Shivashtakam (Jai Shivshankar Jai Gangadhar): Text & Meaning
Shivashtakam (Jai Shivshankar Jai Gangadhar) - Text
जय शिवशंकर, जय गंगाधर, करुणाकर करतार हरे,
जय कैलाशी, जय अविनाशी, सुखराशी सुख-सार हरे,
जय शशि-शेखर, जय डमरू-धर, जय जय प्रेमागार हरे,
जय त्रिपुरारी, जय मदहारी, अमित अनन्त अपार हरे,
निर्गुण जय जय सगुण अनामय, निराकार, साकार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥1॥
जय रामेश्वर, जय नागेश्वर, वैद्यनाथ, केदार हरे,
मल्लिकार्जुन, सोमनाथ जय, महाकाल ओंकार हरे,
त्रयम्बकेश्वर, जय घुश्मेस्वर, भीमेश्वर, जगतार हरे,
काशीपति, श्री विश्वनाथ जय, मंगलमय अघ-हार हरे,
नीलकण्ठ जय, भूतनाथ, मृत्युंजय, अविकार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥2॥
जय महेश, जय जय भवेश, जय आदिदेव महादेव विभो,
किस मुख से हे गुणातीत प्रभु, तव महिमा अपार वर्णन हो,
जय भवकारक, तारक, हारक, पातक-दारक, शिव शम्भो,
दीन दुःखहर, सर्व सुखाकर, प्रेम सुधाकर शिव शम्भो,
पार लगा दो भवसागर से, बनकर करुणाधार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥3॥
जय मनभावन, जय अतिपावन, शोक-नशावन शिव शम्भो,
सहज वचन हर, जलज-नयन-वर, धवल-वरन-तन शिव शम्भो,
विपद विदारन, अधम उबारन, सत्य सनातन, शिव शम्भो,
मदन-कदन-कर पाप हरन हर-चरन मनन धन शिव शम्भो,
विवसन, विश्वरूप प्रलयंकर, जग के मूलाधार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥4॥
भोलानाथ कृपालु दयामय, औघड़दानी शिव योगी,
निमित्र मात्र में देते हैं, नवनिधि मनमानी शिव योगी,
सरल ह्रदय अतिकरुणा सागर, अकथ कहानी शिव योगी,
भक्तों पर सर्वस्व लुटा कर बने मसानी शिव योगी,
स्वयं अकिंचन, जनमन रंजन, पर शिव परम उदार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥5॥
आशुतोष इस मोहमयी निद्रा से मुझे जगा देना,
विषय-वेदना से विषयों को माया-धीश छुड़ा देना,
रूप-सुधा की एक बूँद से जीवन मुक्त बना देना,
दिव्य-ज्ञान-भण्डार-युगल-चरणों में लगन लगा देना,
एक बार इस मन मन्दिर में कीजे पद संचार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥6॥
दानी हो, दो भिक्षा में अपनी अनपायनि भक्ति प्रभो,
शक्तिमान हो, दो तुम अपने चरणों में अनुरक्ति प्रभो,
पूर्ण ब्रह्म हो, दो तुम अपने रूप का सच्चा ज्ञान प्रभो,
स्वामी हो, निज सेवक की सुन लेना करुण पुकार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥7॥
तुम बिन, व्याकुल हूँ प्राणेश्वर आ जाओ भगवंत हरे,
चरण-शरण की बांह गहो, हे उमा-रमण प्रियकंत हरे,
विरह व्यथित हूँ, दीन दुःखी हूँ, दीन दयालु अनन्त हरे,
आओ तुम मेरे हो जाओ, आ जाओ श्रीमन्त हरे,
मेरी इस दयनीय दशा पर, कुछ तो करो विचार हरे,
पार्वती पति, हर हर शम्भो, पाहि पाहि दातार हरे ॥8॥
Transliteration (Roman/IAST)
jaya śivaśaṅkara, jaya gaṅgādhara, karuṇākara karatāra hare,
jaya kailāśī, jaya avināśī, sukharāśī sukha-sāra hare...
pārvatī pati, hara hara śambho, pāhi pāhi dātāra hare ||1||
(Every verse closes with the refrain: pārvatī pati, hara hara śambho, pāhi pāhi dātāra hare - “Lord of Parvati, Hara Hara Shambho, protect, protect, O bestower, O Hari.”)
Meaning
This is a Hindi devotional Shivashtakam - eight stanzas of fervent praise and surrender to Lord Shiva. The first verse hails him as Shankara, the bearer of the Ganga, the compassionate creator, the Lord of Kailasa, the imperishable, moon-crowned, drum-bearing destroyer of Tripura, both formless and with form. The second stanza is a roll-call of the twelve Jyotirlingas - Rameshwar, Nageshwar, Vaidyanath, Kedar, Mallikarjuna, Somnath, Mahakal, Omkar, Trayambakeshwar, Ghushmeshwar, Bhimeshwar and Vishwanath - saluting Shiva as the Lord enshrined in each.
