[ambaa-l] Re: saundaryalaharI - 1
>From: ramut@...There is a certain degree of similarity that exist in both these
>Subject: [ambaa-l] Re: saundaryalaharI - 1
>Date: Mon, 25 Oct 1999 09:38:01 -0700
>Is there a similarity between Soundarya Lahiri -- verse 1 and Kalidasa's
>Vaagartha Viva Samplukthou...
>I have always thought that the invocation sloka in both of these works
>had simiality in talking about the oneness of Siva and Shakti.
>comments would be welcome.
verses. But soundarya lahari goes one step further to establish the
shakthi parathva by saying �na ced evam devo na khalu kushalah
Kalidasa�s shloka is more like the first verse of shivaananda lahari.
nijatapaH phalaabhyaaM bhakteShu prakaTitaphalaabhyaaM
bhavatu me shivaabhyaam astokatribhuvana shivaabhyaaM
hR^idi punarbhavaabhyaam aananda sphuradanubhavaabhyaaM natiriyam
Shivaananda lahari, a work exclusively on parameshwara also commences by
saluting both shiva & shivaa.
One point can be noted here. Soundarya Lahari starts with the
�shiva� shabda and Shivananda Lahari starts with the �ka� beeja, the
first letter of panchadashakshari (shakthi mantra).
- shri lalite namah
Just like the first four brahma sUtrAs lay the foundation
for all brahma sUtrAs, this first verse lays the foundation
for the rest of saundaryalaharI.
shri shankara starts this stotra with the auspicious expression
shiva, thereby providing a benedictory address to the Supreme Being.
shiva refers here to the nirguNa brahman, described in the shruti
as neti, neti and as avyaktam etc. That is ungraspable by sense organs,
uninferrable and incomprehensible to the mind.
shakti is the primordial energy latent in the undifferentiated,
all-pervading consciousness. It is this energy that manifests itself
after each praLaya. There is a mutual association between shiva and
shakti (avinAbhAvasambandhah tasmAtbindu-trikoNayoh: ShrIlalitAtrishatI).
Both are inseparable and are abheda. i.e. shakti is not different from
Word shiva is derived from vashakAntau.
[ hiMsidhAto ssimhashabdo vashakAntau shivasmr^tah
varNavyatyAt ssiddhau pashyakah kashyapo yathA
siMha is derived from hiMsi, and shiva is derived from vasha by inversion
of the alphabets. Similarly kashyapa is derived from pashyakah ]
vashati means one who brightens, that is who is self-effulgent, i.e. one
who brightens the whole jagat inside Him. Such shiva who has united with
the divine Mother has the ability to create the world. If He is not united,
He would not have the ability even to stir (vibrate).
The implied meaning is: parabrahman, without form, would not have even the
vibration or movement.
The direct meaning can be taken as follows: shiva and shakti are husband
and wife. Only if the husband is united with the wife, there will be
offspring in the form of jagat. Without this union with the wife, there
cannot be offspring.
shiva may also be stated as one without any of the three anxieties caused
by birth, death, hunger etc. Such shiva is sarvama~NgaLarUpa. When that
shiva is united with shakti, then He will be equipped with the ability
of kartum, akartum, anyathAkartum (to do, not to do, to do in another way).
The spandana referred in this verse is the desire to create and the
manifestation of the static energy (shakti) into its kinetic or dynamic
Hari-hara-viri~ncyAdibhih: It is very appropriate to recognize that shri
mAtA is eligible to be worshiped by vishNu, Ishwara and brahma and other
lesser Gods. This will be emphasized many more times in the latter verses.
The word 'Adi' here is interpreted to mean the other devatAs of the lower
rung and probably also the well-known devI-upAsakAs. In mAnasollAsa, it is
vishNuh shivah surajyeShTho manushcandro dhanAdhipah
lopAmudrA tathAgastyah skandah kusumasAyakah
surAdhIsho rouhiNeyo dattAtreyo mahAmunih
durvAsA iti vikhyAtA ete mukhyA upAsakAh
vishNu, shiva, surajyeShTha brahmA, manu, candra, kubera, lopAmudrA,
agastya, skanda, manmatha, indra, balarAma, dattAtreya mahAmunI, durvAsA:
all these are the well-known devI upAsakAs.
There are other gods who are worshiped by people. These gods can satisfy
the devotees' wishes and lead them to moksha only by these gods themselves
worshiping shri devI. Therefore, Shri devI may be considered the only one
who can bestow bhuktI and muktI.
'Adi' may also be interpreted as referring to the vedAs.
praNantum is a bodily worship; to bow. The letter pra refers to doing
worship by manasA, vAcA, kAyA.
stotum vA: For one who is incapable of these three modes of worship,
at least praising or stotra is suggested.
The verse also means that hari, hara and brahma, left to themselves
are not capable of their respective duties (sustenance, destruction
and creation) and shrI devI is the main cause for these duties
Therefore to worship shri devI, or do stuti, the one eligible is that
person who has accumulated puNya through many many lives. The one who
is akr^tapuNya is not eligible.
shiva and shakti are inseparable and there is no distinction between
them. kUrma purANa says:
shakti shaktimatorbhedam vadantyaparamArthatah
abhedamanupashyanti yoginah tattvacintakAh
AparamArthikAs ascribe difference between shiva and shakti. But that
cannot be so. shiva is shaktiyukta. shiva is shakti and shakti is shiva.
(mr^dvAn ghaTah: the one that has clay is the pot; tantumAn paTah: the
one with cotton thread is the cloth). No distinction. Some devotees'
attempts to distinguish between shiva and shakti is because of their
kAlidAsA's cidgaganacandrika has this verse:
amba tAvaka padadvayArcaka stvanmayo bhavati nAtra vismayah
yah tvayaiva vivasho vashIkr^tah shaktireva samabhUh shivasvayam
O ambA, the one who worships your feet becomes engrossed in them.
There is no surprise in that. shiva is vivasha and vashIkr^ta and
is the same as shakti.
The identity between shiva and shakti will be brought out further
in the latter verses.
[My presentation here follows the four commentaries for which I
gave reference in an earlier post. My knowledge of saundaryalaharI
is limited. I notice there are many scholars of saundaryalaharI on
this List. I leave it to these learned members to bring in additional
points on this great stotra. Also, you would notice that I am leaving
some sanskrit words untranslated into english. That is because I think
the sanskrit word gives the right emphasis in the thought and there is
no appropriate single english word to express that thought. namaste.]
