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We are currently exploring a condensed version of the history of Goddess Sri Lalithambika, as detailed in the book “Lalithopākhyānam” This story is presented in the form of 1,800 verses in the Brahmāṇda Purāṇam and is written concisely. The Lalitha Sahasranama is included in the “Lalithopākhyānam”, specifically in the 36th chapter as part of its conclusion. The narrative begins with Sage Agastya, who, during his deep penance, experienced profound distress. He observed that the actions of people were not grounded in Dharma. Whether due to the stronghold of Kali(the darkness of Kali Yuga personified) or the latent tendencies within their hearts, they had all strayed into immoral paths. Agastya was troubled and wondered how he could prevent the downfall of humanity.

Wherever we look, we encounter stories of drunken atrocities and rape, alongside tales of theft, wicked deeds, bribery, and actions that harm the world. We are faced with such crises. Sage Agastya pondered deeply, questioning how it could be possible to change the course of events. He did not mourn his own situation or yearn for personal liberation, instead, he sought to uplift the people to live a Dharmic life. Responding to his prayers, Lord Parameshwara blessed him and sent Lord Hayagrīva (an avatar of Lord Vishnu) to Sage Agastya. Lord Dhakṣiṇāmūrti is revered as “Jñaṉasvarūpam,” embodying the true nature of Knowledge.

chitram vaṭa tharor mole
vruttā siṣya guror yuva
gurosthu mauṉam vykhyānam
siṣyāstu ciṉa samsaya:

[It is strange to see, The very old disciples and the very young teacher, who sit under a banyan tree, With the teacher always observing silence and the students getting all the doubts cleared.]
(Śrī Dhakṣiṇāmūrti Stotṟam)

He is referred to as “He who is the true nature of truth” for Shaiva devotees. Four disciples sit with Lord Dhakṣiṇāmūrti under the shelter of a massive banyan tree. Although the disciples are old men, their Guru appears as a youth. The disciples are caught in the relentless cycle of birth, old age, and rebirth, while their master, Lord Dhakṣiṇāmūrthi, remains changeless and transcendent, beyond the cycle of life and death, as well as the limitations of time and space. He embodies the essence of truth.
While giving a lecture, we often feel the need to speak at length. However, under the banyan tree, the master and his disciples do not communicate through spoken language; silence serves as their method of instruction. The disciples have no doubts at all. Lord Dhakṣiṇāmūrti is regarded as the initial master (ādi Guru). For Vaishnavites (devotees of Lord Vishnu), Lord Hayagrīva is considered the Master. He embodies the true nature of Knowledge and is the manifest representation of Divine Consciousness. Lord Hayagriva appeared before Sage Agastya.

Long ago, Brahma narrated the history of Sri Lalithambika to Lord Parameshwara and Sage Durvāṣā. Subsequently, Lord Hayagriva imparted this history of Lalitha Parameshwari to Sage Agastya, detailing her divine attributes, incarnation, and unmatched valor. Sage Agastya played a crucial role in spreading the story of Lalitha Parameshwari throughout the world. In this commentary on the Lalitha Sahasranama, we are focusing on topics related to the destruction of the evil Bhandasura. We will hear more details in the upcoming episodes.

To be continued…..

#Lalitha #LalithaShasranamam

The Sri Lalitha Sahasranamam was composed by the Vasinyadi Vakdevatas.

We praise Devi as…
bhāṣārūpā-bṛhatsenā-bhāvābhāvavivarjitā
[She who is in the form of language, who has a vast army and she who is beyond being and non-being]
(Sri Lalitha Sahasranama : 678-680)

She is praised as,
nādarūpā
[She who is in the form of sound]
(Sri Lalitha Sahasranama – 299)

She is also praised as,
mātṛkāvarṇarūpiṇī
[She who is in the form of the letters of the alphabet]
(Sri Lalitha Sahasranama – 577)

In Sri Lalitha Sahasranama, Devi is hailed as,

parā
[She who is the supreme, She who transcends all]
(Sri Lalitha Sahasranama – 366)

paśyantī
[She who is pashyanti, the second level of sound after para in the svadhishtana chakra]
(Sri Lalitha Sahasranama – 368)

madhyamā
[She who stays in the middle]
(Sri Lalitha Sahasranama – 370)

vaikharīrūpā
[She who is in the form of vaikharI (sound in the manifested,
audible form)]
(Sri Lalitha Sahasranama – 371)

