THE CROWNING GLORY
Hi viewer, let us begin this blog with a lovely song on Maa Parvathi,
Preamble
Kanchi Maha Swami describes this Soundarya Lahari sloka as follows:
"Of Soundaryalahari it may be said that there never was one like it, nor ever will be. It has a perennial charm that does not satiate. And its majestic eloquence is unbeatable.Whether you understand it or not, whether you pronounce the words correctly or not, the very attempt itself of reciting it produces in you the needed bhakti. Of all the sthotras that our Acharya has done, it is the Soundaryalahari that is the top most".
Adi Shankara has carefully selected the words in this sloka to describe the indescribable and hence it is difficult to understand the precise meaning of the Sanskrit words used. He has tried his level best to bring before us the nearest equivalent of Ambal for us to imagine and meditate upon Her. The metre used is "Shikarini", which is the apex. It has 17 syllables for each of the four lines.
Considered as the most powerful and mystical hymn on earth, Soundarya Lahari is widely recognised by many Pandits as a divine revelation. There are as many as 32 commentaries written by famous personalities on this text, which is a tribute to the power of this sloka. These personalities explained the verses in various aspects of bhakti, Jnana, mantra, yantra and tantra. They tried to explain the hidden meanings in their own path of understanding.
Considered as the most powerful and mystical hymn on earth, Soundarya Lahari is widely recognised by many Pandits as a divine revelation. There are as many as 32 commentaries written by famous personalities on this text, which is a tribute to the power of this sloka. These personalities explained the verses in various aspects of bhakti, Jnana, mantra, yantra and tantra. They tried to explain the hidden meanings in their own path of understanding.
Devi appears in three forms, Gross, Subtle and Subtlest. Gross form (Vigraham or statues) is used by most people as it is the easiest to understand using our senses of perception. Subtle form refers to the formless aspects such as kundalini in yoga or Srichakram/Bindu in Sri Vidya worship, which are understood only by yogins or Sri Vidya upasakas. The subtlest of all is the Siva-Saktyaikya roopam which is the combination of both Supreme Shiva and Goddess Lalitha in divine union, which pervades the entire universe. It is very difficult to perceive or “see” this misra form even for the ascetics. However, texts say that Goddess reveals such a form to selected devotees, as She is “Shiva jnana pradhayini”. Only She is capable of revealing Shiva who in turn would liberate the soul.
This text even influenced the western minds and the first translation into French was made available in 1841 followed by the English in 1917 by Arthur Avalon.
It is said that once Sri Adi Shankara went to Kalash mountain and Lord Shiva gave him Pancha Lingam to be installed in various parts of India. Shankara later installed Yoga Linga as Chandramouleeeswara at Kanchipuram, another one, Mukthi Lingam was installed at Kedarnath, Vara Lingam at Neelakanda kshethram in Nepal, Boga Lingam at Sringeri and Moksha Lingam at Chidambaram.
Lord Shiva also gave Shankara a set of 100 sloka written by Lord Shiva in praise of Parvathi Devi and asked him to spread this too. Hence it is important to know here that this set of 100 sloka were written by Lord Shiva Himself and not by Adi Shankara. As Shankara started reading the text from sloka 1, Nandhi got hold of part of it as he felt it is not correct on the part of Lord Shiva to have given this to Shankara for worldly knowledge, especially as it pertains to private description of Goddess Parvathi's beauty by Her husband. Shankara was left with only the first 41 sloka, which describe the subtle form of Goddess, which Nandhi felt acceptable. Then, as directed by the Goddess, Shankara composed the balance 51 slokas on his own. He also installed Sri Chakra at Kanchi and Sringeri on the basis of this knowledge of Sri Chakra. Later, Nandhikeswara found that the 59 slokas written by Adi Shankara is exactly same as the original script of Lord Shiva’s 59 slokas. This was mentioned by Kanchi Periyava in his discourse.
In the following pages, I have given the text and attempted the meanings and explanations of the 100 slokam of Soundarya Lahari. The first 41 slokam are known as “Anada Lahari”, as revealed by the original texts and the rest as “Soundarya Lahari”, which was composed by Sri Adi Shankara.
While Ananda Lahari describes the esoteric aspects of Sakthi, aiming to attain Ananda (Joy), the Soundarya Lahari describes the extreme beauty of the physical form of Devi. Shankara has employed here all his poetic skills as a venerable Sanskrit scholar and we will find in many verses his skilful handling of the situation coupled with his imagination. One cannot but admire at his poetic prowess in handling of each sloka, with great devotion and deep respect for Mother.
This is considered a sacred and pioneering tantric text and by reciting repeatedly the stanzas of this hymn, one can get one's desire fulfilled. Many interpretors have expressed high opinion on the power of this mantra text. Each sloka has a separate chakra drawn for it.
According to kanchi paramachrya, each sloka is a mantra and bestows specific benefits, whether you ask for it or not. These mantras help in improving wealth, education, jgnana etc. The Soundarya Lahari sloka is held in esteem by Kanchi Paramacharya.
Click the link below to hear what Kanchi Periyava said about this famous sloka:
My aim here is to improve the understanding of this sloka by providing the apparent meanings and explaining the contexts. Therefore I have not dealt with the secret tantric (esoteric) meanings and chakra pooja rituals thereof, in this whole exercise, which is clearly beyond my scope.
For the benefit of readers, I recommend moderation in rituals and I believe that the same amount of benefits can accrue by reciting the sloka with full devotion and proper understanding of its meanings. Let us leave the stringent proceedures of Sri Vidhya upasana to the realised souls and focus on divine aspects for creating Bhakti.
Part - 1: Ananda Lahari
Waves of Supreme Bliss
Please use the following link to listen to the first 41 sloka:
Sloka 1: Sakthi is Supreme:
Shivas shakthyaa yukto yadi bhavati shaktah prabhavitum
Na chedevam devo na khalu kushalah spanditumapi /
Atahstvaam aaraadhyaam harihara virinchadibhi rapi
Pranantum stotum vaa kathamakrta punyah prabhavati //
(1)
Use the link below to recite this sloka properly:
Even Lord Shiva can function only if united with You. He cannot make a single move without You. You are worshipped by the Trinity Gods, Brahma, Vishnu and Shiva. Therefore, how is it possible for us, mere mortals, who have not gained spiritual prowess, to act on our own without Your will ?
Explanation:
Here is the beginning of Saaktham, where Shankara makes it a point to emphasise that Sakthi is superior to other Gods. Even to praise Her or to prostrate before her, one needs her blessings. without her consent, the devotee would not get an opportunity to even think of Her.
From mantra aspect, we can explain that just as Shiva has ‘pranava’ or 'ohm' as His mantra, Shakti too has “EI’ as Her mantra. In Sanskrit alphabets, all consonants are considered male, Shiva swaroopam and all vowels feminine, Shakti swaroopam. To drive home the point that Lord Shiva cannot exist without Sakthi, Kanchi seer pointed out that when we write Shiva without the letter “I” in the middle, it becomes 'Shava', which means the dead one. The fact is that neither of them exist without the other. While Shiva is the body, Sakthi is the soul. Even in Tamil language, vowels are called as “uyir- yezhuthu”(Uyir means soul), while consonants are “mei yezhuthu”, (Mei means body). Without vowels meaningful words cannot be formed.
Here is what Kanchi Periyava feels about this:
From tantra aspect, the explanation could be that when sakthi enters the jada (motionless body) as kundalini force, then life begins to happen. She is the creative force. The body becomes useless without this sakthi. Same way, Sakthi cannot create without the body aspect of matter. Mere cosmic energy alone will not suffice for procreation to happen.
From Sri Vidya point of view the explanation would be that the Sri Chakra is a combination of upward triangles, signifying Lord Shiva and downward triangles representing the Sakthi aspect, with Devi seated on the Bindu at the centre. Both these triangles are inseparables and form a complex mix of sacred geometry.
Daily recital of this sloka, along with Sloka 100, will result in all your wishes being fulfilled.
Sloka 2: The dust in Her feet will do wonders:
Taniyaamsum paamsum tava charana pangeruha bhavam
Virincih sanchinuvan virachayati lokaa navikalam;
Vahaty evam shourih katham api sahasrena shirasaam
Harah samksudyainam bhajati bhajati bhasitoddhalama vidhim. (2)
Use the link below to recite this sloka properly:
Meaning:
It was from the collection of dust in Her lotus (pangeruha) feet that Brahma (Virinchi) created the entire universe, like the pollens in the lotus start reproducing.
Vishnu (Shouri) keeps this universe safely over the thousand heads (sahasrena shirasaam) of Adi Sesha Naga and
Lord Shiva (Hara) fervently adorns on His holy body the dust as Vibhuti (bhasma, holy ash) after final destruction.
Further to Sloka 1, this sloka also emphasises that the Triad of Shiva, Vishnu and Brahman cannot function without Her.
This sloka 2 removes kaala bhaya or fear of death. It further emphasises that even the dust under Her lotus feet is enough to keep the things going.
This sloka 2 removes kaala bhaya or fear of death. It further emphasises that even the dust under Her lotus feet is enough to keep the things going.
Sloka 3: Even Her dust guides all of us:
Avidyanaam antastimira mihira dweepa nagari
Jadaanaam Chaitanya sthabaka makarandha sruthi jhari;
Daridraanaam Chintamani gunanika janma jaladhou
Nimagnanaam damshtra mura ripu varaahasya bhavati.
(3)
Use the link below to recite this sloka properly:
MEANING:
Mother (Bhavati), who resides in the city called Mani-Dweepam (the island of light), protects all the categories of Her creation effortlessly. Even a tiny dust in Her feet is sufficient enough to support others in their functioning.
To a person (avidyanaam) seeking knowledge, this dust becomes the luminous raising sun (mihira), which dispels darkness due to ignorance. Esoterically it refers to the inner light that arises during yogic practice.
To a person who is unintelligent (jadaanaam), this dust becomes the consciousness bringing forth the hidden intelligence (Chaitanya) just like the hidden honey oozing out of fragrant flowers. Esoterically the flower is a reference to the thousand petalled lotus in Sahasrara chakra, which oozes out ‘soma’, the honey. This kind of practice is called ‘madhu vidya’ as explained in Brhadaranyaka Upanishad.
To the poor (dharidraanaam) this dust becomes the Chintamani gem granting all that is wished for; and
For those who got drowned (nimgnaanaam) deep in the ocean of samsara (janma jaladhou), this dust lifts them up like the tusk of Aadi Varaaha (Vishnu), who lifted up the earth from the ocean depths after vanqusing Hiranyaksha.
Reciting this sloka regularly would result in gaining intelligence, knowledge and all prosperity.
Slokam 4: She blesses those who surrender:
Tvad anyah paanibhyaam abhaya varado daivata ganah
Tvam eka naivaasi prakattita varaabhity abhinaya;
Bhayaat traatum daatum phalam api cha vaanchaa samadhikam
Sharanye lokaanaam tava hi charanaaveva nipunav. (4)
Use the link below to recite this sloka properly:
Meaning:
Most of the deities offer their devotees protection from fear (abhaya) and boon (varaa) through symbolic abhinaya mudras by showing their two palms upwards and downwards. However, Devi effortlessly showers these blessings merely by Her very presence. Esoteric meaning is that Devi’s formless aspect of pure concentrated energy simply radiates all around and alleys fears of devotees.
While other Gods grants whatever their devotees wished for, those who surrender at Her feet get more than what they prayed for.
Repeating this sloka would help the devotee in removing unfound fear and getting protected from diseases and enemies.
Sloka 5: Mother's true love:
Haris tvam aaraadhya pranata jana saubhagya jananim
Pura nari bhutva pura ripum api ksobham anayat;
Smaropi tvam natva rati nayana lehyena vapusha
Muninaam apyantah prabhavati hi mohaya mahatam.
(5)
Use the link below to recite this sloka properly:
Meaning:
Lord Vishnu prayed to Her to bless Him with a feminine (Mohini) form, to prevent Asuras from consuming the nector. Because of her blessing, Vishnu could achieve the Mohini avatar and stir the mind of even the ascetic Lord Shiva, who fell in love with Mohini resulting in the birth of Lord Sastha.
Again, only because of Her blessings, Manmatha, the pleasing husband of Rathi, obtained the power to penetrate even the pure mind of Saints. Manmatha operates effortlessly though he possesses only flower as arrows, sugarcane as a bow, bees as its string and he himself does not have a body. Still he could conquer the entire world only because of Devi's support.
Mother Goddess blesses everyone with pure legitimate love. Even the wise men and sages are disturbed by this love and enjoy the absolute joy arising from this divine love.
Explanation:
For those who question the correctness of Goddess in inducing ‘Kama’ or desire in those wisemen, especially when it is considered not good for liberation of the soul, Kanchi seer explains this contradiction.
He shared the story of a king who gave a ring to a visitor so that the visitor can have a smooth entry to his palace. The visitor noticed and questioned the king as to why the ring had the seal of enemy king instead of his own. The king replied that by this way the visitor can bypass the big queue since the king’s men will catch the visitor assuming him to be a spy and bring him straight to the king in no time.
In the same way, Goddess induces kama or desire in those wisemen and select few good souls, so that they can be caught by Manmatha, enjoy the divine love, liquidate their karma early and reach the Goddess soon.
Desire, though considered as an impediment to ultimate happiness and can lead us to unhappiness and misery through rebirth, is in a way the right path to reach God quickly since those in misery would always be thinking of God, praying for help and support. This acts as a blessing in disguise and keeps them closer to Goddess always.
Sloka 6: Her glance is sufficient:
Dhanuh paushpam maurvi madhu kara mayi pancha visikha
Vasantah samanto malaya marud ayodhana rathah;
Tathapi ekah sarvam Himagirisuthekam api kripaam
Apangat te labdhva jagadidam aanango vijayate
(6)
Use the link below to recite this sloka properly:
Explanation:
Another verse to show how She effortlessly gets Her job of creation done. Just through Her holy side glances, Manmatha is able to execute the job given and win over this whole world. For this purpose, the daughter of Himavan gave him only few soft tools, such as, a bow made of sugarcane, bow-string made of a bunch of buzzing honey bees, arrows made of five soft flowers (Aravindam, Ashokam, Chootham, Navamalika and Neelothpalam). Lalitha Sahasranaama states: ‘ Pancha tanmaatra saayaka or five Tanmaatras or subtle Pancha Bhutas. Further Manmatha used the pleasant Spring time and the mountain soft breeze to win over the entire world through Love. The honey bees help in polination of flowers and hence they find place in his tools.
Lalitha Sahsranam says:
Mandasmita prabhaapura majjad Kaamesha Maanasaa
Mandasmita prabhaapura majjad Kaamesha Maanasaa
Esoterically, this refers to the yogic experience wherein a yogi experiences sounds of buzzing bees when kundalini is on its way upwards towards Sahasrara and enjoys Amruth, the immortal joy.
Even a side glance of Goddess (Karuna kataaksham) is just what every devotee would look for as Her blessings. To support this, Shankara quotes how the Manmatha can keep this world alive with Her side glance.
Sloka 7: The gross form of Sakthi:
Kvanat kaanchi daamaakari kalabha kumbhastana nata
Pariksheena madhye parinata sarachandra vadana;
Dhanur banan pasam srinim api dadhana karatalaii
Purastad astam noh Pura mathitur aho purushika.
(7)
Use the link below to recite this sloka properly:
Meaning:
This sloka is special as it graphically describes Sri Lalitha’s gross form, fit for meditating on Her image. In this sloka Shankara subtly indicates that the deity at Kanchipuram is the nearest representation of Sri Lalitha.
She wears a “Kvanat Kaanchi”, which is Mani Mekhela or a golden girdle with tingling bells, around Her very thin waist. Lalitha Sahasranama also refers to this waist belt as “Ratna kinkinikaa ramya rasanaa daama bhooshitaa”. Shankara subtly refers to the naval fire chakra emanating sounds, which in turn cause creation.
She is slightly bent forward perhaps due to the weight of Her body. This refers to the heart chakra which expresses Her compassion and love for Her children. Lalitha Sahasranama has similar statements: “Sthanabhara thalan madhya patta bhandha valithraya”.
Her face shines like a full moon during autumn. No wonder that She is capable of enchanting even Lord Shiva.
Devi is seated in padmaasanam, holding sugarcane bow, arrows made of flowers, angusam and pasam in her four hands. This is supported by Lalitha Sahasranama: She is “Chaturbahu samanvitha”, i.e., having four hands holding four weapons: “Raagasvaroopa paasaadhyaa” – She holds the rope called “Pasam”, which lifts up the devotees from drowning in the realm of family bonds; “Krodhaakaaraankusojvalaa” - She holds Angusam with which she controls the anger of Her devotees, just like the elephant is controlled by its master using a sharp tool; “Manoroopekshu kodhanda” – She holds a bow (kodhanda) made of sugar cane (ikshu); She holds five arrows made of “Pancha tanmaatra sayakaa”- subtle light, sound, taste, smell and touch.
Shankara prays to Her to appear before him in this gross form and shower Her blessings.
This sloka 7 grants shatru Vinasana or destruction of enemies.
Sloka 8: Her abode in space:
Sudha-sindhor madhye sura vitapi vati parivrute
Manidweepe nipopavanavathi Chintamani gruhe;
Shivaakare manche Paramashiva paryanka nilayam
Bhajanti tvam dhanyah katichana chidananda laharim.
(8)
Use the link below to recite this sloka properly:
Meaning:
This sloka gives the graphic description of Her abode in the Space. She resides in the midst of the Ocean of Nector (sudha sindhoor madhye), which is also corroborated in Lalitha Sahasranamam as “Sudha sagara madhyastha”. There lies an island called Mani Dweepam, in the city called Sri Puram or Sri Nagaram, surrounded by garden of Kadamba trees, in the palace called Chintamani Griham, seated on the lap of Lord Paramashiva, filling the entire space with Her Bliss.
