Bhaktamara in 12 days

The mangalacharana — Manatunga bows to Adinath. The first four verses set the entire posture of the stotra: this is praise that asks for nothing.

Verses 5–8 are about the writer's smallness, not the Jina's greatness. Manatunga explains why he is writing despite his own limits.

Verses 9–12 turn from humility to actual praise. Manatunga begins describing the Jina's qualities and their effect on those who attend to them.

Verses 13–16 are the comparison-with-the-moon sequence. The classical Sanskrit standard of beauty — the moon — fails. The Tirthankara has neither flaw nor variability.

Verses 17–20 move from the moon to the sun. Manatunga draws a fresh contrast: the Jina is greater than the brightest natural light.

Verses 21–24 include the famous "hundreds of women bear hundreds of sons, but no other mother has borne a son like you" passage. Praise turns from cosmic to intimate.

Verses 25–28 — even cosmic devas (Indra, Brahma, Hari, Hara) recognize the Jina. The point is not pantheonic; it's that no order of being is above him.

Verses 29–32 continue the praise of specific qualities — wisdom, calmness, light. The architecture of the stotra is now visible.

Verses 33–36 begin the refuge sequence — what does the praise do for the one who praises? Manatunga starts naming concrete fears the Jina helps with.

Verses 37–40 — elephants, lions, fire. The threat-vocabulary of an ancient world made literal. The point underneath: there is no situation where bhakti is irrelevant.

Verses 41–44 — battle, captivity, illness, drowning. Verse 44 is the kavi-mudra — where Manatunga signs his own name into the text.

Verses 45–48 are unique to the Digambara recension. They describe the eight pratiharyas of the samavasarana and end with the divya-dhvani — the Jina's voice heard in every language.