- shrI lalitAyai namah
tanIyAMsaM pAMsuM tava caraNapa~NkeruhabhavaM
viri~ncih saMcinvan viracayati lokAn avikalam
vahatyenaM shaurih katham api sahasreNa shirasAM
harah saMkshudyainam bhajati bhasitoddhULanavidhim 2
caraNapa~nkeruha: lotus feet
bhava: present in
tanIyAMsam: speck of (very subtle)
lokAn: all the worlds
avikalam: without any defects
enam: the same (the tiny bit of dust from Your lotus feet)
shirasAM sahasreNa: by his thousand heads
katham api: how does he do (i.e. with great difficulty)
enam: the same (the tiny bit of dust from Your lotus feet)
saMkshudya: by powdering it well
bhasma uddULana vidhim: smearing the ashes
O Mother; brahma, having gathered the tiniest speck of dust of Your
lotus feet, has created the worlds efficiently; shauri carries this
speck of dust on his thousand heads with great difficulty; shiva,
having pulverized this dust, smears his body with it.
shri shankara begins this stotra with a reverent look at the divine
Mother's lotus feet. He ends the stotra also with a similar praise
of the greatness of Her lotus feet (verse 98). [verse 1 is the
benedictory verse and the last verses 99 and 100 are the phalashruti
verses and the stotra may be considered to be starting at verse 2.]
In this verse, the great power or potency of the lotus feet of the
divine Mother is highlighted. The creation, sustenance and destruction
of the entire universe has become possible for brahma, vishNu, and
shiva, only through the power derived by them from shri devI. Further,
the speck of dust from Her lotus feet is the material cause for this
universe. This dust from Her lotus feet provides the blessing for
brahma, vishNu and Ishwara to proceed on with their duties of creation,
sustenance and destruction.
tanIyAmsam: the very subtle, speck of (dust)
viri~ncih: brahma, having gathered this very fine subtle dust from
the devI's feet and with that, created the upper seven worlds (bhuh,
bhuvah, suvah, mahah, janah, tapah and satya) and the lower seven
worlds (atala, vitala, sutala, rasAtala, talAtala, mahAtala, and
avikalam: This may be interpreted as
(i) associated with brahma: brahma created the worlds so that
one world doesn't get into the way of the other; i.e. with
or (ii) associated with vishNu: the protection by vishNu is up to the
final dissolution; he ensures the existence of the universe in
the regular order in which it has been created, up to the time
of final dissolution.
shauri: coming from the lineage of a yAdava king by name shUra;
Shauri sshUrah janeshwarah: shauri is one of the names of vishNu
vishNu the sustainer is said to be lifting the fourteen worlds,
the upper seven in the form of a porpoise (shiMshumAra) and the
lower seven in the form of sheSha.
SahasreNa shirasAm: sahasrashIrShA puruShah; from shrutI, with thousand
harah: antakAle prapa~ncam harati harah. The one who destroys the jagat
at the time of praLaya is hara.
The main essence of the verse is: the greatness of the devI is shown by
the total dependence of the creator, the sustainer and the destroyer of
the worlds on the dust of Her feet, for carrying out their respective
duties. Her greatness is further shown by the fact, that a single speck
of dust of her feet provides the material for the creator to create all
the worlds, with their various contents. The same speck of dust requires
great effort from vishNu to lift the weight with his thousand heads. The
mighty shiva has to reduce this tiny speck to ashes by way of destroying
The meaning of this verse is also graphically explained as follows:
The divine Mother was walking in the pleasure garden of shripuram along
with the attendants. Brahma after having had darshan of devI, gathered
the dust from the path on which devI had walked. With the aid of this
dust, brahma created the fourteen worlds. vishNu, having known that all
the worlds are only particles of the dust of devI's feet, bears them on
his (thousand) heads with great care and reverence. shiva awaits the
time of mahApraLaya to have the gains (dust from shridevI's lotus feet)
derived by brahma and vishNu. At the time of praLaya, he (shiva) reduces
the worlds (dust particles of divine Mother's feet) into ashes and smears
his body with that vibhUti.
- shrI lalitAyai namah
daridrANAM cintAmaNiguNanikA janmajaladhau
nimagnAnAM damsTrA muraripuvarAhasya bhavatI 3
(from verse 2) O Mother, the speck of dust from Your lotus feet
avidyAnAM: for the spiritually ignorant
antah timira: for the darkness called aj~nAna that is inside
mihiradvIpanagarI: the island city that is at the place of sunrise
jaDAnAM: for the slow learners (dull-witted)
stabaka: cluster of flowers
sruti jharI: flowing stream
daridrANAM: for the people suffering from poverty
cintAmaNi: the wish-fulfilling diamond
guNanikA: a string (of gems)
janmajaladhau: in the ocean of saMsAra of births (and deaths)
nimagnAnAM: the one deeply immersed (without knowing a way out)
muraripu: vishNu, the one who killed murA
varAhasya: (the incarnation of) wild boar
damsTrA: the tusk
O divine Mother, the speck of dust from Your lotus feet:
removes the avidyA of the spiritually ignorant, like the
sunrise removes the darkness; for the dull-witted, (the
dust from Your lotus feet) is like an ever-flowing stream
of honey of clusters of flowers of the kalpaka tree of
consciousness; for the destitute,(the dust from Your lotus
feet) is like the cintAmaNi in bestowing their heart's desire;
and for those deeply immersed in the ocean of saMsAra of births
and deaths,(the dust from Your lotus feet) is like the tusk
of the wild boar incarnation of vishNu.
This verse is a continuation of the show of reverence and
adoration of shrI devI's lotus feet, described in verse 2.
In verse 2, the importance of this dust to the Gods (brahma,
vishNu, maheshwara) is brought out. In the present verse,
it is explained how this dust dispels avidyA, jaDatvam,
dAridryam, and attachments to the worldly life for the
This verse is a delight for sanskrit lovers with the
alaMkArAs profusely included throughout the text. However,
the discussion here will be confined to the essence which
avidyA: avidyA is lack of knowledge of the supreme. avidyA
envelops the soul and makes humans incapable of knowing the
sameness of Atman and Brahman. It may be construed that
mortals with avidyA include (i) those who indulge in the
rituals of the karma kANDa as the final step, (ii) those
who are under the delusion that the world entirely depends
on brahma, vishNu and maheshwara, while in reality, it hangs
on the mercy of shrI devI whose dependents the three Gods are.
