verse 21
तटिल्लेखातन्वीं तपनशशिवैश्वानरमयीं
निषण्णां षण्णामप्युपरि कमलानां तव कलाम्।
महापद्माटव्यां मृदितमलमायेन मनसा
महान्तः पश्यन्तो दधति परमाह्लादलहरीम्॥
taṭillekhātanvīṁ tapanaśaśivaiśvānaramayīṁ
niṣaṇṇāṁ ṣaṇṇāmapyupari kamalānāṁ tava kalām |
mahāpadmāṭavyāṁ mṛditamalamāyena manasā
mahāntaḥ paśyanto dadhati paramāhlādalaharīm ||
taṭil lekhā tanvīṁ - having a body like lightning streak; tapana śaśi vaiśvānara mayīṁ - having a form of sun, moon and fire; niṣaṇṇāṁ - seated; ṣaṇṇām api upari kamalānāṁ - above the six lotuses; tava kalām – Your kalā; mahā padma aṭavyāṁ - the sahasrāra; mṛdita mala māyena – devoid of impurities of māyā; manasā – with the mind; mahāntaḥ - great yogī-s; paśayanto – seeing; dadhati – experiencing; param āhlāda laharīm – the highest degree of bliss.
“Great yogī-s, with their minds free from impurities of māyā, experience the powerful bliss by having Your vision in the form of streaks of lightning, sun, moon and fire appearing above the six chakras at sahasrāra.”
When the verse talks about six chakras, it also subtly conveys the three granthi-s through the words api upari (knots known as Brahmā, Viṣṇu and Rudra granthi-s). These chakras and granthi-s refer to kuṇḍalinī meditation. This verse can also be interpreted as follows: When a great yogī by balancing iḍā and piṅgala and thereby activating suṣumna, making his mind devoid of impurities caused by māyā, sees Her radiant form above the six chakras, in sahasrāra, like a streak of lightning as a result of which he experiences an inexplicable bliss. Here sun, moon and fire mean iḍā, piṅgala and suṣumna. Suṣumna can be activated only if iḍā and piṅgala are controlled and balanced. The breaths passing in and out of both the nostrils are to be equalised, known as samanā in Sanskrit. When one nostril is more active than the other it is imbalance. The importance of breath is paramount in kuṇḍalinī meditation.
When Śakti ascends through a tiny nerve in the spine, in the form of kuṇḍalinī to conjoin Her Consort Śiva, at sahasrāra, at the time of their union, flashes of Lighting will be distinctly visible in the forehead area. This Light will not be a static light, like the one that is visible at ājñā chakra. When She conjoins Śiva, it is like the union of two divine Lights, though Śakti on Her own is not Self-illuminating. She is radiant as long as She is with Śiva and the fact that She is always radiant is because of the fact that She always remains with Śiva and never leaves Him even for a millisecond. If She does so, then it is annihilation. At the time of annihilation, Śiva alone remains and She only acts as a witness to the process of annihilation initiated by Śiva. Lalitā Sahasranāma mention about this through two nāma-s 232 maheśvara-mahākalpa-mahāthāṇḍava-sākṣinī and 571 mahāpralaya sākṣiṇī.
An aspirant who wants to pursue a true spiritual path should get rid off māyā, which is the foundational cause for all the dualities, which in turn gives rise to all the impurities in the mind such as desire, ego, attachment, emotions, etc. Without dissolving dualities, realization will never be complete. The factors that can help in dissolving dualities are compassion and love, becoming devoid of desire which means leading a contended life, unshakable faith in karmic impressions and above all mentally surrendering to Her, who is omnipresent. Many of the devotees fail to become aspirants because of their inability to search Her within. No sacred waters, no places of worship can absolve one from his or her karmic account. Further accrual of karmic account can only be stopped, provided one mentally surrenders to Her. Karma cannot be removed immediately and it has to spent only by experiencing.
Mentally surrendering to Her is neither an easy task nor a difficult task. This surrender cannot happen overnight. Repeated affirmations are necessary to make the mind feel that She is within. When the affirmation is strong enough, one can realize the dawn of love and compassion for others. This is the primary step in the spiritual path. An aspirant can become a yogī only through persistent practice. The path of practice may be different but the foundation for the spirituality is only the mental affirmation. Improper spiritual foundation gives rise to innumerable unprincipled gurus.
The end of the second line of the verse says tava kalām, which literally means Your kalā. Kalā in this place means the Divine Power or the Svātantrya śakti of Śiva, which is nothing but Śakti Herself. Śiva alone has independent power of authority known as Svātantrya śakti, which He hands over to Śakti in its entirety by means of a power of attorney. She alone can exercise His Power. Kalā is the expression of Her creative delight (the process of creation) which appears in the form of a streak of lightning. This lightning becomes visible to the yogī because, She in Her subtlest form known as kuṇḍalinī (Her subtle form is kāmakalā - Lalitā Sahasranāma 322 and Saundaryalaharī verse 19) reflects the Light (Prakāśa) of Śiva. Hence She is known as Vimarśa (reflecting the Light of Śiva. Vimarśa means reflection). There are other explanations saying that the kalā referred here is the kāmakalā, discussed in verse 19.
The verse also says that She is seated through the word niṣaṇṇāṁ. Lalitā Sahasranāma 905 baindavāsanā explains this and the interpretation of this nāma goes like this: Baindava means a bindu or dot and āsana means seat. This nāma says that She is seated on a bindu. There are two types of explanations for bindu.
The central point of Śrī Cakra is called bindu. It is placed in the midst of the inner most (top most in the case of Meru) triangle. This bindu is called sarvānandamaya cakra, also known as baindava sthāna. The presiding deity of this ninth āvaraṇa or covering is Śrī Mahā Tripurasundarī. She is worshipped here with yoni mudra. Those who are initiated into ṣodaśī should worship Her here with trikhaṇḍā mudra. Lalitāmbikā is worshipped here in Her highest form. She is adored as Parābhaṭṭārikā (bhaṭṭāra means highly noble, worthy of worship) and Mahā-kāmeśvarī.
In kāmakalā there are three bindu-s. They are white, red and multi coloured. The white bindu represents Śiva and the red bindu represents Śaktī. They expand and contract thereby causing the creation of the universe. The multicoloured bindu represents the sun. Kāma refers to the sun and kalā refers to the red and white bindu-s. All the three put together is called kāmakalā. The red and white bindu-s are the Divine couple. Their union happens in equal degree. As already discussed in various nāma-s, Śiva is prakāśa form and Śaktī is vimarśa form. When prakāśa and vimarśa unite, the union is known as ahaṃkāra or ego. The ahaṃkāra consists of many alphabets which subsequently produce sound and its meaning. Since She is seated on the bindu (red coloured), this nāma calls Her Baindavāsanā, the Creative aspect of the Brahman.
The three bindu-s can be compared to the three nāḍi-s, iḍā, piṅgala and suṣumna. When the energies transported through these nāḍi-s merge in the bindu in the ājñā cakra, the practitioner transcends individual consciousness and enters universal consciousness. The meeting point of the three nāḍi-s is known as bindu and She is said to be seated here. A practitioner enters the universal consciousness, when his soul, individual consciousness and mind unite at this bindu point.
This verse of Saundaryalaharī underlines the importance of kuṇḍalinī meditation.
verse 22
भवानि त्वं दासे मयि वितर दृष्टिं सकरुणां
इति स्तोतुं वाञ्छन् कथयति भवानि त्वमिति यः।
तदैव त्वं तस्मै दिशसि निजसायुज्यपदवीं
मुकुन्दब्रह्मेन्द्रस्फुटमकुटनीराजितपदाम्॥
bhavāni tvaṁ dāse mayi vitara dṛṣṭiṁ sakaruṇāṁ
iti stotuṁ vāñchan kathayati bhavāni tvamiti yaḥ |
tadaiva tvaṁ tasmai diśasi nijasāyujyapadavīṁ
mukundabrahmendrasphuṭamakuṭanīrājitapadām ||
bhavāni tvaṁ - O! You Bhavāni! dāse mayi – me, Your servant; vitara – bestow; dṛṣṭiṁ - glancing; sakaruṇāṁ - compassionate; iti – in this manner; stotuṁ - praying; vāñchan – desirous of; kathayati – reciting; bhavāni tvam – O! Bhavāni; iti yaḥ - whoever thus; tada iva – almost immediately; tvaṁ - You; tasmai – for him; diśasi – bestow; nija sāyujya padavīṁ - innate absorption; mukunda brahma indra sphuṭa - Viṣṇu, Brahmā, Indra, other gods and goddesses; makuṭa nīrājita padām – performing ārati with their illuminated crowns on Your lotus feet.
“O! Bhavāni! The one who addresses You as Bhavāni seeking your compassion to bestow Your glance on him considering him as Your servant, offered liberation by You instantaneously, even before he could complete the word Bhavāni. The crowns of Viṣṇu, Brahmā, Indra, other gods and goddesses get the reflection of Your lotus feet and appear as if they perform ārati for You.”
This is one of the important verses in Saundaryalaharī. The emphasis of this verse is on Her name Bhavāni. Bhava refers to Śiva and ana means infusing life and therefore Bhavāni refers to the Consort of Śiva, who infuses life into the beings. Her creative aspect is referred through the name Bhavāni. Śrī Rudraṁ (5.1) says “namo bhavāya ca rudrāya ca नमो भवाय च रुद्राय च”. This verse is in Kriṣṇa Yajurveda Taittirīta Samhtā (IV.v.5.1). Bhava means the One who exists all the time and the One who causes creation. Bhava is one of the common names of Śiva and His consort is Bhavāni (like Maheśvarā – Mahesvarī). Since She is so fond of Bhava (Śiva), She becomes immensely pleased when She is addressed as Bhavāni. She showers Her compassion on those devotees who address Her as Bhavāni and offer them instantaneous liberation. The poetic masterpiece used in this verse by Śaṁkarācārya is immeasurable and only he alone can poetise his divine visions. Lalitā Sahasranāma 112 is Bhavanī.
The visualization of Śaṁkarācārya could have been like this. There is a devotee who constantly thinks about Her. His mind is totally pervaded by Her thoughts. He prays to Her daily seeking only Her glance. On a particular day he communicates with Her like this: “O! Divine Mother! I am Your servant! I always contemplate You. I have no other desires. My Mind is entirely pervaded by You. You prevail in me during all the three states of my consciousness, active state, dream state and deep sleep state. Please be compassionate enough to just glance at me, so that I can attain You.” His emotional outburst is so strong with tears rolling down his eyes, he addresses Her as “Bhavānīīīīīīīīīīīī”. Even before he could complete the world Bhavāni, She appears in person before him and absorbs him into Her. There exists only Bhavāni and the devotee is no more there and he has become one with Her. This state of liberation is known as sāyujya, which means total absorption into the Divine Essence.
Absorption means the mental state that is completely filled with God consciousness. Individual consciousness submerged in God consciousness is absorption. The word Bhavānī is used in the above verse is intended by the devotee as an address to Her in the vocative case. But, as a verb in the first person of the imperative mood, it would mean ‘let me become’. Even before the first two words ‘Bhavānī tvaṃ’ are uttered, She rushes to grant him absorption into Her own Self. She becomes so elated and happy of being addressed as Bhavā’s consort, She does not even wait for the verse to be completed. She acts immediately on listening to those two words Bhavānī tvaṃ, interpreting them as ‘Let me become Thyself’. This translates into mahā vākyā “Tat Tvam Asi”. This process is called sāyujya that gives immediate liberation. This way of contemplating Her is more efficacious than japa and homa. Liberation is of four types: Sālokya, co-existence with the Lord in His world; Sārūpya, attaining the same form as that of the Lord; Sāmīpya, proximity as that of the Lord and Sāyujya, absorption into the Lord Himself. The first one progressively leads to the last one. But the thought process of identifying the self with the Lord (sāyujya) leads to fast track emancipation and this is what is mentioned in this verse.
The depth of devotion is explicitly explained in this verse. The devotee referred to earlier is totally absorbed in Her thoughts. He perpetually contemplates Her through his mind. This devotee is an ordinary devotee who does not know the intricacies of Her various kinds of worship. He does not know mantras and never recites them. But, he has established a very strong connection with Her through his mind. Whatever he does, he never thinks that he is the doer. His ego has been completely dissolved unto Her. Dissolving ego unto Her means surrendering to Her, which is also known as śaraṇāghati. Śaraṇāghati is surrendering unto Her for protection, protection from transmigration. The verse clearly says that only the depth of love and devotion for Her alone counts and rest of the procedures are only rudimentary in nature.
Viṣṇu, Brahmā, Indra, other gods and goddesses worship Her through various mantras, hymns, etc. But She has not chosen to offer them liberation. She only chooses the person described in this verse, who is totally ignorant of rituals, mantras and japas. He knows only one thing and that is Her. Gods and goddesses worship Her with some materialistic desires such as power, weapons, kingdom, wealth, etc. They have very close access to Her all the time and they participate in the everyday ārati ceremony performed to Her and Śiva. After the completion of ārati ceremony (ārati means ceasing. After performing ārati no more rituals should be performed. It indicates the cessation of all rituals at that time), they place their heads at Her feet as a mark of extremum respect. Due to the natural illumination of Her feet, the gems studded in their crowns appear as if ārati is performed at the time of placing their crowned heads at Her feet. It can also be explained that the devotee wanted only Her sacred feet and glance whereas, She has gone several steps further and offered him total absorption. She is so compassionate. She offers more than what is contemplated for and this verse also highlights this aspect.
There is a figurative description of Bhavāni in Lalitā Sahasranāma second dhyāna verse:
aruṇāṃkaruṇā-taraṃgitākṣīṃ dhṛta-pāśāṅkuśa-puṣpa-bāṇa-cāpām|
aṇimādibirāvṛtām mayūkhai-rahamityeva vibhāvaye bhavānīm||
अरुणां करुणा-तरंगिताक्षीं धृत-पाशांकुश-पुष्प-बाण-चापाम्।
अणिमादिबिरावृताम् मयूखै-रहमित्येव विभावये भवानीम्॥
The meaning for this verse is – I meditate on Bhavānī, the supreme happiness, whose colour is like the sun at dawn i.e. red in colour and from whom rays of light are emanating. This confirms Her red complexion discussed in the previous verse. Her compassion for Her devotees comes out of Her eyes like waves of ocean. In this verse She is described with four hands. In the rear hands She has two weapons called pāśam (like a rope) and aṅkuśa (a sharp edged metal weapon normally used to control elephants). In the front hands she holds a bow made out of sugar cane and arrows made out of flowers. A detailed study of Her weaponries is discussed later in this Sahasranāma. They represent four of Her premier assistants. She is surrounded by aṣṭama siddhi-s. Each siddhi is represented by a goddess in Śrī Cakra. I meditate on Her form called Bhavānī, a state of supreme happiness with beams of light.
There is yet another composition by Śaṁkarācārya titled Bhavānībhujaṅgam (भवानीभुजङ्गम्) which has 17 verses. In the 17th verse (bhavānī bhavānī bhavānī trivāraṁ udāraṁ mudā sarvadā ye japanti.... भवानी भवानी भवानी त्रिवारं उदारं मुदा सर्वदा ये जपन्ति....) he says that those who recite Bhavānī (recitation of three times a day is mentioned as japa in the verse) three times a day with great devotion and happiness will never have sadness, desire, accrual of sins and fear in his life. All the seventeen verses discuss about Her as Bhavānī.
Lalitā Sahasranāma 939 is Paramodārā परमोदारा which means She gives more than what is asked for. Saundaryalaharī verse 4 also conveys the same meaning by saying vāñchāsamadhikaṁ meaning She gives more than what is desired.
Chāndogya Upaniṣad (VIII.ii.10) explains the status of this devotee thus: “Whatever kingdom, whatever good things he desires to possess, they appear to him just as his wishes.” A devotee described in this verse will not seek any materialistic wealth but would seek only Her Grace, which alone can give absorption, as this alone stops the pains of transmigration.
verse 23
त्वया हृत्वा वामं वपुरपरितृप्तेन मनसा
शरीरार्धं शंभोरपरमपि शङ्के हृतमभूत्।
यदेतत्त्वद्रूपं सकलमरुणाभं त्रिनयनं
कुचाभ्यामानम्रं कुटिलशशिचूडालमकुटम्॥
tvayā hṛtvā vāmaṁ vapuraparitṛptena manasā
śarīrārdhaṁ śaṁbhoraparamapi śaṅke hṛtamabhūt |
yadetattvadrūpaṁ sakalamaruṇābhaṁ trinayanaṁ
kucābhyāmānamraṁ kuṭilaśaśicūḍālamakuṭam ||
tvayā hṛtvā - conquered by You; vāmaṁ vapur - left side of the body; aparitṛptena manasā - mentally not satisfied; śarīrārdhaṁ śaṁbhor aparamapi - the other half of Śiva’s body; śaṅke – apprehensive; hṛtam abhūt – taken away (by You); yad etat tvad rūpaṁ - because of this, Your present form; sakalam aruṇābhaṁ - totally red in colour; tri nayanaṁ - three eyed; kucābhyām ānamraṁ - marginally bent because of the pair of bosoms; kuṭila śaśi cūḍāla makuṭam – wearing a slightly curved crown with crescent moon.
“Not being satisfied in owning the left side of Śiva, I apprehend that You have taken away His right side too, as Your present form is reddish in complexion with three eyes and marginally bent forward due to the heaviness of Your bosoms with a slightly curved diadem with crescent moon in it.”
Śaṁkarācārya makes a reference to Ardhanārīśvara form of Lord Śiva. The love between Śiva and Śakti is portrayed here in poetic parlance. Parāśakti is too fond of Śiva that cannot be expressed through a narration. In His Ardhanārīśvara form, Śiva has already given His left side to Her. She completely taken away His left side of the body, where the biological heart is situated. Assuming for a moment that He appears before us in His Ardhanārīśvara form, the heart that keeps Śiva “alive” belongs to Parāśakti and not that of Śiva. This clearly proves that Śiva is completely pervaded by Her, the Divine Mother.
She is not satisfied by possessing only the left side of Parameśvara and She wants to own His right side too, says Śaṁkarācārya. In other words, She wants to possess the entire body of Paramaśiva. By looking at Her form, Śaṁkarācārya doubts that She has already done so. Śiva is crystal complexioned and Śakti appears in dark red complexion. Red is an indicator of compassions, which is the most predominant character in Her. Every being in the universe is Her child and She nurtures everyone with great love and affection and hence, She is adored as Divine Mother. It is interesting to note that Lalitā Sahasranāma begins (first nāma) by worshipping Her as Śrī Mātā.
This verse can be interpreted like this based on the above narration: Śaṁkarācārya meditates on Paramaśiva. During intent meditation, divine visions often appear. For a great Yogī like Śaṁkarācārya, these visions would be with comprehensive clarity. When he was meditating on Śiva, He appears in His vision as Ardhanārīśvara. His meditation became too intent and during this state, Ardhanārīśvara form disappeared and he could see only Śakti. Śaṁkarācārya was perplexed when He saw the form of Parāśakti. Śaṁkarācārya wanted to re-ascertain that it is only Śakti. He uses his yogic skill and finds out that it only the Divine Mother. His averment is based on three factors:
1. When Śiva and Śakti sit together, their illumination will be like that of the moon, as Śiva’s crystal complexion diffuses the deep red complexion of Śakti. But, Śaṁkarācārya could see only dark red colour.
2. The way in which She sits appears to be feminine. She has crouched forward because of the pair of heavy bosoms. Bosoms represent Her act of nourishing the entire universe.
3. Śaṁkarācārya happened to see a third eye in Her forehead. In Her normal description, She does not have a third eye, which is an exclusivity of Śiva. On observing the third eye, Śaṁkarācārya apprehended that the form is not merely Hers, but Śiva is within this form of Hers. But for the third eye, even Śaṁkarācārya could not have found out that She has not only occupied Śiva’s left side of the body, but His entire body.
4. Another factor that made Śaṁkarācārya realize that She has pervaded Śiva’s body is the diadem. Śiva does not wear a crown, as He has Gaṅgā on the top of His head. He too has Crescent moon, but it is on His plaited hair. The form that Śaṁkarācārya visioned has a curved diadem. This crown is not a full fledged crown. It is only a partial crown with crescent moon on it. She wears a full fledged crown only when She is alone, while performing Her duties assigned to Her by Śiva and at that time She is worshipped as Lalitāmbikā and Rājarājeśvarī (Lalitā Sahasranāma-s 1000 and 684).
Now a doubt may arise whether this verse refers to Lalitā Sahasranāma 999 Śivaśktyaikya rūpiṇī. The answer could be a possible no. If we look at this nāma, it conveys their unity as well as diversity. They are treated as two different persons and later their interdependence is explained. This nāma does not convey their oneness. But nāma 792 sāmarasya parāyaṇā conveys their oneness. Sāmarasya means annihilation of two dimensions, where two separate entities, Śiva and Śakti are dissolved and there remains only one entity and that is Śiva; parāyaṇa means engaged with the chief authority. This nāma says that She is inherent in Him and not as a separate person or entity and therefore their aikya (union) does not arise at all. Because of this sāmarasya, Śaṁkarācārya sees only one entity in Her form and not as two entities like She sitting on the lap of Śiva or sitting by His side. In the state of sāmarasya, they are One.
One may get intrigued to know why Her form is visible rather than that of Śiva. Unless She is fully satisfied that one is good enough to attain Śiva, who alone is capable of offering liberation, She will not reveal the true nature of Śiva, says Lalitā Sahasranāma 727 śivajñāna pradāyinī. This nāma says that She alone can impart the knowledge of Śiva. This can also be explained in another way. In every action, there is always cause and effect, in which cause is always is subtle and effect is visible. Without cause, effect cannot be there and without effect cause has no role to play. Śiva is cause, which is always subtle and Śakti is the effect, which is always manifested. Hence Śaṁkarācārya sees Her form instead of Śiva.
verse 24
जगत्सूते धाता हरिरवति रुद्रः क्षपयते
तिरस्कुर्वन्नेतत्स्वमपि वपुरीशस्तिरयति।
सदापूर्वः सर्वं तदिदमनुगृह्णाति च शिवः
तवाज्ञामालम्ब्य क्षणचलितयोर्भ्रूलतिकयोः॥
jagatsūte dhātā hariravati rudraḥ kṣapayate
tiraskurvannetatsvamapi vapurīśastirayati |
sadāpūrvaḥ sarvaṁ tadidamanugṛhṇāti ca śivaḥ
tavājñāmālambya kṣaṇacalitayorbhrūlatikayoḥ ||
jagatsūte – creation of the universe; dhātā – Brahmā; harir avati - Viṣṇu sustains; rudraḥ kṣapayate – Rudra annihilates; tiraskurvann etat svam api vapur – absorbing all these three and His own body; īśas tirayati – Īśa conceals; sadā pūrvaḥ śivaḥ - the Lord of eternity, Śiva; sarvaṁ tad idam – these four; anugṛhṇāti ca – blesses again; tava ājñām ālambya – on Your command; kṣaṇa calitayor – momentary movement; bhrū latikayoḥ - creeper like eyebrows.