Shankara subtly tells us that Her place of residence is not a physical entity other than our own minds. She, in fact, resides in the minds of sincere devotees, who meditate upon Her beauty. Their minds become the “Chintamani griham”, the palace where She resides in the island of precious gems.
Tantra explains that the sahasrara chakra is the mani dweepam where, when kundalini reaches, nector (Sudha) oozes out and hence it is that Sudha sagara.
Sri Vidhya upasakas believe that Her place of residence, namely the Bindhu, is subtly referred to in this stanza.
Sloka 9: Body chakras:
Mahim muladhare kamapi manipure huthavaham
Sthitham svadhistane hridi marutam aakaasam upari;
Manopi bhrumadhye sakalamapi bhittva kulapatham
Sahasrare padme saha rahasi patyaa viharase.
(9)
Use the link below to recite this sloka properly:
Meaning:
Details about the various body chakras and Tantra aspects of Saktham have already been dealt by me elaborately in Lalitha Sahasranama blog.
In this Sloka, Shankara explains the existance of body chakras, namely, Muladharam (Earth), Manipuraka (water), Svathishtana (Fire), Anahata (Air, marutham), Ajna (Ether, aakaasam) and Sahasrara (Thousand petalled lotus). This sloka explains the ascent of kundalini from Muladhara to Sahasrara, where Sakthi unites and plays happily with Her Lord, Shiva. This is symbolic of Jeevatma (Sakthi) uniting with Paramatma (Shiva), enjoying eternal bliss.
Sloka 10:
Sudhaadhara sarais charana yugalanta vigalitaih
Prapancham sinchanti punarapi rasamnaya mahasah;
Avapya svam bhumim bhujaga nibham adhyusta valayam
Svam atmanam kurtva svapishi kulakunde kuharini
(10)
Use the link below to recite this sloka properly:
Meaning:
Yogins enjoy the nector oozing out from Her feet when Sakthi joins with Shiva in Sahasrara. This sloka describes the descent of kundalini sakthi from sahasrara back to Muladhara, where it rests in the form of a snake sleeping of 3½ coils, waiting to be aroused again by Her devotees’ yoga practices.
Soundarya Lahari is arranged in sets of 10 verses. This is the end of first set of 10. Second set goes like this:
Sloka 11: Details of Sri Chakra:
Chaturbhih shri kantaih shiva yuvatibhih panchabhir api
Prabhinnabhih sambhor navabhir api mulaprakrthibhih;
Chatus chatvarimsad vasudala kalasra trivalaya
Trirekhabhih sardham tava sarana konah parinatah
(11)
Use the link below to recite this sloka properly:
Meaning:
After dealing with tantra aspects of body chakras, Shankara explains that Devi resides in Sri Chakra. Lord Shiva’s four downward triangles coupled with Devi’s five upward triangles, aggregating to 9 set of triangles form the basis of the Sri Chakra. These triangles interconnect to form 43 triangular figures, which are surrounded by two sets of lotus petals and three circles and three squares at the outer periphery. A complex geometric figure, a perfect divine design, which draws and radiates divine energy.
When equating Sri Chakra with Body chakras, one can observe that Bindu is equivalent to Sahasrara chakra, where Devi unites with Shiva, leading to creation. Just as there are 43 triangles in Sri Chakra, human body is made of 36 tatvas (as explained elsewhere) surrounded by seven body constituents such as serum, blood, flesh, fat, bone, marrow and skin, aggregaring to 43 in all.
The devotees would therefore do well to meditate upon Devi either in their Sahasrara chakra region or in the Bindusthan at the centre of Sri Chakra.
Sloka 12: Incomparable beauty:
Tvadiyam saundaryam Tuhina-giri-kanye tulayitum
Kavindrah kalpante katham api Virinchi prabhrutayah;
Yadalokautsukyad amaralalana yanti manasa
Tapobhir dus prapam api girisa sayujya padavim.
(12)
Use the link below to recite this sloka properly:
Meaning:
This sloka immediately follows the above description of Sri Chakra. It implies that though we could precisely understand the two-dimensional representation of Lalitha in the form of Sri Chakra, no one can fully describe Her physical beauty (soundaryam).
Many poets, including Brahma (Virinchi), have tried to imagine and poetically express Her beauty but miserably failed. Her superior beauty cannot be compared with any other and described in words.
The beautiful maidens, such as Rambha, Tilothama, Urvasi, Menaka et al, who serve Her, try to imagine Her extraordinary beauty, but in vain. Devi’s full beauty is available only for the eyes of Her Lord. Therefore, these maidens wish to become Lord Shiva, to fully understand Her lovely features. They should do severe penance to reach the mind of Lord Shiva (sayujya padavim). This is an indirect hint to us that if we wish to reach Shiva (and get liberated), the only route available is Saktham. Sakthi will impart us the knowledge on Shiva, as She is “Shiva-jnana-pradhayini”.
Her devotees, however, can enjoy Her beauty in their minds without much strain, as She Herself would appear in a flash before them in full glory, grace and compassion.
Explanation:
Kanchi Acharya describes the stages of becoming one with God. The first stage is to start liking your Ishta devata. To always imagine living with that deity is called ‘saalokyam’. After continuous meditation of that deity one attains the next stage called ‘saamipyam’, (Tamil: sameepam or near). The next stage is called ‘saarupyam’ in which one attains the rupam or form of that deity. The ultimate stage is ‘saayujyam’, when one becomes merged with the deity in full. It is next to impossible for mortals to attain saayujyam, as it requires severe penance.
Sloka 13: Devotees are much sought after:
Naram varshiyamsam nayana virasam narmasu jadam,
Thava panga loke pathitha manudhavanthi sathasa
Gala dweni bhandha kuch kalasa visthrutha sichaya
Hatath thrudyath kanchyho vigalidha dhukoola yuva thaya.
(13)
Use the link below to recite this sloka properly:
Meaning:
In continuation of the previous sloka, since reaching saayujyam is difficult, Shankara imagines that these heavenly maidens run after such devotees who get the flash glimpse of Devi, with a view to understand Devi fully thro’ these men. (These deotees who are blessed by Devi are equal to Lord Shiva). In this sloka he describes how these damsels run after such devotees, forgetting to even wear their clothes and ornamanets properly, to quickly reach these men, irrespective of whether these men are old, ugly or not keen on loving them.
Sloka 14: Rays emanating from Body Chakras:
Ksitau sat-panchasad dvi-samadhika-panchasadudake
Hutase dva-sastis chatur-adhika-panchasad anile;
Divi dvih-shatrimsan manasi cha chatuh-sashtir iti ye
Mayukhastesham athyupari tava padambuja yugam.
(14)
Use the link below to recite this sloka properly:
Meaning:
Here again, Shankara talks of the six body chakras and the powerful rays emitted by these chakras from the body of Her true devotees. Shankara indicates the number of rays for each chakra also: - 56 rays from Muladharam, 52 from Manipurakam, 62 from Swadhisthana, 54 from Anahata and 72 from Visuddhi and 64 from Agna, totalling to 360, coresponding to one full circle of earth around the sun or one-year cycle. She thus controls time, having Her feet at Sahasrara Chakra.
Explanation:
The year is divided into six seasons, as given below, with corresponding Tamil months within brackets:
- Vasantha Ritu (Chitirai, Vaikasi)
- Kirishma Ritu (Aani, Aadi)
- Varsha Ritu (Aavani, Purattasi)
- Sarath Ritu (Aipasi, Karthigai)
- Hemantha Ritu (Margazhi, Thai)
- Sisira Ritu (Masi Palguni)
The number of days in each of these six seasons is represented by the number of rays in the six body chakras. For example, the 56 rays from Muladhara represents 56 days of spring season (Vasantha ritu). Our lives thus revolve around these chakras and their pancha bootha elements, such as Akash, Air, Fire, Water and Earth.
Sloka 15: Worship of Sakthi as Goddess Saraswathi:
Saraj Jyotsna shuddham sasi yuta jata juta makutam
Vara traasa traana sphatika ghutika pustaka karaam;
Sakrn na thva nathva katham iva sathaam sannidadhate
Madhu kshira draakhsha madhurima dhurinah phanitayah.
(15)
Meaning:
Shankara advises us to worship Sri Devi in the form of Goddess Saraswathi, the Vag Devi. Just as the flaovour of sweetness from honey (madhu), milk (Kshira) and grapes (draaksha) can be realised by us only through our tongue, the greatness of sacred words can be realized through the same tongue. The words praising Devi are considered sweet and holy. It may be of interest to note here that in Sringeri Temple, established by Sri Adi Shankara, Devi Sarada is worshipped in the form of goddess Saraswathi. In Her four hands, She holds palm leaves (books) and Akshara-mala (Garland of sanskrit alphabets), apart from abhaya and vara mudra in two hands.
This sloka 15 Vidya kavithva Praapthi or Saraswathi's blessings to become knowledgeble.
This sloka 15 Vidya kavithva Praapthi or Saraswathi's blessings to become knowledgeble.
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| Sringeri Saradambal as Saraswathi |
Sloka 16: Saraswathi appears in Red colour:
Kavindraanaam chetah kamala vana baalaatapa ruchim
Bhajante ye santah katichid arunaameva bhavatim;
Virinchi preyasyaas tarunatara sringara lahari
Gabhiraabhi vaagbhir vidadhati sataam ranjanam ami.
(16)
Meaning:
She, as goddess Saraswathi, shines like a forest of lotus, due to Her colour “Aruna”, the colour of the raising sun. Instead of the usual white colour, Saraswati is described here as Crimpson-red coloured. This makes Her devotees reach extreme happiness and sing in praise of Her in ecstasy, which showers “sringara lahari”, the flow of divine love.
Sloka 17: Words become mantras if properly pronounced:
Savitribhir vaachaam shashi mani silaa bhanga rucibhih
Vasinyaadyaabhis tvaam saha janani samchintayati yah;
Sa kartaa kaavyaanaam bhavati mahataam bhangi rucibhih
Vachobhir vaagdevi vadana- kamalaa moda madhuraih.
(17)
Meaning:
Devi is surrounded by eight Vasinyadi devatas, who shine like the Chandrakantha moon stone and who are considered the source of sound, words and speech. He who meditates upon this form of Devi gets blessed by Her and becomes a poet and creates great compositions, which spread fragrance to all the readers too.
Here Shankara talks of Goddess Saraswathi as being the very meaning of the words. Words are made of letters in a definite pattern and anything jumbled has no meaning, though they contain the same letters. Devi is the One who bestows us with the use of words in definite patterns thus giving rise to powerful mantras and kavyas (epics).
We have already discussed about these eight vag devatas in the chapter dealing with Sri Chakra, in the eighth avarana.
Sloka 18: Meditate on Devi's Aruna Roopam:
Thanuschayabhi sthe tharuna tharuni srisarinibhi
Divam sarva murvi marunimani magnam smaranthi ya
Bhavanthasya thrasya dhwana harina shaleena nayana
Sahervasya vasya kathikathi na geervana Ganika
(18)
Meaning:
Her stunning beauty is further enhanced by Her complexion resembling the rising sun. Her body radiates this colour throughout, soaking the entire sky and the earth with redness all around. The devotees who meditate upon Her aruna rupa (crimpson-red form) this way would be able to ‘see’ in their minds, the aura of Her image in rich colour texture. This is said to be the goal of yogins. Such a person is sought after by even the celestial maidens since he becomes a Shiva yogi and thus can form a conduit for the maidens to see their Goddess completely.
Sloka 19: Meditate on the Esoteric Aspects:
Mukham bindun kruthva kucha yuga mada sthasya thadha dho
Harardha dhyayedhyo haramamahishi the manmathakalam
Sa sadhya samkShebham nayathi vanitha inyathiladhu
Thrilokimapyasu bramayathi ravindu sthana yugam.
(19)
Meaning:
This sloka claims that those who meditate on the esoteric form of Devi, with Sun and Moon to be the busts, would not only be sought after by the celestial maidens (as in previous sloka) but also raise emotions in earthlings too, since the yogin attains the form of Shiva. When the advaidic approach is kept in mind, all interest in attracting ordinary mortals gives way to noble and divine love for all.
Sloka 20: "Sarva roga hara":
Kirantim angebhyah kirana nikurumba amrta rasam
Hrdi tvam adhatte hima kara sila murthimiva yah;
Sa sarpanam darpam samayati sakuntadhipa iva
Jvara plustan drshtya sukhayati sudhadhara siraya.
(20)
Meaning:
Her moon-stone form radiats nector all around. By meditating upon this form and reciting Her mantra, the yogi gets the power of the nector and the ability to conquer the poison of the snake. Nector neutralizes any poison. Such yogi can remove the poisonous effect of any fever, due to the power of their meditation, just by their looks. Such is their radiating brilliance acquired through constant meditation on the Goddess.
God in Her wisdom created innumerable counter-effects which have neutralising effect on one another. The pride of the lion is shadowed by the sheer size and power of the elephant. The poison of the snake does not have any effect due to the intrinsic power of Garuda, the Eagle, as also the mongoose (Nakulam), the carnivorous mammal which neutralises the snake poison. While Vishnu has Garuda to neutralize snake and Lord Subramanya has peacock to control the snake, Devi has ‘nakulam’ to control the snake. Kulam refers to Muladhara chakra, where the snake sleeps. ‘Na-kulam’ means to drive the snake away from Muladhara, through kundalini yoga. She is therefore called Nakuleswari.
The yogi likewise attains absolute neutrality, by the power of Sakthi worship, filling his inner core with pure emotions and making him more divine. Hence a yogi is endowed with the miraculous power of healing the afflicted by the mere casting of a look.
Repeated recital of this sloka will cure all kinds of poison and fever. The moon-stone referred here is of the colour of the Vag-devatas, who occupy the eight aavaranaa in Sri-chakra. This aavarana is called srava-roga-hara chakram, meaning, it is the destroyer of all diseases.
Sloka 21: Waves of Supreme bliss from body chakras
Tatil lekha thanvim thapana sasi vaisvanara mayim
Nishannam shannam apy upari kamalanam tava kalaam;
Maha-padma tavyam mrdita mala mayena manasa
Mahantah pasyanto dadhati parama ahlaada laharim.
(21)
Meaning:
This sloka refers to the body chakras (from Muladhara up to Sahasrara) as a forest of lotuses. There are 15 chakras between these two. (Muladhara, Manipura, Svadhisthana, Anahata, Visuddhi, Lambikaagra, Ajnaa, Indu, Ardhachandra, Rodhini, Naadaa, Naadaantaa, Sakthi, Vyaapika, Samaana and Unmaana).
These 15 body chakras contain the 15 letters of the Panchadasaakshari mantra written in them, one each. The Ida and Pingala nadis, surround the Shushumna nadi which forms the pathway for the upward lift of kundalini. The ida and pingala are said to be the esoteric aspects of the Sun and the Moon.
Those who meditate upon the Goddess can enjoy waves after waves of supreme bliss (Ahlaada Lahari) and happiness. The kundalini blast is a sudden surge that is experienced by a yogi and hence it is compared to the lightning effect.
Reciting this sloka is said to bring everyone into happiness, by removing enmity.
Sloka 22: Reaching Bhavani is easy:
Bhavani tvam daase mayi vitara drishtim sakarunam
Iti sthotum vanchan kadhayati Bhavani tvam iti yah;
Tadaiva tvam tasmai disasi nija sayujya padavim
Mukunda brahmendra sphuta makuta nirajita padam.
(22)
Meaning:
Shankara aptly describes in this sloka, the kindness with which Ambal treats Her devotees. He says that the devotee chooses to address Her as “Bhavani, please come to my rescue; let me have your kind glance”; but then even before the devotee could complete the words “Bhavani tvam”, his wish is already fulfilled. Such is Her grace. Her response is total and spontaneous. She not only grants what he wanted, but also gives him “sayujyam”, the position of eternal nearness to the Goddess and grants him Her own status (Bhavani-tvam). She appreciates the intention of the worshipper, more than his words of praise. Though the Gods Vishnu, Brahma and Indra bow in front of Her three times a day, which, since they are wearing dazzling crowns, looks like waiving lighted camphor (Neeraajana), they cannot equal a human who attains such nearness to Her just through true devotion. Shankara here recommends true Bhakthi for the aspirants, more than any other form of worship.
Listen to the original voice of Kanchi Periyava when he explains this sloka:
https://www.youtube.com/watch?v=9U3q6PJ_13Q
This sloka 22 grants sarvaabhishta siddhi or grants all your reasonable wishes.
Sloka 23: Ardhanari swaroopam:
Tvaya hrithva vamam vapur aparitripthena manasa
Sarirardham sambhor aparam api sankhe hritham abhut;
Yad ethat tvadrupam sakalam arunabham trinayanam
Kuchabhyam anamram kutila sadi chuudala makutam.
(23)
Meaning:
Shankara has reasons to believe that Devi has over powered Lord Shiva, when the Lord decided to give Her the left half of His body (Ardhanari).
Shankara suspects that looking at Ambal’s third Eye, crescent moon on Her head, which are specific only to Shiva, he has a feeling that She has stealthily taken over His entire body, not satisfied that He has given her half the space in His Body.
Here again, Shankara describes Her as “Sakalam Arunaabhyam”, the complete absorption of the colour of the raising sun all over Her body (Red).
This sloka helps in removing all debts.
Sloka 24:
Jagat suthe dhata harir avati rudrah kshapayate
Tiraskurvan etat svam api vapurisastirayati;
Sada-purvah sarvam tad idamanugrhnati cha Shiva-
Stavajnam aalambya kshana chalitayor bhru latikayoh.