At dawn, the sun seems, to one standing on the sea-shore,
to rise from an island in the middle of the sea. As the
sun rises, darkness is dispelled. In the first line of this
verse, the speck of dust from shrI devI's feet is compared
to the sun. The sun of knowledge dispells the darkness of
ignorance from the mind of the ignorant.
jaDa: the dull-witted; those who cannot distinguish between
what is to be done and what is not to be done.
caitanya: is the power that kindles the mind to know and
understand the real meaning of jeeva. This caitanya is
spoken as a cluster of flowers of the tree of Atmaj~nAna.
The speck of dust (from shrI devI's lotus feet) is a flood
of fragrance emanating from the cluster of flowers of the
kalpaka tree of caitanya.
daridrANAM cintAmaNiguNanikA: Reference is made to cintAmaNi,
the celestial gem, which is capable of satisfying all desires
of its possessor. The speck of dust from shrI devI's feet
grants man's earthly desires and also spiritual aspirations;
i.e., shrI devI is the embodiment of dAna-shaktI.
janmajaladhau nimagnAnAM: nimagnAnAm means fully immersed,
not knowing a way out. janamjaladhau is the ocean of saMsAra
with the associated births and deaths. The human is fully
immersed in this ocean.
muraripu varAhasya daMsTrA: murA is a rAkshasa killed by vishNu
and muraripu refers to vishNu. This context refers to the
incarnation of vishNu as the wild boar. HiraNyAksha, the demon,
stole bhUloka and disappeared with it to pAtALa. vishNu, incarnated
as a wild boar, reached pAtALa, redeemed the bhUloka and rose above
the sea with the bhUloka on his tusk. Thus, the tusk of the wild
boar is considered the saviour to lift something from a deep ocean.
The last line of this verse draws a comparison between the particle
of dust of shrI devI's feet and the tusk of the varAha. The dust
of devI's feet can salvage human beings from the cycle of births
and deaths and lead them to eternal bliss.
This verse is significant in that it shows how worship of shrI devI's
feet will help humans with four types of aflictions: (i) shedding of
the inner darkness of avidyA; (ii) for providing a continuous flow
of consciousness for the dull-witted; (iii) for those who desire
worldly happiness, there is dAridrya nirmUlanam); and, (iv) for
those who are caught in the cycle of births and deaths, how worship
of shrI devI's feet lead to the Knowledge of the Self and to moksha.
- shrI lalitAyai namah
tvadanyah pANibhAyamabhayavarado daivatagaNa
stvamekA naivAsi prakaTitavarAbhItyabhinayA
bhayAttrAtuM dAtum phalamapi ca vAnchAsamadhikaM
sharaNye lokAnAM tava hi caraNAveva nipuNau 4
lokAnAM : for all the worlds
sharaNye: who provides shelter (o bhagavatI)
tvat + anyah: other than You
daivatagaNah: the group of Gods
pANibhyAM: by the (two) hands
abhayavaradah: holding mudrAs of abhaya (dispelling fear) and
varada ( bestowing boons)
tvam ekA: only You
prakaTita + vara + abhIti: display of mudrAs of bestowing boons and
na + eva + asi: You do not do that ( the reason for that is)
bhayAt: from fear
trAtuM: to protect
vAnchA samadhikaM: more than what is asked (desired)
phalaM api ca: even boons
dAtum ca: to give
caraNau eva: feet even
O Goddess: You are the refuge of all the worlds; the assemblage of
Gods, except You, dispel fear and bestow boons by gestures of their
hands (by holding vara and abhaya mudrAs). You alone do not display
the boon-bestowing and fear-dispelling gestures with Your hands. The
reason for this is obvious. Your feet, by themselves, are proficient
to protect those in the grip of fear and bestow boons more than what
is desired for the devotees.
The word 'abhaya' means freedom from fear. vara means granting of
desires. In general, we see the postures of hands of deities in
icons, statues etc. The right hand of deities usually has the
abhaya mudrA with fingers pointing upward and the left hand has
the vara mudrA, with fingers pointing downwards (indicating granting
of boons). In the case of deities with more than two hands, one of
the hands on the right usually has abhaya mudrA, and one of the hands
on the left has the vara mudrA. But these poses of hands are not found
in shrI devI's icons, statues or pictures. shrI devI has in her four
hands the sugarcane bow, pAsha, a~Nkusha, and arrows. She does not
need to keep Her hands in the vara and abhaya postures. Her feet are
proficient in affording immunity from fear and bestowing boons
transcending one's desires.
abhaya also may be interpreted as freedom from fear of the cycle of
births and deaths. The word vara may be interpreted as satisfaction
of all desires. This verse means then that worship of shrI devI's
feet will grant the four-fold puruShArthAs, dharma, artha, kAma,
ekA: only one; shrI devI is the only one (emphasis on one) God who
does not have the hand gestures (of abhaya and vara).
sharaNye: sharaNArhe: one who deserves to be protected
bhayAt trAtuM: saMsArAt rakshituM: to protect from saMsAra
vAnchA samadhikaM phalam dAtum api ca: to give results for more than
what is desired
caraNau: feet are capable of satisfying more than the requested
desires, and to dispel fears; then there is no necessity for Your
hands to gesture the vara and abhaya mudrAs
The one who is the refuge for all the worlds is well beyond all
ordinary Gods. If She is just an ordinary God, She cannot be the
refuge for all the worlds.
In that way, this verse is a continuation of verses 2 and 3 where
the greatness of shrI devI's feet are described.
shrI Kuppuswamy's commentary on saundaryalaharI says that in the
Tanjavur district of Tamila Nadu, India, there is a sacred place
called Avadayarkoil, famous for its ancient temple built by the
great MANikkavAcakar. The moolavirAT of the temple is devI yogAmbikA
symbolized by only two feet, carved in stone, placed on a pedestal
and worshipped as devI. It seems the inner meaning of verse 4 of
saundaryalaharI is fully exemplified by the symbolic form of devI
here. I wonder if any on our List, who are residents of that part
of India, can expand on this temple and the moolavirAt and if there
is a kshetrapurANa for this place.
[Note: I find the translations that are given at
http://www.vidyavrikshah.org for this stotra to be useful. Please
add that URL as an additional reference to this presentation.]