“Brahmā creates the universe, which is sustained by Viṣṇu and destroyed by Rudra. Īśa absorbs all the three into His Self, who in turn is absorbed by Sadāśiva. Only a momentary movement of Your creeper like eyebrows is construed as Your command to bless them again for recreation.”
She controls all the five acts of Brahman – creation, sustenance, destruction, concealment or annihilation and re-creation or salvation. Lalitā Sahasranāma 250 Pañcabrahma-svarūpiṇī and 274 Pañckṛtya-parāyaṇā elaborately explain the significance of this verse. This verse says that Īśvara (Mahādeva) absorbs Brahmā, Viṣṇu and Rdura, who, in turn gets absorbed into Sadāśiva. This completes the process of annihilation of the universe. Recreation happens when Parāśakti makes a momentary movement of Her beautiful eyebrows signifying Her approval for recreation. On obtaining this approval the process of creation begins all over again with the creation of Brahmā. Re-creation is also known as anugraha or blessings.
Śiva’s exclusive and independent authority (svātantrya śakti as per Trika philosophy) is Śakti. Śiva does not act on His own; but acts only through His Power Śakti. Śiva and His Power are inseparable as is the case with everyone in the world. Therefore, the five acts of Brahman mentioned above are in fact executed by Parāśakti (Supreme Power). Each of these powers is presided over by a God. Brahmā presides over creation; Viṣṇu takes care of sustenance; Rudra is in charge of death (destruction) (in difficult times if Ruram is chanted along with Camakam, one can get over the difficult period with ease); Īśvara (Mahādeva) is in charge of concealment or annihilation and Sadāśiva takes care of re-creation or salvation. This is a cyclic process. All these five acts happen both at the macrocosmic and microcosmic levels. Parāśakti is in charge of all these Divine Acts happening both at the macrocosmic and microcosmic planes. All these five acts are described in Lalitā Sahasranāma 265 to 273 and summarised in nāma 274.
As the intricacies of this verse are already explained in Lalitā Sahasranāma 250, the interpretation of this nāma is reproduced here for the sake of convenience. Further reference can also be made to the above mentioned nāma-s as well.
Pañca-brahma-svarūpiṇī पञ्च-ब्रह्म-स्वरूपिणी
Brahman has five functions to perform. They are creation, sustenance, destruction, annihilation and salvation. Each of these activities is governed by different Gods. These different Gods are only manifestations of the Brahman. Though one talks about various forms of gods, all these refer only to the Brahman, who does not have any form and is omnipresent. In fact these Gods, Goddesses, ministers, yogini-s mean different natural activities that take place in the universe. That is why Nature is called as Mother Nature and worshipped as a Goddess as acts of the Brahman are unfolded only through Nature and in the arena of Nature.
The five acts of the Brahman is a cyclic process. Creation here means the creation of the universe in the broader perspective. It does not mean the birth of an individual. Sustenance also means the sustenance of the universe as a whole. The birth and death of human beings as well as billions of other species is just a trivial part of the activities that happen in the universe. The first amongst the creations are the five basic elements viz. ākāś, air, fire, water and earth. Then the modifications of these elements take place gradually, which is called evolution. Such evolution happens both in macrocosmic and microcosmic planes. The highest known gross form of evolution is man and the highest form of subtle evolution is his mind.
The universe thus created is being administered by the Brahman Himself. In order to maintain a proper balance, creatures are made to shed their physical bodies. Souls make the physical bodies to function and hence soul is called kinetic energy. The souls originated from the hiraṇyagarbha or the golden egg. This is so called, as it is born from a golden egg, formed out of the seed deposited in the waters when they were produced as the first creation of the Self-existent. This seed became a golden egg, resplendent as the sun, in which the Self-existent Brahman was born as Brahmā the Creator, who is therefore regarded as a manifestation of the Self-existent. This is held as the fourth act of the Brahman, tirodhāna, or the great dissolution or the act of concealment. The difference between destruction and annihilation is significant. Destruction is the death of a single organism and dissolution is the Supreme process of the Brahman, wherein He makes the entire universe to dissolve and merge unto Himself. At this stage the universe becomes non-existent. There will be no continents, no mountains, no oceans, none of the basic elements (Pañca bhūta-s) exist. Such an act of the Brahman is called mahā-pralayā. This happens when Śiva begins His mahā-pralaya tāṇḍava or the cosmic dance. When Śiva performs this dance of annihilation, He becomes terribly ferocious. While He continues His dance, the universe gradually gets dissolved unto Him. The reverse modifications take place and penultimately there exists only the five basic elements. Finally these five elements too, dissolve into Śiva. Except Śiva and Śaktī none exists at this stage. Śaktī is the lone witness to Śiva’s cosmic dance (nāma-s 232 and 571).
Śaktī, is very compassionate. After all She is the divine Mother. She has the intent to re-create the universe. Since Śiva continued to be terribly aggressive, She could not even look at Him. Now Śiva and Śaktī are not united. The great dissolution takes place only if Śiva and Śaktī are separate. When they are together, Śaktī never allows Śiva to carry out the act of annihilation. When the great dissolution has commenced, Śaktī could only witness such an act and this was discussed in nāma 232. There is another nāma 571 mahā-prayala-sākṣiṇī to confirm this. Somehow She wanted Her children to exist. Towards the end of Śiva’s tāṇḍava, She started dancing (nāṭya) along with Śiva. But there was no ferocity in Her dance. On seeing Her dancing, aggressive Śiva started returning to His auspicious form. Śiva was holding the hiraṇyagarbha or the golden egg where the dissolved universe was concealed. At the request of Śaktī, the golden egg was given back to Her by Śiva and this is called anugraha or salvation. Salvation is a stage before the commencement of the next cycle of creation. Now Śaktī takes over from Śiva and administers the universe with His power of autonomy or svātantrya śaktī.
Now, it is apparent that act of the Brahman cannot happen without śaktī. Hence, it is said that without Her involvement no body including Brahma, Viṣṇu, Rrudra, Mahādeva and Sadāśiva can function. They are called ‘Pañca-Brahman-s’ meaning the five acts of the Brahman. Since She becomes the cause of these five acts She is called Pañca-brahma-svarūpiṇī.
{Further reading on hiraṇyagarbha: Brahman has four distinctive states. They are avyakṭā, Iśvarā, hiraṇyagarbha also known as sūtrātma and virāṭ. The first state is avyakṭā, the unmanifest stage (nāma 398). This is also known as turya stage, beyond the three normal stages of consciousness. The next state is Iśvarā (nāma 271). This state is the cause of the universe and is associated with māyā. The third state is hiraṇyagarbha, which binds the universe together. The final state is virāṭ, transfiguration of the divine happens that is visible to our eyes. The virāṭ is also known as vaiśvānarā, meaning relating or belonging to all men, omnipresent, known or worshipped, everywhere, universal, general, common, etc.}
verse 25
त्रयाणां देवानां त्रिगुणजनितानां तव शिवे
भवेत्पूजा पूजा तव चरणयोर्या विरचिता।
तथाहि त्वत्पादोद्वहनमणिपीठस्य निकटे
स्थिता ह्येते शश्वन्मुकुलितकरोत्तंसमकुटाः॥
trayāṇāṁ devānāṁ triguṇajanitānāṁ tava śive
bhavetpūjā pūjā tava caraṇayoryā viracitā |
tathāhi tvatpādodvahanamaṇipīṭhasya nikaṭe
sthitā hyete śaśvanmukulitakarottaṁsamakuṭāḥ ||
trayāṇāṁ devānāṁ - three Gods; triguṇa janitānāṁ - born out of Your three guṇa-s; tava – Yours; śive – the auspicious One; bhavet pūjā – become the worship; pūjā tava caraṇayoryā viracitā – become the worship done at Your sacred feet; tathāhi – thus; tvat pāda udvahana maṇi pīṭhasya nikaṭe – closer to the gem decked foot pedestal of Yours; sthitā hi ete – they permanently wait; śaśvan mukulita kara uttaṁsa makuṭāḥ - always hold their conjoined palms above their crowns.
“O! Auspicious Parāśakti! When Your sacred feet are worshipped, that worship becomes equal to worshiping the three Gods, Brahmā, Viṣṇu and Śiva, the embodiments of Your three guṇa-s, who always stand close to Your gem decked foot pedestal by holding their hands above their heads.”
The Power of Parāśakti is explained through this verse. She is the absolute and independent power of Śiva. Śiva referred in this verse does not mean the Śiva, the Supreme. Śiva is known by the same name for His different independent acts. He is beyond all guṇa-s and Parāśakti enjoys only His Power. The independent and absolute Power of Śiva, the Supreme is known as Parāśakti and this Power of Śiva is known as svātantrya śakti, which can be explained the Free Will of Śiva.
Brahmā, Viṣṇu and Śiva represent three guṇa-s sattva, rajas and tamas. (Many do not agree that Viṣṇu is an embodiment of rajo guṇa. In that case, He cannot look after the entire creation. Rajas means action). There are two nāma-s in Lalitā Sahasranāma (763. triguṇātmikā and 984. triguṇā) which confirm that She is the embodiment of the three guṇa-s.
Guṇa or qualities are of three types, sattvic, rajas and tamas. Guṇa-s belong to Prakṛti (Nature) and is the cause of opposites. Puruṣa (soul) in association with Prakṛti endowed with three guṇa-s cause creation. Guṇa-s belong to Her when She acts as Brahman with attributes. When She is the Brahman without attributes She is nirguṇa (without these guṇa-s, an exclusive quality of Śiva). This also goes to prove that She is in no way different from Śiva.
She is in the form of three guṇa-s or qualities viz sattvic, rajas and tamas. Sattva guṇa means the quality of purity and knowledge. The presence of other two guṇa-s is not very prominent in sattva guṇa as this guṇa is endowed with the highest purity. Rajo guṇa is the activity of passion. Tamo guṇa is inertia or ignorance. These two guṇa-s have higher traces of other guṇa-s. Guṇa-s are the inherent qualities of Prakṛti. Ego and intellect originate from guṇa-s that are present in all the evolutes of Prakṛti at once, but distributed in unequal proportions in each individual. The predominant guṇa that prevails in an individual is reflected through his thoughts and actions.
Kṛṣṇa explains guṇa-s in Bhagavad Gīta (IV.6 - 9) “Sattva, rajas and tamas - these three qualities born of prakṛti (Nature) tie down the imperishable soul to the body. Of these, sattva being immaculate is illuminating and flawless; it binds through identification with joy and wisdom. The quality of rajas, with is of the nature of passion, as born of avariciousness and attachment. It binds the soul through attachment to actions and their fruits. Tamas, the deluder of all those who look upon the body as their own self, are born of ignorance. It binds the soul through error, sloth and sleep. Sattva drives one to joy, and rajas to action, while tamas clouding the wisdom incites one to err as well as sleep and sloth.” Chapter of Bhagavad Gīta XIV extensively deals with guṇa-s. Kṛṣṇa again says (Bhagavad Gīta XIV.20) “Having transcended the aforesaid guṇa-s, which have caused the body, and freed from birth, death, old age and all kinds of sorrow, this soul attains the supreme bliss.”
This verse says when She is the embodiment of all the guṇa-s and from whom all the three guṇa-s originate. As discussed earlier, each of these guṇa-s is presided over by the three Gods Brahmā, Viṣṇu and Śiva. Therefore it is implied that Brahmā, Viṣṇu and Śiva are only a part of Her Supremacy. When She is sitting on Her throne, Brahmā, Viṣṇu and Śiva stand near the pedestal on which She rests Her lotus feet, with their conjoined palms above their crowns, expressing their reverence. When they originate from Her, what is the purpose of worshipping them? Worshipping Her alone is worthy of worship, the primary cause of the entire creation.
Further reading: When one is initiated into ṣodaśī mantra, they are not supposed to worship the āvaraṇa devatas independently, including their mantra recitations. The only exception is while performing navāvaraṇa pūja, during which all the āvaraṇa devatas are worshipped before worshipping Her in the bindu. Even if they are initiated into other mantras, they should stop the recitation of all other mantras, after obtaining necessary permission from their Gurus. If this is not done, none of the mantras will fructify, including ṣodaśī mantra.
verse 26
विरिञ्चिः पञ्चत्वं व्रजति हरिराप्नोति विरतिं
विनाशं कीनाशो भजति धनदो याति निधनम्।
वितन्द्री माहोन्द्री विततिरपि संमीलितदृशा
महासंहारेऽस्मिन् विहरति सति त्वत्पतिरसौ॥
viriñciḥ pañcatvaṁ vrajati harirāpnoti viratiṁ
vināśaṁ kīnāśo bhajati dhanado yāti nidhanam |
vitandrī māhondrī vitatirapi saṁmīlitadṛśā
mahāsaṁhāre'smin viharati sati tvatpatirasau ||
viriñci – Brahmā; pañcatvaṁ vrajati – ceases to exit; hari āpnoti viratiṁ - Viṣṇu also attains His end; vināśaṁ kīnāśo bhajati – Yama also gets destroyed; dhanado yāti nidhanam – Kubera also meets with his end; vitandrī māhondrī vitatirapi – active Indra with other gods; saṁmīlitadṛśā - become functionless with their eyes closed; mahāsaṁhāre asmin – even in that great dissolution; viharati – enjoying with You; sati tvat patir asau – faithful Consort of Śiva.
“O! Faithful Consort of Śiva! At the time of great dissolution, Brahmā, Viṣṇu, Yama, Kubera, Indra and other gods cease to exist. But Your Consort Śiva alone enjoys with You even during the great dissolution.”
Dissolution is an act of the Lord by which everything is annihilated including Brahmā, Viṣṇu, Indra, Yama, etc are absorbed into Śiva. Brahmā and other gods have no work to do when the universe is dissolved. The act of annihilation can be initiated only by Śiva. There are two nāma-s in Lalitā Sahasranāma that discuss about annihilation - nāma-s 232 and 571.
Śiva dances fiercely at the time of great dissolution (mahākalpa is the time between two annihilations) and none was around except Parāśakti, who merely witnesses this terrible act of Śiva. The great dissolution means the universe ceases to exist and nothing remains except Śiva and Śaktī. The dissolution is called the fourth act of the Brahman, the other three being creation, sustenance and destruction. The difference between destruction and dissolution is noteworthy. Destruction is transmigration of a soul. The soul leaves the body to be born again. Death is only for the physical body. Dissolution or annihilation or the deluge means the death of all the physical bodies as well as all the souls. When dissolution happens, nothing exists. Everything dissolves into Śiva in the presence of Śaktī, who witnesses the great dissolution. When annihilation unfolds, the entire universe gets dissolved into Śiva. This happens exactly in the reverse process of creation. At the time of creation ākāśa was born out of the Brahman, air was born out of ākāśa, etc. At the time of annihilation, air gets dissolved into ākāśa and ākāśa gets dissolved into Śiva. This process is known as involution as opposed to evolution, a process that happens during creation.
This verse does not talk about the chastity of Parāśakti, as any discussion about Her chastity is absolutely meaningless. Her chastity is beyond comprehension even by the best of yogic minds. Further, they are not two separate entities; they are a single entity. The purpose of the verse is that when the great dissolution is initiated by Śiva, She is majestically present by His side witnessing the unfolding dissolution. This further goes to prove that both Śiva and Śakti are inseparable, as one without the other becomes inert as explained in the first verse of Saundaryalaharī.
Śiva is full of pure consciousness, known as Cit Śakti and Śakti is full of Bliss known as Ānanda Śakti. These two śakti-s Cit Śakti and Ānanda Śakti are inseparable. One can attain the state of Śiva only after entering into the state of bliss. This theory is substantiated in Lalitā Sahasranāma 727 śiva-jñāna-pradāyini. When one enters the state of Śiva, that state is known as cidānanda (cit and ānanda). Cidānanda is the state of Paramaśiva (the Supreme Lord), who abides in the experience of consciousness and bliss.
This verse reemphasises their inseparable union. It also implies that without worshipping Her, worshipping Śiva will be futile.
verse 27
जपो जल्पः शिल्पं सकलमपि मुद्राविरचना
गतिः प्रादक्षिण्यक्रमणमशनाद्याहुतिवीधिः।
प्रणामस्संवेशस्सुखमखिलमात्मार्पणदृशा
सपर्यापर्यायस्तव भवतु यन्मे विलसितम्॥
japo jalpaḥ śilpaṁ sakalamapi mudrāviracanā
gatiḥ prādakṣiṇyakramaṇamaśanādyāhutivīdhiḥ |
praṇāmassaṁveśassukhamakhilamātmārpaṇadṛśā
saparyāparyāyastava bhavatu yanme vilasitam ||
japo jalpaḥ - mutterings be japa; śilpaṁ sakalam api – every movement of my hands; mudrā viracanā – locking of hands for mudras; gati – my movements; prādakṣiṇya kramaṇama – circumambulation; aśan ādi āhuti vīdhi – my eating is fire oblations; praṇāma saṁveśa – lying down is prostration; sukham akhilam – all enjoyments; ātma arpaṇa dṛśā – surrendering myself; saparyā paryāya tava bhavatu – be important part of your worship; yat me vilasitam – all my actions.
“Let my speech be your japa, my movement of hands be your mudras*, my locomotion be circumambulation for you, my eating and drinking be fire oblations for you, my lying down be prostrations for you, all my enjoyments be my surrender to You and let these actions of mine become the main part of Your worship.”
This verse talks about samayācāra worship. Śaṁkarācārya says in this verse, “Whatever I speak are your mantra japa-s. The movement of my hands are my mudras for you. Whenever and wherever I walk, they are my circumambulations for you. Whatever I eat and drink are oblations for you. Whenever I lie down, they are my prostrations for you. Whatever I enjoy, such enjoyments are surrendering myself to you. Thus, whatever actions I do, they are meant for you as your worship.”
This type of mental worship is called samayācāra. There are five aspects in samayācāra (dictionary meaning of samayācāra is conventional or established practice) and they are:
1. Considering Śiva and Śakti as a single entity. For example, Śiva is Śiva in His own right and She is also Śivā (Lalitā Sahasranāma 53 is Śiva). If Śiva is Bhairava, then She is Bhairavi. If He is Śaṁkara, then She is Śaṁkari. There are many such instances.
2. Both their forms are the same. In their Kāmeśvara and Kāmeśvari forms, they have the same four weaponries and crescent moon in their crowns. In Ardhanārīśvara form, they both occupy the same body in equal proportion. In reality, both are same (Lalitā Sahasranāma 999)
3. They both live in Meru peak (Lalitā Sahasranāma 775)
4. Both perform the same functions known as pañcakṛtya (Lalitā Sahasranāma 274) and they are sṛṣṭi, sthiti, saṃhāra, tirodhāna and anugraha.
5. Their blessings to the devotees are the same – dharma, artha, kāma and mokṣa, the four puruṣārtha-s (objects of human existence).
Understanding their unity through one’s mind is samayācāra worship where, there is no external worship is involved. The mental worship is explained in Bhāvanopaniṣad through 37 verses.
When one wants to attain Her, his or goal can be achieved only through mental worship. In a true spiritual life, the transition has to happen from external worship to internal worship. The internal worship is done through mind and She can be realized only through the mind. Bliss and ultimate realization can be attained only through a purified mind. This verse explains the true mental state of an advanced aspirant. However, this verse does not speak about the mental state of a yogi. As far as a yogi is concerned, his mind will not even think about these mental worships, as a yogi has already become one with Her. It is sāmarasya (absolute union, as explained in Lalitā Sahasranāma 792) between the yogi and Parāśakti.
The typical mental worship is explained in detail in Lalitā Sahasranāma 98 Samayācāra-tatparā. Worshipping Lalitai in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra. This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī. This nāma means that She likes samayācāra worship. This worship can be done only mentally. Initiation from a Guru is the first step in this worship. This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by guru to the disciple. The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s. Guru will guide his disciple at each level and at each cakra. Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own. Guru also will not perform this ritual unless the disciple pursues the right path of Self realisation. After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual. This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of Dasara celebrations) which occurs once in a year. (After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra. There is a prescribed procedure for this worship.
Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra. She is in Her subtle form viz. mantra form in this cakra. From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra. She has to be mentally worshipped in this cakra. She is in Her subtler form viz. kāmakalā form at this stage. After the worship at this cakra, She is adorned with rich clothes and ornaments. Remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra. At this stage, changes occur in the gross body of the sādhaka. People around him start noticing these changes. In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne that has been discussed in nāma 3. In this cakra She is in Her subtlest form viz. Kuṇḍalinī. Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra. From this cakra onwards, She becomes very powerful. It is to be remembered that this is a mental worship that happens within.
Then she is taken to the heart cakra or anāhata cakra, where She is offered betel leaves (karpūra vītikā - nāma 26). She is then taken to viśuddhi cakra where She is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter). Each such ārati has its own significance. For example pañca ārati means the five elements, ‘pūrṇa kumbha ārati signifies that everything was created out of totality and everything merges in totality. From viśuddhi cakra, she is then taken to ājñā cakra, where is offered ‘karpūra ārati. karpūra ārati means ārati lit with camphor. Ārati with camphor has a lot of significance (Pure camphor is not easily available nowadays. If pure camphor is not available, it is better to use a ghee lamp, which does not cause pollution. The soot coming out of impure camphor affects the purity of the energy level that prevails during rituals.) She is adorned with garlands of sweet smelling flowers and perfumes. She is to be visualized as a bride at this stage. She is then taken to sahasrāra where Śiva is waiting for Her. When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return. Once She returns from sahasrāra, She is taken back to mūlādhāra cakra.
This nāma means that She likes this type of worship. Kuṇḍalinī meditation is highlighted here. Śaktī alone can take one to Śiva, the Supreme Brahman. The Supreme Brahman is Śiva and Śaktī is māyā. There is yet another interpretation possible for this nāma. Kuṇḍalinī represents jīva-ātma or soul. Soul is a dynamic energy where our karma-s are embedded. When the soul merges with Paramātma or the Brahman, this is called Śiva-Śaktī union. The merger of jivātma with Paramātma is discussed in this nāma. Further it is also emphasized that emancipation can take place only if Kuṇḍalinī reaches sahasrāra. Repeated practice of this samāyāchara worship is necessary to stay with Her forever.