There are many languages in the world, and it is believed that Lord Parameshwara is the source of them all. In the book “laghu sidhānta kaumudi,” there is a discussion on the origin of language. Lord Parameshwara played the “Damaru”, a small two-headed drum, and divine sounds were produced. Unlike regular instruments, where sounds blend together, the tones from the Damaru were distinct and could be clearly differentiated. It is said that from this Damaru came the māhēsvara sutras, the Sanskrit alphabet sequence, as mentioned in the laghu sidhānta kaumudi.

The māhēsvara sutras are as follows:
1. अ इ उ ण् (a i u ṇ)
2. ऋ ऌ क् (ṛ ḷ k)
3. ए ओ ङ् (e o ṅ)
4. ऐ औ च् (ai au c)
5. ह य व रट् (ha ya va raṭ)
6. ल ण् (la ṇ)
7. ञ म ङ ण न म् (ña ma ṅ ṇa na m)
8. झ भ ञ् (jha bha ñ)
9. घ ढ ध ष् (gha ḍha dha ṣ)
10. ज ब ग ड द श् (ja ba ga ḍa da ś)
11. ख फ छ ठ थ च ट त व् (kha pha cha ṭha tha ca ṭa ta v)
12. क प य् (ka pa ya)
13. श ष स र् (śa ṣa sa r)
14. ह ल् (ha l)

These are the fourteen Sutras that emerged from the Damaru played by Shiva. From these Sutras, the vowels and consonants were formed. We revere Devi as the source of the fifty-one alphabets, including vowels, consonants, and compound letters. These are known as mātṛkāvarṇas, and Devi embodies the mātṛkāvarṇas. Devi is nādarūpini, the embodiment of sound.

As children, before we learned to speak, we expressed our emotions and needs through facial expressions, body gestures, and a few basic sounds. People understood us without the need for spoken words. Eventually, we learned the alphabet, words, and sentences in our native language, and later, progressed to other languages. Over time, we gained the ability to master many different languages.

From the Lalitha Sahasranama, we learn that the origin of sound and language within us is the mūlādhāra (root center cakrā). Just as a tiny seed, as small as a mustard seed, can grow into a large tree, language also evolves in a similar way. The sound that originates in the mūlādhāra, known as parā, is the initial stage of this process, but it is not recognizable to us. This unseen, subtle sound gradually unfolds, just like a seed growing into a plant and eventually a tree.
Our vāsaṉās—the subtle, latent tendencies formed in our mind from previous births—shape the way we express language. This is why one person becomes a scholar, another remains unrefined, and yet another may speak in coarse language. The sound parā gradually transforms into paśyantī, which is like a faint light filtering through the darkness. As this light becomes clearer and stronger, it eventually reaches daylight. Similarly, paśyantī, in its rudimentary form, evolves into madhyamā, located in the aṉāhatā (heart chakra). madhyamā is the intermediate sound between paśyantī, (the subtle form of sound) and vaikharī (the audible sound), which is why it is called the “middle sound.”

The sound then passes through the seven organs of speech: the neck, throat, teeth, glottis, tongue, lips, and nostrils. Some nasal sounds can only be produced with the help of the nostrils, while other sounds require the tongue, throat, or teeth. In total, there are seven places from which sound is produced. The foundation of all languages is built upon fifty-one alphabets. Sanskrit has fifty letters, with the addition of “Ksha,” making it fifty-one. Malayalam also has fifty-one alphabets. Except for Tamil, all South Indian languages share the same number of alphabets, as do many North Indian languages.