- shrI lalitAyai namaH
purA nArI bhUtvA puraripumapi kshobhamanayat.h
smaro.api tvAM natvA ratinayanalehyena vapuShA
munInAmapyantaH prabhavati hi mohAya mahatAm.h 5
saubhAgya: (who causes) saubhAgyam (to)
ArAdhya: having worshipped
purA: earlier, ancient (times)
nArI bhUtvA: assuming the form of a woman
puraripuM api: even to shiva who is the enemy of the three cities
ksobham anayat: caused mental agitation (kAma vikAra)
smaraH api: manmatha too
tvAM natvA: having bowed to you
ratinayanalehyena vapuShA: with a body seen only by ratI devI's eyes
munInAM api: sages even
antaH: in their minds
mohAya: of generating passion
O Mother, the bestower of saubhAgya to people who worship You:
vishNu, having worshipped You, assumed the form of a woman and caused
mental agitation even to shiva, the destroyer of the three purAs.
Likewise, having bowed to You, smara, with a personality pleasingly
attractive to ratIdevI, has become capable of generating passion even
in the minds of the great sages.
praNatajanasaubhAgyajananI: praNata means worship with trikaraNashuddhi,
by manasA, vAcA, kAyA. prakarShena nataH praNataH.
saubhAgyaM: is a real poignant word in sanskrit with pregnant meaning,
and no single english word (or word in any language) can describe that
well. aishwaryasya, samagrasya, vIryasya, yashasshriyaH, j~nAnavairAgya-
yoshcaiva ShaNNAM bhaga itIraNa
purA nArI bhUtvA: This refers to the anecdote of the mohinI incarnation
of vishNu at the time when amR^itaM was obtained after churning of the
ocean of milk by the dAnavAs and the devatAs. This mohinI form was
repeated at the desire of shiva. shiva, the greatest of the yogis, who
had control of all the senses, and who burnt kAma (manmatha) to ashes,
was kindled by passion on seeing the mohinI form of vishNu and lost
himself. vishNu got this enticing form of mohinI because of his worship
of shrI devI.
tvAM ArAdhya: adored (worshipped) You. Another anecdote which need to
be mentioned in this context is as follows: shiva saved the world by
destroying tripurAsura. The other asurAs feared destruction of their
entire community by shiva. As a group, they prayed on vishNu to guard
them from shiva's wrath. vishNu promised to do so, and was thinking of
ways of appeasing shiva. Sage nArada came by and noticed the anxiety on
vishNu's face. On knowing the reason for his anxiety, nArada advised
vishNu to worship shrI devI in the form of shrIcakra and meditate upon
shrIdevI by repeating the devI mahAmantrA which would satisfy all
desires. vishNu went in search of a preceptor who could initiate him
in the devI mantrA. Not long after, devI parAshakti appeared before
vishNu and taught him the mantrA and the mode of worshipping shrIcakra.
By prolonged worship and meditation of shrIdevI, vishNu got the power
to assume any form that he wished for. He had the mohinI form and
deceived the dAnavAs while serving amR^itaM obtained during the
churning of the ocean. On a glance at mohinI, shiva's mind got
agitated and he lost control of his senses.
puraripu: refers to shiva who killed tripurAsura. He is considered
(at that stage) to be very angry, and is not easily amenable to
kAmavikAra. To mentally agitate amorously such a person is indeed
difficult and mohinI was able to do it because of shrIdevI's grace.
Lakshmidhara's commentary on saundaryalaharI (considered the standard
in all commentaries) also narrates the incident where vishNu took the
form of a beautiful woman and killed the demon by name Kanakaswami.
When shiva requested him (vishNu) to appear before him, he did in that
damsel's form with the result stated in the verse.
vishNu was one of the great devI-upAsakAs.
smara api: manmatha, likewise, i.e., in the same manner as vishNu.
smara also worshipped shrIcakra, meditated on devI, chanting
pa~ncadashAksharI mantrA and thereby received the grace of shrI devI.
ratinayanalehyenavapuShA: ratIdevI is said to be beauty par excellence
among ladies. The fact that she is attracted to smara, indicates that
smara must be unusually handsome. manmatha in physical form can be
seen only by ratIdevI's eyes. ratinayanalehyenavapuShA refers to this
fact and to the following anecdote. manmatha was burnt to ashes by the
fire of shiva's third eye. He got back to life by shrIdevI's grace and
ratIdevI was given the boon that manmatha will be visible in physical
form only to ratIdevI's eyes.
manmatha's prowess in agitating the minds of even the great sages with
kAmavikAra is due to shrIdevI's grace.
The implication of this verse is: Lord shiva, the supreme controller of
the senses, and also the great sages with many years of concentrated penance
to their credit, fell prey to the temptation of passion by vishNu in the
form of mohinI, and to manmatha's actions respectively. This is because
vishNu and manmatha are blessed by shrI devI's grace. Both vishNu and
manmatha are shricakra-upAsakAs and the verse indirectly tells about
the great power of shrIcakra upAsana.
- I have a small comment on the 5th verse that was posted. Some times it's
hard to interpret what the author really means. While analyzing puranic
verses, elders have given three ways of interpretation that have to be taken
in to consideration.
. The literal meaning itself conveys the author's view. Searching for an
inner import may spoil the rasa.
. There is a tatva behind what is conveyed. Only the inner import is to be
understood and not the literal meaning conveyed.
. Both the surface as well the underlying meaning benefits the reader.
We all know the famous story where Krishna stole butter, the tale itself is
delighting. We do not go in to details as to what a black guy stealing a
white thing means and so on. That spoils the rasa.
In Ramayana we read Ravana abducts sita when rama goes in search of the
golden deer for her. Rama befriends Hanuman and others and gets to Lanka,
kills ravana and unites with sita again. This epic has an inner import too.
When a Jiva wants some thing else other than the paramatma, paramatma
vanishes and senses envelop the Jiva. (Sita wants a golden deer and ravana
abducts her). Jivatma is out in to pain due to its separation from
paramatma. Again Jiva wants nothing other than the paramatma and meditates
on him. A guru who knows both the jiva and the eshwara conveys the state of
the former to the latter. (Hanuman). The paramatma due to his krupa destroys
the aGYana or ten indriya vikaaras (represented by the 10 headed raavaNa)
and unites with the Jiva (Rama destroying Ravana and uniting with Sita). In
this, both the inner import as well as the literal story is of a great
But there is an other kind in which only the inner import is to be
understood and not the surface meaning. The 5th verse of saundaryalahari
looks like that. If you say after worshipping Devi Vishnu was able to
mentally agitate Shiva and maara generates passion even to yogis, it would
mean one can spoil the sadaachara or righteousness of others through the
worship of Devi. And it makes little sense to say Devi will grant a boon
that can be misused to spoil chastity .