(24)
Meaning:
Shankara clarifies here that the entire activites of all the five divinities, Brahma, Vishnu, Shiva, Eswara and Sadashiva are indeed controlled by Her grace. By just a small movement of Her eyebrows, (without much exersion on Her part), She makes them do their respective functions of creation (by Brahma), protection & preservation (by Vishnu), destruction (By Shiva), creating a maya or veil over all beings (by Eswara) and showering benovelance (by Sadashiva). Shankara subtly clarifies that She is supreme over other five male forms and that without Her they will only be “Pancha-pretaa”, the five dead ones. She is “Pancha-krithya-paraayanaa”, the controller of these five functions, as spelled out in the Lalitha Sahasranama.
Sloka 25: She commands over Trinities:
Trayanam devanam thri guna janitanam tava Shive
Bhavet puja puja tava charanayor ya virachita;
Tatha hi tvat padodvahana-mani-pithasya nikate
Sthita hy'ete sasvan mukulita-karottamsa-makuta
(25)
Meaning:
The Trinities, Brahma, Vishnu and Shiva, were created by Devi from out of Her tri-gunaas, Satva (Brahma), Rajas (Vishnu) and Tamasa (Shiva). As such, a prayer offered to Her would rightly be taken to be the prayers offered to the Trinity Gods. Shankara visualises the ambiance of Devi’s chamber where the Trinity Gods remain subservient to Her might.
Sloka 26: She outlives all gods:
Virincih panchatvam vrajati harir apnoti virathim
Vinasam kinaso bhajati dhanado yati nighanam;
Vitandri mahendri vithathir api sammeelita drsa
Maha samhare smin viharati sati tvat patirasau.
(26)
Meaning:
The Goddess is ‘Maha-pralaya-sakshini’ as per Lalitha Sahasranama. She is the only ‘witness to dissolution’ of the universe, meaning that She is the one that finally remains with Her consort Sadashiva; all others, including the subservient Gods and other Devas get destroyed by the great dissolution. Brahma, Vishnu, Yama, the god of death, and Kubera, the god of wealth with no support from his wealth, meet with their end one by one.
Shankara says it is because of Her chastity that Her consort is spared from destruction. She is the one who would again take it upon Her to recreate the universe in due course.
Sloka 27: All our actions become Her prayers:
Japo jalpah shilpam sakalam api mudra virachana
Gatih pradaksinya kramanam asanadyahuti vidhih;
Pranamah samvesah sukham akilam atmarpana drsa
Saparya paryayas tava bhavatu yan me vilasitam.
(27)
Meaning:
We do not seem to have the time to even offer our prayers to Her, amidst our daily chores. Here Shankara shows us the simplest way of naturally dedicating all our actions to the Goddess without straining ourselves and highlights what is prescribed in Devi Upanishad, the Bhaavanopanishad.
We should dedicate all our mutterings, what ever we talk or think of, as the Holy chanting of Her thousand names.
All our limb movements, for whatever reasons, shall be dedicated to Her as the puja done to Her through Mudhras.
All our movements shall be the pradhakshina (going around Her clockwise) in Her temple prakaaraa.
Whatever food that we eat, which gets digested to produce heat in our body, shall be considered as the Aahoothi, the offerings made by the Brahmins in the Fire.
Our posture during sleep shall be dedicated to Her as the shaastanga namaskaaram or our prostrations at Her lotus feet.
Whatever we do to enjoy the earthly pleasures shall be completely dedicated to Her as Aatmaarpanam or complete surrender.
Shankara tries to introduce a higher form of worship in this stanza, more akin to his advaidic principles through gnana maarga or the path of pure knowledge of the absolute.
Sloka 28: The greatness of Her Maangalyam:
Sudham apy asvadya pratibhaya jaraa mrtyu harinim
Vipadyante visve Vidhi Satamakhadya divishadah;
Karalam yat ksvelam kabalitavatah kaala kalana
Na Sambhos tan mulam tava janani tadanka mahima.
(28)
Meaning:
Though it appars in this stanza that he praises the Devi, Shankara once again drives home his advaidic point that Lord Shiva, as Brahman, reins supreme over all other deities and finally He alone stands tall with Devi, after pralaya or the involution.
Shankara says that though all celestials drank the nector and were declared beyond death, they all perish in the end. However, Lord Shiva, who swallowed the virulant “Kaalakoota” poison was saved by the grace of His consort, who is considered a “Deergha sumangali”, or the one who always remains with Her husband.
Reciting this sloka is good for the couple to stay together for long.
Sloka 29: Her love for Kameswara:
Kiritam vairincham parihara purah kaitabha bhidah
Katore kotire skalasi jahi jambhari makutam;
Pranamreshwateshu prasabha mupayatasya bhavanam
Bhavasyabhyutthane tava parijanoktir vijayate.
(29)
Meaning:
Shankara gives a graphic image of Devi’s durbar, Her chamber, where other gods keep falling at Her feet while Devi anxiously awaits the arrival of Lord Shiva. Her maids keep cautioning Her to be careful not to stumble upon the crowns of these gods, as She gets up and runs to greet Lord Shiva, when He finally arrives. The point again is to drive home Her supremacy over other gods and Her love towards Kameswara.
Sloka 30: We are one with Her:
Sva dehodbhutabhir ghrnibhir animadyabhir abhito
NiShevye nitye tvamahamiti sada bhavayati yah;
Kim-ascharyam tasya trinayana samrddhim trinayato
Maha samvartagnir virchayati nirajana vidhim.
(30)
Meaning:
This stanza contains a “mahaavaakyam”, - “tvaMahamiti”, which is to be read as “tvam aham iti”, meaning “I am one with you”. Shankara again tries to emphasise the advaidic concepts such as “aham Brahmaasmi” or I am Brahman Himself and ‘Ayam Aatma Brahman’ or this jeevatma is Brahman himself.
He says that those who consider themselves as one with the Mother (tvamahamiti) would reach such a oneness that they will be able to witness even the dissolution, which is not possible even for the Trinity Gods and other divinities.
In previous stanza Shankara was saying that only the consort of Mother would be able to witness the pralaya; but here he identifies the true devotees as one with Mother and hence he says they would be able to witness the pralalya.
Such a true devotee considers all wealth (aishwaryam) awarded by Iswara as a straw which is blown out by the wind. It is so insignificant an entity for him as he is not after gaining material wealth or siddhis offerred by 8 Sakthis starting with Anima etc.
Shankara says that even the Pralaya fire becomes a ‘Haarati’ for the true devotee and will not affect him at all.
Sloka 31: Sri Vidya tantra is superior to Shiva Tanatra:
Chautuh-shashtya tantraih sakalam atisamdhaya bhuvanam
Sthitas tat tat siddhi prasava para tantraih pasupatih;
Punas tvan nirbandhad Akhil -purusartaika ghatana-
Svatantram te tantram khsiti talam avatitaradidam.
(31)
Meaning:
Shankara explains in this stanza that there are sixtyfour Shiva tantras, as enumerated by Lord Shiva to Parvathi. These emanate from the 8 siddhis explained in the previous stanza, at the rate of eight tantra for each of these eight siddhis. Each of these 64 tantras bestow specific powers and wordly benefits on the seeker.
However, Pasupathi has created a single tantra for Sri Devi in the form of Sri Vidya (Sri Chakra), worship of which bestows all the benefits of these sixtyfour tantras.
While the 64 are called Para tantras, the Sri Vidhya is called Svatantra. While Para tantras contain desruptive practices leading to involution or destruction, Svatantra is evolutionary in approach, supportive of existance.
Sloka 32: Her mantra swaroopam:
Shivah Sakthih kamah kshitir atha ravih sithakiranah
Smaro hamsah sakrastadanu cha para mara harayah;
Amee hrllekhabhis tisrbhir avasanesu ghatitha
Bhajante varnaste tava janani namavayavatham.
(32)
Meaning:
Shankara has started dwelling deeper into the subject of Sri Vidhya from this stanza onwards.
Here he talks of the Panchdasaakshari Mantra, (Ka, E, I, La, Hrim; Ha, Sa, Ka, La, Hrim; Sa, Ka, La, Hrim) which lies hidden in the form of Aksharaas or sylabels with each deity, namely, Shiva (Ka), Sakthi(E), Kamadeva(I), Bhoomadevi(La), Sun god(Ka), the moon(Sa), the swan (Ha), the sky, indra (La) and Vishnu. This famous mantra, as explained elsewhere, is in three khandas or parts, (Vagbhava kootam, kamaraja kootam and sakthi kootam) connected by “Hreem”, the Bija Mantra of Devi.
This is an ascertion from Shankara on the concept of mantra swaroopam of Devi. Poet Kalidasa is said to have benefited from uttering this mantra of ‘Hreem’, quite inncoently, in his previous birth as a Shepard, while driving the Sheeps. It is a very powerful mantra which can take you to heights of happiness.
Sloka 33: Power of Her mantra:
Smaram yonim lakshmim trithayam idam adau tava manor
Nidhayaike nitye niravadhi maha bhoga rasikah;
Bhajanti tvam Chintamani guna nibaddhaksha valayah
Shivagnau juhvantah surabhi ghrta dharahuti sataih.
(33)
Meaning:
This is in continuation of the earlier stanza on Mantras. Shankara emphasises the magical effect of a great mantra like Panchadasaakshari. Additionally, when some more bija mantras like ‘Klim’ of Kamadeva and ‘Shreem’ of Mahalakshmi are added with ‘Hreem’ of Lalitha and if one mediates upon the goddess with these bija mantra coupled with panchadasaakshari, the devotee is blessed with maha-bhoga, the great boon with unlimited pleasures by surabhi or kamadhenu, the celestial cow. It is equivalent to performing many sacrificial homa (haven), offering pure ghee to Lord Shiva. Such is its power.
Sloka 34: Sri Chakra is Her body:
Sariram twam sambhoh sasi mihira vakshoruha yugam
Tavaatmanam manye bhagavati navaatmanam anagham;
Atah seshah seshityayam ubhaya saadharana taya
Sthitah sambandho vaam samarasa parananda parayoh.
(34)
Meaning:
Lord Shiva, being pure consciousness, does not have a body of His own and hence the cosmic body of Shiva must be that of Devi, Shankara observes. She is Prakruti, the Mother of whole of this universe and its beings. She feeds this universe through Sun and the Moon, which are hence considered the breast of Mother.
Shankara then moves on to describe Her body as that of the Sri Chakra itsef, with nine triangles, four pointing up and five pointing down representing the nine aspects (nava atmanam) of Sakthi, namely, Vaamaa, Jyeshtaa, Raudhri, Ambikaa, Iccha, Jnanaa, Kriya, Shanta and Parasakthi.
The Sri Chakram is a perfect representation of the union or oneness of Shiva and Sakthi. They are like positive and negative energies cobining to become neutral, one complimenting the other.
Sloka 35: Tantra is Her mind:
Manas tvam vyoma tvam marud asi marut saarathir asi
Tvam apastvam bhoomis tvayi parinathaayam na hi param;
Tvam eva svatmanam parinamayithum visva-vapusha
Chidanandaakaram Shiva yuvati bhaavena bibhrushe.
(35)
Meaning:
Shankara, having explained the mantra form as the gross body of Devi, now proceeds to explain Her mind (Manas) as the subtle body or the tantra form, i.e., the body chakras. This and in the following stanza upto sloka 40, he explains the nature of these body chakras.
The chakras explain the ‘parinama’ or the pattern of creation. From Void (vyoma), Air (marud), Fire (marud sarathi, that which moves in the direction of air), Water (apah) and Earth (bhoomi), the series of condensation finally ends in a solid form.
‘Vyomam’ indicates vaccum or ether which can not be felt by us; but which is the birth place of all creations, much like our mind, which cannot be felt by us; but which is the birth place of all our thoughts and emotions. Shankara says that She is appearing as these five elements and there is nothing beyond this fact.
Six main body chakras are reaffirmed here by Shankara, namely, Manas denoting the Ajna chakra, Vyomam or Akaash or Ether denoting Visuddhi chakra, marud or vaayu denoting Anaahata chakra, Tejas or Fire denoting Svaathishtaanaa, Apah or liquid or water denoting Manipura and the prithvi or bhoomi denoting Muladhara chakra.
Each chakra point is a frame of reference to the meditator, indicating his level of maturity in yoga parlour. Just as we verify a formula by a graphical representation, yogies verify their level of attainment by these reference points in the spinal cord; from the lowest, Muladhara to the highest Sahasrara above the head. Those who could reach the highest points in yogic practice are said to experience eternal bliss and taste the Amrit. However, to achieve this, one has to adopt strict yogic practices, called Ashtaanga or eight stages of penance. After achieving this, the yogi is said to reach samaadhi state; sama denotes equal state, aadhi is intellect – meaning he reaches equilibrium with his own self.
Sloka 36: She sits in Agna Chakram:
Tava agna chakrastham thapana Sakthi koti dhyudhidharam,
Param shambhum vande parimilitha paarswa parachitha
Yamaradhyan bhakthya ravi sasi suchinama vishaye
Niraalokeloke nivasathi hi bhalokha bhuvane
(36)
Meaning:
She sits in the Ajna chakra (between our eye brows) along with Lord Shiva and shines like the brilliance of crores of Sun and Moon. Out of Her compassion, the devotees reach even higher states than that of Sun and Moon.
Sloka 37: She shines in Visuddhi Chakram:
Vishuddhou the shuddha sphatika visadham vyoma janakam
Shivam seve devimapi shiva samana vyavasitham
Yayo kaanthya sasi kirana saaroopya sarane
Vidhoo thantha dwarvantha vilamathi chakoriva jagathi
(37)
Meaning:
She is present in Visuddhi chakra (throat region) shining like a pure crystal (Sphatika), spreading coolness all around like the moonlight, dispelling the darkness due to ignorance. The devotees enjoy this moonlight, like the legendary chakravaha bird, which thrives only on consuming the moonlight.
Sloka 38: She swims with Shiva in manasarovar in Anahata:
Samunmeelath samvithkamala makarandhaika rasikam
Bhaje hamsadwandham kimapi mahatham maanasacharam
Yadhalapaa dhashtadasa gunitha vidhyaparinathi
Yadadhathe doshad gunamakhila madhbhaya paya eva
(38)
Meaning:
In Anahata chakra (lungs region, Air tatva), She resides along with Lord Shiva in the form of Hamsa (swan) birds, swimming together in the manasarovar (minds of sages) lake and enjoying the honey (ananda) from the lotus flowers. It is in this place that the Pranava mantra emanates, which is recited by sages and enjoyed by the divine couple. From Pranava emanated all words and eighteen vidhyas such as 4 Vedas, Siksha, Kalpa, Vyakarana, Nirukta, Sandas, Jyotisham, Meemamsam, Nyayam, Puranam, Dharma Shastram, Ayurvedam, Dhanurvedam, Gandarva Vedam and Needi Shastram - (Ref:https://www.penmai.com/community/ threads/saundarya-lahari-simple-translation-and-benefits.22161/page-4).
The divine couple consider only the good deeds of their devotees ignoring the bad deeds and together they bless their devotees, like the hamsa bird which separates water from milk and consumes only the milk.
Sloka 39: She protects us in Svadhishtanam:
Thava svadhishtane huthavahamadhishtaya niratham
Thameede sarvatha janani mahathim tham cha samayam
Yadhaloke lokan dhahathi mahasi krodha kalithe
Dhayardhra ya drushti sishiramupacharam rachayathi
(39)
Meaning:
She resides in Svadhistanan chakra (stomach region, fire tatva) along with Rudra, the fire God. Rudra is capable of burning out anything using his third eye and She cools it down sufficiently thus protecting Her devotees (this is the fire used for digestion). Shankara says, this way She equals the Lord with Her superior power.
This sloka grants relief from nightmares and bad dreams.
Sloka 40: She shines in Manipura:
Thatithwantham shakthya thimira paree pandhi sphuranaya
Sphuranna na rathnabharana pareenedwendra dhanusham
Thava syamam megham kamapi manipooraika sharanam
Nisheve varshantham haramihira thaptham thribhuvanam. (40)
Meaning:
She resides in Manipooraka chakra (naval region, water tatva), with Her brilliant jewellary flashing like a lightning, bringing forth showers from dark clouds. The fire created by Lord Shiva gets completely cooled down.
Sloka 41: She dances in Muladhara:
Thavaadhare moole saha samayaya lasyaparaya
Navathmanam manye navarasa maha thandava natam
Ubhabhya Methabhyamudaya vidhi muddhisya dhayaya
Sanadhabyam jagne janaka jananimatha jagathidam.
(41)
Meaning:
Sakthi dances at mooladhara chakra along with lord Shiva, the dance being described as “Ananda Lahari,” the flow of bliss. While Lord Shiva dances his Tandava, Devi dances Her Lasya for creation, bringing forth the nava rasa bhava. These two are the parents of the whole universe. They recreate the entire universe again after complete destruction.
Part I, Ananda Lahari, which dealt with the inner or hidden aspects of tantra of Devi, ends with this verse. In verse 42 onwards, it is the outer world, of the external forms of Devi is described.
Before we go to the next part, let us listen to this song:
https://www.youtube.com/watch?v=hig14duXTMA
Part 2 – Soundarya Lahari
Waves of Supreme Beauty
Click the following link to listen to the second 59 sloka:
Sloka 42: The Beauty of Her crown:
Shankara starts this part 2 as “kesadi-paadam” - by describing Devi from top to bottom.
Gathair manikyatvam gagana manibhih sandraghatitham.
Kiritam te haimam himagiri suthe kirthayathi yah;
Sa nideyascchaya cchurana sabalam Chandra sakalam
Dhanuh saunasiram kim iti na nibadhnati dhishanam.
(42)
Meaning:
She wears a lovely golden crown, studded with twelve suns (representing twelve months) shining like a manikyam or rubi gems and, the crescent moon on top. The poet imagines that the suns’ rays get refracted in the ice formed by the cool moon and the rainbow thus formed becomes the eyebrow of Sri Mata. Lord Indra is associated with rain; his weapon is vajjra or lightning; his bow (dhanuh) is the rainbow. Hence it is said that She has Indra dhanuh for Her eyebrows.