Description continued in the comment section

#Lalitha #LalithaShasranamam

There are numerous Sahasranamas. Devi herself has over ten, including Gayatri, Gauri, Ganga, Lakshmi, and others. The well-known Sahasranama praising Mahavishnu is called Vishnu Sahasranama. There are also Sahasranamas dedicated to Krishna, Shiva, and Ganesha. Traditionally, 1008 mantras are chanted. In the past, the Sahasra Gayatri Upasana was practiced during evening prayers, where the Gayatri Mantra was recited 1008 times. If time was limited, it was chanted at least 108 times, or sometimes nine or eighteen times. The chanting always followed multiples of nine, such as 9, 18, 36, 72, or 108. Why is this? Sahasra doesn’t always mean exactly 1000. In the Narayaneeya Shathakams (a hundred poems), there are a hundred Dashakams (sets of ten poems), sometimes a few more. Thus, Sahasra represents the infinite—what cannot be counted precisely.

sahasraśīrṣā-puruṣaḥ-sahasrākṣaḥ-sahasrapāt
sa-bhūmiṃ-viśvato-vṛtvātyatiṣṭhaddaśāṅgulam
[The Purusha (Universal Being) has Thousand Heads, Thousand Eyes and Thousand Feet (Thousand signifies innumerable which points to the omnipresence of the Universal Being), He envelops the World from all sides (i.e. He pervades each part of the Creation), and extends beyond in the Ten Directions ( represented by Ten Fingers )]
(Purusha Suktham – 01)

In the Purusha Suktha, the Purusha (the cosmic being) is extolled as having a thousand, or an infinite number of heads, eyes, and legs, symbolizing His vast, all-encompassing presence. Similarly, in the Lalitha Sahasranama, Devi is praised as…

sahasrākṣī
[She who has a thousand eyes]
(Sri Lalitha Sahasranama – 283)

sahasrapāt
[She who has a thousand feet]
(Sri Lalitha Sahasranama – 284)

…as the one with a thousand eyes. Here, the word Sahasra signifies that all the eyes in the world belong to Devi, and she holds dominion over every leg in existence. Her cosmic play is eternal and boundless, with infinite forms and auspicious glory. This is the essence of Sahasra. Additionally, the number nine symbolizes the word “br̥hat” in Sanskrit, meaning great, vast, or significant.

nālpe sukhamasti bhūmaiva sukhaṃ
[There is no happiness in the finite. Happiness is only in the infinite.]
(Chandogya Upanishad 7.23.1)

In the Upanishads, it is written that all sensual pleasures are fleeting. They are of little worth and short-lived, offering only temporary satisfaction.
There are six Bhava-Vikaras or modifications of the body.
1. asti – existence
2. jāyatē – birth
3. vartatē – growth
4. vipariṇāmatē – change
5. apakṣiyātē – decay
6. vinaśyati – death
Even our physical bodies are not permanent. They are born, grow, mature, age and ultimately perish. “bhūmaiva sukhaṃ” which means, Happiness is only in the infinite. But there is a lasting happiness that transcends our senses, found in God, the source of eternal bliss. God, who resides within us, is the eternal truth. Knowledge is God’s true nature, as is consciousness and everlasting joy. True happiness lies in union with God. In the Lalitha Sahasranama, Devi is addressed as br̥hati, symbolizing her immensity, enfolding all of existence. She is the absolute, vast and significant. The number nine embodies all these connotations, which form the reasoning behind the Sahasranama.

There is also the Ayut Sahasranama, which contains ten thousand mantras and serves as a Namavali in praise of Lord Shiva. Regardless of where we are—whether in a village or a town, engaged in daily activities, eating, sleeping, or even dreaming—we must constantly remember and remain absorbed in Devi. The length of our spiritual practices can be adjusted according to the time available and the intensity of our spiritual quest.

If pressed for time, we can chant the Ashtothara Shathanamavali (108 names). Those with more time may chant the Trishathi (300 names), and those with ample time can chant the Sahasranama, repeating it as many times as they wish. However, the key is to always remain mindful of Devi, Amma, the Goddess of the Universe.

Though Sandhya is traditionally the time for prayer, the impact of our prayers should extend into all our actions. A person’s spiritual growth is best measured by their behavior, as any spiritual practice that doesn’t influence one’s actions is neither sincere nor meaningful. The depth and sincerity of one’s spiritual practices will naturally be reflected in their faces, words, and deeds.

There is no strict time limit for chanting the Sahasranama, as the infinite glory of Devi cannot be confined to words. Chant it with mindfulness, and it will greatly transform our lives. As we continue to hear the mantras about the slaying of the demon Bhandasura, we shall learn more in the coming episodes.

To be continued….

#Lalita #LalithaSahasranamam