I am reminded of the thirupaavai phrase 'ArAindu aruLElOr empAvAi'. To a
true baktha paramatma goes not bless anything that will deviate him from the
path of righteousness. Devi is
sadAchAra pravartikA (356 naama of sahasranaama). She who is immersed in
righteousness and who inspires others to follow right conduct. She is
nishhkaama, nirvikalpa, nirvikaara, nityashuddha, nishhkalaN^kaa,
above all she is nirmoha and mohanaashinii.
The sahasranaama verses
nirlepaa nirmalaa nityaa niraakaraa niraakulaa .
nirguNA nishhkalaa shaantaa nishhkaamaa niruupaplavaa .. 44..
nityamuktaa nirvikaaraa nishhprapaJNchaaniraashrayaa .
nityashuddhaa nityabuddhaa niravadyaa nirantaraa .. 45..
nishhkaaraNA nishhkalaN^kaa nirupadhiH niriishvaraa .
niiraagaa raagamathanii nirmadaa madanaashinii .. 46..
nishchintaa nirahaMkaaraa nirmohaa mohanaashinii .
nirmamaa mamataahantrii nishhpaapaa paapanaashinii .. 47..
nishhkrodhaa krodhashamanii nirlobhaa lobhanaashinii .
niHsaMshayaa saMshayaghnii nirbhavaa bhavanaashinii .. 48..
nirvikalpaa niraabaadhaa nirbhedaa bhedanaashinii .
nirnaashaa mR^ityumathanii nishhkriyaa nishhparigrahaa .. 49..
are to be again and again meditated on to understand the true essence of
Now Let's try to interpret the 5th shloka with the above guidelines.
When a baktha worships Devi she grants the sarUpya or sAyujya to him. When
one utters the words 'bhavani I am your servant' (bhavaani thvam dhaasae)
she grants him bhavAnitva or makes his Ananda equal to that of the
bhavaani thvam dhaasae mayi vithara dhrushtim sakarunaam
ithi sthoathum vaanjchan kathayathi bhavaani thvamithi ya: | (SL -22)
When Shiva saw Vishu after he prostrate to Devi, he saw none other than Devi
and hence was passionate to the mohini rupa. It denotes that any one who
prostrates to Devi gets the sayugya of Devi.
When Mara attracts even Yogis through his rUpa. It looks as though he says
'why are people trying to do hard sAdanas when one can get anything by just
meditating on devi's divya soundarya itself'.
Mara urges Yogis to leave other sAdanas and meditate on Devi using his
swarUpa (using the beauty that you gave him) and Vishnu gets your swarUpa
itself by worshipping you, O ! devi immense is your compassion. - is the
I did not contradict or conveyed more than what Sri Gummuluru Murthy
stated. I have just expressed the way I understood things.
Suggestions are at most welcome.
- shrI lalitAyai namaH
dhanuH pauShpaM maurvI madhukaramayI pa~ncavishikhAH
vasantaH sAmanto malayamarudAyodhanarathaH
tathA.apyekaH sarvaM himagirisute kAmapi kR^ipAM
apA~NgAt.h te labdhvA jagadidamana~Ngo vijayate 6
himagirisute: O daughter of the snow-clad mountain, shrI devI,
dhanuH: the bow
pauShpaM: made up of flowers (i.e., very soft)
maurvI: the bow string
madhukaramayI: made up of line of bees
pa~nca: five (only)
vasantaH: vasanta (in time: spring season)
AyodhanarathaH: the chariot used in the war
malayamarut.h: breeze from the Malaya mountain (laden with
tathA.api: to do that way
ana~Ngah: manmatha (also meaning without body, and without strength)
apA~NgAt.h: from the corner of the eye
kAM api: some (inexpressible)
labdhvA: having got
sarvaM jagat.h: all world
vijayate: is victorious
O daughter of the snow-capped mountain;
manmatha, the God of love has only a bow made of flowers,
with its string comprised of a cluster of honeybees, and
has only five arrows. The spring season is his ally, which
is short in duration; his war chariot is the breeze from the
south. These equipment is frail and is not suitable for the
war. He is ana~Nga (body-less) and alone. Yet, he triumphs
over the entire jagat, having obtained Your favor through
It was stated in the previous verse that the formless manmatha,
due to the grace of shrI devI (obtained through his upAsana),
is very successful in raising passions in the minds of even
the great sages. In this verse, it is described how the same
manmatha, ill-equipped as a warrior, is able to triumph over
the entire jagat, again with the grace of the side-glance of
It is well known that manmatha was burnt to ashes by the fire
of shiva's third eye when manmatha tried to kindle passion in
shiva towards pArvati. In response to prayers by ratIdevI,
shrI devI restored manmatha back to life but without a body.
Hence manmatha is body-less. In his preparation for war, his bow
is made of flowers. Flowers are soft and get wilted just by touching.
Such a bow is not amenable for pulling and keeping under tension.
The bow-string is a line of honeybees. Honeybees do not touch each
other. Hence a group of honeybees do not have the property of a
string; and that too a bow-string. He has only five arrows and these
too are made of flowers (aravinda, ashoka, cUta, navamallika, and
nIlotpala) and these five are not at all sufficient to conquer
Manmatha's ally and mate in this war is the spring season which
lasts only for two months a year. Hence the ally is of doubtful
assistance and the ally is also not there for continuous consultation.
Manmatha's chariot in this war is the southern breeze. This is formless
and invisible, and does not blow all the time, and can hardly be used
as a chariot.
In addition to all these frail war equipment, manmatha is without a
body and cannot avail himself of even these frail equipment. But with
all these disabilities, and not-very-useful war equipment, manmatha is
still able to conquer the entire world. And manmatha is able to do this
because of the gracious blessing of shrI devI through Her side-glance.
That is, even the impossible can be achieved with the omnipotent grace
of shrI devI.
Manmatha is one of the celebrated devotees of shri devI (please see
commentary on verse 1 for listing of celebrated upAsakAs of shrI devI).
The manmatha or kAma vidya was revealed to manmatha by devI Herself in
response to his prolonged worship and meditattion. It is said that
shrI devI conferred on manmatha, parts of Her own bow and arrows.