Sloka 43: Her scented hair:
Dhunotu dhvaantam nas tulita dalitendivara vanam
Ghana snigdha slakshnam chikura nikurumbham thava sive;
Yadhiyam saurabhyam sahajamupalabdhum sumanaso
Vasanthyasmin manye vala madhana vaati vitapinam. (43)
https://www.youtube.com/watch?v=sEZMcBXuo2I
Meaning:
In this verse, coming down from the crown in the last verse, Devi’s hair is described as shining black, resembling the darkness or ignorance of human beings on earth. The natural scent of the hair makes Shankara believe that all the flowers in Indira’s garden are permanently stationed upon Her hair. Shankara advises us to meditate on Her scented black hair and get liberated from darkness.
Tanothu kshemam nas tava vadhana saundarya lahari
Parivaha sthrotah saraniriva seemantha saranih
Vahanti sinduram prabala kabari bhara thimira-
Dvisham brindair bandi krtham iva navinaarka kiranam; (44)
https://www.youtube.com/watch?v=q8NM4l2HEbA
Meaning:
The poet now says that the central hair-line of Devi, which divides the hair
into two parts, appears as though to part two set of dark forces (Balck hairs) from vying with each other and the kumkum worn by Devi on the forehead on this line, as done by a sumangali in Hindu tradition, looks like the rays of the early morning sun trying to bring light through the central line, to drive this dark forces away. The parted central line looks like a path way through which Devi’s Soundaryam or beauty flows like waves.
Goddess Mahalakshmi is said to reside in the ‘seemandam’ or the kumkuma tilakam or sindhuram of a sumangali and hence a sumangali adores herself with the kumkum on the forehead, over the parting hairs, thus inviting Sri or Mahalakshmi to reside there.
The emphasis here is for adorning the forehead, in addition to the kumkum in-beteen the eyebrows and for keeping the parting line at exact centre on the fore head. This is where Lakshmi is said to reside. “Vatra-lakshmi-parivaham” – as spelt out in Lalitha Sahasranamam can be mentioned here. The flow of Devi’s beauty, the Soundarya Lahari, is said to start from Her face and the poet imagines that this beauty fills Her entire face and then overflows into Her lock of Hairs through the canal formed by the central hair line. Shankara asks the devotees to meditate upon this sindoorasthan or the place where Devi’s Kumkum lies on the forehead and get blessed.
Ambal’s face is said to emanate certain emotions, upon Her devotees, in the form of surges or floods (Laharis) such as Soundarya Lahari, Aananda Lahari, Chidhaananda Lahari, Amruta Lahari, Shringara Lahari etc depending on the maturity levels of Her devotees.
This sloka grants Soubhagya.
This sloka grants Soubhagya.
Hear what Kanchi Periyava says about this sloka:
and also this:
https://www.youtube.com/watch?v=nqc0jh4Hg1o
Sloka 45: Devi's facial beauty
Aralaih swabhavyadalikalabha sasribhiralakaih
Paritham the vakhtram parihasati pankheruha ruchim;
Dara smere yasmin dasana ruchi kinjalka ruchire
Sugandhau madhyanti smara dahana chaksur madhu lihah.
(45)
Meaning:
Shankara describes the curly side hairs of Goddess as if they look like the wandering bees looking for honey. These bees mistook Devi’s face to be a beautiful flower due to the scent emanated. The poet’s imagination goes one step further to say that Devi’s dark hairs look like a forest border and her slightly opened lips expose the teeth which look like a moon on a dark forest border. Devi’s face looks like the lotus flowers on a pond and hence Shankara says that the bees were looking for honey in this lotus pond. He further says that this beautiful scenary is enjoyed by Shiva, through the third eye of Devi, since this third eye is shared by both Shiva and Devi.
Sloka 46: The crescent moon:
Lalatam Lavanya dyuthi vimalamaabhati tava yath
Dvithiyam tan manye makuta ghatitham chandra sakalam;
Viparyasa nyasad ubhayam api sambhuya cha mithah
Sudhalepa syutih pareenamati raka himakarah.
(46)
Meaning:
Shankara says that the crescent moon adorning the Devi’s crown, when, combined with the crescent like formation on devi’s forehead, would form a complete moon, as if two half moons forming a full moon. The focus here is on comparing the forehead of Devi to be as lusterous and shining as that of a full moon. Shankara imagines that a (second) half moon (i.e., Her forehead) is kept imprisoned by Her glorious crown, while the other half moon is kept free on top of Her Crown. This sloka grants pregnancy.
Here is what Kanchi Periyava says about this sloka:
Sloka 47: Her eye brows resemble Manmatha's bow:
Bhruvau bhugne kinchit bhuvana bhaya bhanga vyasanini
Tvadhiye nethrabhyam madhukara ruchibhyam dhrita gunam;
Dhanur manye savyetara kara grhitam rathipateh
Prakoshte mushtau ca sthagayati nigudhaantharam ume
(47)
Meaning:
This verse gives yet another imaginative poetry. Each of Her brows look like one half of the bow of Manmatha. Usually the bow consists of two eyebrows like arch with a space in-between to hold it in hand. Poet says that the space between Her eye brows is the space where Manmatha will hold the bow in his left hand. The poet further says that Her fluttering eye movements from side to side looks as if the bow has strings made of the bees which wander aroud Her face looking for Honey.
Sloka 48: The beauty of Her third Eye:
Ahah sute savyam tava nayanam arkaathmakathaya
Triyamam vamam the srujati rajani nayakataya;
Trithiya the drishtir dhara dhalita hemambuja ruchih
Samadhatte sandhyam divasa nisayor antara charim
(48)
Meaning:
Shankara now describes Her beautiful eyes. Devi is said to have the sun (day) and the moon (night) as Her eyes. Here Shankara says that Her third eye (called Hema ambujam, the golden eye) which is situated in-between the two eyes, is the sandhya or the twilights which bridges in day and night. The third eye is slightly tinted reddish and hence looks like lotus buds.
Sloka 49: Her expressive glances:
Vishala kalyani sphuta ruchir ayodhya kuvalayaih
Kripa dhara dhara kimapi madhuraa bhogavatika;
Avanthi drishtis the bahu nagara Vistara vijaya
Dhruvam tattan nama vyavaharana yogya vijayate
(49)
Meaning:
Women can express through their eyes; through their gestures or eye movements. Here Shankara says that Ambal’s eye glances (dhrishti) can give rise to as many as eight types of emotions, namely, Visalam (satisfaction), Kalyanam (happiness), Ayodhya (smiling eyes), Dhaara (enchanting), Madhura (sweetness), Bhogavati (affection), Avanti (innocence) and Vijaya (extreme side glance to win over).
Incidentally, Shankara reminds us here that each of these glances are also the names of famous cities in India.
Visalam - refers to Badrainath
Kalyanam - refers to Kalyani, the city in Bidar district, Karnataka
Ayodhya – City of Ayodhya
Dhara - refers to capital of Bhoja
Madhura - refers to the city Madhurai in South India.
Bhogavati - refers to the city of Kambath, in Gulf of Cambay, Gujarat.
Avanti - refers to Ujjain
Vijaya - refers to Vijayanagaram, Bellary District in Karnataka.
Let Her glance bring all kinds of auspeciousness and protection to all Her devotees.
Sloka 50: She likes to be praised by devotees:
Kavinam sandharbha sthabaka makarandhaaika rasikam
Kataaksha vyakshepa bhramara kalabhau karna yugalam;
Amunchantau drshtva tava nava rasaasvada tharalau
Asuya samsargadhalika nayanam kinchid arunam.
(50)
Meaning:
Shankara’s poetic imagination finds no bounds. Here he compares Her two fluttering eyes to the humming bees. Ambal is said to enjoy the praises from Her devotees, which flow to Her ears like honey. Ambals eyes are quite long enough to touch Her ears. The bees (the black eye balls) try to reach Her ears (through Her side glances to bless Her devotees) to drink this honey flowing into Her ears. The third eye, which is situated well above, is unable to reach Her ears and therefore feels envy of Her two normal eyes and hence the third eye turns reddish in anger !
Shive sringarardhra tad ithara jane kutsana paraa
Sarosha Gangayam Girisa charite vismayavathi;
Haraahibhyo bhita sarasiruha saubhagya janani
Sakhishu smera the mayi janani dristih sakaruna
(51)
Meaning:
Shankara explains that Ambal’s eyes give out navarasaa or the nine feelings under different circumstances. When She looks at Shiva, it gives out Love (shringara); Her eyes express disguest (kutsana) when other men approach Her, not as Her devotees but as adults; It gives out anger (Rosha) when She sees Her husband accomodate Ganga, another womean, on His head; Her eyes express wonder (vismaya) when She learns about Shiva’s leelas; She is ‘afraid’ (bhaya)of the snakes around Her husband’s neck. Her eyes are expressive of courage (veera) through the colour of the lotus red; Her eyes express mischievous humour (smera) when She enjoys the company of Her friends; Her eyes also exhibit sorrow at the plight of Her devotees. Her eyes are always full of peace or serenity (shantam). Shankara asks us to pray to Her to shower compassionate (Karuna or Vatsalya) motherly glance upon us to brave this life on earth. She thus has ten rasaas not just nine. Goddess Meenakshi (meena is fishlike and akshi refers to Her eyes) is said to have all these ten rassas in Her eyes “vaktra lakshmi parivaaha chalan meenabha lochana” as in Lalitha Sahasranama. Her eyes look like fish in the flood of beauty of Her face.
Sloka 52: Power of Her glance:
Gathe karnabhyarnam garutha iva pakshmani dhadhati.
Puraam bhetthus chitta prasama rasa vidhravana phale;
Ime nethre gothra dhara pathi kulottamsa kalike
Tavaakarnaakrishta smara sara vilasam kalayathah.
(52)
Meaning:
Shankara, not satisfied with his description of Her eyes thus far, still dwelves further into describing the beauty of Her eyes. He says that Devi could achieve just through Her side glance, what Manmatha, the god of Love failed to achieve of Her Lord Shiva earlier. The Devas once approached Manamtha to make Shiva brake His meditation, to enable birth of Lord Subrahmanya. However, Manmatha failed to achieve this end, as his attempts misfired due to inadequate power in his flowered arrows. Instead he was reduced to ashes by Lord Shiva for disturbing His meditation.
Here Shankara imagines that the Goddess has taken it upon Herself to finish the task by throwing Her powerful side glance upon Lord Shiva through Her wide eyes, reaching up to Her ears. Her eye balls moved to Her extreme position near Her ears, looks as though the arrow is stretched to the limits, giving it adequate power to penetrate Shiva’s heart. Her eye lashes look like the feathers in the tail end of the arrows. In this superb piece of imaginative poetry, Shankara points out that men are usually more vulnarable to powerful side glances of women, like the powerful take-off with which an eagle targets its prey.
Sloka 53: Triguna in Her eyes:
Vibhaktha traivarnyam vyatikaritha lilaanjanathaya
Vibhati tvan netra trithayam idam Isana dayite;
Punah strashtum devan Druhina Hari Rudran uparatan
Rajah sattvam vibhrat thama ithi gunanam trayam iva
(53)
Meaning:
In a further dwelling by Shankara on Her eyes, Devi’s eyes are white in the central portion, red in the corners, and black in the pupil area. This, Shankara says, is representative of the trigunas, satva, rajas and tamas respectively, indicating that the Trimurthi, Brahma, Vishnu and Shiva, who are associated with these trigunas are reborn out of Devi’s eyes, after the great pralaya which swallowed them all.
Sloka 54: Her merciful eyes:
Pavithrikarthum nah pasupathi paradheena hridhaye
Daya mithrair nethrair aruna dhavala syama ruchibhih;
Nadah sono ganga tapana tanayeti dhruvamamum
Trayanam tirthanam upanayasi sambhedam anagham.
(54)
Meaning:
Shankara further compares the three colours of Her eyes to the three rivers, Sona (red), Ganga (white) and Yamuna (black) and says that Her eyes appear to be the meeting point of these three rivers. A bath in the confluence of these three rivers is said to remove the sins of the devotees. Such is the power of Ambal’s eyes which shower Karuna or compassion and is ever merciful to Her devotees and removes their sins at once.
Sloka 55: She doesn't wink:
Nimeshonmeshabhyam pralayam udayam yaati jagati
Tavety ahuh santho Dharani dhara raajanya thanaye;
Tvad unmeshaj jatham jagad idham asesham pralyatah
Pari trathum sankhe parihruta nimeshas tava drusah.
(55)
Meaning:
As per Hindu mythology gods don’t wink at all. Here Shankara says that the Mother decided not to wink, since it is believed by sages that if She closes Her eyes even for a second, the world would be plunged into darkness and create havoc and deluge to all Her creations. Hence Ambal has kept Her eyes wide open, says Shankara.
Sloka 56: Her competitive eyes:
Tavaaparne karne japa nayan paisunya chakita
Niliyante thoye niyatham animeshah sapharikah;
Iyam cha srir baddhasc chada puta kavaiam kuvalayam
Jahati pratyupe nisi cha vighatayya pravisathi.
(56)
Meaning:
The concept that celestials don’t wink is emphasised by Shankara by giving
another earthly example that fishes don’t sleep at anytime. He says that the fishes are afraid of the competition from Her beautiful (fish-like) eyes and are hiding themselves deep into the waters. Her eyes move faster than the fishes to see what is happening around the universe and it looks as though Her eyes, being wide, are trying to find out some rumours falling into Her ears about the lack of swiftness of fishes. The poet says that is why the fishes do not wink or sleep and are always alert to meet Her competition. It is said that the Golden pond (Pon thaamarai kulam) in Madurai Meenakshi Amman Temple does not have any fishes growing there, since they feel they are no match for Her beautiful eyes.
Shankara further feels that Goddess Lakshmi (Sri), who normally resides in
Lotus flowers, is likewise affected by the astounding beauty of Her competitor that She decides to change her location from Lotus (padmam or
kamalam) to Blue Lily (Kuvalayam or kumudam). This is because the lotus is wide open during the day when the sun is up and closes its petals after sun sets (where as Lakshmi wants a place to reside in the night and cannot
afford to wander around, fearing competition from Devi) and Lily opens up
during the moon light and closes by sun raise. It becomes necessary for
Lakshmi to alternatively reside in Lily during the night and use lotus during
the day.
Sloka 57: Lakshmi resides in Her eyes:
Drisa draghiyasya dhara dhalita nilotpala rucha
Dhaviyamsam dhinam snapaya kripaya mam api Sive;
Anenayam dhanyo bhavathi na cha the hanir iyata
Vane va harmye va sama kara nipaatho himakarah
(57)
Meaning:
Shankara continues his journey on Her merciful eyes, not able to fully describe its beauty. He compares Her eyes to the neelotpalam flower (water Lily), which opens out during moonlight and has a light blue (cool) colour on its outer when not yet opened fully. When fully open, it reveals its white colour inside. Devi’s eyes have this coolness and due to compassion
to Her devotees, Her eyes are not fully open; but half closed (as in shantam position). Hence Shankara says Her eyes have the cool blueness of the lily. Her eyes are cool since it brings solace to the devotees from the scorching vagaries in life. He seeks Her blessings to all beings, including himself.
In the previous stanza Shankara said that Lakshmi resides in Neelotpala flower. Now he compares neelotpala with Devi’s eyes. It appears that Shankara is trying to drive home his point that Lakshmi resides in Devi’s eyes and that Devi’s glance would bring Lakshmi also with it.
Further Shankara adds that Her merciful eyes go far and deep penetrating the entire universe in all its nook and corners and fall uniformly on all Her
creations irrespective of their standing in life; just as the moon sheds its cool rays on all places on Earth, without a thought of who is receiving it.
Shankara prays to Her to shower Her blessings on him too and feels that She will not loose anything by doing this. Here Shankara subtly tells as to how we should pray to Her and seek Her mercy in a heartening way with all humility. Her shower of blessings will wash away lust, anger and fear from our lives and provide absolute security all around.
Sloka 58: Her temple region:
Araalam the paali yugalam aga rajanya thanaye
Na kesham adhatte Kusuma shara kodhanda kuthukam;
Tiraschino yathra sravana patham ullanghya vilasann
Apaanga vyasango disati sara sandhana dhisanam
(58)
Meaning:
The focus now shifts to the temple region of the Goddess, but still hovers around the topic of Manmatha trying to win over Lord Shiva. The Temple on both sides between Her ears and eyes look like bow to Shankara and for the arrows, Shankara has Her side glance piercing the Lord.
Sloka 59: Her reflective cheeks:
Sphurad ganddabhoga prathiphalitha thatanka yugalam
Chatus chakram manye thava mukham idam manmatha ratham;
Yam aruhya druhyaty avani ratham arkendhu charanam
vd
Mahaviro marah pramatha pathaye sajjitavate.
(59)
Meaning:
The topic of Manmatha trying his level best to conquer Lord Shiva still continues in this stanza also; however, the location shifts from the eyes. The pair of ear studs worn by Goddess get reflected on Her mirror-like cheeks, making one believe that there are four studs acting as the four wheels of the chariot of Manmatha.
Shankara thus directly refers to Her beautiful face as the permanent residence of Manmatha and says that Manmatha, using Her face as the chariot, has great hopes of winning the war over Lord Shiva, who uses Earth as the chariot and the sun and the moon for its wheels.
Sloka 60: Sweetness of Her voice:
Sarasvatyah sukthir Amrutha lahari kaushala harih
Pibanthyah Sarvani Sravana chuluk abhyam aviralam;
Chamathkara slagha chalita sirasah kundela gano
Jhanatkarais taraih prati vachanam achashta iva te.
(60)
Meaning:
Slightly lowering down the point of reference, this time to Her voice, Shankara mentions that She has a very sweet voice which flows like elixir (amrutha) all around and that while hearing Her voice, Goddess Saraswathi, who is the vak devi, is so impressed and nods vigorously. While doing so, Saraswathi’s ear studs make noice resembling an applause for Devi’s words flowing out of Her mouth.