The middle verses extol him as the cause, ferryman and remover of worldly existence, the ash-smeared ascetic-yogi (Bholanath, Aughaddani) who gives away everything to his devotees yet remains a penniless renunciate at the cremation ground. The final three stanzas turn inward and personal: the devotee begs Ashutosh to wake him from the sleep of delusion, to grant unwavering devotion and true knowledge of his own form, and pleads, in the language of separation, for the Lord to come and dwell in the temple of the heart.
About this Stotra
Unlike the classical Sanskrit ashtakams, this widely-sung Shivashtakam beginning 'Jai Shivshankar, Jai Gangadhar' is composed in devotional Hindi (Khari Boli with Braj flavour) and belongs to the modern bhajan-stuti tradition rather than to ancient Sanskrit scripture. It is popular in satsangs and Shiva temples across North India, especially during Shravan and Maha Shivaratri. Authorship is generally not attributed to a named ancient rishi; it is a folk-devotional composition transmitted through bhajan collections. We therefore present it as a Hindi prayer-song, with its meaning and devotional spirit, rather than as a Vedic or Puranic Sanskrit text.
Significance & Spiritual Benefits
The hymn is valued for its emotional intimacy and its sweeping invocation of all twelve Jyotirlingas in a single breath, so that singing it is felt to be a darshan of every great Shiva shrine at once. Devotees sing it for protection, for relief from sorrow and worldly bondage, and to cultivate bhakti and surrender. Its closing verses make it a heartfelt prayer for inner awakening, detachment from sense-objects, and the Lord's living presence in the heart.
Astrological Relevance
As a Shiva stuti, this hymn carries the same remedial value as other Shiva worship in Vedic astrology. Shiva is the ruling deity of Saturn (Shani), governing discipline, renunciation, longevity and karmic justice; he is also Mrityunjaya, conqueror of untimely death, addressed by name in the second verse. Singing this Shivashtakam is a popular remedy during Sade Sati, a hard Shani period, or when the eighth house (longevity) is afflicted. The chant 'pahi pahi' (protect, protect) makes it especially suited as a prayer for protection during difficult planetary transits.
How to Chant (Vidhi)
Bathe, sit before a Shivalinga or image of Shiva, and light a ghee or oil lamp. Offer bilva (bel) leaves, white flowers, water and (optionally) milk. Sing the eight stanzas aloud with feeling - this is a bhajan meant to be sung, not merely read - returning to the refrain 'Parvati pati, Hara Hara Shambho' each time. It may be sung solo or in chorus during satsang. Conclude with aarti and a bow.
Best Day & Time
Monday (Somvar), the day of Shiva, is ideal, as are the Mondays of Shravan, Pradosh Kaal at twilight, and Maha Shivaratri. Early-morning or evening aarti hours suit this sung prayer. Saturdays are also appropriate when chanting to pacify Saturn.
Frequently Asked Questions
Is this an ancient Sanskrit stotra?
No. Although it is called a Shivashtakam, this 'Jai Shivshankar' hymn is a Hindi devotional song from the modern bhajan tradition, not a classical Sanskrit scripture. Its value lies in its bhakti and its invocation of all twelve Jyotirlingas.
Which Jyotirlingas are named in it?
The second verse names all twelve: Rameshwar, Nageshwar, Vaidyanath, Kedarnath, Mallikarjuna, Somnath, Mahakaleshwar, Omkareshwar, Trayambakeshwar, Ghushmeshwar, Bhimashankar and Kashi Vishwanath.
How should it be performed?
It is best sung aloud with devotion, alone or in a group, before a Shivalinga, returning to the refrain after each verse. Monday and Maha Shivaratri are especially auspicious.
A Hindi Shivashtakam that carries the full geography of Shiva's glory
This beloved Hindi Shivashtakam distinguishes itself among the many devotional songs to Lord Shiva by weaving pilgrimage directly into praise: its second verse names all twelve Jyotirlingas, transforming the act of singing into a kind of mental tirtha yatra, a journey to every sacred Shiva shrine on the subcontinent. For devotees who cannot travel, this is no small gift - to speak each Jyotirlinga's name with devotion is, in the bhakti tradition, to receive the merit of visiting it. The refrain invoking Parvati's consort as Hara, Shambhu, and the giver adds emotional warmth to doctrinal praise, balancing the cosmic with the intimate.
In the Jyotish tradition, Shiva is associated with Saturn (Shani), the planet of karma, discipline, and the fruits of patient effort; Shiva's grace is traditionally invoked to ease Saturn's more severe lessons and to help devotees navigate periods of hardship with equanimity. Mondays, Pradosha Vrata evenings, and of course Maha Shivaratri are the most auspicious times to sing or chant this hymn. Devotees believe that praising Shiva through his eight-fold manifestation - as sky, earth, fire, water, wind, space, the sacrificer, and the moon - fosters an understanding that the divine is not remote but is the very fabric of lived experience.