Not a translation but a transcreation. Link at number leads to page of translations and brief commentaries. Introductions, Note on Authorship, and Bibliography of English Translations follow the ten verses (shlokas).
1. The universe is wholly contained in one's own Self like a city seen in a standing sidewalk mirror.
Due to Maya, this inner universe appears to be externally manifested, like an inner world appearing to be an outer one while dreaming.
To the One who knows this at the time of awakening as one's nondual self, O to that divine teacher, the one who is facing south.
2. This universe was once a sprout inside a seed without any differentiation—until Maya
using concepts of space, time, and causation, imagines it to be a multiplicity of color and form
like a magician projecting its witchcraft, like a yogi directing its will.
3. To the one whose self-luminous light of existence shines forth
pervading this illusory material world with the Vedic affirmation of tattvamasi
willing individuals to waken and realize and never return to an ocean of samsara.
4. Inside a vessel of many perforations is placed a great lamp, radiant and illuminating.
Awareness blazes outward via instruments of eyes and all the senses
through which it emanates forth. Thus I know, shining, that alone is illuminating the entire world.
5. Some believe in the body or the breath of life, the senses or the ever-changing intellect, or even the void of nonexistence.
There's the innocence of mother and child, the world of the blind and demented, or the philosopher's deep confusion.
Creation, energy, manifestation, projection, delusion: they're all meant for that great destroyer, Dakshinamurti.
6. As a total eclipse appears to swallow sun or moon, the power of Maya rests in its art of concealment.
As existence remains while the mind withdraws, a person goes into deep sleep.
Previously I was sleeping upon awaking one discovers.
7. In childhood, waking, and all such states of consciousness coming and going,
there persists a sense of I within shining always.
One's own Self is revealing to every devotee this auspicious sign.
Hail to that one embodied in the teacher, to that one who is facing south.
8. The world is seen as cause and effect, possessor and possession, student and teacher.
Similarly division takes on the selves of parent and child.
In dreams or in the waking state, individuals are thoroughly deluded by Maya.
9. Earth, water, fire, wind, space, sun, moon, and human being.
Thus reflect the moving and non-moving arms of an eightfold entity.
But nothing else exists for those reflecting deeply towards
that supremely transcendent and all-pervading Dakshinamurti.
Seven Introductions as Conclusions
As a terse expression of the fundamental truths of the Vedânta, the well-known Hymn of S’ankaracharya forms a suitable text upon which the student may meditate and thereby construct the whole doctrine for himself. The reader will also be struck with the catholicity of the teaching, which is not addressed to any particular class of people nor contains any reference to distinctions of caste and religious order. While concisely stating the process by which the oneness of Self and the unreality of all else is established. ~Sastri
Of all the hymns of Śrī Śaṅkara, Śrī Dakṣiṇāmūrti stotra is the shortest, but at the same time, in its philosophical import, subtlety of expression and confidence of assertion, it is one of the most inspired works of the advaita philosopher. On a small canvas, Śaṅkara has, with unerring dexterity, crammed all the arguments of non-dualists against the preachers of dualism. Naturally, the stanzas are loaded with suggestions and to dive into their rich depths, special training is necessary for the students. ~Chinmayananda
The Dakshinamurti Stotram was composed by Adi Shankaracharya approximately 1,300 years ago. Within its ten verses—or shlokas—lies the entirety of Vedantic philosophy, condensed into sublime poetry that continues to illuminate seekers across centuries. Along with these core verses, numerous associated mantras and shlokas, composed by other masters and drawn from various texts, are traditionally chanted alongside the Dakshinamurti Stotram. ~Sarvapriyananda
The Hymn to Dakşiņāmürti has rightly become famous. In a short compass it gives the quintessence of Advaita. It is addressed to God as Guru, by whose grace one receives the teaching of non-duality. How the one reality appears as the many, how even the distinction of the teacher and the taught comes about one cannot explain. But the basic truth of Advaita, which is the Self, of the nature of consciousness, cannot be denied. Whether it is called God, Guru, or Self, it is the same. The realization of this truth is the goal of Advaita. And, Advaita is in opposi-tion to no school of thought or mode of spiritual life. In order to show this, Sankara employs in this Hymn some of the terms peculiar to Kashmir Saivism. ~Mahadevan