Sloka 61: Her nose:
Asau naasa vamsas tuhina girivamsa dhvajapati
Thvadhiyo nedhiyah phalatu phalam asmakam uchitam;
Vahathy anthar muktah sisira kara nisvasa galitham
Samruddhya yat tasam bahir api cha mukta mani dharah
(61)
Meaning:
Next, Shankara has chosen to move over to describe Her nose. While the poet reminds us that She came from the lineage of Himalaya King, he says Her long and smooth nose looks like the bamboo stag of the Himalayan kingdom’s flag. There is a belief that a bamboo of good variety would contain pearl inside it. Sanakra imagines that Devi’s nose has a pearl outside, (as a naasabharanam or a nose jewel) since it might have been thrown out by Her cool exhalation through Her nostril. He indirectly hints of a very good lineage of Devi.
Sloka 62: Her lovely lips:
Prakrithyaarakthayas thava sudhati dantha cchada ruchaih
Pravakshye saadrisyam janayathu phalam vidhruma latha;
Na bimbam tad bimba prathiphalana raagad arunitham
Thulam adhyaarodhum katham iva bhilajjetha kalaya.
(62)
Meaning:
Goddess has very beautiful series of teeth, uniformly and neatly stacked. Her red lips are so very red that there is no comparison at all. Even a bimba fruit would hang its head down (it is naturally head down) ashamed of its status as compared to Her lips.
Sloka 63: The teeth on Her moon-lit face:
Smitha jyothsna jaalam thava vadana chandrasya pibatham
Chakoranam asid athi rasataya chanchu jadima;
Athas the sithamsor amrtha-laharim amla-ruchayah
Pibanthi svacchhandam nisi nisi bhrusam kaanjika-dhiya.
(63)
Having described the parts on Her face, Shankara now summarises the glow on Her Face, which shines like a full moon (vadana chandrasya), beaming out cool radiance. While the moon has some black spots on it, Devi’s face is clean. The sparkling teeth further add to this radiant illumination, when She smiles. The Chakora bird, which feeds on the nectar from the cool moonlight, becomes fully satisfied when it feeds on the nectar flowing from Devi’s illuminated face (amritha lahari) and its tongue becomes numb due to the ati-rasatya or extreme sweetness. The bird then starts to drink the nectar from moonlight to make its tongue alright (since moonlight is bitter compared to Devi’s radiance and hence can neutralise the numbness). This is poet’s explanation as to why the Chakora normally drinks the moon light. It is said the Devi resides in the region of the Moon (Chandra mandala madhyastha- L.S.) with the 15 nithya Devi’s pertaining to the 15 kalas of the moon, ending with the full moon day, which is very special for Devi’s pooja.
Sloka 64: Saraswathi resides in Her tongue:
Sloka 64: Saraswathi resides in Her tongue:
Avishrantam pathyur guna gana kathaamridana japa
Japa pushpash chaya thava janani jihva jayathi saa;
Yad agrasinayah sphatika drishad acchach chavi mayi
Sarasvathya murthih parinamati manikya vapusha.
(64)
Meaning:
Shankara now talks about Her tongue, which is lustrous like a ruby crystal. Even the red japa pushpam (hybiscous flower) shys away from Her in shame. Her tongue is continuously engaged in praise of Her beloved Lord
Shiva. The pure white crystal like body of Goddess Saraswathi, who always
resides in the tip of Devi’s tongue, assumes ruby-like redness due to reflection from Her tongue.
Sloka 65: Beetal Prasad:
Rane jithvaadaithyan apahrutha sirastraih kavachibhir
Nivrittais chandamsa tripurahara nirmalva vimukhaih;
Visakha indra upendraih sasi visadha karpura sakala
Viliyanthe maatas tava vadana tambula kabalah.
(65)
Meaning:
Hindu puranas are replete with the concept that Devi, being a sumangali, usually chews betal leaf rolls and those who seek jnana or the absolute knowledge are keen to get a small bit of that chewed betal material, considered as holy prasadam from Her mouth. Lalitha Sahasranama says “thambhula puritha mukhi”- always chewing betal leaves.
It is said that Saint Kalidasa received this tambula prasad from Maha Kaali in Ujjayini, Saint Karmegam from Akilaandeswari in Jambukeshwaram and Saint Mookar from Kamakshi Devi at Kanchipuram. No wonder these three Saints were blessed with poetic talents, since goddess Sarawathi is part of this prasad from Her tongue.
Shankara says that Lords, Subramanya, Indra and Vishnu are vying with each other to get to Her prasad, after returning from war with the Asuras. These three are rushing forward such a way that they ignored even the prasad offered by Lord Shiva thro’ Chandikeswara.
Sloka 66: Sweetness of Her voice:
Vipanchya gayanthi vividham apadhanam Pasupathea
Thvayaarabdhe vakthum chalita sirasa sadhuvachane;
Tadhiyair madhuryair apalapitha tantric kala ravam
Nijaam vinam vani nichulayati cholena nibhrutham.
(66)
Meaning:
Shankara describes the courtyard of Devi, where Goddess Sarawathi is playing the veena and singing the praise of Lord Shiva, enchanting everyone around.
Devi is so pleased with the renderings by Sarawathi that Devi nods head head and says “saadhu”, meaning ‘excellent’. But Shankara says that this uttering by Devi, instead of acting as encouragement to Saraswathi, made Saraswathi stop playing the veena in shame, since Devi’s voice had such a musical sweetness, which over-powered that of Saraswathi’s veena. Saraswathi quitely boxes up Her veena almost immediately, to avoid the veena’s strings from reverberating any further.
Sloka 66 grants Musical skills.
Sloka 66 grants Musical skills.
Sloka 67: Her chin:
Karagrena sprustam thuhina girina vatsalathaya
Girisenodasthama muhur adhara panaakulataya;
Kara grahyam sambhor mukha mukura vrintham
Giri sute
Kadham karam bramas thava chubukam aupamya rahitham (67)
Meaning:
Shankara finds no words to describe Her lovely chin. He prefers to say that Her chin has been often touched with vatsalyam or affection by Her father, the King of the Himalayan mountains and also by Her consort, Lord Shiva, trying to make love. Shankara beautifully brings out the difference between a father’s touch and the lover’s touch. While Her father would tenderly caress Her face with the tip of his fingers to fondle his child, Lord Shiva would hold Her chin firmly and use it as a handle to lift Her face towards Him.
Sloka 68: Her neck:
Bhujasleshan nithyam Pura damayituh kantaka vathi
Tava griva dhatte mukha kamalanaala sriyam iyam;
Svatah swetha kaalaagaru bahula jambala malina
Mrinali lalithyam vahati yadadho hara lathika.
(68)
Meaning:
Having describing Her head in slokas 41 to 68, Shankara now descends
down to the neck region. Her face resembles the lotus flower. Her neck looks like the stalk of the lotus and the side hairs in Her neck region resembles the soft fibrous thorns in the stalk. The black ‘agaru’ and sandal paste applied near the white pearl jewel appears like the muddy dirt acquired by the stalk from the water bed.
Sloka 69: Her throat region:
Gale rekhas thisro gathi gamaka githaaika nipune
Vivaha vyanaddha praguna guna Samkhya prahibhuvah;
Virajanthe naanaa vidha madhura ragakara bhuvam
Thrayanam gramanam sthithi niyama seemana iva the. (69)
Meaning:
Shankara exposes his expertise in carnatic music, especially on “Gathi, Gamaka, Githam and Gramam”, which are specific to music. The music emanates from the throat and hence this verse is appropriately placed here when Shankara explains the beauty of Her neck region.
She is the ultimate expert in all forms of music, with Her three lines in the neck appearing to be the three musical notes, called Grama (the three classification of raga: Shadja, Madhyama and Gandhara), which in combination with seven svaras make innumerable ragas.
Shankara subtly conveys here that, in a similar fashion, Devi produces innumerable creations from these three lines in the neck, which are nothing but the three gunas – satva, rajas and tamas, the source of all tatva which lead to the entire creation.
Shankara says it also reminds him of the holy mangalsutra or the permanent sacred thread worn by a Hindu married woman. Kanchi acharya observed that men have adams apple in their throat, while women have the three lines in their neck.
Sloka 69 grants musical talents.
Here is what Maha Periyava opines about this sloka:
Sloka 70: Her four hands:
Mrinali mridhvinam thava bhuja lathanam chatasrinam
Chaturbhih saundaryam Sarasija bhavah stauthi vadanaih;
Nakhebhyah samtrasyan Prathama madhanadandhaka ripo
Chaturnam sirshanam samam abhaya hasth arapana-dhiya.
(70)
Meaning:
Devi’s four hands are very beautiful like the stalk of the lotus flower. Lord Brahma, who was born from Vishnu’s Naabi, seated on a lotus flower, is said to continuously praise Devi’s beauty so that Devi would protect him from the anger of Lord Shiva.
Legend says that Brahma and Vishnu were once fighting with each other as to which of the two is the creator of the universe. At that time Lord Shiva appeared before them in the form of a light of fire and asked Brahma and Vishnu to identify who He is. Brahma assumed the form of a swan and flew upwards to reach the top, while Vishnu in the form of a Boar started digging down wards. Both were tired to the core but could not find the top or bottom respectively. Vishnu came up and declared his failure to the devas who assembled there. Brahma also reached the spot but lied that he had reached the top. Lord Shiva became angry at this and plucked the top (5th) head of Brahma which lied to Him. Sankara says here that Brahma was terrorised at this and wanted to protect his other four heads and hence he sought the help of Devi to protect him from Her consort’s anger.
Shankara says here in this verse that Lord Brahma continuously praises Devi’s lovely hands, which look like the stalks of Lotus flower on which Brahma is seated. Brahma prays to Devi to protect his four heads using Her four hands which offer abhaya.
Sloka 70 helps in relieving of guilt feeling, offence, crime committed etc.
Sloka 70 helps in relieving of guilt feeling, offence, crime committed etc.
Sloka 71: Devi's hands:
Nakhanam uddyotai nava nalina ragam vihasatham
Karanam te kantim kathaya kathayamah katham Ume;
Kayachid va samyam bhajatu kalaya hanta kamalam
Yadi kridal Lakshmi charana tala laksha rasa chanam.
(71)
Meaning:
Shankara says that a freshly blosssomed lotus flower would loose if it competes with the beautiful hands of Devi. Her hands shine with brightness, enhanced further by the reflections from Her polished pink nails.
Shankara gives a clue to the Lotus flower that perhaps it can try to take help from Shree Devi, Goddess Lakshmi, who resides on the lotus, since Shree Devi’s feet are reddened by the dye (marudhani) applied on it and this may help to enhance its redness, enabling the Lotus to some what become ready to compete with Devis’ hands.
Sloka 72: She nursed Lords Ganesha and Subramanya:
Samam devi skanda dwipa vadana peetham sthanayugam
Thavedham na khedham harathu sathatham prasnutha mukham
Yada loakakhya sankha kulitha hridayo hasa janaka
Swa kumbhou herambha parisrusathi hasthena jhhaddithi
(72)
Sloka 73:
Amuu theey vakshoja vamrutharasa manikhya kuthupou
Na sadhehaspatho nagapathi pathake manasi na
Pibhanthou thow yasma dhavadhitha bhadusangha rasikou
Kumara vadhyapi dwiradhavadhana krouncha dhalanou
(73)
Meaning (72 & 73):
Lords Ganesha and Karthikeya who are nursed by Her, protect all of us, since we are all their Mother’s creations. Lords Ganesha and Karthikeya both have drunk the nector (through Her nursing them) and hence both have attained eternal youth.
Sloka 74: Her necklace:
Bahathyambha sthamberam dhanuja kumbha prakrithibhi
Samaarabhdham muktha mamibhi ramalam haara lathikam
Kuchabhogo bhimbhadara ruchibhi rathna saabhalitham
Prathapa vyamishram puradamayithu keerthimiva thee
(74)
Meaning:
Devi wears a white pearl necklace on Her chest, which was obtained from
the frontal lobes of Gajaasura. The pearls reflect the redness of Devi’s lips and appear as if they are representing the white (purity, Satva) and redness (Tejas) of Lord Shiva.
Sloka 74 grants Keerthi, reputation.
Sloka 74 grants Keerthi, reputation.
Sloka 75: Dravida Sisu:
Twa stanyam manye dharanidhara kanye hridhayatha
Paya paraabhaara parivahathi saaraswathamiva
Dhayavathya dhattham dravida sisu raaswadhya thava yat
Kaveenam proudana majani kamaniya kavayitha
(75)
Meaning:
In this verse, Shankara praises the noble, divine milk, which flows from Mother’s breast, like a flood of knowledge, wisdom and compassion. He refers to the “Dravida sisu” (the Dravidian Child) who drank the enlightning milk of wisdom from cosmic Mother and hence became a great poet. Since Dravida refers to South India, It is said that he refers either to himself or to Thiru Gnaana Sambandhar, the Tamil poet, who is said to have drunk Devi’s milk and became a Tamil poet.
Sloka 76: Her mid-body:
Hara krodha jwalaavalibhir avaleedena vapusha
Gabhire thee nabhisarasi kruthasangho manasija
Samuthasthou thasmath achalathanaye dhoomalathika
Janastham janithe thava janani romaavalirithi
(76)
Meaning:
Now focus shifts to Devi’s mid-body. Another example of Shankara’s deep poetic instincts. The waist hair line of Devi appears as if it is a smoke line, emanating upwards from a pond, in which Manmatha immersed himself after getting burnt by Lord Shiva’s third eye.
Sloka 77: Her waist:
Yadhethath kalindhi thanu thara ngaa kruthi shive
Krushe mahye kinchid janani thawa yadbhathi sudheeyam
Vimardha dhanyonyam kuchakalasayoranthara gatham
Thanu bhootham vyoma pravishadhiva nabhim kuharinim
(77)
Meaning:
The thin hairline on Her lean waist appear to the wisemen as waves of dark waters from river Kalindi (Yamuna), flowing down from the sky above into the valleys down below.
Sloka 78: Her waist:
Sthiro gangavartha sthana mukula romaa vali latha
Kalaabhalam kundam kusuma sara thejo hutha bhuja
Rathe leelamgaram kimapi thava nabhir giri suthe
Bhila dwaram siddhe rgirisa nayananam vijayathe
(78)
Meaning:
Shankara is not sure whether the thin hairline is the fall of waters down from the sky above thus forming the whirlpool of Ganges or alternatively Her waist forms the roots of the climber going up.
Sloka 79: Her thin waist:
Nisargha kSheenasya sthana thata bharena klamajusho
Namanmurthe narree thilaka sanakaiisthrutayatha eva
Chiram thee Madhyasya thruthitha thatini theera tharuna
Samavasthaa sthemno bhavathu kusalam sailathanaye
(79)
Meaning:
Shankara feels that Devi’s hips are so thin that it will break any time due to Her own weight. Shankara compares this to the trees in the river bed which might fall anytime due to the erosion from flowing waters. Shankara prays to Her to keep Her waist protected from such happenings.
Sloka 80: Her hips:
Kuchou sadhya swidhya sthataghatitha koorpasabhidurou
Kasnthou dhormule kanaka kalasabhou kalayatha
Thava thrathum bhangadhalamithi valagnam thanubhava
Thridha naddham devi trivali lavalovallibhiriva
(80)
Meaning:
Shankara talks about the three folds in Her upper belly and feels that this looks as though it was tied three times by Manmatha, using a creeper, in order to protect Her upper parts from breaking off, especially when She gets excited on thinking of Her Lord’s valour.
Sloka 81:
Guruthvam vistharam ksithidharapathi paravathy nijaath
Nithambha Dhhachhidhya twayi harana roopena nidhadhe
Athasthe vistheerno guruyamasesham vasumathim
Nithambhapraabhara sthagayathi lagutwam nayathi cha
(81)
Meaning:
Shankara feels that Her loins may be the gift given to Her by Her father, the king of Himalaya mountains, who might have given the bottom portion of his mountain as a marriage gift to Her. It is because of this, She has taken the weight off the earth and made it lighter.
This sloka is offers therapy for paralysis.
Sloka 82:
Karrendranam sundan kanaka kadhali kaadapatali
Umabhamurubhyammubhayamapi nirjithya bhavathi
Savrithabhyam pathyu pranathikatinabham giri suthe
Vidhigne janubhysm vibhudha karikumbha dwayamasi
(82)
Meaning:
In the above verse, Shankara talks about the valour of Devi, who won over
the Asuras, using Her tender thighs, knees and legs. He says this was possible only because Her Knees and legs must have become strong and hard due to Her prostrations before Lord Shiva.
Sloka 83:
Paraa jenu rudhram dwigunasara garbhoy girisuthe
Nishanghou Unghe thee vishamavishikho bhadamaakrutha
Yadagre drishyanthe dasa satra phalaa paadayugali
Nakhagrachadhyan sura makuta sanayika nishitha
(83)
Devi’s legs are compared to an arrow case containing ten arrows, referring
to the ten finger nails in Her two feet. The nails are said to be sharpened by the gods, who always take a bow at Her, during which their crowns touch Her feet and polishe Her nails too. With these ten sharp and beautiful arrows, Manmatha is sure to win over Her husband, Lord Shiva.
Sloka 84:
Sruthinam murdhano dadhati thava yau sekharathaya
Mama’py etau Matah sirasi dayaya dhehi charanau;
Yayoh paadhyam paathah Pasupathi-jata-juta-thatini
Yayor larksha-lakshmir aruna Hari chudamani ruchih
(84)
Meaning:
Shankara dwelves further into Devi’s feet, which is considered as the head ornament of the Upanishads. Furhter Devi’s feet are kept clean by the Ganges water, which flows from Lord Shiva’s head. Her feet are adorned with red paint, probably acquired from the red gem called Chudamani, which adorns Lord Vishnu’s crown. Shankara prays to Her, on our behalf, to place Her holy feet upon our head and bless us all.