- shri lalitAyai namaH
kvanatkA~ncIdAmA karikalabhakumbhastanabharA (natA)
dhanurbANAn.h pAshaM-sR^iNimapi dadhAnA karatalaiH
purastAdAstAM naH puramathiturAhopuruShikA 7
kvanat.h kA~ncIdAmA: one who has (is adorned by) a jingling girdle
kari kalabha: young elephant
kumbha: temples (mastaka)
stanabharA (natA): weight of the breasts (slightly bent under the
weight of the breasts)
parikshINa madhye: one who is slim (slender) in the waist
pariNata: fully developed
sharat.h candra vadanA: with face like the autumn full moon
dhanur.h bANAn.h pAshaM sR^iNiM api: bow, arrows, noose and
karatalaiH: in the hands
purastAt.h: in front
naH: of us
astAM: let Her manifest, dwell, settle comfortably
puraM mathitu: the one who churned the three cities (shiva)
aho puruShikA: the I-consciousness (the ahaMkArarUpinI of shiva)
May Thou; with breasts like the temples of a young elephant;
with a slender waist adorned by a jingling girdle-string;
with face blooming like the autumnal full moon;
with four hands holding bow, arrows, noose and the goad;
may Thou, the pride of shiva, manifest, settle comfortably before us.
This verse serves as an introduction to the forthcoming verse
'sudhAsiMdhormadhye' and portrays the Divine Mother in Her gross
(sthUla) form in distinction to the subtle (sUkshma) and sublime
(para) forms. In this gross form, physical features such as hands,
feet etc are attributed to the divine form. This facilitates
contemplation by the sAdhaka.
The devotees meditate on shrIdevI's form and worship Her mentally
in the various cakrAs inside the human body. At each end of the
spinal cord (merudanDa) that runs from the skull downwards
to the anus, there is a thousand-petalled lotus. The one at the
lower end is called the kula-sahasrAra, and the other at the upper
end, almost at the centre of the brain, is known as the akula-
sahasrAra. Between these two thousand petalled lotuses and along
the spinal cord (merudanDa), there are six lotuses. They are
(1) mUlAdhAra - a four-petalled lotus, a little above the anus,
(2) svAdhiShThAna - a six-petalled lotus at the root of the genital
organ, (3) maNipUraka- a two-petalled lotus at the navel,
(4) anAhata - a twelve-petalled lotus in the heart region,
(5) vishuddhi - a sixteen-petalled lotus in the region of the neck,
and (6) AjnA - a two-petalled lotus between the eye-brows.
Satisfied with the devotee's worship, shrIdevI manifests Herself
to the sAdhaka in the maNipUraka cakra. From there in Her upward
move to the akula-sahasrAra (the upper thousand-petalled lotus),
she is conducted through the anAhata cakra. Her manifestation in
the maNipUraka cakra and Her stay in the anAhata cakra are described
in this verse.
This form of shrIdevI is the most popular and appealing one to the
devotees of the Divine Mother. There are four modes of worship of
shrIdevI: meditation upon (i) sthUla (gross) form, (ii) sUkshma (subtle)
form, (iii) sUkshmatara (subtler), and (iv) sUkshmatama (subtlest).
LalitAsahasranAma, the thousand names of shrIlalitA describe these four
modes of worship. From lalitAsahasranAma, the forty names of shrIlalitA
from the twelfth name (nijAruNaprabhApUramajjadbrahmAnDa-manDalA) to the
fifty-first name (sarvAbharaNabhUShitA) describe the sthUla form of
shrIdevI. The three names from eighty-five
(srImadvAgbhavakUTaikaswarUpa-mukhapa~NkajA) to eighty-seven
(shaktikUTaikatApannakaTyadhobhAgadhAriNI) describe the subtle form.
Names eighty-eight and eighty-nine (mUlamantrAtmikA and
mUlakUTatrayakaLebarA) describe the subtler form. Names ninety to one
hundred and eleven (from kulAmr^itaikarasikA to bisatantutanIyasI)
describe the sUkshmatama (sublime) form which is the kunDalinIrUpa of
KvanatkA~ncIdAmA: jingling girdle-string - belt-like gold waist ornament
(called vaDDAnam in Telugu) with small tinkling gold bells attached.
pariNata sharat-candra-vadanA: shrIdevI's face is compared to the
autumnal full moon (of the sharad R^itu with the intention of bringing
out the glory, calmness and grace of Her form. The sharad R^itu is the
quietest part of the year in India with fairly uniform temperature throughout.
This period, extending roughly from October to December will have usually
clear skies with the moon shining brightly at night. Autumnal full moons
are special in mid-latitudes also. Here shrIdevI's face is compared to
this autumnal full moon. Also, compare shrIlalitAsahasranAma name
dhanurbANAn pAshaM sR^iNimapi dadhAnA karatalaiH: This line mentions the
weapons in shrIdevI's four hands. She carries in Her lower left arm the
sugarcane bow with a string of bees, in Her lower right arm the five
arrows of Kamala, Raktakairava, KahlAra, IndIvara and SahakAra flowers,
in Her upper left arm the pAsha, noose and in Her upper right arm the
a~Nkusha, goad [souvarNam pashA~Nkushau vAma dakshiNayorthyeyau).
The weapons, adorning the four hands of shrIdevI are in their sthUla
(gross) form. These weapons may alse b expressed in the sUkshma (subtle)
and para (sublime) forms also. The subtle form of these weapons is said to
be their mantrAs. The sublime forms are: for the bow the manas; for the
five arrows, the five tanmAtrAs (sound, touch etc); for the pAshA,
the passion; and for a~Nkusha, the anger.
rAgaH pAshaH; dveSho a~NkushaH; shabdAdi pa~ncatanmAtraH pa~nca puShpabANAH;
purastAdAstAM naH: in front of us; i.e., in our hR^idayakamala, moving
from maNipUraka on to the anAhata of the heart lotus, while we are
meditating on devI.
PuramathiturahopuruShikA: The words puramathitu and ahopuruShikA literally
mean the pride of shiva. The basic devI mantrAs (three bIjAs) as a whole
are called tripuram. Shiva is said to have churned the milk of the three
bIjAksharAs with his mind as the churning instrument. As a result arose
the butter of shrIdevI's person (AkAra, swarUpa). Because of this, shiva
is known as tripuramathana. This expression also suggests the inseparable
association of shiva and shakti, as already seen in verse 1. The compound
word ahopuruShikA indicates pride incarnate or I-consciousness of shiva.
This verse, giving the sthUla form of shrIdevI provides an excellent focus
for meditation on saguna brahman.