*Mudra-s are the configuration of fingers that represent the energy of the deity concerned. They are the secret signs of exchange between the practitioner and the deity and should never be used in public. Mudra-s are highly powerful. It is said that if one meditates on the radiance of the sun and of the moon and chants mantra-s, he is empowered by the triple mystery, then the rays of the universal will shine forth and all obstacles of ignorance will instantly dissolve in the ocean of mind.
Āgama śāstra can be broadly classified under three paths, vāma marga, tantra marga and kaula marga. They advocate three types of sacrifices, rites, worship and knowledge. There is another way of worship known as pañcaṅga, which consists of nyāsa (attribution of mantra-s in different parts of the body with fingers in order to sanctify the body), mudra, japa, pūja and worship of other gods and goddesses (such as Varuṇa for sanctifying the vessels, etc used in the rites). Mudra-s are also used to accomplish the mystical powers of various bīja-s. Mudra-s represent the union of Śiva and Śaktī (left hand is Śaktī and right hand is Śiva) and the potential auspicious energy arising out of their union.
To conclude, this verse says that one can attain Her only if he surrenders to Her. If the surrender is made through a purified mind, the aspirant’s mind will not identify his and his actions as something different from Her. For such an aspirant, She radiates by remaining in his or her body. As far as She is concerned, he or she is not different from Her and he or she also understands this fully.
verse 28
सुधामप्यास्वाद्य प्रतिभयजरामृत्युहरिणीं
विपद्यन्ते विश्वे विधिशतमखाद्या दिविषदः।
करालं यत्क्ष्वेलं कबलितवतः कालकलना
न शंभोस्तन्मूलं तव जननि ताटङ्कमहिमा॥
sudhāmapyāsvādya pratibhayajarāmṛtyuhariṇīṁ
vipadyante viśve vidhiśatamakhādyā diviṣadaḥ |
karālaṁ yatkṣvelaṁ kabalitavataḥ kālakalanā
na śaṁbhostanmūlaṁ tava janani tāṭaṅkamahimā ||
sudhām api āsvādya – even after consuming the nectar (conferring immortality); pratibhaya jarā mṛtyu hariṇīṁ - immunity from dreadful old age and death; vipadyante – perish at the time of annihilation; viśve vidhi śatamakha ādyā – all including Brahmā, Indra and others; diviṣadaḥ - gods and goddesses; karālaṁ yat kṣvelaṁ - that dreadful poison; kabalitavataḥ - after consuming; kālakalanā na – no destruction; śaṁbho - Śiva; tanmūlaṁ - the root cause; tava janani tāṭaṅka mahimā – the power of Your ear studs, O! Divine Mother.
“O! Divine Mother! Even after drinking the nectar that confers immunity from the dreadful old age and ultimate death, Brahmā, Indra and other gods and goddesses perish at the time of annihilation. But Śiva, even after consuming that dreadful poison, does not get destroyed and the root cause for this is the power of Your ear ornaments.”
This verse elucidates the power of Parāśakti. When the cosmic ocean was churned, there appeared a pot full of divine ambrosia which had the potency to stop ageing and give immortality. Everyone wanted to have that ambrosia and due to Viṣṇu’s play all the gods and goddesses had their dosage. Before the appearance of this ambrosia, there appeared dreadful poison that was capable of annihilating the universe. Having known this, Śiva began to consume this dreadful poison. On seeing Śiva drinking this poison, His Cosmic Consort Parāśakti merely kept Her fingers on Śiva’s throat to stop the poison going down into His system and the poison did not go down and stopped at His throat itself. Thus, Śiva’s throat became blue in colour and because of this blue coloured neck, He is also addressed Nīlakaṇṭha. The verse says that Parāśakti could stop the percolation of that dreadful poison by merely holding His throat is because of Her ear ornaments. These kinds of ear ornaments (ear studs) are worn by married women, a sign of auspiciousness. Nothing needs to be said about the power of Her ear ornaments. That is why, Lalitā Sahasranāma 22 says, tāṭaṅka-yugalī-bhūta-tapanoḍupa-maṇḍalā, which means that She is wearing sun and moon as Her ear rings.
Śivānandalaharī (verse 32) conveys the same meaning. This verse wonders “kiṁ te nīlamaṇirvibhūṣaṇa mayaṁ śaṁbho mahātman vada किं ते नीलमणिर्विभूषण मयं शंभो महात्मन् वद”. Śaṁkarācārya asks Śiva, “Is this Your blue sapphire ornament? Answer, O! Brahman.” The same message is conveyed in Kalayāṇavṛṣṭistavaḥ (verse 6), also composed by Śaṁkarācārya.
Śiva and Śakti is not just another couple, not even a divine couple. They are not two, but they are One. They do not even exist in two different bodies, but exist in a single body. They do not even exist in ardhanārīśvara form. In this form, though they exist in a single body, one side is man’s body and another side is a woman’s body. Here also there is discrimination. The reality is that in the body of Śiva, Śakti exists in a subtle manner, very powerful, yet invisible. For Him, She is the soul and for Her, He is the soul. They exist in each other and not in two separate entities. When someone is praying to Her, he also prays to Him and when one prays to Him, he also prays to Her. Worshipping Divine Mother has become popular because Śiva lives in Her as Her Soul. Therefore, indirectly Śiva is worshipped. Only She can reveal Śiva and He can never be approached directly. He is Self-illuminating and His Light will blind human eyes. Even if He appears in person, the whole world would be burnt to ashes.
The conveyance of this verse is that Śiva and Śakti are not different from each other and worshipping any one of them yield the desired results. The best mantra to worship both of them is om hrīṁ namaśivāya ॐ ह्रीं नमशिवाय, which is known as Śaktipañcākṣarī.
verse 29
किरीटं वैरिञ्चं परिहर पुरः कैटभभिदः
कठोरे कोटीरे स्खलसि जहि जम्भारिमकुटम्।
प्रणम्रेष्वेतेषु प्रसभमुपयातस्य भवनं
भवस्याभ्युत्थाने तव परिजनोक्तिर्विजयते॥
kirīṭaṁ vairiñcaṁ parihara puraḥ kaiṭabhabhidaḥ
kaṭhore koṭīre skhalasi jahi jambhārimakuṭam |
praṇamreṣveteṣu prasabhamupayātasya bhavanaṁ
bhavasyābhyutthāne tava parijanoktirvijayate ||
kirīṭaṁ vairiñcaṁ - Brahmā’s crown ; parihara puraḥ - clearing what is in front; kaiṭabhabhidaḥ - Viṣṇu’s; kaṭhore koṭīre – hard and rich crown; skhalasi jahi – beware of falling down; jambhāri makuṭam – Indra’s crown; praṇamreṣu eteṣu – these gods prostrating before You; prasabham upayātasya – unannounced visit; bhavanaṁ - Your abode; bhavasya – Śiva; abhyutthāne – politely getting up to welcome; tava – Your; parijanoktir vijayate – the sound of Your attendants.
“While Brahmā, Viṣṇu, Indra and other gods and goddesses are prostrating before you, Śiva arrived suddenly at Your Abode. In order to welcome Him, You rush towards Him and Your attendants caution You to keep away from the crowns of these gods who are prostrating before You, as You could stumble upon the hard crowns worn by them.”
Śaṁkarācārya could have seen this divine vision, hence this verse. All gods and goddesses right from Brahmā, the god in charge of creation, Viṣṇu, the god in charge of sustenance and Indra, the chief of all gods and goddesses attend to Her Royal Assembly and offer their respects to Her daily, by prostrating before Her. She is seated in Her Royal throne made up of glittering gold with precious gems embedded in it. This Royal assembly takes place in Her Abode (Lalitā Sahasranāma 775 meru nilayā) daily. One day, Her consort Śiva made an unannounced visit to Her Abode. In order to welcome Him, She rises from Her throne and moves towards Śiva in a hurry. As Her eyes are fixed on Śiva, Her attendants caution Her about the thick crowns on the ground while rushing towards Śiva. The crowns are on the ground as gods are prostrating before Her with their head on the ground. First, this establishes Her Supremacy and secondly, this verse reflects Her devotion and respect to Her Consort Śiva. This is the grosser meaning of this verse.
The subtle meaning conveyed in this verse is Her Kuṇḍalinī (Lalitā Sahasranāma 110) form, the subtlest of all Her forms. She has three forms and the commonly known form is Her physical form, which is worshiped. Her subtler form is Her kāmakalā form (Lalitā Sahasranāma 322) which consists of three bindu-s (dots) forming an upper triangle and placed above an inverted triangle, on whose three sides, three kūṭa-s Pañcadaśī mantra are placed. This verse talks about Her secretive worship known as samayācāra (Lalitā Sahasranāma 98).
Worshipping Parāśakti in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra. This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī. This nāma means that She likes samayācāra worship. This worship can be done only mentally. Initiation from a Guru is the first step in this worship. This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by the guru to his disciple. The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s. Guru will guide his disciple at each level and at each cakra. Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own. Guru also will not perform this ritual unless the disciple pursues the right path of Self realisation. After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual. This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of navarātra celebrations) which occurs once in a year. (After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra. There is a prescribed procedure for this worship and this verse says that She is fond of this worship.
Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra. She is in Her subtle form viz. mantra form in this cakra. From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra. She has to be mentally worshipped in this cakra. She is in Her subtler form viz. kāmakalā form at this stage. After the worship at this cakra, She is adorned with rich clothes and ornaments. Remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra. At this stage, changes occur in the gross body of the sādhaka. People around him start noticing these changes. In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne that has been discussed in nāma 3. In this cakra She is in Her subtlest form viz. Kuṇḍalinī. Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra. From this cakra onwards, She becomes very powerful. It is to be remembered that this is a mental worship that happens within.
Then she is taken to the heart cakra or anāhata cakra, where She is offered betel leaves. She is then taken to viśuddhi cakra where She is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter). Each such ārati has its own significance. For example pañca ārati means the five elements, ‘pūrṇa kumbha ārati’ signifies that everything was created out of totality and everything merges in totality. From viśuddhi cakra, she is then taken to ājñā cakra, where She is offered ‘karpūra ārati’. Karpūra ārati means ārati lit with camphor. Ārati with camphor has a lot of significance. She is adorned with garlands of fragrant flowers and perfumes. She is to be visualized as a bride at this stage. She is then taken to sahasrāra where Śiva is waiting for Her. When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return. Once She returns from sahasrāra, She is taken back to mūlādhāra cakra.
The verse says that She rushes towards Śiva at sahasrāra. After their union at sahasrāra, the aspirant is liberated. The subtle meaning conveyed here is that Paramātman (Self) is realized suddenly (Śiva entering the Abode of Parāśakti) if the practitioner makes sincere attempts. Crowns, that are described in this verse as obstructions during Her movement towards Śiva are the gratnthi-s (knots) – Brahmā granthi, Viṣṇu granthi and Rudra granthi (which is described as the crown of Indra). These three are the major granthi-s and other minor granthi-s are also there, during his ascension towards sahasrāra.
verse 30
स्वदेहोद्भूताभिर्घृणिभिरणिमाद्याभिरभितः
निषेव्ये नित्ये त्वामहमिति सदा भावयति यः।
किमाश्चर्यं तस्य त्रिनयनसमृद्धिं तृणयतः
महासंवर्ताग्निर्विरचयति नीराजनविधिम्॥
svadehodbhūtābhirghṛṇibhiraṇimādyābhirabhitaḥ
niṣevye nitye tvāmahamiti sadā bhāvayati yaḥ |
kimāścaryaṁ tasya trinayanasamṛddhiṁ tṛṇayataḥ
mahāsaṁvartāgnirviracayati nīirājanavidhim ||
sva dehodbhūtābhir – originating from Your body; ghṛṇibhi – because of the rays; aṇimādyābhirabhitaḥ - surrounded on all sides by goddesses like aṇimā, etc; niṣevye nitye – Eternal and worthy of worship; tvām aham iti – who adores You within; sadā bhāvayati yaḥ - the one who contemplates You always; kim āścaryaṁ - what a wonder; tasya trinayana samṛddhiṁ tṛṇayataḥ - for him, who does not even care to attain the state of Śiva; mahā saṁvartāgni – the fire that arises at the time of annihilation; viracayati nīirājana vidhim – performing ārati;
“O! Devi! You are eternal and worthy of worship! There is no wonder in Agni performing camphor ārati to the one who perpetually contemplates Your ever radiating form, surrounded by aṇimā and other goddesses, as he does not even care to attain the state of Śiva.”
First, Śaṁkarācārya discusses about the Glory of Parāśakti and later he discusses about the state of Her true devotee. Parāśakti is always radiating, as Śiva is always within Her. Śiva alone is Self-illuminating and hence, He is adored as Prakāśa (illuminating) and Śakti only reflects His light to the world. She is known as Vimarśa (reflecting). Parāśakti is always radiating, as She is always with Śiva and the Light of Śiva gets reflected to the universe through Her. There are two situations about their union. One, She sits on His left lap and the universe gets illumination from Her as She diffuses the Light of Śiva to the universe. Second, She covers Śiva entirely and as He is within, it appears as if She radiates. They never remain separate. Because of Her closeness to the Lord, She becomes worthy of worship. Further, Śiva cannot act independently and He always needs Her to handle the affairs of the universe. Śiva has only a few functions like creating Śakti, handing over all His Powers to Her, merging those souls considered fit for redemption by Śakti and finally causing annihilation known as pralaya or reabsorption. Except these specific acts, all other acts are executed by Parāśakti. She always occupies Supreme position, as without Her presence, the entire universe comes to a standstill.
Next Śaṁkarācārya talks about Her attendants. She has innumerable attendants in Her Abode, Śrīcakra. Śrīcakra has nine enclosures and in each enclosure, there are several attendants (goddesses) servicing Her. The first enclosure is called bhūpura, also known as trailokyamohanacakra. The first enclosure alone has three walls and the first of these walls is guarded by ten goddesses known as siddhi devi-s. The names are these ten devi-s are: Aṇimā, Laghimā, Mahimā, Īśitva, Vaśitva, Prākāmya, Bhukti, Icchā, Prāpti and Sarvakāma. Generally, only eight are considered as aṣtamaśiddhi-.s and they are aṇimā, laghimā, parāptiḥ, prākāmyam, mahimā, īśitvaṁ, vaśitvaṁ and kāmāvasāyitā. Bhukti and icchā are two additional siddhi-s mentioned in Śrīcakra navāvaraṇa pūjā. This could mean two things in this verse. (1) If a practitioner contemplates just the outermost goddesses in Śrīcakra, he is held in high esteem and worshipped by even gods like Agni. This is because he is conferred with aṣtamaśiddhi-s by the goddesses in the outermost covering of Śrīcakra. (2) This devotee does not care about āvaraṇa devi-s, who confer various siddhi-s on him (apart from the miniscule aṣtamaśiddhi-.s) and proceeds straight to Parāśakti. He is not even bothered about liberation or merging into Śiva. His devotion has turned into pure love for Her and in appreciation of his unstinted love, She confers Her blessings on him. Her blessings mean ultimate liberation by making him to merge with Śiva. He never asked for liberation and all through his life, he was only contemplating Her in Her full Glory. Emancipation was conferred on him by Her. Emancipation means liberation from transmigration and this is possible only if one unites with Śiva. She made this possible for him, without him asking for it.
Such an aspirant is worshipped by all gods and goddesses. Śaṁkarācārya says that the most powerful Agni (Kālāgni) that is created for the exclusive purpose of annihilation worships him by showing camphor ārati (done at the end of a ritual). He attains such an impeccable status. Worshipping Her through one’s mind is the easiest way to attain Her. Once She is attained, liberation happens automatically.
verse 31
चतुष्ष्ट्या तन्त्रैः सकलमतिसन्धाय भुवनं
स्थितस्तत्तत्सिद्धिप्रसवपरतन्त्रैः पशुपतिः।
पुनस्त्वन्निर्बन्धादखिलपुरुषार्थैकघटना-
स्वतन्त्रं ते तन्त्रं क्षितितलमवातीतरदिदम्॥
catuṣṣṭyā tantraiḥ sakalamatisandhāya bhuvanaṁ
sthitastattatsiddhiprasavaparatantraiḥ paśupatiḥ |
punastvannirbandhādakhilapuruṣārthaikaghaṭanā-
svatantraṁ te tantraṁ kṣititalamavātītaradidam ||
catuṣṣṭyā tantraiḥ - through sixty four tantra-s; sakalam atisandhāya bhuvanaṁ - betrayed all the worlds; sthitaḥ tat tat siddhi prasava para tantraiḥ - each capable of conferring various psychic powers; paśupatiḥ - Śiva; punaḥ tvan nirbandhāt – subsequently, at Your insistence; akhila puruṣārtha eka ghaṭanā svatantraṁ - capable of conferring all the four human pursuits; te tantraṁ - Your tantra; kṣiti talam – the habitat world (the earth); avātītarat – revealed; idam – this;
“Śiva, by merely revealing sixty four tantra-s that are capable of conferring various psychic powers betrayed the world. But He, due to Your insistence, has subsequently revealed Your tantra, which is capable of conferring all the four human pursuits to the world of humanity.”
Śiva is a Yogic Personality and always remains in meditative mood. He talks only to His Consort, Parāśakti and reveals to Her various methods to attain Him as, in order to attain final liberation, one has to merge with Him. It is only Parāśakti, who reveals Śiva and He cannot be approached directly. The following scene unfolds in Mount Kailaśa (it is only my thought and does not form part of the verse). Śiva is in a relaxed mood and as usual, Parāśakti is sitting close to Him. During this very rare moment, Parāśakti asks a small favour from Him. “O! My Lord! You have revealed sixty four tantra-s to the world that are capable of conferring different superhuman powers. What my devotees are going to do with these siddhi-s? My devotees will never pursue these superhuman powers (it shows Her confidence in Her devotees). They want to attain You and I want to offer them liberation by revealing You to them. Can You kindly do me a favour by revealing a tatnra to my devotees that makes them realize and in turn I will bring them (perfected devotees) up to You for conferring liberation? I will bring before You only the best of my devotees who make themselves fit by practicing the tantra that You may choose to reveal now. I am asking this favour from You for the sake of my devotees. Will You please be kind enough to oblige me, as usual?” Śiva is always pleased with His Consort and agrees to reveal a tantra to attain Her. This is the crux of this verse. It is also equally important to note that liberation can be attained only by worshipping Her. Parāśakti said to Śiva in Mahānirvāṇa Tantra (IV.45), “My Lord! I would like to know the most excellent worship of me leading to unification with You, which You have already described.” Śiva says (IV.9), “Only by worshipping You, individuals can become one with Me.” There is no other evidence required to prove that Śiva can be attained only through the Divine Mother, Parāśakti. Lalitā Sahasranāma 727 is śiva-jñāna-pradāyinī, which means that She alone can impart knowledge of Śiva.
Śiva reveals a Ṣoḍaśī mantra in Mahānirvāṇa Tantra (V.17), which is not known to many. While describing about this mantra Śiva said, “ṣoḍaśīyaṁ samākhyātā sarvatanreṣu gopitā षोडशीयं समाख्याता सर्वतन्रेषु गोपिता” which means “the mantra consisting of sixteen letters will be formed which lies hidden in all the tantra-s and which has been described be me.” This is the mantra revealed by Śiva: hrīṁ śrīṁ krīṁ parameśvari kālike hrīṁ śrīṁ krīṁ svāhā | ह्रीं श्रीं क्रीं परमेश्वरि कालिके ह्रीं श्रीं क्रीं स्वाहा।There are many such mantras, though available even today, are nor known and pursued properly. It is also said that by reciting only the first three letters - hrīṁ śrīṁ krīṁ one gets material wealth (Mahānirvāṇa Tantra V.14). The above mantra is capable of giving only the three of the four puruṣārtha-s, where mokṣa is omitted. Śiva is a very clever personality, as after all He is the Supreme Creator. Parāśakti knows that the above mantra or any other mantras revealed by Śiva so far, are not capable of conferring liberation. The one bīja that is capable of conferring mokṣa is parābījā (sauḥ सौः). If we look at any of Śrī Vidyā mantras such as Bālā, Saubhāgya Pañcadaśī and Ṣoḍaśī, they will have parābījā. (sauḥ is made up of three bīja-s and they are “s”, which stands for sat Universal Spirit, “au” which stands for three powers of the Supreme Spirit viz. iccā śakti, jñāna śakti, and kriyā śakti and “ḥ” stands for the Pure Consciousness of Śiva).
Śiva has already revealed sixty four tantra-s (catuṣṣṭyā tantraiḥ) to the world, by way His teachings to Parāśakti. Though the names of all these tantra-s are available, the names of tantra-s vary. It is also believed that total number of original tantra-s were more than sixty four, but only sixty four are available today and the rest were lost with time. These tantra-s, if practiced as revealed in the original Scriptures, are bound to give results much faster. Unfortunately, today there is no proper guidance to teach as per original tantric Scriptures and hence no one derives siddhi-s in the present world.
Worshipping Devi is known as Tantra and the Supreme form of Her worship is Śrī Vidyā, which means auspicious knowledge. It is called auspicious because, all the mantras of Śrī Vidyā confer liberation, provided the procedures are meticulously followed. The basis of Śrī Vidyā is Pañcadaśī Mantra, which is explained in THIS ARTICLE. But Parāśakti pleads with Śiva to reveal a tantra that is capable of conferring all the four puruṣārtha-s – dharma (discharging duty as per precepts of dharma); artha (acquiring material wealth in a proper way); kāma (gratifying desires in the manner prescribed in the above two); and mokṣa (final liberation, emancipation). Hence Śrī Vidyā comes under tantra-s. There are other interpretations about what Śiva has actually revealed to Parāśakti. There are arguments saying that what Śiva had revealed is not Śrī Vidyā tantra but Vāmakeśvara tantra, which also deals with Her worship. The difference between Śrī Vidyā and Vāmakeśvara is where the former takes the worshipper directly to Parāśakti and in the latter, one has to go through mātṛkā devīs and tithi nityā devīs. Therefore, it is always considered that Śrī Vidyā is the best form of worship to attain Her. Worshipping Goddesses is known as Tantra.