Sloka 85:
Namo vakam broomo nayana ramaneeyaya padayo
Thavasmai dwandhaya sphuta ruchi rasalaktha kavathe
Asooyathyantham yadhamihananaaya spruhyathe
Passonamisana pramadhavana kamkhelitharave
(85)
Meaning:
Shankara offers obeisance to Devi’s most beautiful feet, which are further enhanced in beauty by the sparkling red mehandi applied on it. Lord Shiva fumes with envy when He learns that the Asoka trees in Her garden have already been kicked by Her. There in a tradition that the barren Ashoka trees will bloom when kicked by a woman of highest values. Lord Shiva yearns that He also be kicked by Her lovely feet atleast once.
Sloka 86:
Mrisha krithva gothra skhalana matha vailakshya namitham
Lalate bhartharam charana kamala thadayathi thee
Chiradantha salyam dhahanakritha munmilee thavatha
Thula koti kkana kilikilith meesana ripuna
(86)
Meaning:
Lord Shiva scheming to somehow receive a kick from Her, starts teasing Her by calling Her names. This seems to have worked. Devi, suspecting His association with another woman, kicks him when He bows to Her to ask for forgivance. Manmatha, who is waiting for a chance to belittle Lord Shiva, makes giggling noise through Devi’s anklets. All these are the best of imaginaiton of Shankara upon mediating on Devi’s lotus like feet.
Sloka 87:
Himani hanthavyam himagiri nivasaaika chaturau
Nisayam nidranam nisi charama bhaghe cha visadau;
Varam laksmi pathram sriyam ati srijanthau samayinam
Sarojam thvad padau janani jayatas chitram iha kim.
(87)
Meaning:
She is the mother of all beings, the Janani. The beautiful feet of Devi win over the lotus flower in more ways than one. Whereas Devi’s feet are adopted to the snow-clad Himalaya mountains (hima-giri-nivasa), the home town of Devi, the real lotus flower could not withstand the ice-cold climate.
Wheras Devi’s feet are always available to Her devotees all 24 hours of the day and night, the real lotus flower goes to sleep in the night, after sun set.
Whereas the Devi’s feet accommodate Goddess Lakshmi all 24 hours of the day and night, thus showering wealth and prosperity on Her devotees, the real lotus flower can accommodate Goddess Lakshmi only during the day, as it goes to sleep in the night.
Hence, though the poet may compare Devi’s feet to a lotus, the comparison is limited only to the colour of the lotus and nothing more.
Sloka 88:
Padham the kirhtinam prapadham apadham Devi vipadham
Katham nitham sadbhih kutina kamati karpara thulam;
Katham vaa bahubhyam upayamana kaale purabhida
Yad adhaya nyastham drshadi daya manena manasa.
(88)
Shankara wonders how Devi’s feet, which are softer than the petals of any flower, are compared by many poets to the hard shell of a tortoise. He feels that it must be due to the complete protection She offers to Her devotees, just as the hard shell offers complete protection to the tortoise.
He further wonders how Lord Shiva, with a soft corner for Devi, had the mind to place Devi’s divine feet on a hard rock (ammi) at the time of Her marriage (upayamana), as per the religious practice. The indirect hint is that Lord Shiva would not allow His Devi to reside in Hard hearts and Shankara therefore warts us to develop compassion for all beings, which would provide us with a soft heart for Devi to dance upon along with Shiva. In this connection, Kanchi Mahaswami refers to Sloka 80 of Sivananda Lahari, which sounds almost similar.
Sloka 89:
Nakhair naka sthrinam kara kamala samkocha sasibhi
Tarunam dhivyanam hasata iva te chandi charanau;
Phalani svah sthebhyah kisalaya karagrena dhadhatam
Daridhrebhyo bhadraam sriyam anisam ahnaya dhadhatau.
(89)
The nails in Her feet shine like the full moon and Shankara wonders if this is the source of brilliance of the moon. Addressing Her as Chandi, he compares devi’s feet to Her hands and says that Her hands feel ashamed of Her own beautiful feet.
Her hands helped the gods in getting back their lost kingdom from the Asuras, Sumbha & Nisumbha, by destroying them. Her hands bless all those who pray to Her. Such is the greatness of Her hands; still they feel ashamed of themselves when comparing Her feet, since all the gods, including Brahma, Vishnu and Rudra always fall at Her feet first, before they get blessed by Her hands.
The soft and shining nails on Her feet sparkle with brilliance and radiate gnaana (knowledge) to all those who surrender at Her feet. All Her creations and all the 14 worlds are said to be reflections of Her brilliance.
Even while the wish-fulfilling heavenly Kalpa tree offers fruits only to other "heavenly" gods, Devi’s feet take care of all those who fall at Her merciful feet, irrespective of whether they are heavenly or earthly.
Sloka 90:Her feet:
Dhadhane dinebhyah sriyam anisam asaanusadhrusim
Amandham saundharya prakara makarandham vikirathi;
Tavaasmin mandhara sthabhaka subhage yatu charane
Nimajjan majjivah karana charanah sat charanathaam.
(90)
Devi’s feet are so soft like the petals of flowers that Shankara compares the devotees to the honey bees, trying to dip into these flowers and enjoy the sweentness. The five gnaanendhriyaas of our body and the mind together, becoming six, are like the six legs of these honey bee which it folds inwards to get entry into the flowers for reaching the honey. Shankara subly says that we should also similarly control our indhriyaas and focus on reaching Devi’s feet through total surrender, so that we can enjoy Her bliss.
Sloka 91: Her gait:
Pada nyasa kreeda parichayam ivaarabdhu manasah
Skhalanthas the khelam bhavana kala hamsa na jahati;
Atas tesham siksham subhaga mani manjira ranitha
Chchalad achakshanam charana kamalam charu charite.
(91)
Meaning:
Shankara now praises Devi’s wonderful gait. He says the hamsa birds in Her palace always follow Her, whenever Devi chooses to walk, as if to learn the trick of Her beautiful gaits, as taught by the sounds made by her gem studded anklets.
The esoteric meaning of this verse seems to be that Her devotees (like the Hamsa birds, the Paramahamsas) always follow Her and get taught by the pranava sound emanating from Her anklets.
With this sloka, Sankra completes description of Devi’s body and proceed with Her glory in the following verses.
Sloka 92:
Gataas the mancathvam druhina hari rudra eshavara bhrutah
Shivah svacchac Chaya ghatita kapata pracchada pata;
Tvadhiyanam bhasaam prati phalana raga arunathaya
Shariri shrungaro rasa iva dhrisam dhogdhi kuthukam.
(92)
Meaning: Her seat:
Her seat is formed by the Big Four, Brahma, Vishnu, Rudhra and Easwara being the four legs of the cot. Lalitha Sahasranaama says “pancha pretha asanaa”, having five persons as her seat. Without Her, those five cannot function and hence are called mere bodies (prethas).
Sadhashiva who is the fifth of the lot, becomes the bed on which Devi rests.
Shankara here reconfirms that Devi looks red (aruna) in colour because of which even Sadhashiva reflects red colour (while in fact, He is colourless) and Shiva thus appears to possess divine love (shringara-rasa), in readiness for creation. Devi is extremely happy at this sight of Her Lord.
Sloka 93: The most merciful:
Araala kesheshu prakruthi saralaa manda hasithe
Sireeshabha chite drushad upala sobha kucha thate;
Bhrusam thanvi madhye pruthur urasijhaaroha vishaye
Jagat trathum sambhor jayahti karuna kaachid aruna.
(93)
Meaning:
She is the most merciful, the karunaa saagar, the ocean of mercy, which is beyonf words could express. She is always bent upon protecting all Her children. This spirit of mercy could be found all over Her brimming body, in Her curly hairs, in Her sweet smile, in Her soft but firm body rich in feminity and even in Her tender mind. Let us pray to Her to protect us from all our sufferings.
Sloka 94: Waxing and waning of Moon:
Kalankah kasthuri rajanikara bimbham jalamayam
Kalabhih karpurair marakatha karandam nibiditam;
Athas thvad bhogena prahti dinam idam riktha kuharam
Vidhir bhuyo bhuyo nibidayathi nunam thava krithe.
(94)
Meaning:
The earth is said to be the embodiment of Devi Herself. Devi is nature. The sun and the moon are Her two eyes, as mentioned in many texts.
The moon, which is rotating around the earth, is also sometimes referred to be the child of mother earth, not leaving the mother at any time and always hanging around her.
We have seen elsewhere in this book that the sixteen kalaas of the moon (waxing and waning periods) are associated with fifteen female deities, with the sixteenth (hidden) one refering to Devi Herself. The full moon is often related to devi’s flawless face.
Here, Shankara, imagines the moon to be the jewel box of Devi, which explains the defects on the surface of the moon, due to the black musk (kasthuri), and the green emaralds in Devi’s make up kit. The kit also contains fragrant waters and camphor.
Shankara feels that the waxing and waning of the moon is due to Devi using the materials in the kit and Brahma continuously replenishing the kit back to its brim.
Sloka 95: She tests Her devotees:
Puraarather antah puram asi thathas thvach charanayoh
Saparya maryadha tharala karananam asulabha;
Thatha hyethe neetah sathamukha mukhah siddhim athulam
Thava dvaropantha sthithibhir animaadyabhir amarah.
(95)
Meaning:
Devi resides in the interior enclosures (antah puram) of Sri Chakra, which is difficult to reach. Devi’s proximity is difficult even for the heavenly gods including Indra. When these gods tend to come closer to the gate, they are automatically entitled to enjoy sensual pleasures, called Siddhis through Her Ashta sakthis, like Anima, Mahima etc, who reside at the outer gates of Sri Chakra. These gods get fascinated and they forget their objective to reach Her.
Only those who are stubborn in reaching the ultimate bliss shall find themselves not interested in such distractions enroute. This path is not for the fickle minded who are tempted at the effeminate description of Devi.
The verses in Soundarya Lahari are purposefully focused more in describing the aspects of Devi, both physical and metaphysical and one should approach Her with the mind of a child getting pleasure from mother’s love and not with the mind of an adult getting sensual pleasures.
Shankara explains that Devi can be reached easily through pure bhakthi. Since She is very pure, only those who offer worship (not expecting any earthly benefits from Her in return) and only those who completely surrender themselves at Her lotus feet out of pure devotion, would be able to get closer to Her. She has enough armour to filter Her devotees according to their degree of devotion.
Sloka 96: Consort of Lord Shiva:
Kalathram vaidhathram kathi kathi bhajante na kavayah
Sriyo devyah ko va na bhavati pathih kairapi dhanaih;
Mahadevam hithva thava sathi sathinam acharame
Kuchabhyam aasangah kuravaka tharor apyasulabhah.
(96)
Goddess is of triguna, namely, Iccha Sakthi, Kriya Sakthi and Gnaana Sakthi, all being the same Sakthi in different attire. While both Iccha Sakthi and Kriya Sakthi, in the form of Sarawathi and Lakshmi make the whole world enjoy with their respective traits, Gnaana Sakthi (Sri Mata) can be realised only by those who have complete control over their senses.
As already seen in the earlier stanza, only those who have conquered their sense organs can reach proximity to Devi. All those who have attained this siddhi are considered as having reached the status of Lord Shiva. In this sense, Shankara praises Devi as a Sathi, the pathivratha. Kanchi Swami points out that, for the first time, in the whole of this Hymn, Shankara has given importance to Lord Shiva and describes Devi as the consort of Lord Shiva.
Sloka 97: Mahima, Mahishi and Maya:
Giram aahur devim Druhina gruhinim agaamavidho
Hareh pathnim padhmam Hara sahacharim adhri thanayam;
Thuriya kapi thvam dhuradhigama niseema mahima
Maha maya visvam bhramayasi parabhrahma mahishi.
(97)
She is the great Maya, who appears as Durga, Lakshmi and Sarawathi to bestow all pleasures to all the universal beings, be it the pleasure of Vak Devi through recital and hearing of Vedas and music, the material pleasures or that of attaining gnaana or the knowledge of truth. Everywhere, Devi has Her way of protecting and taking care of the requirements of all. In this sloka, Shankara dispels the doubt that Saraswathi, Lakshmi and Parvathi are all the evolutes of the same Goddess Mother and therefore are in no way different from each other.
Shankara describes Her as "Mahima", the one who is so great that She cannot be described or be seen and understood. She is beyond Maya, as Maha-maya and She is one with parabrahmam as Mahishi. Kanchi Acharya explains that ‘Mahishi’ means the Queen, Consort of the King (Lord Shiva).
Yet again in this verse, Shankara has brought in importance to Lord Shiva as the King and introduces Devi as His Queen (Hareh pathnim). Kanchi Acharya feels that this is because Devi would like it this way, being a pathivratha, who would not like to let down Her husband at any time.
Listen to the following composition on "Maya" by Sri Muthuswami Dhikshidar:
Listen to the following composition on "Maya" by Sri Muthuswami Dhikshidar:
Pallavi
mAyE - O illusory force of ignorance, Maya! tvaM yAhi - You may go away! mAM bAdhituM kAhi - Who are you to affect or bother me? Anupallavi
dhyAyE - I meditate (upon you)! dhyEyE - O one worthy of meditation! tvam Ehi - Please you come here! mudaM dEhi - Give me joy! mAM pAhi- Protect me! Charanam
gAyE - I sing (of you)! gEyE - O one worthy of being sung! yA hi - (You are) contemplation indeed! kA hi - (You are) Sarasvati indeed! Ehi - Please come! dEhi - Give (your grace)! pAhi - Protect (me)! upAyE - O one who is the means or method! pEyE - O object of enjoyment or delight (to the enlightened)! sarasa kAyE - O one whose form is charming! rasa kAyE - O one whose body is Rasa itself! sakAyE - O one who has taken on a form! AyE - O supreme profit (to your devotees)! samudAyE - O aggregate of everything! guru guha udayE - O one who gives birth or glory to Guruguha! sudhA tarangiNi - O river of nectar! antarangiNi - O one who has the hearts (of devotees)!
Sloka 98: She is Arya:
Kadha kaale mathah kathaya kalithaalakthaka rasam
Pibheyam vidyarthi thava charana nirnejana jalam;
Prakrithya mukhanam api cha Kavitha karanathaya
Kadha dhathe vani mukha kamala thaambula rasatham.
(98)
As mentioned in an earlier stanza, Devi blesses Her devotees with either the beetel leaves mixed with Her saliva (mukha kamala thaambula rasatham) or by making them drink the wash water from Her lotus feet (thava charana nirnejana jalam), which contains the laquer (Maruthaani). It may be noted that both are red coloured.
Though Shankara is a saint, who has already conqured a place in Devi’s heart, (Shankara is said to be the incarnation of Lord Shiva), he says here that he is still waiting to be blessed by Her, asking Her when he will have the pleasure of drinking the wash waters from Her feet.
He further quotes here the story of how She blessed the 16-year-old boy, “Mooka Kavi” (the dumb poet), by making him drink the wash waters containing the maruthani from Her feet. The boy then turned into a great poet, could speak and went on to create the famous “Mooka panchasati” slokam consisting of 500 slokams in five sections, namely, Arya satakam, Paadaaravindha satakam, Mandhasmitha sathakam, kataaksha satakam and sthuthi satakam. Some of theses verses are similar to Soundharya Lahari.
ஆர்யா என்பது à®…à®®்பாளின் — பரமேச்வர பத்னியாக இருக்கப்பட்ட பராசக்தியின் — பெயர். ”உமா காத்யாயநீ கௌà®°ீ“ என்à®±ு ஆரம்பித்து அமரத்தில் à®…à®®்பாள் நாமங்களைச் சொல்லிக் கொண்டு போகுà®®்போது ”ஆர்யா தாக்à®·ாயணீ சைவ கிà®°ிஜா ” என்à®±ு வருகிறது. குà®±ிப்பாக த்à®°ிபுரஸுந்தரி என்கிà®± à®°ூபத்தில் தநுà®°்-பாண-பாச-à®…à®™்குசங்களுடன் செக்கச் செவேலென்à®±ு உள்ள à®…à®®்பாளையே ‘ஆர்யா’ என்à®±ு சொல்வதாகத் தெà®°ிகிறது. அந்த à®°ூப லக்ஷணங்களோடேயே இருப்பவள்தான் காஞ்சி காà®®ாக்à®·ி. “காà®®ாக்à®·ி மஹா த்à®°ிபுரஸுந்தரி” என்à®±ே அவளைச் சொல்வது. லலிதாà®®்பிகை என்பதுà®®் இந்த à®°ூபத்தைத்தான்.
காஞ்சி காமகோà®·்ட பூஜா பத்ததியை அநுக்ரஹித்தவர் துà®°்வாஸர். அவர் அவளைப் பற்à®±ி இருநூà®±ு ச்லோகமுள்ள à®’à®°ு ஸ்துதி செய்திà®°ுக்கிà®±ாà®°். அதற்கு ‘ஆர்யா த்விசதி’ என்à®±ே பேà®°்1. (த்வி – சதி என்à®±ால் இரு — நூà®±ு.) காà®®ாக்à®·ியைக் குà®±ித்த à®®ிகவுà®®் உத்தமமான இன்னொà®°ு ஸ்துதி உண்டு. அது ‘பஞ்சசதி’, அதாவது 500 ஸ்லோகம் கொண்டது, à®®ூகர் என்பவர் செய்தது. அதனால் ‘à®®ூக பஞ்சசதி’ எனப்படுவது. அதிலுà®®் à®®ுதல் நூà®±ு ஸ்லோகங்களுக்கு ‘ஆர்யா சதகம்‘ என்à®±ே தலைப்புக் கொடுத்திà®°ுக்கிறது.