[Additional references used for the commentary on this verse:
Atma vijnAnamu (Science of the soul) in Telugu by shri swami
Yogeswaranandji Maharaj, shri Sarada Yoga Mandir, Vijayawada
Spiritual Science by Swami Vishadananda, Ramakrishna Ashrama, Ottapalam]
- shrI lalitAyai namaH
sudhAsindhormadhye suraviTapivATI parivR^ite
maNidwIpe nIpopavanavati cintAmaNigR^ihe
bhajanti tvAM dhanyAH katicana cidAnanndalaharIm.h 8
sudhAsindhormadhye: in the midst of the ocean of nectar
suraviTapivATI: rows of kalpa vR^ikshAs
parivR^ite: surrounded by
maNi dvIpe: island of gems
nIpa upavanavati: with a garden of kadamba trees
cintAmaNi gR^ihe: in a mansion built of cintAmaNi (wish-fulfilling)
shiva + AkAre: of the form of shiva (the multi-triangular shrIcakra)
ma~nce: in the bed
paramashivaparya~NkanilayAM: who is reclining (dwelling) on the
mattress called paramashiva
cit + AnandalaharIm.h: in the form of flood of Consciousness and bliss
katicana dhanyAH: a few blessed ones
O bhagavtI, blessed are those few, who worship You, You in the form
of Consciousness-bliss, who is reclining (seated) on the mattress of
paramashiva, on the couch of the (multi-triangular) form of shiva,
in the mansion constructed of cintAmaNi gems, attached to the pleasure
garden of kadamba trees, surrounded by an avenue of kalpa trees and
situated in the midst of amR^ita samudra or the ocean of nectar.
This verse gives a succinct description of shrImAtA's abode. In the
middle of the ocean of nectar, there is the island of precious gems
of infinite variety. All around the periphery of the island, there
are rows of celestial desire-granting trees. There is a palatial
mansion inside these groves of celestial trees. The mansion is built
of celestial cintAmaNi gems. All around the mansion, there are pleasure
gardens of kadamba trees. Inside this mansion, in the central hall there
is a regal seat which has for its four legs brahma, vishNu, rudra and
IshAna. Over this cot is spread a couch which is said to be paramashiva.
On this couch is seated sadAshiva on whose lap is seated shrIdevI in the
form described in the previous verse. shrI shankara says that those who
worship shrIdevI, as in this abode, are blessed as they attain infinite
shri shankara's other works also contain descriptions of shrIdevI's
abode very similar to given in this verse (tripurasundarI-vedapAdastava,
verses 7, 8, 9, 10; mantramAtR^ikApuShpamAla, verse 1). I can post exact
verses if there is sufficient interest.
shrIlalitAsahasranAma stotra verses 22 and 23 say
sudhAsAgaramadhyasthA kAmAkshI kAmadAyinI
kAlidAsa has a similar description for shrImAtA's abode in
sudhAsamudrAntarudyanmaNidvIpa saMrUDha bilvAtavImadhya -
[to be continued]
- shrI lalitAyai namaH
description and construction of shrIcakra:
shrIdevI's abode is shrIcakra. Before we continue on this verse,
I would like to give a description of shrIcakra as a prelude to
this verse and upcoming verses of AnandalaharI.
The following construction is given by KaivalyAshrama for the
building of shrIcakra. Describe a circle, with an imaginary vertical
line of a suitable length as its diameter. Divide the diameter into
forty-eight equal parts and mark off the sixth, twelfth, seventeenth,
twentieth, twenty-third, twenty-seventh, thirtieth, thirty-sixth and
forty-second divisions from the top. Draw nine chords, at right angles
to the diameter, through the nine points marked off, and number them
accordingly. Rub off 1/16th part of No. 1, 5/48ths of No. 2, 1/3rd of
No. 4, 3/8th of No. 5, 1/3rd of No. 6, 1/12th of No.8, and 1/16th of
No. 9, at both ends of each. Draw triangles with lines, Nos. 1, 2, 4,
5, 6, 8 and 9 as bases and the middle points of Nos. 6, 9, 8, 7, 2,
1 and 3 respectively as their apexes. Draw also the two triangles with
Nos. 3 and 7 as their bases and the lower and the upper extremeties of
the diameter as apexes respectively. Thus we get forty-three triangles
pointing outwards, composed of one in the middle, eight triangles
around it, two sets of ten triangles around the eight triangles,
one set above the other, and fourteen triangles around them. Then,
by marking of eight points in the circumference equidistant from one
another, commencing from the upper extremity of the diameter and
construct one petal over each of them, form the eight-petalled
lotus. Then, circumscribe a circle touching the outer extremity of
the petals. Divide the circumference of the circle so described into
sixteen equal divisions and draw symmetrically sixteen petals over
them, as before. Then circumscribe a circle round the sixteen-petalled
lotus, as before, and enclose the second circle so described in two
concentric circles at equal distances from each other. Construct
three squares about the outermost circle, with sides equidistant
from each other, and the innermost square not to touch the outermost
circle. Mark off four doorways on the four sides, each equidistant
from either extremeties, and rub off the interspaces. The figure thus
formed is the shrIcakra. The centre of the circle is known as the
VAmakeshwara tantra says that the five triangles with their apexes
pointing downwards are indicative of the shaktI and the four triangles
with their apexes pointing upwards are of shiva.
shrIcakra according to saMhAra-krama
LakshmIdhara, the well-known and reputed commentator of saundaryalaharI
holds that, in shrIcakra, the five triangles pointing upwards are of the
shaktI and the four pointing downwards are of shiva. He (lakshmIdhara)
speaks of the construction of the shrIcakra as consisting of two different
processes , the saMhAra-krama, from without inwards, and the
sR^iShTi-krama, from within outwards. The shrIcakra of the saMhAra-krama
can be obtained by turning the shrIcakra recognized by the vAmakeshwara
tantra upside down. This will be further discussed as part of commentary
of verse twenty-two.
shrIcakra according to sR^iShTi-krama
This is the shrIcakra as per the samayin-s. Draw an isosceles triangle
with its apex pointing upwards and its base parallel to the bottom line
of the sheet. Place the bindu, a dot, a little above the base, in an
imaginary vertical line bisecting the base. A little above the bindu,
draw a straight line parallel to the base, intersecting the sides of
the original triangle. Draw an isosceles triangle with apex pointing
upwards over this line. Draw a straight line through the apex of the
first triangle, parallel to its base and construct an isosceles
triangle on it, with apex pointing downwards, so that its sides may
pass through the points of intersection of the base of the second
triangle with the sides of the first triangle. These two points,
where three straight lines intersect each other, are technically
styled Marman-s, to distinguish them from the points of
intersection of two straight lines, which are known as saMdhi-s.
