes closed.

Then followed the most extraordinary moment in the history of *Umā Sahasram*. Verses poured forth from the Muni in a powerful flow of inspiration. By midnight, the entire thousand verses had been completed. Śrī Ramana then slightly opened his eyes and asked:

**“Have you written down all that was said?”**

The Muni replied that, through the Maharshi's abundant grace, the work had been completed.

For the Muni, this was much more than an act of literary composition. He understood that the sudden stream of more than two hundred verses had arisen through a mysterious spiritual communion between **Guru Ramana and disciple Gaṇapati Muni**. The Maharshi had spoken no words, yet the disciple received the inspiration. It was, in this sense, a teaching communicated through **Silence**.

This gives *Umā Sahasram* a unique place in the spiritual relationship between Śrī Ramana Maharshi and Gaṇapati Muni. The Muni later revised the work **seven times as part of his tapas**, but he did not alter those verses which had come during that extraordinary final night like a direct **darśana or revelation**. They were preserved as they had originally arisen. From this spiritual point of view, it is therefore appropriate to see *Umā Sahasram* not simply as the creation of Gaṇapati Muni alone, but as a sacred work born from the silent meeting of **Ramana's grace and Gaṇapati Muni's inspired vision**.

Because of this origin, the verses of *Umā Sahasram* have traditionally been regarded as having the **power of mantra**. The work is not meant merely to be appreciated as beautiful Sanskrit poetry. Recitation, study and contemplation of its verses are regarded as forms of spiritual practice capable of awakening devotion, knowledge and inner experience.

The thousand verses are arranged into **forty Stabakas, or cantos, with twenty-five verses in each**. Every Stabaka is written entirely in one particular poetic metre. Across the whole work, the Muni uses **twenty-nine different Sanskrit metres**, showing his extraordinary mastery of Sanskrit poetry. The first verse of every Stabaka is a prayer connected with the beautiful **smile of Goddess Umā**, while the final verse generally identifies the metre used in that Stabaka.

The subjects covered in *Umā Sahasram* are equally vast. The Muni speaks about **the creation of the universe, the supreme nature of the Divine Mother, Vedic and Tantric deities, mantra, worship, upāsanā, Kuṇḍalinī, yogic experiences, the Ten Mahāvidyās, the Upaniṣads and different forms of spiritual sādhana**. These teachings do not come from scholarship alone. They arise from the Muni's deep knowledge of scripture together with his own experiences in tapas, mantra and Yoga.

*Umā Sahasram* is therefore a remarkable meeting point of **Veda, Upaniṣad, Tantra, Yoga, mantra, philosophy, devotion and direct spiritual experience**. In its pages, Goddess Umā is not presented merely as a deity to be worshipped, but as the **Supreme Divine Power present in creation, in the human being, in consciousness and in the very path to Self-realisation**.

For this reason, *Umā Sahasram* is far more than a thousand-verse hymn. It is a record of the Muni's tapas, a great hymn to the Divine Mother, a testimony to the silent Guru–disciple relationship between **Śrī Ramana Maharshi and Gaṇapati Muni**, and a spiritual text in which **each verse can become a doorway to deeper inner experience**.

Uma Sahasram

English

prathamaḥ stabakaḥ - āryāvṛttam

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pañcamaḥ stabakaḥ – upajātivṛttam

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navamaḥ stabakaḥ - āryāvṛttam

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trayodaśaḥ stabakaḥ - upajātivṛttam

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saptadaśaḥ stabakaḥ- campakamālāvṛttam

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ekaviṃśaḥ stabakaḥ - anuṣṭubvṛttam

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pañcaviṃśaḥ stabakaḥ- indravajrāvṛttam

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ekonatriṃśaḥ stabakaḥ- madalekhāvṛttam

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trayastriṃśaḥ stabakaḥ - vaṃśasthavṛttam

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saptatriṃśaḥ stabakaḥ - anuṣṭubvṛttam

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dvitīyaḥ stabakaḥ - pañcacāmaravṛttam

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ṣaṣṭhaḥ stabakaḥ - madalekhāvṛttam

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daśamaḥ stabakaḥ - lalitāvṛttam

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caturdaśaḥ stabakaḥ - upagītivṛttam

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aṣṭādaśaḥ stabakaḥ - praharṣiṇīvṛttam

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dvāviṃśaḥ stabakaḥ - viyoginīvṛttam

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ṣaḍviṃśaḥ stabakaḥ - dodhakavṛttam

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triṃśaḥ stabakaḥ - pramāṇikāvṛttam

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catustriṃśaḥ stabakaḥ - hariṇīvṛttam

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aṣṭatriṃśaḥ stabakaḥ - pādākulakavṛttam