பரமேஸ்வரனோடு சேà®° வேண்டுà®®் என்பதற்காகக் காஞ்சீபுரத்தில் காà®®ாக்à®·ி தபஸிà®°ுந்தது பிரஸித்தம். காà®®ாக்à®·ி அப்படி தபஸிà®°ுந்த ஊர் காஞ்சீபுà®°à®®் என்à®±ு கந்தபுà®°ாணத்தில் குà®±ிப்பிடுகிறபோது ‘ஆரியை தவஞ்செய்பதி’ என்à®±ே சொல்லிà®°ுக்கிறது.
(ஸ்à®°ீசரணர்கள் குà®±ிப்பிடுà®®் சொà®±்à®±ொடர் கந்தபுà®°ாணம், தக்à®· காண்டம், 21-à®®் படலத்தில் ‘வாà®°ிதிகள்’ எனத் தொடங்குà®®் 15-à®®் பாடலில் வருகிறது.)
ஆகையால் காஞ்சி காà®®ாக்à®·ிக்கு விசேà®·à®®ாக உள்ள பெயரே ஆசாà®°்யாளின் தாயாà®°ுக்கு வைக்கப்பட்டதாகத் தெà®°ிகிறது. à®…à®®்பாளே à®…à®®்à®®ாவாக வந்து ஆர்யாà®®்பா என்à®±ு பெயர் வைத்துக் கொண்ட à®®ாதிà®°ி த்வனிக்கிறது!
காஞ்சி காமகோà®·்ட பூஜா பத்ததியை அநுக்ரஹித்தவர் துà®°்வாஸர். அவர் அவளைப் பற்à®±ி இருநூà®±ு ச்லோகமுள்ள à®’à®°ு ஸ்துதி செய்திà®°ுக்கிà®±ாà®°். அதற்கு ‘ஆர்யா த்விசதி’ என்à®±ே பேà®°்1. (த்வி – சதி என்à®±ால் இரு — நூà®±ு.) காà®®ாக்à®·ியைக் குà®±ித்த à®®ிகவுà®®் உத்தமமான இன்னொà®°ு ஸ்துதி உண்டு. அது ‘பஞ்சசதி’, அதாவது 500 ஸ்லோகம் கொண்டது, à®®ூகர் என்பவர் செய்தது. அதனால் ‘à®®ூக பஞ்சசதி’ எனப்படுவது. அதிலுà®®் à®®ுதல் நூà®±ு ஸ்லோகங்களுக்கு ‘ஆர்யா சதகம்‘ என்à®±ே தலைப்புக் கொடுத்திà®°ுக்கிறது.
பரமேஸ்வரனோடு சேà®° வேண்டுà®®் என்பதற்காகக் காஞ்சீபுரத்தில் காà®®ாக்à®·ி தபஸிà®°ுந்தது பிரஸித்தம். காà®®ாக்à®·ி அப்படி தபஸிà®°ுந்த ஊர் காஞ்சீபுà®°à®®் என்à®±ு கந்தபுà®°ாணத்தில் குà®±ிப்பிடுகிறபோது ‘ஆரியை தவஞ்செய்பதி’ என்à®±ே சொல்லிà®°ுக்கிறது.
(ஸ்à®°ீசரணர்கள் குà®±ிப்பிடுà®®் சொà®±்à®±ொடர் கந்தபுà®°ாணம், தக்à®· காண்டம், 21-à®®் படலத்தில் ‘வாà®°ிதிகள்’ எனத் தொடங்குà®®் 15-à®®் பாடலில் வருகிறது.)
ஆகையால் காஞ்சி காà®®ாக்à®·ிக்கு விசேà®·à®®ாக உள்ள பெயரே ஆசாà®°்யாளின் தாயாà®°ுக்கு வைக்கப்பட்டதாகத் தெà®°ிகிறது. à®…à®®்பாளே à®…à®®்à®®ாவாக வந்து ஆர்யாà®®்பா என்à®±ு பெயர் வைத்துக் கொண்ட à®®ாதிà®°ி த்வனிக்கிறது!
Sloka 99: Benefits of Her worship:
Saraswathya lakshmya vidhi hari sapathno viharathe
Rathe pathivrithyam sidhilayathi ramyena vapusha
Chiram jivannehva kshapathi pasu pasa vyathikara
Paraanandabhikhyam rasayathi rasam twadjanavaan.
(99)
Meaning:
Towards tail end of the 100 slokas, Shankara spells out the benefits of Devi worship, though he has never ever mentioned such phala shruthi in any of the earlier slokas.
Those who are dear to Her become very knowledgeable and also enjoy all material wealth in this world in such abundance that even Brahma (consort of Saraswathi, the Goddess of Knowledge) and Vishnu (consort of Lakshmi, the Goddess of wealth) envy such a status attained by these devotees.
The devotees gain such a thejus or radiating brilliance in their faces that even Rathi, the wife of manmatha falls for them (though they are unaware of it).
They live longer, get liberated from the karmic bond, become totally devoid of fear of death, attain complete gnaana or knowledge of the Absolute and enjoy ecstatic happiness (paramaanandha sukhyam) for ever.
Sloka 100:
Pradhipa jvalabhir dhivasa kara neerajana vidhih
Sudha suthes chandropala jala lavair arghya rachana;
Svakiyair ambhobhih salila nidhi sauhitya karanam
Tvadiyabhir vagbhis thava janani vacham stutir iyam.
(100)
MEANING:
In all humbleness Shankara completes the 100th sloka by praising Devi that without Her directions and help, he could not have compiled these 100 stanzas. He says that it is with Her aksharaas or letters and words (Vak) that he could coin the poetry, which he now returns it back to Her in the form of prayers.
He compares this with using the sea water to do oblations and pouring it back into the sea.
Or, he feels it is like showing camphor light to the Sun god, as if it is going to remove the darkness around the Sun and lead the way.
Or using the nector waters from the coolness of the moon and offering it back to the moon.
The point here is that whatever we offer to Her as our submissions are Her own creations and are nothing new or external to Her.
We are all Her creations and whatever we offer to Her are already Her own.
*************
Concluding Remarks on Saaktham
Esoterics of Eshwari
Parinama [evolution] & Sabdha Doctrines
Mother worship has its roots throughout the world from ancient times. She was regarded as the Magna Mater and the cause for Prima Materia, the basic matter of which everything on the universe is made of.
Mulaprakruthi is the cause of creation, the cosmic power that by its own will wanted to create and multiply.
“Deveenam Bija rupa cha Mulaprakrutheeshvari” - Devi Baghavatham
In fact, it is wrong to call it a creation, when in fact it is only a manifestation of the supreme consciousness, the Brahman. If we call it as creation, we separate the creator (God) from the created. As per Vedic tradition, the creator manifests as the created and is in no way different, just like the spider brings out the fluid from its body to spin the web. No external help is needed for it to create the web. All that “is” in this universe has come out of Brahma Sakthi and “one” became “several”, having a common fundamental aspect, Kriya Sakthi, the female spirit. However, creation, being an understood word, we tend to use it in place of manifestation.
Creation is explained in two different ways in Saaktham, one being the Tantra tradition and the other, the Mantra tradition. Several Shaktha texts explain how the manifestation took place, chief among them are:
Devi Bhagavatam, Sarada Tilakam, Prayoga Saara, Yogini Hrydaya Tantra,
Hatha Yoga Pratipika, Taadaapradeepaa, Maaheswari Samhita and
Brihad Gandharva Tantra.
Asides Devi Suktham of Rig Veda elaborate these principles much in detail.
The Devi Bhagavatam follows the Tantra method, which describes the act of creation in detail in its chapter on “Prakruthi Varnaanaam”. She created all beings in a series of tattvas, called Suddha tattvas, Asuddha tatvas and a blend of these two, totalling to 36, followed by Jnanendriyaas and Karmendriyaas and organs like eyes, ears etc all of which total to 51 in number. (This number is the same as the number of Sanskrit alphabets). The creation of human body started this way, when Sakthi descended from Sahasrara chakra down to Muladhara, and thereafter remained there coiled up in the form of Kundalini.
The Mantra form of evolution is explained in detail in the text “Sharada Tilakam” and in “Prayoga Saaraa”. The texts explain how creation happened. In the beginning, there was only the motionless pure Brahman, the Universal Consciousness, called as the Purusha, the male spirit. When it was time for creation, Brahma Sakthi, the female spirit, separated as Mulaprakruthi. She is the Kriya Sakthi or the One who wants to create and multiply. She then created Sadashiva in the form of Naada, which is the combined aspect of Brahman and Sakthi. Sadashiva is thus the original Shiva-Sakthi united Brahman.
Vaishnavites call this aspect as Mahavishnu, instead of Sadasaiva. This is mentioned in Sriman Naraayaneeyam, ninetieth Dasakam slokas 2, 3 & 4. Whatever be the name, it is the Naadaform.
Naada then splits into MahaBindu, called as “Maheswara”.
“Naadaad bindhu samudbhavah”- Bindu came out of Naada.
Mahabindhu, though described as a dot, is in fact a triangle or combination of three forces, “Bindhu (Maheswara), Beeja (Original Seed or Sakthi) and Naada (Sadashiva)”.
Even after these series of separations, the original Naada (Sadashiva or Mahavishnu) still co-existed as full. This is nicely explained in Isa Upanishad as:
“Om poornamadah poornamidam
Poornaat poornamudachyate
Poornasya poornamaadaya
Poornamevaavashishyate”
Meaning:
“That” (adah:) pure consciousness is full and complete by itself.
“This” (idam) manifested form of universeal matter is also full and complete, though it parted from “that”.
“This” completeness arose from “that” completeness. Even then “that” remains complete, without any depletion.
The three forces “Bindhu, Beeja and Naada” together are called “Kaamakala” (Divine desire) in the form of three dots, which is situated in the centre of the Sri Chakra (appearing as a single dot, but in fact it consists of three finer dots) and it is this combination of forces that started the srishti or creation of the universe. These three forces signify Iccha Sakthi, Gnaana Sakthi and Kriya Sakthi and these further evolved into three main Sakthis. Vaama or Vaani came out of the Beeja force; Jyeshta (Sree Devi) from Naada force and Raudri (Uma Devi) from Bindu, with their respective male deities Brahma, Vishnu and Shiva.
These three Sakthis are associated with three Gunaas, “Satva, Rajas and Tamas”. All forms of matter in this universe are believed to be a combination of these three gunaas. The variations that we see in various things are due to the predominant ratio of one of these three forces, over the others. Otherwise, fundamentally the entire universe is made of only one entity, Mulaprakrithi, but for the ratios in which these three gunaas are present in them. For example, if the tamas is highly predominant, then it becomes more of jadaa or inert material. If satva is highly predominant, then it becomes more of a saint, who is godlier. All other creations fall between these two extremes depending on the ratios of these three forces.
In the beginning, these three gunaas were in perfect equilibrium and Sakthi was not active. Details of creation (Viraat Purusha Urpatthy) as mentioned in Sriman Narayaneeyam, fifth dhasakam, sloka 2 confirms this as “Shakthyaathmanaa Dhishtatham” – all that was earlier manifested as universe gets dissolved into Brahman as Sakthi, only to manifest again at will.
Due to devine desire for procreation, Sakthi creates Naada, a most subtle aspect of cosmic vibration, also called “Pranava” or Sabdha Brahman (the Cosmic Sound). This sound principle is the first to eveolve from Sakthi, even before all forms of creation.
We find this is mentioned in Sriman Narayaneeyam in fifth dasakam, sloka 7 as “Thanmaathram napaso maruthpurapathe sapthojani thvathpalaath”- the cosmic sound came out of Brahman. Sloka eight explains that from this cosmic sound, aakash (space), vaayu (air), agni (fire), jalam (water) and prithvi (earth) all emanated.
This is the very first mantra of the universe, revered by all as “AUM”, which came out of “UMA”, the grand force of Prakriti, the “formless”. All Her creations are called, “Vikriti”, which means “having form”.
All objects in this universe are identified by names and forms. There is a tacit relationship that exists between “sound” through which we perceive names of objects and “light” (or colours) through which we perceive forms of objects. Both sound and light are different forms of vibrations; when these vibrations are perceived by the ear it becomes sound and when perceived by the eyes it becomes light. In both the cases, ears and eyes act only as the channel because, it is the mind which finally perceives the vibrations. Some subtle vibrations can also be felt by our mind through intense bhakthi. Rishis and Yogis could ‘see’, ‘hear’ and perceive these vibrations in their mind, though their eyes were closed, and ears not listening.
The names and forms of all beings are thus perceived vibrations only, the names being perceived by the ear and form being perceived by the eyes. This vibration is the dance of Shiva, the eternal omnipresent cosmic vibration which pervades all beings, living and the non-living. Every atom of the universe is dancing eternally.
“Prajapati vai idam agra asit, Tasya vak dvitiya asit, Vag vai paramam Brahma” - Krishna Yajurveda, Kathaka Samhita, 12.5, 27.1
Meaning:
"Prajapati existed in the beginning as Brahman and sound was also with the Brahman and hence, sound is truly the supreme Brahman."
Vak or Sound is considered the initial motive force in the process of creation, the unmanifested sound. It is the force which created 'Spandana' or the initial vibrations which ultimately resulted in manifestation of Conciousness into various beings. Vak or word is given much importance in various languages around the world, such as, Vox in Latin, Voice in English, voce in Italian and Voix in French, Vakku in Tamil and so on.
All matter on this universe still have in them this basic vibration initiated by the prime subtle sound, though we are unable to hear this natural sound with our sense organs. Sabda Brahman thus exists in all beings. In living beings, it exists as the breathing sound, ‘Ham’(expiring) and ‘Sah’ (inspiring), together forming ‘Hamsah’, which forms the natural name for vital breathing or indicates living beings in general. The Sanskrit word “Parama hamsa” refers to the superior living beings.
Every object in this universe is in constant motion. Hence this universe is called Jagrat, that which is in constant motion. All objects in motion emanate sound characteristic of their nature. This sound is the ‘natural sound’ of that object and is unique to the existence of that object. That means if that object exists, its natural sound would also be associated with.
Recently it has been scientifically observed that Earth, Planets and all other objects emanate characteristic sounds as they rotate - though we are unable to ‘hear’ these sounds due to our limitations. Hence everyone is unique in their own way. No one is superior, and no one is inferior. This does not mean that all are equal either. Each one of us is unique, the one and only, identified by our own vibrations.
The Rishis and Yogis could, however, hear these sounds with their extended senses and could pass these true universal sounds to their deciples through the divine language, Sanskrit, expressing the natural sounds as it were, without any mutation. Since Sanskrit is able to truly represent the respective natural objects, it is considered an eternal language. It is the script used by nature in codifying the creations. Each one of us have our own vibrations codified in the form of DNA.
A string of such bijas or letters, repeated several times in harmonious forms, becomes the vedic mantra (Vaidhka Sabda) of that Devata or the divine force, by reciting which we can invoke the force. If wrongly pronounced, it not only becomes ineffective, as it does not represent the divine force being invoked but may lead to invoking the wrong set of forces.
Each alphabet of Sanskrit letters is associated with its mantra sound and is also associated with its own colour. These are the very basis of Vedas. “Mantra, in its most basal sense is the world viewed as sound”, says Sir John Woodraff in his famous work, “Garland of Letters.”, when he speaks of Sanksrit language as a cosmic communication tool, since it is a ‘natural’ language expressing the natural names as true sounds emanated by the objects. It enables us to synchronise our energy with that of the universal conciousness. Naada, is thus verily the Sabdha Brahman, the embodiment of the creative sonic power of Brahman.
Apart from these unique vibrations, human beings are capable of producing various sounds in the form of speech and music. The principle of sound is extensively and superbly dealt with in the tantric texts in ashtonishing detail, especially in the works of Saints Panini and Patanjali. Sound is classified as per the body parts from where it emanates, such as gutterals, dentals, labials etc and as to whether it is pronounced with mount open or closed (Sprsta, Isat Sprsta, Vivritta, Samvritta). For example, the letter ‘Va’ emanates from Muladhara and ‘Ha’ from Ajna chakra positions. All these sounds which are produced inside our body are called, “Antaraprayatna”, or efforts put from ‘within’. Yogis, who can raise the kundalini from its sleeping state, can ‘hear’ the respective natural names or its sound form, as and when the kundalini passes through the respective knots/chakra positions.
Tantra also vividly classifies the external sounds, “Bahyaprayatna” (Vivara, Samvara, Svasa, Nada, Ghosa, Aghosa, Alaprana, Mahaprana, Udaatta, Anudaatta and Svarita) as per its pitch, frequency etc.
Sound is classified as per its extent of subtleness, starting from our ‘thought’ process, into various forms such as Dhvani, Naada, Nirodhika, Ardhentu, Bindhu, Para, Pasyanthi, Madhyama, Vaikari and finally it emerges, after complete evolution, as speach. Para is the hidden sound, like the acoustic energy hidden in a tightly stringed bow. Tantric texts go on to describe even the mildest of sounds like the blinking of the eyes and movement of sap (liquid) within a tree.
There is a link between the seven swaras of our music system and the subtle sounds that emanate from the seven body chakras. The entire “karnatik” music system is said to have emanated in Kailash, the abode of Lord Shiva, “karna” meaning ear and “atik” meaning beautiful. Hence anything that is beautiful to ear is karnatik sangeeth. The seven swaras are named after the musicians in Kailash.
The first note, Sa (Shadjam or peacock) raises from Mooladhara Chakra in the tip of spine. The ragas that rekindle and activate this earthly chakra are Hindolam and Hamsadhwani.
The second swara, Ri (Rishabam or the bull Nandhi) raises from swadhishtana chakra in the abdoman region. The ragas that activate this water chakra are Todi and subha Panthuvarali.
The third swara, Ga (Ghandharam or Gandharvas) raises from Manipooraka chakra. The ragas associated with this fire chakra are Abhogi and Hindolam.
The fourth swara Ma (Madhyamam or dove) raises from Anahata chakra in the stomach region. The ragas associated with this Air Chakra in the lungs region are chakravaaham, bhairavi and mayamalavagowla.