Thus, the eight corner-triangles are formed pointing outwards,
which together are known as the aShTakona-cakra. Produce the
topmost and the bottommost of the three horizontal lines both
ways and construct two isosceles triangles, one of them with apex
down and and the other with apex up, so that the sides of the former
may pass through the extremeties of the bases of the two triangles
pointing upwards and the sides of the latter triangle may pass
through the extremeties of the base of the original triangle
pointing downwards. By producing the sides downwards of the
inner triangle with apex up and drawing a straight line parallel
to the base, through the apex of the triangle pointing downwards,
a new triangle is formed. Similarly, by producing the sides upwards
of the triangle with apex down and drawing a straight line parallel
to the base, through the apex of the first outer triangle with
apex up, another triangle is formed. At this stage are obtained
ten corner-triangles pointing outwards, which together form what
is known as the 'antar-dashAra', the inner ten-spoked cakra.
Similarly, by producing the horizontal bases, drawing the arms
of trianglesat corner points so as to form Marman-s, and drawing
straight lines parallel to the bases, through the apexes of
triangles pointing up and down, the ten corner-triangles
pointing outwards and known as the 'bahir-dashAra' or the
outer ten-spoked cakra, is formed. Again, by producing both
waysthe bases at the top and the bottom of the 'antar-dashAra'
and constructing isoscles triangles with apex down and apex
up; and again by producing the sides of triangles whereby
Marman-s could be formed and drawing straight lines parallel
to the bases , passing through the apexes of the freshly
constructed triangles, the fourteen corner-triangles pointing
outwards known as the 'catur-dashAra', the fourteen-spoked cakra,
will be obtained. Thus, we get, in all, forty-three corner-triangles
including the innermost one, twenty-four saMdhi-s and eighteen
The geometrical construction of the shrIcakra is presented above.
Much mathematical research is being done on the geomtry of the
shrIcakra and a sample of that is presented at
and the references contained therein.
The shrIcakra of the sR^iShTi-krama, as constructed
by lakshmIdhara will be discussed as part of commentary of verse
thirty-one and also earlier in other verses as well.
The devotional aspect of shrIcakra as the abode of shrIdevI
and the kunDalini will be presented in the latter verses.
The Divine Mother is the shaktI, the one that gives spandana
to Ishwara (verse 1). The Divine Mother is the cosmic power.
The jeeva without attributes is the same as Ishwara without
attributes. KuNDalinI is the segment of that cosmic power of
the Divine Mother and gives the spandana to the jeeva. Further
discussion on this is in verse 9.
[to be continued)
- shrI lalitAyai namaH
verse 8 again:
sudhAsindhormadhye: stands for the baindavasthAna, the quadrilateral
seat of the bindu, which is the essential one and brings the forty-three
triangles of shrIcakra into its scope, this shrIcakra forming the mansion
suraviTapivATI parivR^ite: The five triangles pointing upward may be
said to represent the five rows of kalpa trees forming a fence around
shivAkAre ma~nce: The ma~nca or seat on which shrIdevI is seated
is described thus: According to purANAs, brahma, viShNu, rudra and
IshAna are shrIdevI's servants and they assume the form of the four
legs of the cot on which shrIdevI is seated - brahma being the
southeast leg, viShNu the southwest, rudra the northwest and
IshAna the northeast leg. Paramashiva, the nirguna brahman, is the
all-witness transcending the three guNAs.
dhanyAH katicana: blessed are the few; few are those rare souls
who through internal (or external) worship of shrIdevI, who through
their affinity to the pa~ncadashAksharI, who through the pure life
they lead during their last incarnate existence in this world, and
these are the few that are really blessed because they have
discharged the duties incumbent upon humans and they are ready
to being merged with satcitAnanda.
bhajanti tvAM: worship You, i.e., worship You in shrIcakra.
shrIcakra has also alternate name viyat cakra. viyat is AkAsha
or space. This is samaya form of worship, internally in the
etheral space, dahara, of the heart. Samaya form of worship
requires a very high degree of concentration of the mind and
a strict control over the senses (the entire worship is done
mentally in the heart). In this mental worship, meditation of
shrIdevI in the form of shrIcakra has to be done in the
shapeless AkAsha. [The mode of worship indicated in this verse
is of the form of shrIdevI, as abiding in Her mansion shrIcakra.
She assumes the special form described in the previous verse.]
The meditation is on this form. This meditation is on the union
of shakti and shiva in their inseparable, creationistic aspect.
The essence of this meditation is the union of cit-shakti
with brahman. shiva is samaya and shrIdevI is samayA. samam yAtIti
samayaH. The identity of shiva and shakti is five-fold. They are:
adhiShTAna sAmya: similarity in abode
anuShTAna sAmya: oneness in activity, such as creation
avasthA sAmya: equality in state, for e.g. dancing
nAma sAmya: similarity in name
rUpa sAmya: similarity in form, color etc
Kameshwara sUri interpreted this verse in a unique (alternate) way
sudhAsindhoH: - himAcalamArabhya setuparyantaM madhyadeshe - from
the himalayas, the abode of the white glaciers to the
suraviTapivATI: full of pilgrim centres, such as shrIsaila and other
places that are reputed to bestow the heart's desires
of pilgrims (like the kalpa trees)
maNidvIpe: places that are specially fitted for meditation
nIpovanavati: surrounded by kadamba trees
cintAmaNi gR^ihe: temples studded with cintAmaNi gems
shivAkAre ma~nce: - atidhavalatvAtsphaTika ramaNImaya tayA
shivasadR^isomancyata iti ma~nce pujye kailAsa -
as Mount KailAsa which is as white as crystal and thus
resembles shiva in aspect
paramashivaparya~NkanilayAM: blessed as being placed on the lap of
the divine couple, pArvati and parameshwara
cidAnandalaharIM.h : the stotra by name AnandalaharI describing the
pure cit aspect shrIdevI
Thus, various commentators read in this verse worship of shrIcakra in
diverse ways and this verse is considered as one of the pivotal verses
of this great stotra.
- Gummuluru Murthy wrote:
> shri shankara's other works also contain descriptions of shrIdevI's
> abode very similar to given in this verse (tripurasundarI-vedapAdastava,
> verses 7, 8, 9, 10; mantramAtR^ikApuShpamAla, verse 1). I can post exact
> verses if there is sufficient interest.
If you can post them with translation (when you find time), all of us in the
list will benefit. Thank you very much for your wonderful translation of