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tṛtīyaḥ stabakaḥ - tanumadhyāvṛttam

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saptamaḥ stabakaḥ - vasantatilakāvṛttam

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ekādaśaḥ stabakaḥ - āryāvṛttam

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pañcadaśaḥ stabakaḥ - svāgatāvṛttam

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ekonaviṃśaḥ stabakaḥ - pramāṇikāvṛttam

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trayoviṃśaḥ stabakaḥ - naramanoramāvṛttam

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saptaviṃśaḥ stabakaḥ - śikhariṇīvṛttam

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ekatriṃśaḥ stabakaḥ - upajātivṛttam

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pañcatriṃśaḥ stabakaḥ - induvadanāvṛttam

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ekonacatvāriṃśaḥ stabakaḥ - indravajrāvṛttam

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caturthaḥ stabakaḥ - gītivṛttam

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aṣṭamaḥ stabakaḥ - anuṣṭubvṛttam

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dvādaśaḥ stabakaḥ - rathoddhatāvṛttam

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ṣoḍaśaḥ stabakaḥ - kumāralalitāvṛttam

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viṃśaḥ stabakaḥ - maṇibandhavṛttam

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caturviṃśaḥ stabakaḥ - supratiṣṭhāvṛttam

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aṣṭāviṃśaḥ stabakaḥ - vasantatilakāvṛttam

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dvātriṃśaḥ stabakaḥ - āryāgītivṛttam

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ṣaṭtriṃśaḥ stabakaḥ - tūṇakavṛttam

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catvāriṃśaḥ stabakaḥ - pādākulakavṛttam

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Kavyakantha Ganapati Muni

Uma Sahasram

prathamaḥ stabakaḥ - āryāvṛttam

pañcamaḥ stabakaḥ – upajātivṛttam

navamaḥ stabakaḥ - āryāvṛttam

trayodaśaḥ stabakaḥ - upajātivṛttam

saptadaśaḥ stabakaḥ- campakamālāvṛttam

ekaviṃśaḥ stabakaḥ - anuṣṭubvṛttam

pañcaviṃśaḥ stabakaḥ- indravajrāvṛttam

ekonatriṃśaḥ stabakaḥ- madalekhāvṛttam

trayastriṃśaḥ stabakaḥ - vaṃśasthavṛttam

saptatriṃśaḥ stabakaḥ - anuṣṭubvṛttam

dvitīyaḥ stabakaḥ - pañcacāmaravṛttam

ṣaṣṭhaḥ stabakaḥ - madalekhāvṛttam

daśamaḥ stabakaḥ - lalitāvṛttam

caturdaśaḥ stabakaḥ - upagītivṛttam

aṣṭādaśaḥ stabakaḥ - praharṣiṇīvṛttam

dvāviṃśaḥ stabakaḥ - viyoginīvṛttam

ṣaḍviṃśaḥ stabakaḥ - dodhakavṛttam

triṃśaḥ stabakaḥ - pramāṇikāvṛttam

catustriṃśaḥ stabakaḥ - hariṇīvṛttam

aṣṭatriṃśaḥ stabakaḥ - pādākulakavṛttam

tṛtīyaḥ stabakaḥ - tanumadhyāvṛttam

saptamaḥ stabakaḥ - vasantatilakāvṛttam

ekādaśaḥ stabakaḥ - āryāvṛttam

pañcadaśaḥ stabakaḥ - svāgatāvṛttam

ekonaviṃśaḥ stabakaḥ - pramāṇikāvṛttam

trayoviṃśaḥ stabakaḥ - naramanoramāvṛttam

saptaviṃśaḥ stabakaḥ - śikhariṇīvṛttam

ekatriṃśaḥ stabakaḥ - upajātivṛttam

pañcatriṃśaḥ stabakaḥ - induvadanāvṛttam

ekonacatvāriṃśaḥ stabakaḥ - indravajrāvṛttam

caturthaḥ stabakaḥ - gītivṛttam

aṣṭamaḥ stabakaḥ - anuṣṭubvṛttam

dvādaśaḥ stabakaḥ - rathoddhatāvṛttam

ṣoḍaśaḥ stabakaḥ - kumāralalitāvṛttam

viṃśaḥ stabakaḥ - maṇibandhavṛttam

caturviṃśaḥ stabakaḥ - supratiṣṭhāvṛttam

aṣṭāviṃśaḥ stabakaḥ - vasantatilakāvṛttam

dvātriṃśaḥ stabakaḥ - āryāgītivṛttam

ṣaṭtriṃśaḥ stabakaḥ - tūṇakavṛttam

catvāriṃśaḥ stabakaḥ - pādākulakavṛttam