In the Indian hymnal literature, the stotras of Śri Sankara occupy a unique place. They are charmingly simple and yet, simply charming. The panegyrical material of the hymns often alternates with the moral principles or spiritual values. However in a few of the rarer pieces, he has introduced masterly condensations of the doctrines of Advaita Vedānta. And, this hymn is a masterpiece among them, combining in itself poetical elegance as well as metaphysical brilliance, a rare achievement indeed. ~Harshananda
This stotra is attributed to Śaṅkara. We don’t know whether it is from Śaṅkara but it is attributed to Śaṅkara. The stotra is very profound. It has all the things that you have to discover in the whole Vedanta śāstra along with bhāṣya. Vedanta śāstra means Upaniṣads, Bhagavadgītā and Brahmasūtras which is an analytical śāstra in the form of sūtras, all the three along with bhāṣya of Śaṅkara. These three are called prasthāna-trayī. ~Dayananda
A crown jewel amongst all of Shankara’s hymns, the hymn to Dakṣiṇāmūrti is in a class by itself. Although it is a short hymn of ten verses only, it is densely packed with the same profound wisdom that Shankara packed into his extensive commentaries on the Prasthānatraya. If we can read and absorb the wisdom contained in these short verses, we would not have to read anything else. Perhaps, that is why Shankara’s prominent disciple, Sri Sureshwarācārya, wrote an elaborate commentary (vartikā) on this hymn, called Mānasollāsam, which translates into “that which rejoices the mind.” ~Yellamraju Srinivasa Rao
Note on Authorship
Of course, the Advaitist's metric works—from erotic, tantric poems to Saivite hymns—do not contain strict philosophical terminology or logical argumentation. That is why the most reliable method of sorting out Sankara's poems from the enormous mass of religious and mystic poetry of the mediaeval period is the evidence from his disciples and followers. And the Vedantins are of the opinion that Sänkara was the author of the poetical cycles Daksinä-murti-stotra (Praise ofthe benevolent Siva), Gurvastakam (Eight poems to the teacher), Bhaja-govinda-stotra (Praise of Krsna-Govinda) and Sivänandalahari (Wave of bliss of Siva).
Less dependable is Sankara's authorship of other cycles and single poems. However, he is usually considered the author of the cycle Bhavänyastakam (Eight verses to Bhaväni, or divine Mother), of the hymn Annapurna-stotra (Praise to the giver of food), of the cycle Visnu-sat-padl (Six verses for Visnu), the poem Gahgä- stotra (Praise to Ganga river), Devyaparadha-ksamapanastotra (Praise of the Goddess-Mother for the forgiveness of sins), Vedasära-Siva-stotra (Praise of Siva as the essence of Veda), the cycle Siuänämälyastakam (Eight lines in the name of Siva), Siväparädha-ksamäpana-stotra (Praise of Siva for the forgiveness of sins), Kaupina-pancakam (Five verses about the loin-cloth of an ascetic), Dvädaäamanjarikä-stotra (Praise in twelve garlands or stanzas), as well as the author of an often-cited but probably spurious cycle Nirväna-satkam (Six verses on liberation). ~Isayeva
My Intro
Translations of Dakshinamurti are more concerned with message than the medium. Thus these translations are mostly prose interpretations used for commentarial improvisations. And this is good. But it is my conclusion both message and medium are intertwined in this poetic masterpiece. Not being knowledgeable in Sanskrit and relying on translations and Google, I've tried to pay attention to the order of language, the meaning of words, the lines being used, the lineage of its translators, and let inspiration loose, remembering these hymns are written by god, to god, in god. Om.
Bibliography of English Translations
Hymn to Dakshinamoorthy by Swami Chinmayananda
Sri Dakshinamurti Stotram: In praise of the teacher of teachers by Swami Dayananda
Dakshinamurti and Manasollasa by John M. Denton
Dakshinamurti by Swami Gurubhaktananda (Sandeepany)
Dakshinamurti Stotra by Swami Harshananda
Hymn to Dakshinamurti (from The Hymns of Sankara) by TMP Mahadevan
The Vibrant Stillness: Commentaries on Sri Lalita Divya Nāma and Sri Dakṣiṇāmūrti Stotram By Sri Yellamraju Srinivasa Rao trans. Padma Neppalli
Dashinamoorthy Stotram by Swami Paramarthananda (unverified transcription)
Reflections on Dakshinamurti Stotram by Swami Sarvapriyananda
Dakshinamurti Stotra by Alladi Mahadeva Sastri