Śiva Himself worshipped Her through His own Pañcadaśī Mantra:
ह स क ल ह्रीं। ह स क ह ल ह्रीं। स क ल ह्रीं। ह स क ल ह स क ह ल स क ल ह्रीं ।
ha sa ka la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ | ha sa ka la ha sa ka ha la sa ka la hrīṁ
There is another variation:
क ए ई ल ह्रिं। ह स क ल ह्रीं। स ह स क ल ह्रीं। क ए ई ल ह स क ह ल स क स क ल ह्रीं ।
ka e ī la hriṁ | ha sa ka la hrīṁ | sa ha sa ka la hrīṁ | ka e ī la ha sa ka ha la sa ka sa ka la hrīṁ |
Probably, the purpose of Śiva’s “worship” could have been different, for example, energising Her, transferring His Absolute and Independent Power of Authority (Svātantrya Śakti) to Her, etc. Question is asked by Parāśakti in this verse and the answer is by given in the next verse (32). When Śiva reveals to Her, Śrī Vidyā Tantra, it overrides all the other sixty four tantra-s as Śrī Vidyā gives emancipation, which other tantra-s do not give that easily. Hence it is often said that Śrī Vidyā is “kevalam mokṣa sādanam” (it is the only way to liberation). However, this verse clearly says that the tantra that is going to be revealed in the next verse confers all the four puruṣārtha-s (caturvidha puruṣārtha siddhyartham).
verse 32
शिवशक्तिः कामः क्षितिरथ रविश्शीतकिरणः
स्मरो हंसश्शक्रस्तदनु च परामारहरयः।
अमी हृल्लेखाभिस्तिसृभिरवसानेषु घटिताः
भजन्ते वर्णास्ते तव जननि नामावयवताम्॥
śivaśaktiḥ kāmaḥ kṣitiratha raviśśītakiraṇaḥ
smaro haṁsaśśakrastadanu ca parāmāraharayaḥ |
amī hṛllekhābhistisṛbhiravasāneṣu ghaṭitāḥ
bhajante varṇāste tava janani nāmāvayavatām ||
śivaḥ - Śiva; śaktiḥ - Śakti; kāmaḥ - Manmatha (Cupid); kṣitiḥ - the Earth; atha – then; raviḥ – Sun; śītakiraṇaḥ - cool rays of Moon; smara - Manmatha (Cupid); haṁsaḥ - swan; śakra – Indra; tad anu ca – once again; parā – Brahmā; māra - Manmatha (Cupid); harayaḥ - Viṣṇu; amī – these (syllables); hṛllekhābhiḥ tisṛbhiḥ - with three hrīṁ-s (ह्रीं); avasāneṣu – at the end; ghaṭitā- connected with; bhajante – worshipping; varṇaḥ te – these syllables of Yours; tava – Yours; janani – Mother; nāma avayavatām – being part of Your names;
Explanatory Notes: This verse reveals very secretively, the fifteen akṣara-s of Her Supreme Pañcadasākṣarī mantra. The akṣara-s are not revealed directly but in the most secretive manner, without divulging the mantra openly. This is done with the purpose that this mantra should reach only those who are fit enough to attain liberation.
This is the Pañcadasākṣarī mantra that is derived from the above verse, which consists of fifteen akṣara-s.
1. How these akṣara-s are derived from this verse: क ka from Śiva; ए e from Śakti; ई ī from Manmatha (Cupid); ल la from the Earth; ह ha from the Sun; स sa from the Moon; क ka from Manmatha (Cupid); ह ha from swan; ल la from Indra; स sa from Brahmā; क ka from Manmatha (Cupid); ल la from Viṣṇu; and with three hrīṁ-s (ह्रीं )at the end of each kūṭa-s (1 to 5 is the first kūṭa or group; 6 to 11 is the second group and 12 to 15 is the third group). 2. Meaning of this verse: “O! Divine Mother! ka, e, ī, la, ha, sa, ka, ha, la, sa, ka, la (क, ए, ई, ल, ह, स, क, ह, ल, स, क, ल) and connected with three hrīṁ-s (ह्रीं) at the end (of each group) these syllables of Yours form part of your Name (this mantra is not different from You).” Tripuropaniṣad reveals this Pañcadasākṣarī mantra in a different way thus: कामो योनि: कमला वज्रपाणिर्गुहाहसा मतरिश्वाभ्रामिन्द्रः। पुनर्गुहासकल मायया च पुरुच्येषा विश्वमातादिविद्या॥ kāmo yoni: kamalā vajrapāṇirguhāhasā matariśvābhrāmindraḥ| punarguhāsakala māyayā ca purucyeṣā viśvamātādividyā|| 3. The Pañcadaśī can be derived from the above verse like this: Kāmaḥ – क ka; yoniḥ - ए e; kamalā – ई ī; vajrapāṇiḥ - ल la; guhā - ह्रीं hrīṁ; hasā - ha and sa ह and स; matariśva - क ka; abhrām – ह ha; indraḥ - ल la; punarguhā – again ह्रीं hrīṁ; sakala -sa ka and la स क and ल; māyayā ca – and hrīṁ ह्रीं. This is known as Śrī Vidyā, which is not revealed directly. Sage Durvāsa in his master piece Śrī Śakti mahimnaḥ (verse 17) also reveals this mantra subtly, but in a different way. He uses the following words to reveal Pañcadaśī mantra. Brahmā - क ka; yoniḥ - ए e: ramā (Ramā or Kamalā also means Lakṣmī - ई ī; sureśvaraḥ - ल la; hṛllekhābhiḥ - hrīṁ ह्रीं; mārtānḍa - ह ha; indu – sa स; manoja - ka क; haṁsaḥ - ह ha; vasudhā - ल la; māyābhiḥ - hrīṁ ह्रीं; Moon - sa स; ambu - क ka; kṣiti - ल la; śaktibhiḥ - hrīṁ ह्रीं. 4. Important aspects of these verses: Each akṣara (syllable) of Pañcadaśī mantra represents a god or goddess. The gods that are mentioned in the above three verses are Śiva, Śakti, Viṣṇu, Lakṣmī, Brahmā, Indra, Manmatha, Sun, Moon and Mother Earth, who cover the entire ambit of God’s kingdom. This is the reason for saying that when Pañcadaśī mantra or Ṣoḍaśī is practiced, other mantras need not be recited. If other mantras are practiced, they will not fructify and it is equivalent to disregarding Parāśakti as well as Śiva. However, one should be guided by his or her or Guru. 5. Interpretation of the present verse of Saundaryalaharī: Please read this link for detailed explanation of Pañcadaśī Mantra. Please read this link for Pañcadaśī Mantra Japa. Apart from what is explained in those links, additional details are given here. It can be seen in those links that each group or khaṇḍa or kūṭa has different syllables. There are three khaṇḍa-s agni, sūrya and soma. The first group is placed between agni and sūrya khaṇḍa-s. The second group is placed between sūrya and soma khaṇḍa-s and the third group is placed above soma khaṇḍa but below candrakalā khaṇḍa (which is related to Ṣoḍaśī mantra bīja śrīṁ श्रीं). Thus, Pañcadaśī Mantra explains Her subtlest form, Kuṇḍalinī. The verse says that there is no difference between this mantra and Her gross forms and that this mantra covers and supersedes all other names and forms of Parāśakti. Mantramātṛkā puṣpamālā stavaḥ is also based on Pañcadaśī Mantra. This is based on the fact that She is the Vimarśa (reflecting the illumination of Śiva) and also holds a Power of Attorney from Him to act on His behalf. Through this Power of Attorney, Śiva, who alone is Prakāśa, Self-illuminating, has transferred His Independent and Absolute Power of Authority, known as His Svātantrya Śakti. Thus, by worshipping Her, other gods and goddesses need not worshipped, if one’s sole aim is to attain only liberation. All the syllables and mantras originate from Her. She is adored as mātṛkā-varna-rupīnī in Lalitā Sahasranāma 577. Mātṛkā covers all the letters of Sanskrit and all mantras are derived from various permutation and combination of these letters. Therefore, She encompasses all the mantras. As She encompasses all the mantras, sound is also produced from Her and this is explained in the following nāma-s of Lalitā Sahasranāma 366, 368, 370 and 371 – parā, paśyantī, madhyamā and vaihari-rūpā. 6. Further reading: One recitation of Pañcadaśī Mantra is equivalent to three recitations of Pūrṇa Gāyatrī mantra. Pūrṇa Gāyatrī mantra, which has four pāda-s as against three pāda-s of regular Gāyatrī mantra goes like this: तत् सवितुर्वरेण्यं भर्गो देवस्य धीमहि धियो यो नः प्रचोदयात् परो रजसे सावदोम् tat saviturvareṇyaṁ bhargo devasya dhīmahi dhiyo yo naḥ pracodayāt paro rajase sāvadom If Parāśakti is worshipped, there is no need to worship any other gods. Each god or goddess has his or her mantras and all these mantras originate from various Sanskrit alphabets. As Parāśakti presides over all the alphabets and syllables and naturally She also presides over all mantras. When She is worshipped, it tantamount to worshipping all gods and goddesses. Only those who want material prosperity need to worship other gods and goddesses. When one wants to attain liberation, one has to recite Pañcadaśī Mantra, duly initiated by a Guru and proceed up the spiritual path to become one with Śiva, which She Herself will do it. The three kūṭa-s of Pañcadaśī Mantra are to be meditated upon the entire body of Parāśakti. In fact, the three kūṭa-s of Pañcadaśī Mantra originate from Her Divine Yoni and each kūṭa forming one side of the triangle. This is explained in detailed in Saundaryalaharī verse 19 and in Lalitā Sahasranāma 322. Apart from this, all triads originate from Her like creation, sustenance and destruction; icchā, jñāna and kriyā śakti-s; active, dream and deep sleep states of consciousness; three guṇa-s – sattva, rajas and tamas, etc. In Śrī Vidyā Navāvaraṇa Pūjā, all the fifteen lunar days known as tithi-s are worshipped in the form of thiti nityā devi-s. Parāśakti is worshipped as the sixteenth thiti nityā devi during full moon and new moon days. She is in the form Pañcadaśī Mantra during full moon day (pūrṇimā) and in the form of ṣoḍaśī mantra on the new moon day (āmāvāsya). If She is worshipped, evils effects of planets and tithi-s will be totally eradicated. For a true worshipper of Parāśakti, every second is auspicious, as She resides within Him in Her most auspicious form. But the worshipper has to realize Her within verse 33 समरं योनिं लक्ष्मीं त्रितयमिदमादौ तव मनोः निधायैके नित्ये निरवधिमहाभोगरसिकाः। भजन्ति त्वां चिन्तामणिगुणनिबद्धाक्षवलयाः शिवाग्नौ जुह्वन्तः सुरभिघृतधाराहुतिशतैः॥ samaraṁ yoniṁ lakṣmīṁ tritayamidamādau tava manoḥ nidhāyaike nitye niravadhimahābhogarasikāḥ | bhajanti tvāṁ cintāmaṇiguṇanibaddhākṣavalayāḥ śivāgnau juhvantaḥ surabhighṛtadhārāhutiśataiḥ || samaraṁ - kāma bīja; yoniṁ - Bhuvaneśvarī bīja; lakṣmīṁ - Lakṣmī bīja; tritayam idam – these three syllables; ādau - before; tava manoḥ - Your mantra (the Pañcadasākṣarī mantra discussed in the previous verse); nidhāya – placed; ike nitye – the Eternal One; niravadhi mahā bhoga rasikāḥ - seekers of endless material pleasures; bhajanti tvāṁ - worshipping You; cintāmaṇi guṇa nibaddha akṣavalayāḥ - rosary made of gems having the quality of cintāmaṇi; śivāgnau – the fire of Śiva; juhvantaḥ - perpetually worshipping; surabhi ghṛta dhāra ahuti śataiḥ - offering continuous oblations with cow’s ghee. “O! Eternal Parāśakti! Those who want endless material pleasures have to place kāma bīja klīṁ क्लीं; Bhuvaneśvarī bīja hrīṁ ह्रीं; and Lakṣmī bīja śrīṁ श्रीं before Your mantra and worship You with rosary having the qualities of cintāmaṇi and by offering countless oblations with ghee made from cow’s milk into the fire of Śiva.” This verse says that bīja-s klīṁ क्लीं, hrīṁ ह्रीं and śrīṁ श्रीं be prefixed to Her Pañcadasākṣarī mantra discussed in the previous verse. After prefixing, the mantra appears like this: Version 1: क्लीं - क ए ई ल ह्रीं klīṁ - ka e ī la hrīṁ ह्रीं - ह स क ह ल ह्रीं hrīṁ - ha sa ka ha la hrīṁ श्रीं - स क ल ह्रीं śrīṁ - sa ka la hrīṁ This mantra is known as Saubhāgya Pañcadasākṣarī mantra. But this mantra is different from the regular Saubhāgya Pañcadasākṣarī. In regular Saubhāgya Pañcadasākṣarī, aiṁ, klīṁ, sauḥ (ऐं क्लीं सौः), the bīja-s of Bālā mantra are prefixed to each kūṭa respectively. Then the mantra becomes likes this: Version 2: ऐं - क ए ई ल ह्रीं aiṁ - ka e ī la hrīṁ क्लीं - ह स क ह ल ह्रीं klīṁ - ha sa ka ha la hrīṁ सौः - स क ल ह्रीं sauḥ - sa ka la hrīṁ This verse consists of four parts. 1. The formation of the mantra; 2. Benefits of reciting this mantra; 3. How this mantra is to be recited; and 4. How to get mantra siddhi of this mantra. 1. Formation of this mantra: By prefixing the three syllables derived from the above verse gives rise to Saubhāgya Pañcadaśī. Saubhāgya means good fortune, good luck, etc. How does this mantra differ from the regular Saubhāgya Pañcadaśī is the key question. The difference between the two versions lie in the fact that in version 1, Pañcadaśī is prefixed by Triśakti mantra (also known as tripuṭa mantra), as explained in this verse. In version 2, Pañcadaśī is prefixed by Bālā mantra (aiṁ, klīṁ, sauḥ). Triśakti can be interpreted in two ways. Triśakti means three powers and these are icchā śakti, jñāna śakti and kiryā śakti (powers of will, knowledge and action), three of the five Powers of Divine. The other two are Consciousness and Bliss. The essential nature of Śiva is expressed through these three śakti-s or powers and are represented by these three bīja-s respectively klīṁ क्लीं, hrīṁ ह्रीं and śrīṁ श्रीं. (Actual Triśakti mantra is śrīṁ श्रीं; hrīṁ ह्रीं and klīṁ क्लीं. The actual Triśakti mantra is prefixed to Pañcadaśī in a reverse order. Triśakti could also mean three Devi-s, Kālī, Bhuvaneśvarī and Lakṣmī, who are worshipped in Dasa mahāvidyā). 2. Benefits of reciting this mantra: Pañcadaśī mantra is capable of offering liberation. But the Saubhāgya Pañcadaśī mantra as derived from this verse is capable of offering all the material pleasures. When the verse says, niravadhi mahā bhoga rasikāḥ - seekers of endless material pleasures, it means that this mantra japa is capable of giving material wealth. The word mahābhoga used in this verse is important to notice. Mahābhoga (Lalitā Sahasranāma 219) does not mean liberation; it means great material enjoyment such as wealth, comforts, family, helping the needy, etc. Whereas, if one is initiated into the second version of Saubhāgya Pañcadaśī, he or she is sure to attain liberation, in the sense, the process of liberation is set in motion, when the mantra is initiated. Liberation may happen in this birth or in future births; but liberation is assured in one or two births. Liberation is assured because Parābīja sauḥ (सौः) in is capable of offering liberation. Parābīja is also known as hṛdayabīja and Bālā mantra has parābīja sauḥ (aiṁ - klīṁ - sauḥ ऐं – क्लीं - सौः). 3. How this mantra is to be recited: The verse specifies certain rules to recite the Saubhāgya Pañcadaśī (version 1, as explained in this verse). One should use his or her rosary to count the mantras. The rosary beads should have the qualities of (cintāmaṇi guṇa) cintāmaṇi (this gem is also known as philosopher’s stone) which is not a stone by itself. Mantramātṛkāpuṣpamālāstavaḥ (verse 1) makes a reference to a gemstone by name cintāratna, which also fulfils all the desires of the one who properly uses them. It is a stone or a gem processed with alchemy (rasavāda) which is capable of fulfilling all the desires of the one who possesses it. According to this verse, one should recite and count the number of recitations using this rosary. 4. How to attain siddhi of this mantra: After having recited certain a number of times, one has to perform puraścaraṇa, to complete the process of initiation. There are two views on performing puraścaraṇa-s. Some are of the view that rituals involving puraścaraṇa should be performed after prescribed number of recitations of a mantra. Few are of the view that at the time of initiation itself, puraścaraṇa is to be performed. However, one has to be guided by his or her Guru. After completing the prescribed number of recitations, one has to make several oblations of this mantra into the pure fire invoked in the name of Śiva. At the end of puraścaraṇa ritual, one is supposed to get all his desires fulfilled. Generally, when a fire ritual is done, the presiding deity is invoked in the middle of the fire. In the case of Parāśakti, She will be invoked in the middle of the fire. But, this verse says that Śiva is to be invoked in the fire, which clearly explains their inseparableness. Notes: Cintāmaṇi can also be interpreted as the supreme knowledge and rosary of cintāmaṇi could then refer to a rosary with fifty one beads, duly consecrated. Rosary should be consecrated before first use. Śivāgni could also mean the fire of the Soul within, into which oblations are done mentally. Mahābhoga could also be taken to mean final liberation. This mantra could refer to Kādividyā as against Hātividyā explained in the previous verse. These two divisions are so called, depending upon Guru’s lineage. Some are of the few that this classification is based on the usage of ka or ha as the first letter of the Pañcadaśī mantra. This is explained in Lalitā Sahasranāma 239. verse 34 शरीरं त्वं शम्भोः शशिमिहिरवक्षोरुहयुगं तवात्मानं मन्ये भगवति नवात्मानमनघम्। अतश्शेषश्शेषीत्ययमुभयसाधारणतया स्थितस्संबन्धो वां समरसपरानन्दपरयोः॥ śarīraṁ tvaṁ śambhoḥ śaśimihiravakṣoruhayugaṁ tavātmānaṁ manye bhagavati navātmānamanagham | ataśśeṣaśśeṣītyayamubhayasādhāraṇatayā sthitassaṁbandho vāṁ samarasaparānandaparayoḥ || śarīraṁ - body; tvaṁ - Your; śambhoḥ - Śiva’s; śaśi – moon; mihira - moon; vakṣoruha – bosoms; yugaṁ - a pair; tavātmānaṁ - Your body; manye – appear; bhagavati – Parāśakti; nava ātmānam anagham – nine sinless characteristics; ata – therefore; śeṣaḥ ṣeṣi iti– this primary and secondary; ayam – this; ubhaya sādhāraṇatayā – common to both; sthita – existing; sambandha –relationship; vāṁ - between both of You; samarasa parānanda parayoḥ - Blissful state of overwhelmed interdependency. “O! Parāśakti! Your appear as the body of Śiva, with Your twin bosoms of sun and moon. Therefore, I consider You as the sinless (meaning Pure) Śiva. The nine primary and secondary characteristics are common to both of You and both of You remain in the state of overwhelmed interdependency resulting in Blissful state.” This verse authentically says that there is no difference between Śiva and Śakti. They are not two different entities or energies, as usually contemplated, but they are one. Śaṁkarācārya, while contemplating on Śiva gets the vision of Parāśakti. If Śiva is pure Light, She reflects His Light. If He is Prakāśa, then She is Vimarśa. Śiva alone has got Absolute Power of Authority, which is also known as His Absolute Freedom of Will or Svātantrya Śakti. Śiva has transferred His Power of Autonomy to Parāśakti and it is only Parāśakti, who causes the manifestation of various shapes and forms. Śiva is Pure Consciousness and He likes to remain as Pure Consciousness all the time. But at the same time, He had the desire to create the universe. In order to do this, He has created Parāśakti and transferred all His Powers to Her. Since there is no difference from between a person and his powers, obviously there can be no difference between Śiva and Śakti. They are one and remain inseparably united. Based on this fact, though Śaṁkarācārya contemplated Śiva, he had the divine vision of Parāśakti. Śaṁkarācārya gives evidence for this strange phenomenon. He saw sun and moon as Her bosoms. This vision does not fit Śiva and fits only Parāśakti. He describes Śiva as sinless, because Śiva is Pure Consciousness, known as Cit, the Absolute foundational consciousness that never changes. There are nine primary and secondary characteristics that are common to both Śiva and Śakti. Vijñānabhairava explains the nine essential nature of Supreme and they are Śiva, Sadaśiva, Īśvara, Vidyā Māyā, Kalā, Niyati, Puruṣa and Prakṛti. But contextually these nine are not spoken of here. Śiva is also known as Navavyūhā, as His body is made up of the following nine attributes and they are kāla, kula, nāma, jñāna, citta, nād,a bindu, kalā and jīva (काल, कुल, नाम, ज्ञान, चित्त, नाद, बिन्दु, कला and जीव). These nine discuss about, time, nine angles of Śrī Cakra, His different names, knowledge, His manifestation in a human mind, origin and manifestation of sound, a point at sahasrāra where He resides in a human body, fifty one alphabets of Sanskrit known as mātṛkā –s and all the beings known as jīvātman-s. These nine may be considered as the primary characteristics. There are nine attributes to Her as well and these nine are represented by the nine triangles of Śrī Cakra. Her nine attributes are known as Vāma, Jyeṣṭha, Raudrī, Ambikā (the four upward triangles in Śrī Cakra known as Śiva Cakra-s), Icchā, Jñāna, Kriyā Śānta and Parā (the four downward triangles known as Śakti Cakra-s). If He has nine attributes, She too has nine attributes. These attributes are not independent, but dependent or interdependent. There are many verses in Saundaryalaharī that talk about their unity. Their interdependence is the cause for Bliss or they remain together in the state of Bliss. The two most important aspects of Brahman, Cit (Consciousness, the power of Self-revelation) and Ānanda (Bliss) are represented by Śiva and Śakti and they together is known as Cidānanda or Consciousness and Bliss. Cidānanda is possible only if they stay united. There are two nāma-s in Lalitā Sahasranāma 792 and 999 which talk about their union and their interpretations are given below Nāma 792 sāmarasya- parāyaṇā सामरस्य-परायणा Parāyaṇa means devoted to or engaged with chief authority. She is devoted to the principle of equality. With whom She is equal? Of course, with Śiva. Without each other, they cannot function. They have attained each other after performing rigorous penance. Śiva is Self-illuminating Brahman and Śaktī is His svabhāva. Svabhāva means nature, innate or inherent disposition. The nature of Śiva is reflected through Śaktī. Śiva can realise His Self only in Śaktī, who acts a mirror to Him. Śaktī is the power of doership of Śiva. It is said that the ultimate reality were to be merely Śiva, He would become inert. Brahman cannot become inert. Though Śiva continues to be inert, Śaktī, the power holder of Śiva acts as the energetic force in creation, sustenance and dissolution of the universe. Therefore Śiva without Śaktī or Śaktī without Śiva becomes torpid. They are known as the parent of the universe. This nāma says that She is equal to Śiva. If Cit is Śiva, ānanda (bliss) is Śaktī. Cit- ānandā is Śivaśaktī. Nāma 999 Śiva-śakty-aikya-rūpiṇī शिव-शक्त्यैक्य-रूपिणी (in brief): Śaktī is primordial and latent energy of Śiva that alone manifests as the universe, its sustentation and disintegration and recreation. The consciousness referred by Māṇḍūkya Upaniṣad is nothing but the domain of Śaktī. That is why it is said that Śaktī is the primordial and latent energy of Śiva. She exists along with Śiva and cannot be separated. If Brahman and consciousness are discriminately differentiated out of nescience, the question of creation and existence does not arise. In reality, such differential existence does not prevail. But for easier understanding of the complex issue of creation, Śiva and Śaktī have been perceived as two different aspects of the same entity. One cannot segregate the heat produced by the fire from the fire itself. The heat of the fire is primordially present in the fire. Neither fire, not heat can be of any use unless they subsist together. This is a typical example showcasing Śiva and Śaktī, the one without the other remain only an inert. Śiva is Self-illuminating. Without His existence, the universe will be plunged into darkness. Śiva is present in prakāśa (illuminating) form. Prakāśa can be explained as visible, shining, universally noted, brightness, lustre, splendour, etc. Prakāśa also refers to Śiva and the Brahman. Śaktī is His vimarśa form. Vimarśa can be explained as reasoning, knowledge, consideration, reflecting etc. In spite of Śiva being the grandeur amongst the cognized existences, He cannot realise His own incomparable splendour without something that is able to reflect His grandeur. This is like a human not able to see his own self without an object that is capable of reflecting his image. Śaktī acts like a reflecting mirror where Śiva is able to realise His Reality, like