The fifth swara, Pa (Panchamam or panchvadyam) raises from Visuddhi chakra in the throat region. The ragas associated with this akash chakra are Dwijawanti and Desh.
The sixth swara, Dha (Dhaivatam or horse) raises from the Ajna chakra in the forehead region. The ragags associated with this chakra are Mohanam and Bhageshri.
The seventh swara Ni (Nishadjam or elephant) raises from Sahasrara, above our head. The ragas associated are Dharbari, Kanada and sindhu bhairavi.
These swaras are arranged in perfect combinations of raga, tala and laya for the listener or the musician to realise higher forms of divine emotional experiences. This has a placebo effect in treating many basic ailments which occur due to chakra and energy imbalances. Mind is after all more powerful than any other tool in healing our body.
Our ancestors have developed a complete theory on this Raga Therapy, called “Raga Chikitsa”, the manuscript of which is available in Tanjore Saraswathi Mahal Library.
We have seen already that, when kundalini passes through various chakra points, an elevated soul can hear musical notes such as veena, mridhanga, bells etc. The reverse could also be true that music can raise kundalini and elevate us to the status of a realized soul.
Let us get back to our delineation of the process of creation, after this brief diversion to the principles of sound. We saw that from Brahman came out the Sakthi and from Her, the Pranava Sound came out as the Sabda Brahman. From this subtle sound, came out many a variety of Bija sounds, which are natural names of the divinities. I wish to highlight a set of five such sounds here, which are Ham, Yam, Ram, Vam and Lam. These are the natural sounds of the pancha-bhutas, Ether, Air, Fire, Water and Earth.
Creation thus began to condense from the subtle Sounds to the dense matter. Other sounds like Hreem, Shreem, Kreem, Huum, Hum, Phat, Klim, Sauh also evolved representing the Devi’s other Sakthi forms. All these are the natural names of the goddess in Her various forms and hence these sounds are the devata Herself. When it is not properly pronounced, it does not invoke that devata. When we understand this concept, we can definetely make an advancement in our pathway to siddhi or the powers.
Mantras therefore cannot be construed to be only a string of Sanskrit alphabets, meaningless because we do not understand its real effects. It is wrong to believe that the same effect will be obtained if it is pronounced as we like. If recited in proper sequence, mantras will create the desired effect, as it represents the natural names of all the devatas.
Readers should understand the difference between reciting a mantra to invoke the Gods and their day to day prayers in their own language to establish their bhakti. Both will have their effects in their own way. As already mentioned, the path to God has several roads, through mantras for the vedics, through bhakthi for the family men, through tantras for yogis or through tapas for the sanyasins, depending on the capacity of the individual to withstand the intensity.
It will suffice if we at least appreciate these differences and adopt a suitable approach which would lead us to a divine experience. We should be thankful to our ancesters for their voluntary efforts in passing on the vedic findings to us through the Guru-Shishya tradition, keeping the original “sounds” as much as possible. It is divine intervention that made these Gurus preserve understanding of these natural sounds and pass it on to all.
We owe it on ourselves to pass on this message to the next generations for a meaningful understanding of what it stands for and appreciate the magnitude of effort that was put to ensure that the mantras are kept in their original shape.
Get blessed by chanting Durga Kavacham which protects the readers in all parts of his body, in all places and in all difficulties.
The Devi Kavacham consisting of 61 Slokas is in Markandeya Purana. To hear this Kavacham (armour) please click the link below:
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MEENAKSHI PANCHA RATNAM
(BY SRI ADI SANKARA)
This is yet another superb sloka given to us by Sri Adi Shankara. For your benefit, I give below this sloka with meaning, for daily recital.
Sloka 1:
Udyath bhaanu sahasra koti sadrusam keyura haarojjwalaam
Bimboshtim smitha dantha pankthi ruchiraam peetambaralankruthaam
Vishnu brahma surendra sevitha pathaam thatva swaroopaam shivaam
Meenakshim pranathosmi santhathamaham karunya vaaraam nitheem.
Meaning:
Udyath bhaanu sahasra koti sadrusam - Goddess Meenakshi shines brilliantly as if thousand crores of Suns are raising at a time.
Keyura haarojjwalaam - She wears luminous jewels such as bracelet (in Her arms) and necklaces.
Bimba aushtim - Her lips resemble the red bimba (Madhulam) fruit,
Smitha dantha pankthi ruchiraam – She exhibits a charming smile which is ably supported by perfect rows of shining teeth.
Peetambara alankruthaam - She is adorned in yellow silk clothings.
Vishnu brahma surendra sevitha pathaam - Her feet are worshipped by Vishnu, Brahma and Indra, the king of gods.
Thatva swaroopaam shivaam - She is the embodiment of Truth and auspeciousness.
Meenakshmi pranathosmi santhatham aham - I bow to Her for ever, seeking Her blessings.
karunya vaaraa nitheem - She is an ocean of compassion.
Sloka 2:
Muktha hara lasath kireeta ruchiraam poorneindu vakthra prabhaam
Sinchan nupura kinkini manidaraam padma prabha basuraam
Sarvaabeeshta phala pradham giri suthaam vani rama sevithaam
Meenakshim pranathosmi santhathamaham karunya vaaraam nitheem
Meaning:
I bow always to Goddess Meenakshi,
Muktha hara lasath kireeta ruchiraam - She wears a crown decorated with garland of pearls.
poorna indu vakthra prabhaam - Her face shines with the lustre of a full moon.
Sinchan nupura kinkini manidaraam, padma prabha basuraam - Her lotus feet is adorned with jingling anklets made of bells & gems, radiating splendour all around.
Sarvaabeeshta phala pradham - She is the one who bestows Her devotees with all their wishes.
giri suthaam - She is the daughter of the king of Himalayas,
Vani Rama sevithaam - She is assisted by Saraswathi and Lakshmi.
Sloka 3:
Sri vidhyaam shiva vama bhaga nilayaam hreenkara mantrojwalaam
Sri chakrangitha bindu madhya vasathim srimath sabha nayikaam
Srimath shanmuga vignaraja jananim srimath jagan mohinim
Meenakshim pranathosmi santhathamaham karunya vaaraam nithim.
Meaning:
Sri vidhyaam – She is embodiment of Sri Vidhya.
Shiva vama bhaga nilayaam - She resides in the left half of Lord Shiva
Hreenkara mantrojwalaam – She shines with the mantra “Hreem”.
Sri chakra angitha bindu madhya vasathim – She resides in the central bindhu which is part of Sri Chakra.
Srimath sabha nayikaam – She presides over the court of devas as their Queen.
Srimath shanmuga vignaraja jananim – She is the mother of Lord Ganesh and Lord Shanmuga.
Srimath jagan mohinim – She is the maya sakthi, trapping all beings in the universe with Her shear beauty.
Sloka 4:
Srimath Sundara nayakeem bhaya haraam jnana pradhaam Nirmalaam
Syamabhaam kamalaasanarchitha padaam narayanasyaanujaam
Syamabhaam kamalaasanarchitha padaam narayanasyaanujaam
Veenaa venu mrudanga vadhya rasikaam nanaa vidhaam ambikaam
Meenakshmi pranathosmi santhathamaham karunya vaaraam nithim.
Meaning:
Srimath Sundara nayakeem – She is the consort of Sundareswara
bhaya haraam – She is the destroyer of fear.
jnana pradhaam – She bestows knowledge
Nirmalaam – She is without any defects.
Shyamabhaam – She is of dark green colour, representing Goddess Saraswathi.
Kamala asana architha padaam – Lord Brahma, who has Lotus as his seat, does pooja at Her holy feet.
Narayanasya anujaam – She is the younger sister of Lord Narayana.
Veenaa venu mrudanga vadhya rasikaam – She likes to listen to Veena, Flute and Mridangam instruments.
nanaa vidhaam ambikaam – She appears in many forms as Mother.
Sloka 5:
Nanaa yogi muneendra hrutya vasatheem nanartha siddhi pradhaam,
Nanaa pushpavirajithangri yugalaam, narayanen archithaam,
Nanaa pushpavirajithangri yugalaam, narayanen archithaam,
Nada brahma mayim parath para tharaam, nanartha thathwathmikaam,
Meenakshmi pranathosmi santhathamaham, karunya vaaraam nithim.
Meaning:
Nanaa yogi muneendra hrudya vasatheem – She resides in the hearts of many yogins and ascetics.
Nanartha siddhi pradhaam – She bestows many siddhis (powers) to devotees.
Nanaa pushpa virajitha angri yugalaam – Her pair (yugalam) of feet (angri) are splendidly adorned with various flowers (by Her devotees).
Narayanena archithaam – She is worshipped by Lord Narayana.
Nada brahma mayim – She is of the form of Pranava Sound.
Paraath para tharaam – She is superior to the Supreme being.
Nana artha thatva athmikaam – She is the essence of all materials.
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My salutations to the great souls of India
I salute all the great souls of India and dedicate all these pages to them. I wish to share the following Thyagaraja composition at this moment:
https://www.youtube.com/watch?v=3vp8_57yV_I
Meaning of this composition:
Salutations to all those great men in this world. Those men will feel the moonlike beautiful form of God in their hearts and will be enlightened about it.
Those who worship you who is fond of Sama gana, they control their mind and worship you who is as beautiful as Manmatha. They submit their hearts at your feet, Oh! the protector of people. They sing your praise with true devotion and they have good knowledge of swara, laya & raga. They wear garlands made of gems that represent the quality of Hari and with mercy they see the whole world with love & affection. They are so happy to see the beautiful gait of the God everyday and they are happy about it.
Surya, Chandra, Sanaka Sanandanas, Dikpalas, Devas, Kimpurushas, Prahalada, Narada, Tumburu, Anjaneya, Siva, Sukar, Brahma, Brahmanas enjoy the Brahmanandha Swaroopa of God always. Apart from them there are others and salutations to them also. They praise your form, name, valour, bravery, peaceful heart, true words. You destroy all bad thoughts that prevent people from praying you, they know that and they praise your qualities.
Those who know the secret of Bhagavatha, Ramayana, Gita, Sruti, Sasthra, Epic, various religious thoughts, the thoughts of the 33 crores of Devas, bhava, raga, tala and they have a long life and enjoy all good things. Those beloved of the Lord of Tyagaraja, when bhakti increases they think your name, they are Rama bhaktas, they are devotees of the Lord of Tyagaraja who worships you.
"Ohm! Mantra heenam Kriya heenam Bhakti heenam Maheshwari
Yat poojitham maya devi Paripoornam thadasthu me".
I too could not have written this blog without Her express wish and therefore I dedicate this to all that is feminine forces on earth. During the process of writing this blog, I might have made some mistakes in interpretations of the various concepts, which is purely due to inherent limitations in understanding. Readers are requested to refer to the references sited below for furthering their understanding and knowledge on the vast subject of Saktham.
VEDHO RAKSHATHI RAKSHITHAHA
Ohm Shanti
Ohm Shanti
Mangalam Bhavathu
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REFERENCES (For Part 1 to 7)
1) Nataraja Guru, “Saundaryalahari of Sankaracarya”, D.K. Printworld (P) Ltd., New Delhi, 2008.
2) L.M. Joshi, “Lalita-Sahasranama- A comprehensive study of One Thousand Names of Lalitha Maha- Tripurasundari”, D.K. Printworld (P) Ltd., New Delhi, 1998.
3) C. Mackenzie Brown, “The Devi Gita”, Sri Satguru Publications, A Division of Indian Books Centre, Delhi, 1999.
4) Swami Jitatmananda, “Modern Physics And Vedanta”, Bharatiya Vidya Bhavan, Kulapati Munshi Marg, Mumbai, 2006.
5) Justice Dhananjay Deshpande, “Modern Sciences In Vedas”, Bharatiya Vidya Bhavan, Kulapati Munshi Marg, Mumbai, 2007.
6) S.K. Ramachandra Rao, “Sri Chakra”, Sri Satguru Publications, A Division of Indian Books Centre, Delhi, 1989.
7) Anna, “Devi-Sookthani and Upanishad”, Sri Ramakrishna Madam
8) Anna, “Sri Shakti Mahimnaha Stotram”, Sri Ramakrishna Madam
9) R. Vijayaraghavan, “Relevance of Indian Philosophy to the Modern-Day World”, R. Vijayaraghavan, 2006.
10) Radhika Srinivasan, “Sacred Space, A journey through the Spirit of Asian Art”, Bharatiya Vidya Bhavan, Kulapati K.M. Munshi Marg, Mumbai, 2002.
11) M.P. Pandit, “Kundalini Yoga, A Brief Study of Sir John Woodroff’s ‘The Serpent Power’ ”, New Age Books, 2004.
12) V.R. Ramachandra Dikshitar, “The Lalita Cult”, Motilal Banarsidass PubliShers Private Limited, Delhi, 2006.
13) English Translation By A Board Of Scholars, “Sarada-Tilaka tantram”, Sri Satguru Publications, A Division of Indian Books Centre, Delhi, 2002.
14) Jaideva Singh, “Spanda-Karikas, the Divine Creative Pulsation”, Motilal Banarsidass PubliShers Private Limited, Delhi, 2009.
15) Dr. S.K. Kapoor, “Vedic Geometry Course”, Lotus Press.
16) Thomas Ashley-Farrand, “Healing Mantras”, The Random House Publishing Group, 1999.
17) Osho, “The Essence of Yoga”, Penguin Ananda by Penguin Books India, 2011.
18) Anodea Judith, “Chakras, Wheels of Life”, Jaico Publishing House, 2005.
19) Pandit Rajmani Tigunait, “Seven Systems Of Indian Philosophy”, The Himalayan Institute Press, 2005.
20) “Deivatthin Kural”, Vanathi Pathippakam, 2004.
21) Swami Tapasyananda, “Saundarya-Lahari of Sri Sankaracarya”, Sri Ramakrishna Math.
22) Arthur Avalon, “Creation As Explained in the Tantra”, Pilgrims Publishing, 2008.
23) Pandit Rajmani Tigunait, introduction by Swami Rama, “Shakti Sadhana Steps to Samadhi”, Himalayan PubliShers, 1993.
24) Pandit S. Subrahmanya Sastri and T.R. Srinivasa Ayyangar, “Saundarya-Lahari of Sri Samkara-Bhagavatpada”, The Theosophical Publishing House, 2005.
25) Swami Nityamuktananda, “The Five Great Elements Rediscovered”, Kaivalyadhama, Swami Kuvalayananda Marg, 2008.
26) “Yoga, Enlightenment and Perfection of His Holiness Jagadguru Sri Abhinava Vidyatheertha Mahaswamigal”, Sri Vidyatheertha Foundation, 2004.
27) R.A.S. Kocha, “Big Bang and the Bhagavad Gita”, Bharatiya Vidya Bhavan, 1991.
28) N.C.Panda, “Maya in Physics”, Motilal Banarsidass PubliShers Private Limited, 2005.
29) Sir John Woodroffe, “The Garland of Letters”, Ganesh and Company, 2004.
30) Sir John Woodroffe, “The Serpent Power”, Ganesh and Company, 2006.
31) Sir John Woodroffe, “Shakti and Shakta”, Ganesh and Company, 2006.
32) Harish Johari, “Chakras Energy Centers of Transformation”, Inner Traditions India, 1987.
33) Harish Johari, “Tools for Tantra”, Inner Traditions India, 1986.
34) Mrinal Pande, “Devi Tales of the Goddess in our Time”, Penguin Books, 1996.
35) B. K. S. Iyengar Foreword by Yehudi Menuhin, “Light on the Yoga Sutras of Patanjali”, HarperCollins PubliShers India.
36) Susan G. Shumsky, “Exploring Chakras Awaken Your Untapped Energy”, New Age Books, 2006.
37) Vijaykumar Malkalpatte, “Urdhvamulam, A Path to Self Realisation”, Chetana Pvt. Ltd., 2005.
38) V.K. Subramanian, “Saundaryalahari of Sankaracarya”, Motilal Banarsidass PubliShers Private Limited, 2006.
39) Oscar Marcel Hinze, translation from the Original German by V.M. Bedekar, “Tantra Vidya”, Motilal Banarsidass PubliShers Private Limited, 2002.
40) M.R.Kale, “Kumarasambhava of Kalidasa”, Motilal Banarsidass PubliShers Private Limited, 2004.
41) Tirumular, “Tirumantiram, A Tamil scriptural Classic”, Sri Ramakrishna Math.
42) Iswari Kamalabaskaran, “Arunagiri valam, The supreme path of grace”, East West Books Private Limited, 2005.
43) “Sitthar Padalgal”, Varthamaanan Publication”, 2007.
44) Lakshmi Haalaasyam, “Sri Mookapanchasati”, Giri Trading Agency Private Limited, 2005.
45) P. Sankaranarayanan, “Vivekacudamani of Sri Samkara Bhagavatpada”, Bharatiya Vidya Bhavan, 1999.
46) Prof. Shrikant Prasoon, “The Creator of Universe, ‘ma Shakti’ ”, Hindoology Books, 2009.
47) R. Rangaramanuja Iyengar, “Sri Kriti Mani Maalai”, Vipanci Cultural Trust, 2001.
48) Sri Swami Shivananda, “Lord Shanmukha and His Worship”, A Divine Life Society Publication, 2000.
49) The Hindu Culture Series- “Hinduism Frequently Asked Questions”, Central Chinmaya Mission Trust, 2007.
50) V. Krishnamurthy, “Soundaryalahari A Digest of Kanchi Mahaswamigal’s Discourses”,
51) Harish Johari – “Chakras – Energy Centres of Transformation.”
52) Tantric Yoga and the Wisdom Goddesses: Spiritual Secrets of Ayurveda by Dr. David Frawley, publiShed by Motilal Banarasidas, Delhi.
54) https://thapas.wordpress.com
(If any of the references are missed, it is only by oversight and not intentional)
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