a mirror reflecting the image of a person who stands before it. Pure consciousness is Śiva and realising the pure consciousness is Śaktī. If Śiva is not present, the consciousness itself does not exist. If Śaktī is not present, the presence of consciousness cannot be realised. In the state of prakāśa ‘I’ and ‘This’ stand united and in the vimarśa aspect ‘This’ is separated from ‘I’. Therefore prakāśa aspect is ‘I + This’ and vimarśa aspect is ‘This’ alone. ‘I’ is the origin of the universe and ‘This’ is the expansion of the universe. Śiva is cit and Śaktī is citi. Cit means foundational consciousness and citi means the consciousness that brings about cognitive operations. Śaktī segregates I and This. Without Śaktī this vital segregation cannot take place. Śiva causes the initial pulsation for creation that is carried forward by Śaktī. Śaktī pushes forward the throb created by Śiva through different principles or tattva-s (thirty six) and sustains it through Her māyā or illusion. Māyā is the sole factor that separates a soul from the Brahman. She is the manifested conglutination of Śiva and Śaktī and therefore She is both the seed and the sprout. This also drives home the point that for creation, two objects are required. For example, a soul alone cannot be born on its own. It has to come into contact with prakṛti or Nature in order to manifest. Procreation is not possible without conjoining of masculine and feminine energies. Moving on from the perceptible to subtle, a lot more is said about Their subtle conjugation. They are referred as two bindu-s (dots), white and red, denoting Śiva and Śaktī respectively. These two bindu-s, in mutual conjunction expand and contract. When they expand, the creation takes place by means of vāc (word) and artha (lit. meaning). Vāc means the Śabda Brahman and artha means thirty six tattva-s or principles. These two bindu-s which enter one another are known as Kāma-Kāmeśvarī. Śiva, the Supreme is in the form of the first alphabet of Sanskrit A (अ), is the cause of all sounds of Veda-s. He attains the form of a bindu after having entered His own vimarśa form, Śaktī, in whom the entire universe is dissolved. Like prakāśa form of bindu entering the vimarśa form of bindu, vimarśa form of bindu also enters prakāśa form of bindu, which is already within it. As a result of this conjugation, a third bindu called as miśra bindu is born. Miśra means combined. Now there are three bindu-s, white, red and miśra. These three bindu-s form a triangle, red and miśra are below and the white bindu is placed above them causing a perfect triangle. The miśra bindu has all the tattva-s or principles within itself and is the cause for further creation. This is the innermost triangle of Śrī Cakra. When these three dots are connected, the three connecting lines represent all the triads such as three guṇa-s, three stages of consciousness, icchā, jñāna and kriyā śaktīs, etc. This triangle becomes the cause for creation beginning with Brahma, Viṣṇu, and Rudra. These three dots are also referred as sun (top), moon (right) and fire (left). There is an inverted triangle below the three dots. The three connecting lines of this lower triangle represent three kūṭa-s of Pañcadaśī mantra (nāmā 89). The upper most bindu (of the upper triangle) is the face of Śaktī (the third eye, denoting dissolution, the two lower dots represent Her bosoms (representing nourishment or sustenance) and the inverted triangle below mean Her procreative organ (representing creation). This is known as kāmakalā and is considered as the most secretive principle of Śiva-Śaktī union. verse 35 मनस्त्वं व्योम त्वं मरुदसि मरुत्सारथिरसि त्वमापस्त्वं भूमिस्त्वयि परिणतायां न हि परम्। त्वमेव स्वात्मानं परिणमयितुं विश्ववपुषा चिदानन्दाकारं शिवयुवति भावेन विभृषे॥ manastvaṁ vyoma tvaṁ marudasi marutsārathirasi tvamāpastvaṁ bhūmistvayi pariṇatāyāṁ na hi param | tvameva svātmānaṁ pariṇamayituṁ viśvavapuṣā cidānandākāraṁ śivayuvati bhāvena vibhṛṣe || manas tvaṁ - You are the mind; vyoma tvaṁ - You are the space; marut asi – You are the air; marut sārathiḥ asi – You are the fire; tvam āpaḥ - You are the water; tvaṁ bhūmiḥ - You are the Earth; tvayi pariṇatāyāṁ na hi param – thus there is nothing beyond Your manifestation; tvam eva svātmānaṁ - only Your own self; pariṇamayituṁ - manifesting Yourself; viśva vapuṣā – as the universe; cidānanda ākāraṁ - appearance of Consciousness and Bliss; śiva yuvati bhāvena –the role as Śiva’s Consort; vibhṛṣe – assume. You are the mind, space, air, fire, water, earth and there is nothing beyond these, as You have manifested in the form of the universe. You have assumed the role of Śiva’s Consort and manifest as Consciousness and Bliss. This verse speaks about five principle elements (pañcabhūta) ākāśa, air, fire, water and earth. Apart from these five principle elements, the verse also makes a reference to mind. In fact, mind comes first; then only five elements are mentioned. Parāśakti manifests as the universe in successive stages, like a seed sprouting into a huge tree in stages. The tree does not appear suddenly, but grows gradually. This is called evolution (Darwin’s theory). It is called evolution in microcosm and creation in macrocosm. This does not mean that She also undergoes evolution. As part of Brahman, She never undergoes any changes. Everything else around Her undergoes constant changes, but She never changes. Mind, in association with the modifications of pañcabhūta-s, such as organs of perception and action, get attached to the material world, full of māyā. As a result, one is not able to realize Her entire Glory that is full of Consciousness and Bliss. The verse uses the word cidānanda, which is the combination of Cit and Ānanda. Cit is Śiva and Ānanda is Śakti. Therefore, cidānanda refers to the oneness of Śiva and Śakti; they are not two separate entities but One. Śakti is the Power of Śiva and they are interdependent. Expansion is a part of creation and contraction (not with reference to annihilation) is a part of realization. Contraction is the reverse process of creation. In the process of creation, expansion happens through mind and five subtle elements and during contraction, gross elements become subtle and subtle elements rest in the mind and the mind rests in Her Glory. When the mind perpetually rests in Her Glory, the state of mind is known as cidānanda. Turya is the fourth stage of consciousness and turya itself has seven states which are described as the seven stages of ānanda and cidānanda is the penultimate stage. Ānanda is directly related to awareness of the mind and awareness without any distractions is Pure Consciousness, also known as Śiva. But for ānanda, Cit cannot be attained. In other words, without the Grace of Śakti, Śiva cannot be attained. Śiva is nirguṇa Brahman and is the cause of everything including Śakti. He is Pure Consciousness and is devoid of any qualities, as indicated by nirguṇa. In order to create the universe, guṇa-s are necessary. Śiva thought for a while and created Śakti and transferred His unique Power of Autonomy to Her and ensured that She creates the universe. Since She is indispensable part of Śiva, She is also called as Brahman. Since She creates the universe, She has guṇa-s (Lalitā Sahasranāma 763 and 984). Therefore She is called saguṇa Brahman. When both Śiva and Śakti remain together, it is the state of Cidānanda (Cit + ānanda); generally this state is known as the state of Śiva. When it comes to creation, it is only Śakti, who begins to manifest by creating five basic elements and their modifications and at the end She creates human beings with mind, intellect and ego. For realization, one has to learn to reverse this process and this process is meditation. Hence it is said that mere practice alone is not enough to attain liberation, but knowledge is also required. Without knowing the route, destination cannot be reached. Knowing is knowledge and the destination is Śiva. Only Śakti, who has the complete authority from Śiva alone can create the universe. In other words, creation begins from the state of Cidānanda (Śiva and Śakti), the subtlest of all the tattva-s to the earth, the grossest of all the taatva-s. Therefore, it is apparent that without Śakti, as Śiva’s Consort, creation is not possible and for the same reason, She is adored as Supreme Mother or Śrī Mātā. This is the grosser interpretation of this verse. The verse subtly speaks about kuṇḍalinī. Parāśakti has three forms – gross, subtler and subtlest. She is worshipped through various conceptualized forms such as Durgā, Kālī, etc. Subtler form is Her kāmakalā form (Lalitā Sahasranāma 322 kāmakalā rūpā) and the subtlest form is Her kuṇḍalinī form (Lalitā Sahasranāma 110 kuṇḍalinī). The verse begins with a reference to the mind and then proceeds to earth. Mind is ājñā cakra situated in between the eyebrows; out of the pañcabhūta-s, ākaśa is represented by viśuddhi cakra at throat, air is represented by anāhata cakra at heart, fire is represented by maṇipūraka cakra at the navel, water is represented by svādhiṣṭhāna cakra at the end of the spinal cord and earth is represented by mūlādhāra cakra at the perineum. Lalitā Sahasranāma (465 to 534) also discusses about the mystic centres (cakra-s) beginning with viśuddhi cakra, instead of ājñā cakra, as mentioned in this verse. She is resting like a coiled serpent in the form of kuṇḍalinī at the perineum and through yogic practice, She is awakened and taken to sahasrāra (crown cakra), where Śiva awaits Her. When She reaches sahasrāra, the practitioner experiences Bliss, a part of Cidānanda and ultimately, the practitioner becomes a realized person, always remaining in the state of Bliss, by practicing. This is with regard to one’s liberation from the pains of transmigration. She manifests as the universe through a process, which is fully explained in Lalitā Sahasranāma (256 to 274). There are three known stages of human consciousness, active, dream and deep sleep states. Beyond these three, there are two more states of consciousness, turya and turyātīta, where realization and merger with Brahman takes place. The universe has two aspects, macrocosm and microcosm. The highest level of macrocosm is Brahman and the lowest level of microcosm is the material world. When Śiva desired to create, pulsation (spanda) happens in Him and Śakti carries forward this initial throb into the manifestation of the universe. She transforms Herself and enters the three states of normal human consciousness – active, dream and deep sleep. She manifests in these three states as viśva, taijasā and prājña (Lalitā Sahasranāma 256 to 261) in the microcosm. These three states are associated with gross, subtle and causal bodies. These three states originated from vaiśvānarā, hiraṇyagarbha and Īśvarā of the macrocosm. Thus, She assumes the role of Consort of Śiva by having a clear mandate for creation, etc from Śiva. Without Her, manifestation of the universe would not have been possible verse 36 तवाज्ञाचक्रस्थं तपनशशिकोटिद्युतिधरं परं श्ंभुं वन्दे परिमिलितपार्श्वं परचिता। यमाराध्यन् भक्त्या रविशशिशुचीनामविषये निरालोकेऽलोके निवसति हि भालोकभुवने॥ tavājñācakrasthaṁ tapanaśaśikoṭidyutidharaṁ paraṁ śṁbhuṁ vande parimilitapārśvaṁ paracitā | yamārādhyan bhaktyā raviśaśiśucīnāmaviṣaye nirāloke'loke nivasati hi bhālokabhuvane || tava ājñā cakrasthaṁ - present in Your ājñā cakra; tapana śaśi koṭi dyutidharaṁ - endowed with the brilliance of countless numbers of sun and moon; paraṁ śṁbhuṁ - Supreme Śiva; vande – extolling; parimilita pārśvaṁ - pervaded on all sides; para citā – Supreme Consciousness; yam ārādhyan bhaktyā – the one who worships with devotion; ravi śaśi śucīnām aviṣaye – incapable of causing radiance by sun, moon and fire; nirāloke aloke – devoid of light and is different from the material world; nivasati hi – living; bhāloka bhuvane – Self-illuminating world. “I extol Supreme Shiva, present in Your ājñā cakra, endowed with the brilliance of countless suns and moons, pervaded by Supreme Consciousness on all sides. The one who lives in a world that is incapable of being reached by sun, moon and fire, which is devoid of light (by these luminaries), which is different from the material world. He lives in Self-illuminating world.” Beginning from this verse, Śaṁkarācārya talks about psychic cakra-s, which we speak about in kuṇḍalinī meditation. In this verse, he speaks about ājñā cakra. This verse can be considered as an extension of verse 14. This verse says that Śiva is Self-illuminating or Prakāśa. Śaṁkarācārya could not literally explain His Self-illumination. He says His effulgence is brighter than infinite numbers of sun, moon and Agni (fire) put together. Kaṭha Upaniṣad (II.ii.15) explains this Light. “In the presence of Brahman, the sun does not shine, nor do the moon and stars, nor does lightning, let alone this fire. When Brahman shines, everything follows. By Its light, all these are lighted.” This is the famous dīpa ārādhana mantra: na tatra sūryo bhāti na candratārakaṃ nemā vidyuto bhānti kutoyamagniḥ tameva bhāntamanubhāti sarvaṃ tasya bhāsā sarvamidaṃ vibhāti| न तत्र सूर्यो भाति न चन्द्रतारकं नेमा विद्युतो भान्ति कुतोयमग्निः। तमेव भान्तमनुभाति सर्वं तस्य भासा सर्वमिदं विभाति॥ Chāndogya Upaniṣad (VIII.iii.4) says, param joytiḥ upasampadyate which means attaining the highest light. The Upaniṣad says “Then, this person, who is an embodiment of happiness, emerging from the body and attaining the highest light, assumes his real nature. This is the Self.” Śiva is Prakāśa and Śakti is Pratibhā. Prakāśa is Self-illumination and Pratibhā is the revelation of this Light. Prakāśa is Consciousness and Pratibhā is the revelation (Vimarśa) of this Consciousness, the point of creation of this universe. The interdependency of Śiva and Śakti is absolute. Ājñā cakra represents mind. This is the point where one’s Guru communicates to his disciples. This verse says that Śiva is present in ājñā cakra of Parāśakti. It is a known fact that Śiva resides only in sahasrāra. Śiva is present in the ājñā cakra of Parāśakti alone, as She always thinks about Śiva. Her mind is totally pervaded by Śiva. Hence, to this devotee, Śiva appears in full Glory in ājñā cakra of Parāśakti. Since Śiva is full of Supreme Consciousness, His presence in ājñā cakra of Parāśakti is reflected in the form of Pure and illuminating Consciousness, which is pervaded on all sides. Pure form of consciousness has the ability to produce light, because during this stage, one is disconnected from the material world. During this state, when concentration is fixed on ājñā cakra, the pineal gland behind ājñā cakra produces light. This is the Light of the Self. The devotee referred here does not live in the material world. He lives in the highest realm of spiritual world. In this spiritual world, there is no place for luminaries like sun. moon and fire. These three are known as iḍa, piṅgala and suṣumna nāḍi-s. The devotee has brought his awareness to his ājñā cakra and beyond by working through these three nāḍi-s. He has moved away from the material world to the spiritual world. Sun, moon and fire shine only in the material world. Spiritual world is illuminated by Śiva. Since he is in the spiritual world, luminaries are incapable of lighting his world. Since the spiritual world is illuminated by Parāśakti by deriving Light from Śiva, he sees only the Light of Śiva. This is the point of no return for this devotee. He has been liberated and he lives in the spiritual world awaiting His turn to become one with Śiva. This is the world of Her devotees. There are few others like him to attain liberation. She puts them to final tests to evaluate them. Upon passing out these tests, She takes them to Śiva and make them merge with Him. Kṛṣṇa explains this world in Bhagavad Gītā (XV.6), “That Supreme Abode of mine is not illuminated by sun, moon or fire and those who reach here, never go back to the material world.” This verse can be meditated in the following manner: Visualize Parāśakti. Her form (as conceived by you) appears in your meditation, when your individual consciousness moves to higher level of consciousness, turya. When the form appears before you, concentrate on Her ājñā cakra. After few minutes, you are able to see Śiva in His full effulgence and Glory. You will enter into the state of Supreme Bliss. You will regain your normal consciousness after sometime. The Bliss enjoyed by you will make you to resort to this meditation frequently. After few days of meditation, you become one with Śiva and Śakti. You become That and you can now confidently affirm “I am Brahman”, because you have realized the true nature of Brahman, in the form of Light. verse 37 विशुद्धौ ते शुद्धस्फटिकविशदं व्योमजनकं शिवं सेवे देवीमपि शिवसमानव्यवसिताम्। ययोः कान्त्या यान्त्याश्शशिकिरणसारूप्यसरणेः विधूतान्तर्ध्वान्ता विलसति चकोरीव जगती॥ viśuddhau te śuddhasphaṭikaviśadaṁ vyomajanakaṁ śivaṁ seve devīmapi śivasamānavyavasitām | yayoḥ kāntyā yāntyāśśaśikiraṇasārūpyasaraṇeḥ vidhūtāntardhvāntā vilasati cakorīva jagatī || viśuddhau te – Your viśuddhi cakra; śuddha sphaṭika viśadaṁ - like a pure crystal; vyoma janakaṁ - creator of ākāśa (sky or space); śivaṁ - Śiva; seve devīm api – I worship Parāśakti; śiva samāna vyavasitām – (came to conclusion that She is in) equality with Śiva; yayoḥ - whose (Śiva and Śakti); kāntya – effulgence; yāntyā śaśikiraṇa sārūpya saraṇe - glowing like the radiance of rays of the moon; vidhūta antardhvānta – covered by darkness of ignorance; vilasati – shining; cakor īva – like the female game bird; jagatī - universe. “I worship Your viśuddhi cakra, which appears like a clear crystal, similar to Śiva, the Creator of ākāśa. I conclude that You too have the same qualities as that of Śiva. By the effulgence radiating from both of You (Śiva-Śakti), which glows like rays of the moon, the universe which remained covered by darkness is illumined, like the game bird rejoicing in the light of the moon.” Previous verse spoke about ājñācakra, which is related to mind. Viśuddhi cakra that is spoken of in this verse is related to one of the five principle elements, ākāśa. Ājñācakra represents the Divine Will of Śiva to create. When He decided to created, He first created ākāśa. Taittirīya Upaniṣad (II.1) explains this by saying, “from the Self came space (ākāśa) …” From space, other elements (pañcabhūta-s) originated and ultimately beings were created. (Kuṇḍalinī is directly related to creation. Śiva is always present in sahasrāra. At the time of creation, He comes down to ājñācakra, where He develops His desire to create. Ājñācakra represents mind. When He has decided to create, He first creates space (ākāśa), in viśuddhi cakra, air in heart chakra, fire in navel chakra, water in svādhiṣṭhāna chakra and finally earth, the grossest of all the five elements in the base chakra.) In the previous verse, Śaṁkarācārya said that he was able to see Śiva in the ājñācakra of Parāśakti. In this verse, he says that he sees both Śiva and Śakti in the viśuddhi cakra (throat chakra) of Parāśakti. Because of the presence of Śiva (He is known as Sadāśiva here) in Her viśuddhi cakra, which normally radiates blue colour, now appears like a crystal, which is the complexion of Śiva. Śiva is devoid of any colours and always appears like a transparent crystal. Generally, if Śakti sits by Śiva’s side or on His left lap, Her bright red complexion gets diffused in His crystal complexion and they both together appear as the bright red sun at the dawn. Once, gods mistook their appearance for rising sun. (Meditating on Parāśakti at the time of dawn and dusk will yield quick results.) But, Lalitā Sahasranāma (476) says that yogini by name Ḍākinī, who is presiding over viśuddhi cakra has mild red complexion. Because of the presence of Śiva and Śakti together, viśuddhi cakra of Parāśakti radiates like the rays of the moon. There are two important points that are to be noticed here. Śiva by nature is very hot, like fire. Śrī Rudram says kālāgni rudrāya, where kālāgni means the fire that arises from Śiva at the time of annihilation of the universe (fire at the time of annihilation is caused by the collision of the various planets in the universe. When Śiva triggers annihilation, gravitational force is withdrawn, causing collision of the planets). But, because of the presence of Śakti, who always remains by His side and whose mere presence cools down the nature of Śiva, Śaṁkarācārya is able to see cool rays emanating from both of them. This is another instance of their interdependence. Without Śiva, there is no Light and without Her, the Power of Śiva’s Light would burn the entire universe. Śiva’s Light is too powerful and fierce and She alone can diffuse that Light by controlling the heat of His kālāgni. Śiva is Prakāśa and She is Vimarśa. There is one more interpretation possible. At the time of initial creation, only Śiva was there. Śiva is full of Prakāśa or Self-illumination. Since His Light could not be reflected to the universe, Śiva created Parāśakti to reflect His Light to the universe. As soon as Śakti came into existence, the universe was illuminated, as She alone is capable of reflecting His Light. This is with regard to macrocosm. With regard to microcosm, darkness means spiritual ignorance. When Śiva and Śakti are contemplated together, spiritual ignorance of the contemplator is removed, leading to realization of the Self. The Supreme mantra of all mantras is known as paraprāsāda mantra and this mantra is known as “hamsa” mantra. In this mantra, “ha” refers to Śiva and “sa” refers to Śakti. This is the combination of one’s exhalation and inhalation. It can also be said that paraprāsāda mantra originates from Her viśuddhi cakra, where both Śiva and Śakti are realized. There is a reference to a type of bird known as cakora birds, which will fly only in the moon light. In the same way, if both Śiva and Śakti are contemplated with a clean mind, devoid of any thought processes, spiritual ignorance is removed due to their Grace, leading to realization. The aspirant becomes identified with Them and this state is known as sārūpya. {Liberation is of four types: Sālokya, co-existence with the Lord in His world. Sārūpya, attaining the same form as that of the Lord. Sāmīpya, proximity as that of the Lord. Sāyujya, absorption into the Lord Himself. The first one progressively leads to the last one. But the thought process of identifying the self with the Lord (sāyujya) leads to fast track emancipation.} verse 38 समुन्मीलत्संवित्कमलमकरन्दैकरसिकं भजे हंसद्वन्द्वं किमपि महतां मानसचरम्। यदालापादष्टादशगुणितविद्यापरिणतिः यदादत्ते दोषाद्गुणमखिलमद्भ्यः पय इव॥ samunmīlatsaṁvitkamalamakarandaikarasikaṁ bhaje haṁsadvandvaṁ kimapi mahatāṁ mānasacaram | yadālāpāoādaṣṭādaśaguṇitavidyāpariṇatiḥ yadādatte doṣādguṇamakhilamadbhyaḥ paya iva || samunmīlat saṁvit kamala makaranda eka rasikaṁ - fully blossomed lotus known as knowledge, exclusively delighting in; bhaje haṁsa dvandvaṁ - worship a pair of swans; kim api – to a considerable extent; mahatāṁ - greatness; mānasacaram – moving (swimming) in the great lake known as mind; yadālāpāt – from their conversation; aṣṭādaśa guṇita vidyā pariṇati – emergence of eighteen types of arts; yat ādatte – differentiate; doṣāt – impurity; guṇam akhilam – all types of qualities; adbhya – from water; paya iva – like milk. “I worship the pair of swans, who solely delights in the absolute knowledge, like a fully blossomed lotus flower in the great lake known as mind. From the conversation between these two swans, eighteen arts have originated, which are capable of differentiating purities from impurities. This is like swans separating milk from water.” This verse speaks about anāhatacakra, also known as heart cakra. According to ancient Scriptures, one’s soul resides here (Modern theory postulates that the soul is placed in pineal gland, behind ājñācakra). Anāhatacakra is one of the important points of divinity in human body. Meditating on anāhatacakra is said to fulfil one’s desires; hence it is called Kalpataru (celestial wish grating tree). There is a yogini here rejoicing in drinking nectar that flows down from sahasrāra. Probably, based on these facts and experience, Śaṁkarācārya could have composed this verse. Lalitā Sahasranāma 485 to 494 describe this chakra. The two swans described here refer to Śiva and Śakti. These two swans swim in the lake called mind (mind of the aspirant). This means that Śiva and Śakti should be meditated in this chakra. When perfection is attained while meditating on this chakra, ājñāchakra, which is the controlling chakra for the mind, gets fully activated. The famous “hamsa mantra” also originates from anāhatacakra. Great yogī-s meditate on Śiva and Śakti in ājñācakra and seek liberation, as this chakra is capable of conferring what is desired. Yogī-s desire only liberation, as they rejoice in the power of Bliss. The turning point in one’s spiritual life will always be the maiden experience of Her Bliss. Śakti is always in the form of Bliss and when She is realized, one begins to experience Bliss, which sets the trend for one’s spiritual life. This is the point of no-return in spirituality. Her realization leads to the realization of Śiva and when both of them are realized in the form of Bliss and Pure Consciousness, one is able to distinguish between good and bad. Such a person will not indulge in mean thoughts and actions. Parāśakti manifests here as Bliss, which ultimately leads to the realization of Śiva. When both of them are realized, the yogī begins to recite perpetually Paraprāsada-mantra, also known as “hamsa” mantra, synchronising it with his breath. Why a comparison is drawn to a fully blossomed lotus flower here? There are two aspects. One, if the flower is fully blossomed, there is not enough time left for the flower to survive. Either the flower will be picked or it will decay naturally. Blossoming of the flower is compared to acquiring absolute knowledge about Brahman. Knowledge about Brahman alone is absolute. When higher level of spiritual knowledge is gained, a practitioner first becomes a sthitaprajña and later becomes a jīvanmukta, who is ready to merge with Brahman after his death, the concluding part of Self-realization. The second aspect is that unless a flower is fully blossomed, nectar will not secrete. This means spiritual elixir can be secreted only if sahasrāra is fully opened. Once Brahman is realized, there is no need to seek spiritual knowledge as they are revealed to the yogī automatically. The conversation between Śiva and Śakti always result in various tantra śāstra-s and vidyā-s. Former is the practice that is to be pursued and later is the destination of the path, vidyā-s. In other words, former is practice and later is knowledge. Only practice leads to absolute knowledge and only absolute knowledge leads to realization. Tantras lead to vidyā-s and vidyā-s lead to realization. This verse refers to to eighteen vidyā-s and they are four Vedas (4), the four upa-Vedas (4) (each upa-Veda originated from one Veda. Āyurveda from Rig Veda; Dhanurveda (archery) from Yajur Veda; Gāndharva Veda (music) from Sāmaveda; and Śastra Śāstra (study of arms) from Atharvaveda. There are opinions that Āyurveda is the product of Atharvaveda), six vedāṅga-s (6) (śikṣā - pronunciation; candas – meter; vyākaraṇa – grammar; nirkuta – explanatory notes to difficult Vedic words; jyotiṣa – astrology; and kalpa – sūtra works referring to rituals), pūrva mīmāṁsā and uttara mīmāṁsā (2), purāṇa-s (Scriptures), and nīti and dharma śāstra-s (2) (dos and don’ts). However, there are variations to this description. Beyond all these explanations, this verse subtly conveys “hamsa” mantra, which needs to be aligned with one’s breath. Meditating on this chakra also leads to love and compassion. When this chakra is fully activated, one becomes an embodiment of these two qualities. This verse also conveys Ajapa Gāyatrī mantra which is as follows: haṁsa haṁsāya vidmahe | paramahaṁsāya dhīmahi | tanno haṁsaḥ pracodayāt || हंस हंसाय विद्महे। परमहंसाय धीमहि। तन्नो हंसः प्रचोदयात्॥ This haṁsa Gāyatrī mantra is to be recited from one dawn to the next dawn (24 hours), aligning with one’s breath, concentrating on each chakra one after another by beginning from the base chakra and ending at the crown chakra. If this mantra is properly aligned with breath, then the counting will be 21600 during this 24 hour period. verse 39 तव स्वातिष्ठाने हुतवहमधिष्ठाय निरतं तमीडे संवर्तं जननी महतीं तां च समयाम्। यदालोके लोकान् दहति महति क्रोधकालिते दयार्द्रा या दृष्टिः शिशिरमुपचारं रचयति॥ tava svātiṣṭhāne hutavahamadhiṣṭhāya nirataṁ tamīḍe saṁvartaṁ jananī mahatīṁ tāṁ ca samayām | yadāloke lokān dahati mahati krodhakālite dayārdrā yā dṛṣṭiḥ śiśiramupacāraṁ racayati || tava – Yours; svātiṣṭhāne – in svātiṣṭhāna chakra; hutavaham – agni tattva; adhiṣṭhāya – invocation; nirataṁ - deeply engaged; tamīḍe – indeed I adore; saṁvartaṁ - annihilation of the universe; jananī – O! Parāśakti; mahatīṁ tāṁ ca samayām – the great one, known as Samaya; yadāloke – whose looks; lokān dahati – burning of the universe; mahati krodhakālite – with great anger; dayārdrā yā dṛṣṭiḥ - Your compassionate glance; śiśiram upacāraṁ racayati – rendering cooling service. “O! Parāśakti! I deeply adore Śiva, who causes the fire of annihilation in Your svātiṣṭhāna chakra. I adore You, the great one as Samaya. When His glance burns the universe, Your glance, full of compassiona renders chilliness, as treatment.” The important point that is underlined in this verse is the inseparbleness of Śiva and Śakti. Śaṁkarācārya does not worship Her alone. He visualises both of them together in different places and in different forms. In this verse, when he looks at Śiva, who appears to him as fire that is capable of annihilating the universe. Śrī Rudram (stanza 2) says that Śiva is kālāgnirudrā, the fire of Śiva that is capable of destroying the universe. He is also known as tripurāntakāya (who has burnt three worlds), trikāgni-kālāya (sustainer of the three types of fires). Beyond all this, He is Prakāśa, the Supreme Light. Hence, it is always said that He can be attained only through Śakti, who facilitates the attainment. She does this by cooling His intent fiery nature. When a sun that is capable of offering light only to this galaxy is so hot, nothing needs to be said about Śiva’s fire, that is capable of annihilating the entire universe, not Milky Way (our solar system) alone. The verse visualizes Śiva and Śakti in the svātiṣṭhāna chakra, the chakra known for water element. This chakra is also known as sex chakra, where sexural desires are controlled. Though this chakra is said to be water element, the previous chakra maṇipūraka (navel chakra) represents fire element. The fiery effect of maṇipūraka chakra (discussed in the next verse) is still felt in svātiṣṭhāna chakra, which goes to prove the power of His heat. The fire in svātiṣṭhāna chakra is also known as kāmāgni, which kindlles the fire of lust. Meditating on this chakra controls sexual desires. Śaṁkarācārya sees (he does not visualize, but he sees them in forms; this is possible only if the contemplation is of the highest order. Śri Rāmakriṣṇa Pramahaṁsa saw Kālī several times and also shown Her to Vivekānanda. Dharma śāstra-s define the limitations of sexual life and tresspassing these limits could triger spiritual doomsday. Proper mediation on svātiṣṭhāna chakra also gives rise to spiritual knowledege that is capable of destroying bodily needs to needs of the mind, spiritual knowledge. Unless the worldly desires are dispensed with, spiritual knowledge can be complete. Worshipping Her subtlest form kuṇḍalinī is known as samaya worship and She is adored in this worship as Samaya. Samaya means coming together, union, etc. Lalitā Sahasranāma 98 samayācārā-tatparā refers to this kind of worship. This is internal worship, where She is awakened from mūlādhāra chakra and taken to sahasrāra to conjoin with Śiva. This (kuṇḍalinī meditation) is the best form of worship to have the Grace of both Śiva and Śakti. verse 40 तटित्वन्तं शक्त्या तिमिरपरिपन्थिस्फुरणया स्फुरन्नानारत्नाभरणपरिणद्धेन्द्रधनुषम्। तव शयामं मेघं कमपि मणिपूरैकशरणं निषेवे वर्षन्तं हरमिहिरतप्तं त्रिभुवनम्॥ taṭitvantaṁ śaktyā timiraparipanthisphuraṇayā sphurannānāratnābharaṇapariṇaddhendradhanuṣam | tava śyāmaṁ meghaṁ kamapi maṇipūraikaśaraṇaṁ niṣeve varṣantaṁ haramihirataptaṁ tribhuvanam || taṭitvantaṁ - accompanying lightning; śaktyā - due to power; timira paripanthi sphuraṇayā - enemy to darkness viz. light; sphurat nānā ratna ābharaṇa pariṇaddha indra dhanuṣam - rainbow formed due to the (rays of) lustrous ornaments made of precious gems; tava śyāmaṁ - Your dark blue; meghaṁ - clouds; kam api - indescribable; maṇipūra eka śaraṇaṁ - Abode as maṇipūraka chakra; niṣeve - worship; varṣantaṁ - causing to rain; hara mihira taptaṁ - heat of Śiva; tri-bhuvanam - three worlds. "I worship you in navel chakra as the one, appearing dark blue in colour and like a powerful lightning, that dispels darkness. The reflections of Your ornaments appear like a rainbow, cause rain to cool the three worlds, burnt by Śiva." Śaṁkarācārya goes with the description of maṇipūraka chakra with "Ṣaṭcakra Nirūpaṇa" verse 10. The verse says that at the root of the navel, there is a ten petal lotus in the colour of rain laden clouds and within, there are two blue lotuses and one should meditate on this region of fire, shining like the sun at dawn. Lalitā Sahasranāma 101 maṇipūrāntha ruditā says that She appears in the navel chakra and again Lalitā Sahasranāma 495 also says maṇipūrābja-nilayā. Navel chakra is one of the important points both in terms of gross body and energy body. This is mainly because, it holds a central position in the body and also the point through which a fetus was nourished. This chakra is also capable of receiving energy from Guru. Śaṁkarācārya always worships both Śiva and Śakti together and this verse is not an exception. He contemplates Śiva as dark in complexion, like rain bearing clouds and Śakti as lightning. Generally it is explained that Śiva is the cause of Light, hence He is known as Prakāśa. But, in this verse, He is described as dark in appearance and Śakti as the source of Light. This can be explained from different angles. Śiva and Śakti are inseparable and nobody knows who is Śiva and who is Śakti as one's power cannot be differentiated form him. Śiva's Power is Śakti . By projecting Her as Light, Śaṁkarācārya emphasizes Her compassion, as She alone can reveal Śiva who is omnipresent. The Light that is described Her is Her compassion and willingness to offer liberation. To describe His omnipotence, clouds can be taken as an example, because clouds remain diffused throughout the atmosphere. Śiva by nature is very hot, as He is the source of Light. Since She does not want the world to bear the brunt of His heat, She causes rain from the dark clouds. In other words, She induces Śiva to cool the earth by making Him to cause rain as a remedy to His scorching heat. A jñāni like Śaṁkarācārya fully knows Brahman and does not restrict Brahman in a particular form or shape. Spiritual realization consists of two parts. One, realizing the Self within and two, realizing omnipresence of Brahman. A person is said to be Self-realized only if these two realizations are complete. Śaṁkarācārya not only visualizes Śiva and Śakti in the navel chakra , but also takes into account the worldly sufferings such as heat, etc and in order to remedy their sufferings from extreme heat, he visualizes that heat is balanced by rain. There is a reference about a rainbow that is formed out of the effulgence of the ornaments made out of precious gems, worn by Her. This poetic parlance speaks about the rays emanating from the gems, appearing like a rainbow. Why rainbow is drawn as a comparison? It is because the bows of Śiva and Śakti have no strings, in their Kāmeśvara and Kāmeśvarī forms. Their bows are made of sugarcanes and their bows have no strings signifying infinity, meaning that they cannot be bound. This verse speaks about dispelling darkness of spiritual ignorance illusion by contemplating on Śiva and Śakti at navel chakra. When this chakra is perfectly activated, many of the worldly desires are dispensed with, leading to the higher level of spirituality. verse 41 तवाधारे मूले सह समयया लास्यपरया नवात्मानं मन्ये नवरसमहाताण्डवनटम्। उभाभ्यामेताभ्यामुदयविधिमुद्दिश्य दयया सनाथाभ्यां जज्ञे जनकजननीमज्जगदिदम्॥ tavādhāre mūle saha samayayā lāsyaparayā navātmānaṁ manye navarasamahātāṇḍavanaṭam | ubhābhyāmetābhyāmudayavidhimuddiśya dayayā sanāthābhyāṁ jajñe janakajananīmajjagadidam || tava adhāre mūle – Your mūlādhāra chakra; saha samayayā – along with Samaya; lāsya parayā – overwhelmed with emotional dancing; nava ātmānaṁ - Śiva, expressing nine types of manifestations; manye – meditate; navarasa mahātāṇḍava naṭam – the great dance with nine types of expressions; ubhābhyām etābhyām – these Two; udaya vidhim uddiśya – for re-creating the universe; dayayā sanāthābhyāṁ - coming together due to compassion; jajñe – become; janaka-jananīmat jagat idam – like father and mother of this universe. “I worship in mūlādhāra chakra, Śiva, who dances with nine types of expressions along with Samaya dancing with overwhelming emotions. When both of You unite out of compassion to create the universe and thus You become father and mother of the universe.” Once again, Śaṁkarācārya, in his unique style worships both Śiva and Śakti together, as the one without the other cannot function. After worshipping both of them, in all other psychic canters, he finally worships them in the base chakra (mūlādhāra chakra). In this chakra, Śiva is in the form of “svayambhu liṅga” and Parāśakti is in the form of Kuṇḍalinī, who is described in Lalitā Sahasranāma 110 Kuṇḍalinī कुण्डलिनी. The vital energy of prāṇa is called kuṇḍalinī. This lies in the mūlādhāra cakra in the midst of fire that keeps biological body warm. Any modification in the intensity of this fire causes sickness. The sound of the Kuṇḍalinī can be felt by anyone. If one closes both his ears tightly, he can listen to a hissing sound, the sound of Kuṇḍalinī within. The base cakra is a triangle where icchā, jñāna and kriyā śakti-s (desire, knowledge and action) form the three sides. From these three śakti-s (potencies) the sound of OM a, u and m is generated. Yoga-vāsiṣṭha (the compendium of teachings of sage Vāsiṣṭha to Lord Rāma) in nirvāna prakaraṇa (the last of six chapters) talks about Kuṇḍalinī. Sage Vāsiṣṭha says to Lord Rāma “Like the coiled body of a serpent when it sleeps…like a plantain flower it is exceedingly delicate within…hissing like an angry female serpent…causing fluctuations in the mind. All other nādi-s are connected with this. This becomes purified only by the rays of jñāna or knowledge….thus this Śaktī rejoices in the name of puryaṣṭaka*. Should the upward and downward actions of this Kuṇḍalinī śakti be arrested by the control of prāṇa and this prāṇa be made to rest in the heart, diseases will never affect those who have such control.” *{Further reading on puryaṣṭaka: (as told by sage Vāsiṣṭha to Lord Rama in Yoga-vāsiṣṭha - VI. 5). Brahman who is without beginning or end and which is the seed of the universe, becoming differentiated is jīva (soul); subjecting itself to the idea of separateness, it becomes ahaṃkāra (ego) with manana (contemplation), it becomes manas (mind); with the certainty of intelligence, it becomes buddhi (intellect); then the five elements (sound, etc) through indriyā-s (sensory organs). With the thought of the body, it becomes the body itself; with the thought of a vessel, it becomes the vessel. A form (subtle body), having such a nature is called puryaṣṭaka body or eight constituents of the body. The eight constituents are mind, ego, intellect, sound, touch, sight, taste and smell, the last five together known as tanmātra-s.} The verse says that both Śiva and Śakti dance together to create the universe. Dance by Śiva is known a tāṇḍava and dance by Śakti is known as nāṭya. This verse addresses Śiva as Navātman and Śakti as Samaya. Navātman refers to nine types of expressive manifestations of Śiva, as explained in Saundaryalaharī verse 34 and they are Śiva, Sadaśiva, Īśvara, Vidyā Māyā, Kalā, Niyati, Puruṣa and Prakṛti. If this is interpreted as vyūha (distribution or arrangement) then it means time (past, present and future), infinite numbers (referring to multitude of beings), names (identification), knowledge, consciousness (comprising mind, intellect, consciousness and ego, known as antaḥkaraṇa), nāda (sound), bindu (six psychic chakras), kalā (atom, the source of creation) and individual souls. In the same way, Parāśakti too has nine different vyūha-s such as, Vāmā, Jyeṣṭhā, Raudrī and Ambikā (representing four triangles of Śrīcakra facing upwards) and three śakti-s viz. icchā, jñāna and kriyā śakti-s, śānta and parā (five triangles of Śrīcakra facing downwards). But both Śiva and Śakti have nine common attributes that are reflected during their cosmic dance and they are love, heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity and warmth. Lalitā Sahasranāma 376 śṛṅgāra-rasa-saṁpūrṇā says śṛṅgāra rasa (love) is the cause for other rasa-s. During creation both Śiva and Śakti dance together wherein śṛṅgāra-rasa is predominant. This is known as Cosmic Union. At the time of annihilation, Śiva alone dances and Śakti only witnesses His fierce mahātāṇḍava (Lalitā Sahasranāma 232 - maheśvara-mahākalpmahātāṇḍava-sākṣiṇi). As result of their Cosmic Union, universe is created. They continue to remain united during sustenance of the universe. When Śiva moves away from Śakti, it triggers annihilation. Annihilation is caused by withdrawal of gravitational force. When both of them are separated, gravitational force is lost. Hence the perpetual union of Śiva and Śakti is paramount in sustaining this universe and this is the reason for worshipping them together as a single entity. Hence they are called father and mother of the universe. Poet Kālidāsa says in his Raghuvaṃśa “jagataḥ pitarau vande pārvati parameśvarau जगतः पितरौ वन्दे पार्वति परमेश्वरौ” which means that Pārvati and Parameśvara are parents of the universe. This verse adores Her as Samaya. In kuṇḍalinī meditation, which is Her most secretive worship, She is adored as Samaya. Lalitā Sahasranāma 98 says Samayācāra-tatparā समयाचार-तत्परा and is explained as follows. This will explain why She is adored as Samaya and why this kind of worship is secretive in nature. Worshipping Lalitai in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra. This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī. This nāma means that She likes samayācāra worship. This worship can be done only mentally. Initiation from a Guru is the first step in this worship. This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by guru to the disciple. The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s. Guru will guide his disciple at each level and at each cakra. Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own. Guru also will not perform this ritual unless the disciple pursues the right path of Self realisation. After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual. This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of Dasara celebrations) which occurs once in a year. (After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra. There is a prescribed procedure for this worship. Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra. She is in Her subtle form viz. mantra form in this cakra. From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra. She has to be mentally worshipped in this cakra. She is in Her subtler form viz. kāmakalā form at this stage. After the worship at this cakra, She is adorned with rich clothes and ornaments. Remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra. At this stage, changes occur in the gross body of the sādhaka. People around him start noticing these changes. In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne that has been discussed in nāma 3. In this cakra She is in Her subtlest form viz. Kuṇḍalinī. Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra. From this cakra onwards, She becomes very powerful. It is to be remembered that this is a mental worship that happens within. Then she is taken to the heart cakra or anāhata cakra, where She is offered betel leaves (karpūra vītikā - nāma 26). She is then taken to viśuddhi cakra where is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter). Each such ārati has its own significance. For example pañca ārati means the five elements, ‘pūrṇa kumbha ārati signifies that everything was created out of totality and everything merges in totality. From viśuddhi cakra, she is then taken to ājñā cakra, where is offered ‘karpūra ārati. karpūra ārati means ārati lit with camphor. Ārati with camphor has a lot of significance (Pure camphor is not easily available nowadays. If pure camphor is not available, it is better to use a ghee lamp, which does not cause pollution. The soot coming out of impure camphor affects the purity of the energy level that prevails during rituals.) She is adorned with garlands of sweet smelling flowers and perfumes. She is to be visualized as a bride at this stage. She is then taken to sahasrāra where Śiva is waiting for Her. When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return. Once She returns from sahasrāra, She is taken back to mūlādhāra cakra. This nāma means that She likes this type of worship. Kuṇḍalinī meditation is highlighted here. Śaktī alone can take one to Śiva, the Supreme Brahman. The Supreme Brahman is Śiva and Śaktī is māyā. There is yet another interpretation possible for this nāma. Kuṇḍalinī represents jīva-ātma or soul. Soul is a dynamic energy where our karma-s are embedded. When the soul merges with Paramātma or the Brahman, this is called Śiva-Śaktī union. The merger of jivātma with Paramātma is discussed in this nāma. Further it is also emphasized that emancipation can take place only if Kuṇḍalinī reaches sahasrāra. Repeated practice of this samāyāchara worship is necessary to stay with the Brahman forever. As far as this verse is concerned, Śaṁkarācārya visualises both Śiva and Śakti dancing together, causing creation of the universe. It is pertinent to note that in all the six psychic centres, he visualised both of them together. With this verse, the first part of Saundaryalaharī known as Ānandalaharī consisting forty one verses is completed. The second part known as Saundaryalaharī consists of fifty nine verses, describes Her beauty and elegance. verse 42 Beginning from this verse, Śaṁkarācārya describes Parāśakti’s gross form. For Gods, description begins from feet to head and for Goddesses it begins from head to feet. This portion of this Scripture is known as Saundaryalaharī (saundarya means beauty) and verses beginning from one to forty one are known as Ānandalaharī. Saundaryalaharī is based on samayācāra worship, where She is adored as Samaya, who has been briefly described in the previous verse. There are two views on the second section of Saundaryalaharī. First section comprising of 41 verses described Her subtle forms. Particularly the last few verses dealt with Her subtlest form kuṇḍalinī. Her relationship with Śiva was also dealt with in detail in the previous section. After having read and understood the previous section, an aspirant gets ready to meditate on Her. In order to effectively contemplate Her, Śaṁkarācārya has conceptualised the second part, which describes Her gross form. Basically, this section will be helpful only to those, who are not able to meditate on Her formless form. There is also another view that this part is meant only for those who have just entered spiritual path, setting aside all the rituals. It is believed that they cannot easily contemplate on Her and in order to help them, Śaṁkarācārya has authored the second part known as Saundaryalaharī. Saundarya means beauty and lahari means large waves. Therefore, Saundaryalaharī means waves of beauty. Some of these verses are too secretive and intimate in nature. The previous part is known as Ānandalaharī, the waves of Bliss. Naturally, a question arises, as to how a great saint like Śaṁkarācārya could describe Her feminine beauty in such a depth. It is only the mindset of the aspirants that count and the way they perceive Her. Misperception clearly indicates the immaturity of the aspirant and he has to tread a lot of distance to make an entry into spiritual path. A great saint like him looks at everything as Her Grace. He did not find any difference between wealth, women and logs. For him, everything is Brahman. गतैर्माणिक्यत्वं गगनमणिभिः सान्द्रघटितं किरीटं ते हैमं हिमगिरिसुते कीर्तयति यः। स नीडेयच्छायाच्छुरणशबलं चन्द्रशकलं धनुः शौनासीरं किमिति न निबध्नाति धिषणाम्॥ gatairmāṇikyatvaṁ gaganamaṇibhiḥ sāndraghaṭitaṁ kirīṭaṁ te haimaṁ himagirisute kīrtayati yaḥ | sa nīḍeyacchāyācchuraṇaśabalaṁ candraśakalaṁ dhanuḥ śaunāsīraṁ kimiti na nibadhnāti dhiṣaṇām || gataiḥ māṇikyatvaṁ - attaining the qualities of rubies; gaganamaṇibhiḥ - like twelve suns; sāndra ghaṭitaṁ - closely embedded; kirīṭaṁ te haimaṁ - Your golden crown; himagiri sute – daughter of king of snow clad Mountains; kīrtayati yaḥ sa – the one who praises; nīḍe yat chāyāt cchuraṇa śabalaṁ - reflections of the embedded gems in the crown; candra śakalaṁ - rays of the moon; dhanuḥ śaunāsīraṁ - Indra’s bow; kimiti na nibadhnāti – will he not decide; dhiṣaṇām – intelligence. “O! Daughter of King of snow clad Mountains! Your golden crown closely embedded with gems, shine like twelve suns, which derive the colour of ruby. Will not the intelligent one, who sings Your praise see this reflection as the rays of moon causing rainbow?” This verse talks about Her crown, which is fully embedded with precious gems. These gems are closely embedded on gold, leaving no space between them. The rays emanating from these gems appear like twelve suns, known as dvādaśāditya-s (dvādaśa means numeric twelve and āditya means sun). It is believed that there are twelve suns, each shining for a month in rotation. Astronomically, for every calendar month, a sun presides over. The rays emanating from Her crown appear as if all the twelve suns appear simultaneously, deriving the qualities of the gems embedded in Her crown (referring to multiple colours). It is also said that these twelve suns, unable to have Her glimpse from close quarters, have taken the forms of precious gems and adored Her crown and thus have the benefit of worshipping Her perpetually. This transformation of suns into gems adoring Her crown is described in this verse. An intelligent poet could interpret this radiance emanating from Her gems studded crown could mistake it as moon rays or as a rainbow. An intelligent poet only looks at Her as an embodiment of compassion and Grace. In spite of the twelve suns adoring Her crown, the great poet, who is totally devoted to Her visualizes moon, which is of cool nature as opposed to the extreme heat of twelve suns. When Śaṁkarācārya speaks about rainbow, it could mean six psychic chakras and sahasrāra, as the chakras have the colours of the rainbow (VIBGYOR – beginning from sahasrāra to mūladhāra). After having immersed in the bliss caused by the first part, the aspirant’s kuṇḍalinī has ascended to sahasrāra, activating all the chakras below. When he speaks about moon, he could be referring to bindu in sahasrāra, from which nectar drips down into throat during meditation. Śaṁkarācārya could have conceptualized this description for the sake of advanced aspirants. An aspirant should contemplate Her gem studded crown as the one that lustrously shines like a rainbow. At the end of this section, the aspirant could easily conceptualize Her. verse 43 धुनोतु ध्वान्तं नस्तुलितदलितेन्दीवरवनं घनस्निग्धश्लक्ष्णं चिकुरनिकुरुम्बं तव शिवे। यदीयं सौरभ्यं सहजमुपलब्धुं सुमनसो वसन्त्यस्मिन्मन्ये वलमथनवाटीविटपिनाम्॥ dhunotu dhvāntaṁ nastulitadalitendīvaravanaṁ ghanasnigdhaślakṣṇaṁ cikuranikurumbaṁ tava śive | yadīyaṁ saurabhyaṁ sahajamupalabdhuṁ sumanaso vasantyasminmanye valamathanavāṭīviṭapinām || dhunotu – remove; dhvāntaṁ - darkness; naḥ - ours; tulita dalita indīvara vanaṁ - in the forest of fully blossomed blue lotus flowers (Nymphaea Cyanea); ghana snigdha ślakṣṇaṁ - thick, soft and lustrous; cikura nikurumbaṁ - thick hair; tava śive – O! Consort of Śiva; yadīyaṁ saurabhyaṁ sahajam upalabdhuṁ - the hair having natural fragrance; sumanasa – divine fragrant flowers; vasanty asmin manye – I presume they live there; vala mathana vāṭī viṭapinām – belonging to the divine garden of Indra. “O! Consort of Śiva! Your dark, thick, naturally fragrant, soft, lustrous hair appear like a forest of fully blossomed blue coloured lotus flowers, removes our darkness of ignorance. I presume that divine flowers in Indra’s garden live in your hair to get their fragrance.” Parāśakti’s hair is described in this verse, after having described Her crown in the previous verse. Śaṁkarācārya contemplates Her hair as a thick forest, full of fully blossomed blue colour lotus flowers. He further says that divine flowers reared in Indra’s garden take a sojourn (verse says living there) in Her hair to derive their fragrance. This is a sterling description on two counts. One, the natural fragrance of Her hair. Even the divine flowers that are reared in Indra’s garden derive their fragrance only from Her hair. Flowers in Indra’s garden are the most fragrant of all the flowers. Even these flowers derive their fragrance only from Her hair. This means that highly fragrant flowers on earth like, jasmine, etc become incomparable. Secondly, he describes Her hair as lustrous blue in colour. Śaṁkarācārya’s description of Her hair is in no way different from Vāk Devi-s description of Her hair. Vāk Devi-s in Lalitā Sahasranāma 185 say, nīlacikurā, meaning that Her hair is in indigo colour. There are two interpretations possible for indigo (blue) colour of Her hair. In the previous verse, it has been described that Her crown is made up of innumerable precious gems, whose shine cause a rainbow. These gems get reflected in Her naturally shining thick black hair and make the hair appear in indigo colour. Another possible interpretation is given in my Lalitā Sahasranāma book for nāma 185, which is reproduced below. “Ājñā cakra is associated with indigo colour (nīla). Nīla-cikura could mean the back head cakra, situated just behind ājñā cakra at the back of the head (just above medulla oblongata) that is fully covered by hair. Priests have their tuft in the back head cakra. When back head cakra is well developed, one can see anything happening in the world. It also helps in establishing cosmic commune. This cakra is considered to be highly secretive in nature. Some are of the opinion that tuft is kept here in order to prevent others from noticing this place. The area in which this cakra is located protrudes predominantly, when fully activated. Cikura also means a mountain, possibly indicating this protrusion. This cakra receives cosmic energy. In other words, by developing nīla-cikura (back head cakra), one can realize Her Self illuminating form, which is indigo in colour.” Ājñā cakra controls the mind. If ājñā cakra is fully active, it means that mind is under control. Mundane mind is naturally prone to sensory afflictions. When ājñā cakra is activated, mind becomes pure dispelling the darkness of ignorance, leading to maiden experience of bliss and this message is subtly conveyed through this verse. verse 44 तनोतु क्षेमं नस्तव वदनसौन्दर्यलहरी- परीवाहस्रोतः सरणिरिव सीमन्तसरणिः। वहन्ती सिन्दूरं प्रबलकबरीभारतिमिर- द्विषां बृन्दैर्बन्दीकृतमिव नवीनार्ककिरणम्॥ tanotu kṣemaṁ nastava vadanasaundaryalaharī- parīvāhasrotaḥ saraṇiriva sīmantasaraṇiḥ | vahantī sindūraṁ prabalakabarībhāratimira- dviṣāṁ bṛndairbandīkṛtamiva navīnārkakiraṇam || tanotu kṣemaṁ - blessed with liberation; naḥ - ours; tava – Your; vadana saundarya laharī – waves of beauty of Your face; parī vāha srotaḥ saraṇiriva – overflowing like a stream; sīmanta saraṇiḥ - parted hair; vahantī sindūraṁ - wearing vermilion; prabala kabarī bhāra timira dviṣāṁ bṛndaiḥ - darkness of the thick hair; bandī kṛtam iva – like imprisonment; navīna arka kiraṇam – sun at dawn. “Your thick and dark parting hair appearing like imprisoned enemies; the vermilion adorned on your parted hair appears like the sun at dawn. The centre of the parted portion appears like an overflowing stream, with the waves of beauty of Your face.” Parāśakti’s hair is being described in this verse. She has the most beautiful face, for which no comparison can be drawn. She has thick and dark hair which is parted in the center causing a line. At the end of this line, which is the top portion of the center of Her forehead, She is adorned with vermilion. Placing vermilion at the top of the forehead is a symbol of auspiciousness. When the hair is parted on the top of the head, white colour of the skull becomes visible and the verse says that this parting appears like a stream overflowing with flood water. There has to be an origin for the floods and Śaṁkarācārya says that the flood originates from Her face, which is the ocean of beauty (Saundaryalaharī). Lahari means waves and waves appear only in the shore and not in the centre of the ocean. He subtly conveys that the beauty of Her face that is visible to us is only a miniscule of Her glorious beauty and is beyond normal human comprehension. The flood appearing like waves of ocean is caused by the overflowing beauty of Her face. The vermilion placed in the centre has thick and dark hair on both sides. The vermilion in the centre appears like the rising sun (vermillion is red in colour), which dispels darkness. Śaṁkarācārya prays to Her that the auspiciousness of this vermillion should liberate Her devotees from the pains of transmigration. Cycles of births and deaths are always painful. This verse can be further explained. Darkness of the hair is māyā, which also originates from Her. Māyā is inherent in everyone and can be dispelled only by surrendering to Her. The will to surrender is initiated by the vermillion on Her face. Dark hair is symbolically projected to mean attachment to the material world. Attachment to the material world is caused due to the predominance of non-essential ego. Though essential ego is needed to exist in a body, non-essential ego is to be destroyed, as this alone causes attachment to the material world by afflicting the mind. Mind is afflicted through sensory organs. Liberation can be attained only through a clean mind. A mind is said to be afflicted, when it is pervaded by material desires, attachments, etc. This is known as saṁsāra or mundane existence. In order to get rid of saṁsāra, one has to mentally surrender unto Her, which is the only way to liberation. A doubt may arise as to why Śaṁkarācārya has not described the centre of the parted hair as a river instead of a stream. River refers to macrocosm (Self), whereas a stream refers to microcosm (self). As this Divine vision pertains to un-liberated and mundane human, he had chosen to dwell only on microcosm. Lalitā Sahasranāma (632) Sindūra-tilakāñcitā also says that She wears vermillion. The first dhyāna verse Lalitā Sahasranāma describes Her form as sindūrāruṇa-vigrahāṃ, which means that Her complexion itself is in the form of vermillion. Vermillion is red in colour; red colour always represents compassion and She is an embodiment of compassion. This is also conveyed through this verse. verse 45 अरालैः स्वाभाव्यादलिकलभसश्रीभिरलकैः परीतं ते वक्त्रं परिहसति पङ्केरुहरुचिम्। दरस्मेरे यस्मिन् दशनरुचिकिञ्जल्करुचिरे सुगन्धौ माद्यन्ति स्मरदहनचक्षुर्मधुलिहः॥ arālaiḥ svābhāvyādalikalabhasaśrībhiralakaiḥ parītaṁ te vaktraṁ parihasati paṅkeruharucim | darasmere yasmin daśanarucikiñjalkarucire sugandhau mādyanti smaradahanacakṣurmadhulihaḥ || arālaiḥ svābhāvyāt – naturally fragrant; ali kalabha saśrībhiḥ - beautiful like young bees (kalabha specifically refers to an young elephant or young camel and here it is used to mean young bees); alakaiḥ - curls; parītaṁ te vaktraṁ - surrounding Your face; parihasati – laughs at (mockery); paṅkeruha rucim – beautiful like lotus flowers; dara smere – soft smile; yasmin – on Your face; daśana ruci kiñjalka rucire – being lustrous because of Your teeth; sugandhau mādyanti – fragrance that gives joy; smara dahan acakṣur madhulihaḥ - bees resembling the eyes of Śiva, who burnt Manmatha. “Your face is surrounded by Your curly hair, appearing beautiful like a swarm of young bees, making mockery of the beauty of lotus flowers. Soft smile on Your face, which appears lustrous because of Your gleaming teeth, which are so fragrant, due to which these bees swarm around Your face, like the eyes of Śiva.” Parāśakti’s face, which is beyond any description, is compared to that of a lotus flower. Even then, this description only mocks at the lotus flowers, as Her face cannot be compared to any visual objects. She has curly hair that fall on Her forehead, which appear like a swarm of young bees, adding beauty to Her face. The verse, by referring to young bees, conveys the softness of Her hair. Bees in general are black in colour and by comparing Her hair to bees, Śaṁkarācārya indirectly refers to the glowing dark colour of Her hair. When She smiles, Her white teeth shines, enhancing the beauty of Her face. The young bees, which hover around Her beautiful face are compared to the eyes of Śiva. The verse says that even Śiva, who burnt Manmatha, is attracted by Her beautiful face. Lotus has delicious nectar inside the pollen and bees naturally swarm lotus flowers to get the best quality of honey. When they swarm around a lotus, the scenic beauty appears like Her eyes. Bees are compared to eyelashes and the white stem within the lotus petals are compared to Her teeth. All the lotus flowers do not have white stigmas, but only rare species of lotus family. By saying so, Śaṁkarācārya has conveyed that the of beauty of Her face is unique. Śrī Śakti mahimnaḥ (verse 39) also compares Her face to that of a fully blossomed lotus and Her teeth to that of jasmine flowers. Lalitā Sahasranāma 25 Śuddha-vidhyāṅkurākāra-dhvijapakṅti-dvayojvalā describes Her teeth thus: Her teeth appear like Śuddha-vidyā, which means Śrī Vidyā. Śrī Vidyā is considered as the most secret and powerful ritual worship of Lalitāmbikā. This involves a lot of rituals and each ritual has its own meaning and interpretation. Śuddha means pure, vidyā means knowledge and Śuddha-vidyā means pure knowledge. This is considered pure because this upāsana mārg or the cult of Śrī Vidyā worship emphasizes the non-duality, ‘I am That’ concept. The Ṣodaśī mantra is considered as the seed for Śrī Vidyā. It has sixteen bīja-s. When a seed grows into a sprout, it has two leaves. Therefore 16 x 2 gives 32, the number of teeth in human beings. Even though teeth have two rows placed in upper and lower jaws, the jaws are attached to each other internally. In the same way soul (jīva) and (Brahman) God are considered as different out of ignorance when both remain the same. Śrī Vidyā worship is to be done in seclusion, understanding the significance and meanings of the procedures. Then only the worship yields results. In the mantra initiation procedures of Devi, there are thirty two types of dīkśa (types of initiation). Yet another interpretation is also possible. This Sahasranāma starts only with 32 letters out of the 51 alphabets in Sanskrit. This 32 represents Her teeth. This could also mean that the initiation into Śrī Vidyā cult is to be done verbally by Guru to his disciple. {Further reading on Śuddha-vidyā: This is the fifteenth tattva, counting from Śiva. In this tattva, the consciousness of both “I” and “This” is equally predominant. Though the germinal universe is seen differently, yet identity runs through it as a thread. There is identity in diversity at this stage. Kriya is predominant tattva here. The consciousness of this state is ‘I am, I and also this’. Vidyā tattva consists of Śuddha-vidyā, sahaja vidyā and kañcuka (limited knowledge). Vidyātattva consists of śuddhavidyā, sahajavidyā and vidyākañcuka. Śuddhavidyā here is the same as sadvidyā (fifth tattva), while sahajavidyā is natural knowledge (not a tattva). Natural knowledge implies the emergence of His Freedom. As sahajavidyā (natural knowledge) is also known as śuddhavidyā (pure knowledge). } These verses attempt to describe Her beauty, so that, aspirants can comfortably visualize Her form. verse 46 लल्लाटं लावण्यद्युतिविमलमाभाति तव यत् द्वितीयं तन्मन्ये मुकुटघटितं चन्द्रशकलम्। विपर्यासन्यामादुभयमपि संभूय च मिथः सुधालेपस्यूतिः परिणमति राकाहिमकरः॥ lallāṭaṁ lāvaṇyadyutivimalamābhāti tava yat dvitīyaṁ tanmanye mukuṭaghaṭitaṁ candraśakalam | viparyāsanyāmādubhayamapi saṁbhūya ca mithaḥ sudhālepasyūtiḥ pariṇamati rākāhimakaraḥ || lallāṭaṁ - forehead; lāvaṇya dyuti vimalam ābhāti – spotless, splendorous and illuminating charm; tava yat – belonging to You; dvitīyaṁ - second; tan manye – I believe; mukuṭa ghaṭitaṁ - fastened to the diadem; candra śakalam – crescent moon; viparyā sanyāmāt – upside-down; ubhayam api saṁbhūya ca mithaḥ - joining both the ends together; sudhā lepa syūtiḥ - endowed with ambrosia; pariṇamati – transforming into; rākāhimakaraḥ - like full moon. “I believe that spotless, splendorous and illuminating charm of Your forehead is another crescent moon fastened to Your diadem upside-down and joining together both the ends (of these two crescent moons), appear like a full moon causing the secretion of ambrosia.” Meditation on sahasrāra and beyond with Ṣoḍaśi mantra is secretively conveyed through this verse. In the ancient Scripture by name Ṣaṭcakra Nirūpaṇa, (verse 41), sahasrāra is described as appearing like a full moon without any blemishes, perpetually shining and sheds profuse cool nectar (sudhā). This verse refers to two crescent moons and these two moons can be compared to Śiva and Śakti. Śiva always remains in Parābindu at sahasrāra and Śakti in Her subtlest form kuṇḍalinī, ascends to sahasrāra and conjoins Her Consort Lord Śiva. As a result of this union, Ṣaṭcakra Nirūpaṇa, (verse 43) says, nectar like essence drips down signalling the union of Jīvātman with Paramātman. The Bliss arsing out of this union is known as Paramahaṁsaḥ. After this union, a sādhaka (practitioner) becomes a Yogī. His spiritual sādhana comes to end at this stage. There are innumerable explanations on this Divine Union; however, the essence of all interpretations remains the same. (In advance meditation, one can effortlessly experience this flow of nectar, almost daily, within few minutes from the commencement of meditation. In rare cases, even without meditation, the nectar begins to flow, when the divine energy begins to overflow from the body. To reach this stage, all chakras from ājñācakra upwards have to be active incessantly (perpetual meditation). The flow of nectar from sahasrāra is also known as nectar of Mercy, which is explained as the essence of Brahma-mantra, which can be interpreted in two ways. It signifies great mantras like – Om (praṇava), haṁsaḥ (paraprāsāda mantra), sauḥ (parābīja), Ṣoḍaśī, Pañcākṣarī (om namaśivāya) or Aṣṭākṣarī (om namo nārāyaṇāya). Alternatively, Brahma-mantra could mean a mantra initiated by one’s Guru. However, it is important to note that mantra alone is not the cause for Their Mercy. Mantra plays only a secondary role in reaching this stage, the primary role being in the state of sthitaprajña, where mind is totally purged of all impurities. Only in this state of mind, mahāvākya-s (ahaṁ brahmāsmi or I am That) can be efficaciously affirmed. One can afford to commit occasional mistakes while performing a ritual, but one cannot afford to commit to an atom of error while pursuing spiritual path to attain the ultimate Goal. A serious aspirant will have too many doubts, both trivial and serious, while pursuing his spiritual Goal. He should get all his doubts clarified from his Guru and should not proceed with lingering doubts in his mind, as She will be realized only in the mind. If doubts persist, affirmations (mahāvākya-s) will not have any impact on the mind. The role of a learned Guru is extremely important in spiritual practices. Spiritual practice means, attaining Brahman without performing any rituals. On the grosser side, the verse says that Her forehead appears like an inverted crescent moon. She has already one crescent moon on Her diadem (Both Śiva and Śakti have crescent moon on their diadems). If these two crescent moons are joined together at the two ends of the two moons, they appear like a full moon. Lalitā Sahasranāma 15 Aṣṭamī -candra-vibrāja-dhalika-sthala-śobhitā describes Her forehead as “Her forehead appears like the moon on the eighth day. Eighth day from the full moon or new moon is called asḥṭamī. The moon appears beautiful with even curves on both sides on eighth lunar day”. This interpretation is very significant and this verse is based on this nāma. The two crescent moons referred in this verse are asḥṭamī moons, the moon appearing on eighth lunar day, when two sides are equal. When two asḥṭamī moons, one facing upwards and one facing downwards join together, a full moon is formed. But this is not the luminary moon. This moon is Her face, without any blemishes. Planet moon appears with some dark patches, but Her face does not have any such blemishes. A Yogī will never have any blemishes, though he may live a normal life. verse 47 भ्रुवौ भुग्ने किञ्चिद्भुवनभयभङ्गव्यसनिनि त्वदीये नेत्राभ्यां मधुकररुचिभ्यां धृतगुणम्। धनुर्मन्ये सव्येतरकरगृहीतं रतिपतेः प्रकोष्ठे मुष्टौ च स्थगयति निगुढान्तरमुमे॥ bhruvau bhugne kiñcidbhuvanabhayabhaṅgavyasanini tvadīye netrābhyāṁ madhukararucibhyāṁ dhṛtaguṇam | dhanurmanye savyetarakaragṛhītaṁ ratipateḥ prakoṣṭhe muṣṭau ca sthagayati niguḍhāntaramume || bhruvau – eyebrows; bhugne – curved; kiñcid – slightly; bhuvana bhaya bhaṅga vyasanini – taking great pains in dispelling the fear of all beings; tvadīye – Your; netrābhyāṁ - extraordinary eyes; madhukara rucibhyāṁ - splendorous like swarm of bees; dhṛtaguṇam – bow string; dhanuḥ - bow; manye – believe; savya itara kara gṛhītaṁ - held in the left hand; ratipateḥ - spouse of Rati (Manmatha); prakoṣṭhe muṣṭau ca – forearm and closed palm; sthagayati – hidden; niguḍhāntaram – middle part; ume – Umā. “O! Umā! You take great pains in dispelling the fear of all beings. I believe that your extraordinary and splendorous eyes appear like swarm of bees. Your slightly curved eyebrows appear like the bow of Manmatha, who holds his bow in his closed left palm and as a result of which, the middle part of the bow is hidden by his forearm and fists.” As Universal Mother, She has great concern for the beings of the world. The appropriate usage would be humans, instead of beings, as humans alone are endowed with fully functional mind. Birth and death are always painful and the more painful part is the middle part between birth and death, which means the present life. Mind, by default is addicted to sensory organs, which have the capacity to confuse and delude the mind and cause desire, attachment, ego, pride, prejudice, anger, enmity, etc. These are the attributes that cause dualities in mind. When there is pleasure, pain is bound to be there. When there is happiness, sadness is bound to be there. Duality manifests in alternate bouts, like a wheel going up and down. As no one is willing to understand and accept this reality and when life turns against them due to their karmic imprints, they are affected, both mentally and physically. As Universal Mother, She is not able to tolerate the sufferings of these spiritually nascent men and women. Material knowledge is completely different from spiritual knowledge. Material knowledge is huge like an ocean and spiritual knowledge is like a miniscule drop of water. Many pursue only material knowledge, as this can be purchased and pursued easily when compared to spiritual knowledge. Since spiritual knowledge is a miniscule drop of water, it has to be seen and understood with the help of a microscope (Guru, Upaniṣad-s, etc are microscopes). Material knowledge is easy to pursue because, it deals with matter. But, spiritual path is extremely difficult because, it deals with subtleties. As Universal Mother, She is highly concerned with the plight of spiritually ignorant humans as they continue to dwell only in dualities, known as avidyā (lack of knowledge about the Self, the subtlest of all), etc. She tries Her level best to rescue them from the pains of transmigration and that is why She pesters Śiva with so many questions. Śiva understands Her concern for the humanity and hence He patiently explains to Her, various ways and means to attain liberation. The sacred conversation between them is in the form of various Tantric Scriptures, consisting of various mantras, tantras, etc. She is addressed as Umā in this verse. Umā can be explained in different ways. It means splendour, tranquillity, reputation, etc. Lalitā Sahasranāma 633 is Umā and is explained thus: “Her name is Umā. She is the wife of Maheśvara and is known as Umā Maheśvara. She was born to Himavān, the king of mountains and his wife Mena. She started Her penance at the age of five to attain Maheśvara (Śiva) as Her husband. Śiva sūtra (I.13) says Icchā śaktir umā kumārī. Here Umā means splendour of Śiva. One’s will power in constant commune with Śiva is also known as Umā. The ever present “I” consciousness of Śiva which is free in knowing and doing all acts is known as Umā. Umā is the combination of three letters of OM – U + M + A, the praṇava. U refers to creation, M refers to destruction and A refers to sustenance. Therefore Umā also means the three acts of the Brahman. Liṅga Purāṇa (133.44) says ‘the goddess is the mother of worlds’. Liṅga Purāṇa further says “The goddess born of Rudra’s body rebuked Dakṣa and was born as Umā, the daughter of Himavān. She is bowed to, by all the worlds. Let her try to captivate the mind of Rudra by means of her beauty. Through their union Lord Skanda will be born.” The anāhata sound of heart cakra is also known as Umā. Umā is also known as Śaktī praṇava (klīṁ is also known as Śaktī praṇava). Six year old girl is known as Umā. Kena Upaniṣad (III.12) says, bahuśobhamānām umāṁ haimavatīṁ which means a woman wearing many ornaments. She is the combination of self-knowledge, splendour and grandeur.” Kālikā Purāṇa interprets Umā in a different way. She was observing penance (for not listening to Śiva). Her mother advised Her not to practice austerities. It is explained that U refers to child (She was a child at the time of observing penance) and mā means negation or prohibition and contextually, it is said that Her mother had told Her not to observe penance. Indirectly and subtly this conveys that one should not waste his or her precious time in observing penances and instead contemplate Śiva to attain Him. On the grosser side, the verse is interpreted as follows. She has beautiful and splendorous eyes which appear like a stream of honeybees. Her eyebrows are compared to the bow of Manmatha. When there is a bow, it has to have a sting. Śaṁkarācārya says that this sting is hidden by the upper arm of Manmatha’s left hand. The stream of bees is compared to the hidden sting of the bow. Sting of the bow is a straight line. Śaṁkarācārya subtly conveys that Her eyes are extended up to Her ears, a sign of beauty and auspiciousness. This verse uses the word “savya” to mean the left hand of Manmatha. Savya not only means left, but also right and thus Śaṁkarācārya says that She is worshipped by followers of dakṣiṇācāra and vāmācāra. This also means that liberation cannot be attained without Her Grace. Manmatha represents love. When devotion turns into love for Her, She begins to shower Her Grace on the aspirant. Love is the highest form of devotion, as love is expressed through mind and not by actions. Similarly, love for Her has to be developed in the mind and not externally, associating with too many rituals. According to Sāmudrikalakṣaṇa (a treatise on body parts), following types of eyes are auspicious. Wide eyes (LS 936), eyes appearing like bow and arrow (this verse) and eyes appearing like a fish (Mīnalocaṇī) are described as not only beautiful, but also auspicious. All these descriptions perfectly fit Her eyes. There are several narrations about Her eyes both in Saundaryalaharī and Lalitā Sahasranāma (18, 362, 561 and 601). Her eyes not only radiate love and compassion, but also material wealth and auspiciousness. She does not bless with Her hands like other gods and goddesses. Her Grace is expressed through Her eyes verse 48 अहः सूते सव्यं तव नयनमर्कात्मकतया त्रियामां वामं ते सृजति रजनीनायकतया। तृतीया ते दृष्टिर्दरदलितहेमाम्बुजरुचिः समाधत्ते संध्यां दिवसनिशयोरन्तरचरीम्॥ ahaḥ sūte savyaṁ tava nayanamarkātmakatayā triyāmāṁ vāmaṁ te sṛjati rajanīnāyakatayā | tṛtīyā te dṛṣṭirdaradalitahemāmbujaruciḥ samādhatte saṁdhyāṁ divasaniśayorantaracarīm || ahaḥ - day time; sūte – brought forth; savyaṁ tava nayanam – Your right eye; arkātmakatayā – the greatness of the sun; triyāmāṁ - night; vāmaṁ te – Your left eye; sṛjati – create; rajanī nāyakataya – presiding over nights; tṛtīyā te dṛṣṭir – Your third eye; dara dalita hema ambuja ruciḥ - lustrous like a gold lotus flower blossoming; samādhatte – to cause; saṁdhyāṁ - twilight; divasa niśayoḥ arantara carīm – between day and night. “Your right eye having the greatness of the sun brings daytime and Your left eye (having the greatness of the moon) presides over nights. Your third eye is the cause for twilight, which appears like a lusturous gold lotus flower, blossoming.” The verse speaks about three time periods, daylight, twilight and night and these time periods work in a cyclic fashion, causing day, dusk, night, dawn, day, etc. Both dawn and dusk last only for a shorter period of time than day or night, indicating shorter duration of dream state in one’s consciousness. These three time periods refer to active state, dream state and deep sleep state, which occur in cycles. Thus the three stages of one’s consciousness are explained in this verse. By referring to the three stages of consciousness, Śaṃkarācārya says that Parāśakti presides not only over three time periods, but also the three stages of normal human consciousness, thereby proving Her omnipresence. Śiva’s eyes are also compared to sun and moon and His third eye represents Agni (fire). By referring to Her third eye to the blossoming gold lotus flower, Śaṃkarācārya emphasises Her compassionate nature. Śiva’s third eye is dreadful and if He opens His third eye, it causes annihilation by fire. Śiva burnt Manmatha by opening His third eye. The fire that comes out of His third eye is known as kālāgni, the conflagration fire. If Parāśakti opens Her third eye, it signifies Her Grace and compassion, hence blossoming of a lotus flower is taken as an example. Both Śiva and Śakti have third eye and this verse conveys this. This also goes to prove their similarity not only in the weaponries they hold, but also in their form. She is worshipped as Saṁdhyā Devi during dawn and dusk. Certain rituals are performed during these times along with Gāyatrī japa and meditation. During these times, cosmic energy is at the highest level and any spiritual practice done during these times (dawn and dusk) will cause increase in spiritual energy of an aspirant. Sun, moon and agni also refers to three important nāḍi-s of the body known as iḍā, piṅgala and suṣumna. She ascends through suṣumna in Her subtlest form kuṇḍalinī to unite with Śiva at sahasrāra. It can also be said that this verse talks about Her subtlest form, Kuṇḍalinī. Both iḍā and piṅgala nāḍi-s meet suṣumna at ājñā cakra (third eye), where Guru’s commands are received, which makes the aspirant to move to the higher stages of his spiritual life. In this stage, an aspirant is able to transcend normal stages of human consciousness, where all his thought processes are annihilated (by the fire at ājñā cakra) to realize Supreme Consciousness (Śiva) at sahasrāra. In the fourth and fifth stages of consciousness known as turyā and turyātīta, merger with Śiva takes place and where one is liberated and not reborn again. This subtle message is conveyed in this verse. Top of Form Bottom of Form verse 49 विशाला कल्याणी स्फुटरुचिरयोध्या कुवलयैः कृपाधाराधारा किमपि मधुराभोगवतिका। अवन्ती दृष्टिस्ते बहुनगरविस्तारविजया ध्रुवं तत्तन्नामव्यवहरणयोग्या विजयते॥ viśālā kalyāṇī sphuṭarucirayodhyā kuvalayaiḥ kṛpādhārādhārā kimapi madhurābhogavatikā | avantī dṛṣṭiste bahunagaravistāravijayā dhruvaṁ tattannāmavyavaharaṇayogyā vijayate || viśāla1– wide; kalyāṇi2 – auspiciousness; sphuṭaruci ayodhya3 – fully blossomed, splendorous and irresistible; kuvalayaiḥ - blue water lilies; kṛpā dhārā dhārā4 – continuous flow of compassion; kimapi madhura5 – inexplicable charm; bhogavatikā6 – causing Bliss; avantī7 – protection; dṛṣṭiḥ te – Your eyes; bahu nagara vistāra vijaya8 – many great victorious cities; dhruva – permanently; tat tat nāma vyavaharaṇa yogyā – each of them worthy of being called by their respective names; vijayate – victorious. “O! Parāśakti! Your wide eyes are full of auspiciousness appearing like fully blossomed beautiful and splendorous blue water lilies. They show continuous flow of compassion and inexplicable charm and causes blissfulness. They offer protection to the universe and appear multitude of victorious cities, each of them worthy of being recognized independently.” This verse describes Her eyes. They are wide, auspicious and appear like fully blossomed blue water lily flowers. They are compared to blue water lilies because these flowers are elongated and sharp at the tip. They are dark blue in color and the verse subtly conveys that Her eyes are blue in color, which enhances Her beauty. Typically speaking, such comparisons cannot be made, as She is beyond such objective comparisons. But, great saints like Śaṁkarācārya draw these comparisons to enable everyone to understand Her incomprehensible beauty. This description also explains Śaṁkarācārya’s knowledge. He could have drawn several other flowers as comparison; but he has chosen the most appropriate comparison to narrate the beauty of Her eyes. Śaṁkarācārya had the capacity to visit any place of his choice through astral travel and by doing so he could have decided that blue water lilies are the best comparison to describe Her eyes. Lalitā Sahasranāma 936 is Viśālākṣī, which is explained thus: “The form of Lalitāmbikā does not have abhaya (a is used here to negate bhaya, which means fear) and varada (granting wishes, conferring a boon, ready to fulfil requests or answer prayers) hands. Generally, forms of gods and goddesses are described with more than two hands. One hand which is known as varada hasta (hasta means hand) is said to confer boons and another hand known as abhaya hasta removes fear, and offers peace, safety and security. But Lalitāmbikā offers these through Her eyes. Hence Her eyes are praised in many scriptures.” Her glances are classified under eight categories and they are: (marked as above line numeric like 1,2 etc in the verse above.) 1. Viśālā – causes bliss within as a result of which excitement is experienced, which is known as saṃkśobha (She unfolds within as the Self, causing inner happiness, initial stages of bliss) 2. Kalyāṇi – excitement and as a result of which people are attracted and this is known as ākarṣaṇa (She attracts people who occasionally drift away from virtuousness.) 3. Ayodhyā – expanded eyes causing fear and panic, which is known as drāvaṇa (She is a terror to those who are perpetual sinners.) 4. Dhārā – sluggish look causing intoxication known as unmāda (causing bliss in the minds of Her devotees.) 5. Madhurā – melodic look causing attraction, known as vasya (attracting Her devotees towards Her and offers them liberation.) 6. Bhogavatī – romancing glance (She looks at Śiva with this glance). 7. Avanti – tranquilizing look (this is said to cause enmity.) 8. Vijayā – half-closed eyes causing death (māraṇa). These eight types of glances are described as eight cities, representing eight types of inherent human qualities. There is a reference to this eight cities (referred as puryaṣṭaka – eight body parts) in Vivekacūḍamaṇi (verse 96), which says, “Five organs of action such as speech, five organs of knowledge such as ear, five prāṇa-s, five principle elements such ākāśa along with three constituents of antaḥkaraṇa – mind, intellect and ego. These eight “cities” form the subtle body.” {Puryaṣṭaka is also explained differently thus: (1) five organs of action (karmendriya-s), 2) five organs of senses (jñānaendriya-s), 3) antaḥkaraṇa (four in numbers - manas, buddhi, cittam and ahaṃkāra or ego), 4) five prāṇa-s (prāṇa, apāṇa, etc), 5) five elements (ākāś, air, etc) 6) desire, 7) ignorance and 8) karma.} This is further explained in Lalitā Sahasranāma 662 Aṣṭamūrtiḥ: “She is eight fold. Both Śiva and Śaktī are eight fold. Eight forms of Śiva are Bhava, Śarva, Īśāna, Paśupati, Rudra, Ugra, Bhīma and Maha. Śaktī’s eight forms are known through Brāhmī, Māheśvarī, Kaumāri, Vaiśnavī, Vārahī, Māhendri, Cāmundā and Mahālakṣmī. It is said that a soul is divided into eight categories based on the quality of the soul. If soul is embedded with more karma-s, it is not considered as pure and the soul with least karmic account is considered as pure. The purest forms of the souls are not born in the earth, but born as angels or super human forms. Taking these as the two extremes, the eight forms of the soul are classified as follows. 1. Soul or jīva, 2. Inner self or antarātman, 3. Supreme Self or Paramātman, 4. Untainted-ātman or nirmalātman, 5. Pure self or śudhātman, 6. Knowledgeable self or jñānātman, 7. Great self or mahātman, 8. Basic self or bhūtātman. The five basic elements and sun, moon and soul are considered as the eight types of bodies. The authors of this Sahasranāma are eight Vāc Devi-s. Kṛṣṇa says in Bhagavad Gīta(VII.4 and 5) “Earth, water, fire, air, ether, mind, reason and ego constitute my eightfold. This indeed is My lower nature.” When Kṛṣṇa says lower nature, naturally there has to be a higher nature which is known as the Supreme Consciousness or the Brahman. Based on the principle of omnipresent nature of the Brahman, whatever form of existence is the beingness of the Brahman only. These eight dimensional forms or attributes merge together to form the Brahman. It would be wise to say that these eight dimensional forms originated from the Brahman and each of the eight forms of Śiva or Śaktī represents an aspect of the Brahman. Be it multidimensional or non-dimensional, every part of existence is Her form only, which is in conformity of Her omnipresent nature.” As far as this verse is concerned, it says that Parāśakti carries out all the acts of Brahman only through Her eyes. That is why great emphasis has been given to Her eyes in various Scriptures. verse 50 कवीनां सन्दर्भस्तबकमकरन्दैकरसिकं कटाक्षव्याक्षेपभ्रमरकलभौ कर्णयुगलम्। अमुञ्चन्तौ दृष्ट्वा तव नवरसास्वादतरलौ असूयासंसर्गादलिकनयनं किंचिदरुणम्॥ kavīnāṁ sandarbhastabakamakarandaikarasikaṁ kaṭākṣavyākṣepabhramarakalabhau karṇayugalam | amuñcantau dṛṣṭvā tava navarasāsvādataralau asūyāsaṁsargādalikanayanaṁ kiṁcidaruṇam || kavīnāṁ - poets; sandarbha stabaka makarandaika rasikaṁ - consuming honey dripping from bunch of flowers; kaṭākṣa vyākṣepa bhramara kalabhau – appearing like two baby bees due to Your side glance; karṇayugalam – Your pair of ears; amuñcantau – without getting detached; dṛṣṭvā tava – Your looks; navarasa asvāda taralau – enjoying nine types of expressive emotions; asūyā saṁsargād alika nayanaṁ -Your third eye out of jealousy; kiṁcit aruṇam – slightly becoming red. “Your pair of eyes, during Your side glance extend up to Your ears appear like baby bees, as if they are consuming honey (honey is compared to the compositions of poets) dripping from the bunch of flowers, representing nine types of expressive emotions (normally expressed by a dancer during performance). On observing the proximity of Your eyes to this situation, Your third eye turns red due to jealousy.” There are several verses in praise of Her eyes, as She showers Her Grace only through Her eyes. Her mere side glance is capable of conferring Grace, which is an important milestone in the path of devotion. This verse talks about the beauty of Her eyes. In the previous verse, Her eyes are compared to blue water lilies and this verse reconfirms the elongated shape of Her eyes reaching up to Her ears. When She makes a side glance, Her dark eye balls appear like baby bees. Great hymns are composed in Her praise like Lalitā Sahasranāma, Saundaryalaharī, Mūkapañcaśatī (mūka means dumb), etc. Many of these great poetic Scriptures describe more about Her eyes and feet, through which She offers Her Grace. That is why many devotees pray to Her, “please be compassionate to me, open Your eyes and look at me.” Such great poets are able to visualize Her by highest level of contemplation and based upon their experience, they give these narrations. Her third eye (ājjñā cakra) becomes jealous of Her two normal eyes, as it is not able to be present by the side of Her ears like Her normal eyes and because its position, it is not able to taste the nectar flowing from poetic compositions made in Her praise. Because of jealousy, Her third eyes turns red. This is in sharp contrast to the third eye of Śiva, when turns red is capable of annihilating the universe. When Śiva opens His third eye, it emits Kālāgni, the fire that is capable of annihilating the universe, as mentioned in Śrī Rudram. In accordance with Her compassionate nature, Her third eye is not described as fierce. It is just like Her other two eyes. Śiva’s third eye always remains closed and Her third eye always remains open as it always emits Grace. The most interesting aspect of this verse is the visualization of Śaṁkarācārya regarding the flow of nectar from the compositions of great poets. It is not the composition of words alone that secrete the nectar. The main reason for the secretion of nectar from these poetic compositions is that the authors have put in their hearts and souls into their compositions. When these types of verses are rendered, at the time of rendition, it activates throat chakra and above resulting in the flow of ambrosia from sahasrāra towards throat chakra. This is taken as an example to describe how sweet these hymns are. During normal meditation, when one is able to contemplate Her effectively, ambrosia will be secreted from sahasrāra, without even practicing kuṇḍalinī meditation and without any efforts on the part of an aspirant. During the highest stage of devotion, devotion gives way to love for Her. When this love becomes intent, two secretions happen, one internally and one externally. Internal secretion is from the skull that drips into throat area. This is described in Lalitā Sahasranāma 106 Sudhāsārabhi-varṣiṇī. External secretion is from the eyes in the form of tears. These two symptoms can be used to self-evaluate one’s level of devotion. {Further reading: Lalitā Sahasranāma 106 is explained thus: There is one soma chakra in the middle of sahasrāra. When Kuṇḍalinī reaches this cakra, out of the heat generated by Her presence, the ambrosia which is stored there gets melted and drips through the throat and enters the entire nervous system. Soma cakra is discussed in nāma 240. Tantric interpretation of this ambrosia differs from this interpretation. Saundarya Laharī (verse 10) says, “You drench the nādi-s (nerves) in the body with the flood of nectar gushing through Your feet.” The followers of samayācāra, (worshipping Her through the cakra-s of Kuṇḍalinī, beginning from mūlādhāra is called samayācāra. Please refer nāma 98) both the planet moon and cit-candra-mandalā (nāma 240) (cit means foundational consciousness) at sahasrāra represent Śrī Cakra as both have similar qualities. Both shed nectar. Her lotus feet deemed to shine in the moon region of Śrī Cakra. Moon is the master of all medicinal herbs that are said to ooze divine water known as nectar.} |
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